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 @rinternals{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 @rinternals{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 @rinternals{Custos_engraver} into the
261 @rinternals{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" }
309 Internals Reference: @rinternals{Custos}.
312 @rlsr{Ancient notation}.
315 @c {{{2 Figured bass support
316 @node Figured bass support
317 @unnumberedsubsubsec Figured bass support
319 There is limited support for figured bass notation from the
320 Baroque period; see @ref{Figured bass}.
323 @c {{{1 Typesetting mensural music
324 @node Typesetting mensural music
325 @subsection Typesetting mensural music
328 * Mensural contexts::
330 * Mensural time signatures::
331 * Mensural note heads::
334 * Mensural accidentals and key signatures::
335 * Annotational accidentals (musica ficta)::
336 * White mensural ligatures::
341 @c {{{2Mensural contexts
342 @node Mensural contexts
343 @unnumberedsubsubsec Mensural contexts
345 @cindex MensuralVoiceContext
346 @cindex MensuralStaffContext
348 The predefined @code{MensuralVoice} and @code{MensuralStaff}
349 contexts can be used to engrave a piece in mensural style. These
350 contexts initialize all relevant context properties and grob
351 properties to proper values, so you can immediately go ahead
352 entering the chant, as the following excerpt demonstrates:
354 @lilypond[quote,ragged-right,verbatim]
357 \new MensuralVoice = "discantus" \transpose c c' {
358 \override Score.BarNumber #'transparent = ##t {
359 c'1\melisma bes a g\melismaEnd
361 \[ f1\melisma a c'\breve d'\melismaEnd \]
363 c'\breve\melisma a1 g1\melismaEnd
364 fis\longa^\signumcongruentiae
367 \new Lyrics \lyricsto "discantus" {
368 San -- ctus, San -- ctus, San -- ctus
376 TODO: nothing here yet ...
379 @c {{{2 Mensural clefs
381 @unnumberedsubsubsec Mensural clefs
385 The following table shows all mensural clefs that are supported via
386 the @code{\clef} command. Some of the clefs use the same glyph,
387 but differ only with respect to the line they are printed on. In
388 such cases, a trailing number in the name is used to enumerate
389 these clefs, numbered from the lowest to the highest line. Still,
390 you can manually force a clef glyph to be typeset on an arbitrary
391 line, as described in @ref{Clef}. The note printed to the right
392 side of each clef in the example column denotes the @code{c'} with
393 respect to that clef.
395 Petrucci used C clefs with differently balanced left-side vertical
396 beams, depending on which staff line it is printed.
398 @multitable @columnfractions .4 .4 .2
409 @code{mensural-c1}, @code{mensural-c2},@*
410 @code{mensural-c3}, @code{mensural-c4}
412 @lilypond[fragment,relative=1,notime]
414 \override NoteHead #'style = #'mensural
423 @lilypond[fragment,relative=1,notime]
425 \override NoteHead #'style = #'mensural
434 @lilypond[fragment,relative=1,notime]
436 \override NoteHead #'style = #'mensural
443 @code{neomensural-c1}, @code{neomensural-c2},@*
444 @code{neomensural-c3}, @code{neomensural-c4}
446 @lilypond[fragment,relative=1,notime]
447 \clef "neomensural-c2" c
451 petrucci style C clefs, for use on different staff lines
452 (the example shows the 2nd staff line C clef)
454 @code{petrucci-c1}, @code{petrucci-c2},@*
455 @code{petrucci-c3}, @code{petrucci-c4},@*
458 @lilypond[fragment,relative=1,notime]
460 \override NoteHead #'style = #'mensural
465 petrucci style F clef
469 @lilypond[fragment,relative=1,notime]
471 \override NoteHead #'style = #'mensural
476 petrucci style G clef
480 @lilypond[fragment,relative=1,notime]
482 \override NoteHead #'style = #'mensural
489 Notation Reference: see @ref{Clef}.
494 The mensural g clef is mapped to the Petrucci g clef.
497 @c {{{2Mensural time signatures
498 @node Mensural time signatures
499 @unnumberedsubsubsec Mensural time signatures
501 @cindex mensuration sign
502 @cindex time signatures
504 There is limited support for mensuration signs (which are similar to, but
505 not exactly the same as time signatures). The glyphs are hard-wired to
506 particular time fractions. In other words, to get a particular mensuration
507 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
508 chosen according to the following table
510 @lilypond[quote,ragged-right]
515 \remove Staff_symbol_engraver
516 \remove Clef_engraver
517 \remove Time_signature_engraver
521 \set Score.timing = ##f
522 \set Score.barAlways = ##t
523 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
524 #"timesig.neomensural44" }
526 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
527 #"timesig.neomensural22" }
529 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
530 #"timesig.neomensural64" }
532 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
533 #"timesig.neomensural68" }
535 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
536 #"timesig.neomensural32" }
538 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
539 #"timesig.neomensural34" }
541 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
542 #"timesig.neomensural94" }
544 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
545 #"timesig.neomensural98" }
547 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
548 #"timesig.neomensural48" }
550 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
551 #"timesig.neomensural24" }
555 Use the @code{style} property of grob @rinternals{TimeSignature}
556 to select ancient time signatures. Supported styles are
557 @code{neomensural} and @code{mensural}. The above table uses the
558 @code{neomensural} style. The following examples show the
559 differences in style:
561 @lilypond[ragged-right,fragment,relative=1,quote]
566 c1^\markup { \hspace #-2.0 \typewriter default }
568 \override Staff.TimeSignature #'style = #'numbered
570 c1^\markup { \hspace #-2.0 \typewriter numbered }
572 \override Staff.TimeSignature #'style = #'mensural
574 c1^\markup { \hspace #-2.0 \typewriter mensural }
576 \override Staff.TimeSignature #'style = #'neomensural
578 c1^\markup { \hspace #-2.0 \typewriter neomensural }
579 \override Staff.TimeSignature #'style = #'single-digit
581 c1^\markup { \hspace #-2.0 \typewriter single-digit }
587 Notation Reference: @ref{Time signature}, gives a general introduction to
588 the use of time signatures.
593 Ratios of note durations do not change with the time signature. For
594 example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
595 be made by hand, by setting
598 breveTP = #(ly:make-duration -1 0 3 2)
604 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
606 The @code{mensural68alt} and @code{neomensural68alt} symbols
607 (alternate symbols for 6/8) are not addressable with @code{\time}.
608 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
611 @c {{{2Mensural note heads
612 @node Mensural note heads
613 @unnumberedsubsubsec Mensural note heads
615 @cindex note heads, ancient
617 For ancient notation, a note head style other than the @code{default} style
618 may be chosen. This is accomplished by setting the @code{style} property of
619 the @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
620 @code{mensural} or @code{petrucci}.
622 The @code{baroque} style differs from the @code{default} style by:
625 @item Providing a @code{maxima} notehead, and
626 @item Using a square shape for @code{\breve} note heads.
629 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
630 the @code{baroque} style by:
633 @item Using rhomboidal heads for semibreves and all smaller durations, and
634 @item Centering the stems on the note heads.
638 The following example demonstrates the @code{petrucci} style:
640 @c Renaissance music doesn't use bar lines ... but they do help to
641 @c separate the notes for easier identification.
643 @lilypond[quote,fragment,ragged-right,verbatim]
644 \set Score.skipBars = ##t
646 \override NoteHead #'style = #'petrucci
647 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
653 @ref{Note head styles} gives an overview of all available note head styles.
656 @c {{{2Mensural flags
658 @unnumberedsubsubsec Mensural flags
662 Use the @code{flag-style} property of grob @rinternals{Stem} to
663 select ancient flags. Besides the @code{default} flag style,
664 only the @code{mensural} style is supported.
666 @lilypond[quote,fragment,ragged-right,verbatim]
667 \override Stem #'flag-style = #'mensural
668 \override Stem #'thickness = #1.0
669 \override NoteHead #'style = #'mensural
671 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
672 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
675 Note that the innermost flare of each mensural flag always is
676 vertically aligned with a staff line.
678 There is no particular flag style for neo-mensural or Petrucci notation.
680 @c when typesetting the incipit of a transcribed piece of mensural
681 @c music, the default flag style should be used.
682 There are no flags in Gregorian chant notation.
686 TODO: nothing here yet ...
691 The attachment of ancient flags to stems is slightly off.
692 @c due to a change in early 2.3.x.
694 Vertically aligning each flag with a staff line assumes that stems
695 always end either exactly on or exactly in the middle between two
696 staff lines. This may not always be true when using advanced layout
697 features of classical notation (which however are typically out of
698 scope for mensural notation).
700 @c {{{2Mensural rests
702 @unnumberedsubsubsec Mensural rests
704 @cindex rests, ancient
706 Use the @code{style} property of grob @rinternals{Rest} to select
707 ancient rests. Supported styles are @code{classical},
708 @code{neomensural}, and @code{mensural}. @code{classical} differs
709 from the @code{default} style only in that the quarter rest looks
710 like a horizontally mirrored 8th rest. The @code{mensural} and
711 the @code{neomensural} styles mimic the appearance of rests in
712 manuscripts and prints up to the 16th century.
714 The following example demonstrates the @code{mensural} and
715 @code{neomensural} styles:
717 @lilypond[quote,fragment,ragged-right,verbatim]
718 \set Score.skipBars = ##t
719 \override Rest #'style = #'classical
720 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
721 \override Rest #'style = #'mensural
722 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
723 \override Rest #'style = #'neomensural
724 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
727 There are no 32th and 64th rests specifically for the mensural or
728 neo-mensural style. Instead, the rests from the default style will be
731 See @rlsr{Ancient notation} for a chart of all rests.
734 Notation Reference: @ref{Rests}, gives a general introduction into the use of
738 @c {{{2Mensural accidentals and key signatures
739 @node Mensural accidentals and key signatures
740 @unnumberedsubsubsec Mensural accidentals and key signatures
743 @cindex key signature
745 The @code{mensural} style provides a sharp and a flat sign
746 different from the default style. If called for, the natural sign
747 will be taken from the @code{vaticana} style.
749 @lilypond[quote,ragged-right,staffsize=26]
756 \line { " " \musicglyph #"accidentals.mensural-1"
757 " " \musicglyph #"accidentals.mensural1" }
763 \context { \Score \remove "Bar_number_engraver" }
765 \remove "Clef_engraver"
766 \remove "Key_engraver"
767 \remove "Time_signature_engraver"
768 \remove "Staff_symbol_engraver"
769 \override VerticalAxisGroup #'minimum-Y-extent = ##f
775 The style for accidentals and key signatures is controlled by the
776 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
777 @rinternals{KeySignature}, respectively; e.g.:
779 @code{\override Staff.Accidental #'glyph-name-alist =
780 #alteration-mensural-glyph-name-alist}
784 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
785 @ref{Automatic accidentals} give a general introduction of the use of
786 accidentals. @ref{Key signature} gives a general introduction of
787 the use of key signatures.
789 Internals Reference: @rinternals{KeySignature}.
792 @c {{{2 Annotational accidentals (musica ficta)
793 @node Annotational accidentals (musica ficta)
794 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
796 In European music from before about 1600, singers were expected to
797 chromatically alter notes at their own initiative according to
798 certain rules. This is called @notation{musica ficta}. In modern
799 transcriptions, these accidentals are usually printed over the
802 @cindex Accidental, musica ficta
805 Support for such suggested accidentals is included, and can be
806 switched on by setting @code{suggestAccidentals} to true.
808 @funindex suggestAccidentals
810 @lilypond[verbatim,fragment,relative=1]
812 \set suggestAccidentals = ##t
816 This will treat @emph{every} subsequent accidental as @emph{musica
817 ficta} until it is unset with @code{\set suggestAccidentals =
818 ##f}. A more practical way is to use @code{\once \set
819 suggestAccidentals = ##t}, which can even be defined as a
820 convenient shorthand:
822 @lilypond[quote,verbatim]
823 ficta = { \once \set suggestAccidentals = ##t }
824 \score { \relative c''
826 \once \set suggestAccidentals = ##t
827 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
834 Internals Reference: @rinternals{Accidental_engraver} engraver and
835 the @rinternals{AccidentalSuggestion} object.
838 @c {{{2White mensural ligatures
839 @node White mensural ligatures
840 @unnumberedsubsubsec White mensural ligatures
842 @cindex Mensural ligatures
843 @cindex White mensural ligatures
845 There is limited support for white mensural ligatures.
847 To engrave white mensural ligatures, in the layout block, replace
848 the @rinternals{Ligature_bracket_engraver} with the
849 @rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
856 \remove Ligature_bracket_engraver
857 \consists Mensural_ligature_engraver
862 There is no additional input language to describe the shape of a
863 white mensural ligature. The shape is rather determined solely from
864 the pitch and duration of the enclosed notes. While this approach may
865 take a new user a while to get accustomed to, it has the great advantage
866 that the full musical information of the ligature is known internally.
867 This is not only required for correct MIDI output, but also allows for
868 automatic transcription of the ligatures.
873 @c \set Score.timing = ##f
874 @c \set Score.defaultBarType = "empty"
875 @c \override NoteHead #'style = #'neomensural
876 @c \override Staff.TimeSignature #'style = #'neomensural
877 @c \clef "petrucci-g"
879 @c \[ d\longa c\breve f e d \]
880 @c \[ c'\maxima d'\longa \]
881 @c \[ e'1 a g\breve \]
883 @lilypond[quote,ragged-right,verbatim]
886 \set Score.timing = ##f
887 \set Score.defaultBarType = "empty"
888 \override NoteHead #'style = #'neomensural
889 \override Staff.TimeSignature #'style = #'neomensural
892 \[ d\longa c\breve f e d \]
893 \[ c'\maxima d'\longa \]
899 \remove Ligature_bracket_engraver
900 \consists Mensural_ligature_engraver
906 Without replacing @rinternals{Ligature_bracket_engraver} with
907 @rinternals{Mensural_ligature_engraver}, the same music transcribes
910 @lilypond[quote,ragged-right]
912 \set Score.timing = ##f
913 \set Score.defaultBarType = "empty"
914 \override NoteHead #'style = #'neomensural
915 \override Staff.TimeSignature #'style = #'neomensural
918 \[ d\longa c\breve f e d \]
919 \[ c'\maxima d'\longa \]
926 TODO: nothing here yet ...
931 Horizontal spacing of ligatures is poor.
934 @c {{{1 Typesetting Gregorian chant
935 @node Typesetting Gregorian chant
936 @subsection Typesetting Gregorian chant
939 * Gregorian chant contexts::
941 * Gregorian accidentals and key signatures::
943 * Gregorian articulation signs::
944 * Augmentum dots (@emph{morae})::
945 * Gregorian square neume ligatures::
948 When typesetting a piece in Gregorian chant notation, the
949 @rinternals{Vaticana_ligature_engraver} automatically selects the
950 proper note heads, so there is no need to explicitly set the note
951 head style. Still, the note head style can be set, e.g., to
952 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
953 @rinternals{Mensural_ligature_engraver} automatically assembles
954 mensural ligatures. See @ref{Ligatures}, for how ligature
958 @c {{{2Gregorian chant contexts
959 @node Gregorian chant contexts
960 @unnumberedsubsubsec Gregorian chant contexts
962 @cindex VaticanaVoiceContext
963 @cindex VaticanaStaffContext
965 The predefined @code{VaticanaVoiceContext} and
966 @code{VaticanaStaffContext} can be used to engrave a piece of
967 Gregorian chant in the style of the Editio Vaticana. These contexts
968 initialize all relevant context properties and grob properties to
969 proper values, so you can immediately go ahead entering the chant, as
970 the following excerpt demonstrates:
972 @lilypond[quote,ragged-right,verbatim]
973 \include "gregorian.ly"
976 \new VaticanaVoice = "cantus" {
977 \[ c'\melisma c' \flexa a \]
978 \[ a \flexa \deminutum g\melismaEnd \]
980 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
981 c' \divisioMinima \break
982 \[ c'\melisma c' \flexa a \]
983 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
985 \new Lyrics \lyricsto "cantus" {
986 San- ctus, San- ctus, San- ctus
994 TODO: nothing here yet ...
997 @c {{{2 Gregorian clefs
998 @node Gregorian clefs
999 @unnumberedsubsubsec Gregorian clefs
1003 The following table shows all Gregorian clefs that are supported via
1004 the @code{\clef} command. Some of the clefs use the same glyph,
1005 but differ only with respect to the line they are printed on. In
1006 such cases, a trailing number in the name is used to enumerate
1007 these clefs, numbered from the lowest to the highest line. Still,
1008 you can manually force a clef glyph to be typeset on an arbitrary
1009 line, as described in @ref{Clef}. The note printed to the right
1010 side of each clef in the example column denotes the @code{c'} with
1011 respect to that clef.
1013 @multitable @columnfractions .4 .4 .2
1022 Editio Vaticana style do clef
1024 @code{vaticana-do1}, @code{vaticana-do2},@*
1027 @lilypond[fragment,relative=1,notime]
1028 \override Staff.StaffSymbol #'line-count = #4
1029 \override Staff.StaffSymbol #'color = #red
1030 \override Staff.LedgerLineSpanner #'color = #red
1031 \override Voice.Stem #'transparent = ##t
1032 \override NoteHead #'style = #'vaticana.punctum
1033 \clef "vaticana-do2"
1038 Editio Vaticana style fa clef
1040 @code{vaticana-fa1}, @code{vaticana-fa2}
1042 @lilypond[fragment,relative=1,notime]
1043 \override Staff.StaffSymbol #'line-count = #4
1044 \override Staff.StaffSymbol #'color = #red
1045 \override Staff.LedgerLineSpanner #'color = #red
1046 \override Voice.Stem #'transparent = ##t
1047 \override NoteHead #'style = #'vaticana.punctum
1048 \clef "vaticana-fa2"
1053 Editio Medicaea style do clef
1055 @code{medicaea-do1}, @code{medicaea-do2},@*
1058 @lilypond[fragment,relative=1,notime]
1059 \override Staff.StaffSymbol #'line-count = #4
1060 \override Staff.StaffSymbol #'color = #red
1061 \override Staff.LedgerLineSpanner #'color = #red
1062 \override Voice.Stem #'transparent = ##t
1063 \override NoteHead #'style = #'medicaea.punctum
1064 \clef "medicaea-do2"
1069 Editio Medicaea style fa clef
1071 @code{medicaea-fa1}, @code{medicaea-fa2}
1073 @lilypond[fragment,relative=1,notime]
1074 \override Staff.StaffSymbol #'line-count = #4
1075 \override Staff.StaffSymbol #'color = #red
1076 \override Staff.LedgerLineSpanner #'color = #red
1077 \override Voice.Stem #'transparent = ##t
1078 \override NoteHead #'style = #'medicaea.punctum
1079 \clef "medicaea-fa2"
1084 hufnagel style do clef
1086 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1089 @lilypond[fragment,relative=1,notime]
1090 \override Staff.StaffSymbol #'line-count = #4
1091 \override Staff.StaffSymbol #'color = #red
1092 \override Staff.LedgerLineSpanner #'color = #red
1093 \override Voice.Stem #'transparent = ##t
1094 \override NoteHead #'style = #'hufnagel.punctum
1095 \clef "hufnagel-do2"
1100 hufnagel style fa clef
1102 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1104 @lilypond[fragment,relative=1,notime]
1105 \override Staff.StaffSymbol #'line-count = #4
1106 \override Staff.StaffSymbol #'color = #red
1107 \override Staff.LedgerLineSpanner #'color = #red
1108 \override Voice.Stem #'transparent = ##t
1109 \override NoteHead #'style = #'hufnagel.punctum
1110 \clef "hufnagel-fa2"
1115 hufnagel style combined do/fa clef
1117 @code{hufnagel-do-fa}
1119 @lilypond[fragment,relative=1,notime]
1120 \override Staff.StaffSymbol #'color = #red
1121 \override Staff.LedgerLineSpanner #'color = #red
1122 \override Voice.Stem #'transparent = ##t
1123 \override NoteHead #'style = #'hufnagel.punctum
1124 \clef "hufnagel-do-fa"
1131 Notation Reference: see @ref{Clef}.
1134 @c {{{2 Gregorian accidentals and key signatures
1135 @node Gregorian accidentals and key signatures
1136 @unnumberedsubsubsec Gregorian accidentals and key signatures
1139 @cindex key signature
1141 Accidentals for the three different Gregorian styles are available:
1143 @lilypond[quote,ragged-right,staffsize=26]
1150 \line { " " \musicglyph #"accidentals.vaticana-1"
1151 " " \musicglyph #"accidentals.vaticana0" }
1155 \line { " " \musicglyph #"accidentals.medicaea-1" }
1159 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1165 \context { \Score \remove "Bar_number_engraver" }
1167 \remove "Clef_engraver"
1168 \remove "Key_engraver"
1169 \remove "Time_signature_engraver"
1170 \remove "Staff_symbol_engraver"
1171 \override VerticalAxisGroup #'minimum-Y-extent = ##f
1177 As shown, not all accidentals are supported by each style. When
1178 trying to access an unsupported accidental, LilyPond will switch to a
1181 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1182 @c {ancient-accidentals.ly}
1184 The style for accidentals and key signatures is controlled by the
1185 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
1186 @rinternals{KeySignature}, respectively; e.g.:
1188 @code{\override Staff.Accidental #'glyph-name-alist =
1189 #alteration-mensural-glyph-name-alist}
1193 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
1194 @ref{Automatic accidentals} give a general introduction of the use of
1195 accidentals. @ref{Key signature} gives a general introduction of
1196 the use of key signatures.
1198 Internals Reference: @rinternals{KeySignature}.
1203 @unnumberedsubsubsec Divisiones
1209 There are no rests in Gregorian chant notation; instead, it uses
1212 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1213 @q{division}) is a staff context symbol that is used to indicate
1214 the phrase and section structure of Gregorian music. The musical meaning of
1215 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1216 can be characterized as short, medium, and long pause, somewhat like
1217 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1218 only marks the end of a chant, but is also frequently used within a
1219 single antiphonal/responsorial chant to mark the end of each section.
1221 To use divisiones, include the file @file{gregorian@/.ly}. It
1222 contains definitions that you can apply by just inserting
1223 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1224 and @code{\finalis} at proper places in the input. Some editions use
1225 @emph{virgula} or @emph{caesura} instead of divisio minima.
1226 Therefore, @file{gregorian@/.ly} also defines @code{\virgula} and
1229 @lilypondfile[quote,ragged-right]{divisiones.ly}
1237 @funindex \divisioMinima
1238 @code{\divisioMinima},
1239 @funindex \divisioMaior
1240 @code{\divisioMaior},
1241 @funindex \divisioMaxima
1242 @code{\divisioMaxima},
1248 @c {{{2Gregorian articulations
1249 @node Gregorian articulation signs
1250 @unnumberedsubsubsec Gregorian articulation signs
1252 @cindex articulations
1254 In addition to the standard articulation signs described in
1255 section @ref{Articulations and ornamentations}, articulation signs
1256 specifically designed for use with notation in @emph{Editio
1257 Vaticana} style are provided.
1259 @lilypond[quote,ragged-right,verbatim]
1260 \include "gregorian.ly"
1262 \new VaticanaVoice {
1263 \override TextScript #'font-family = #'typewriter
1264 \override TextScript #'font-shape = #'upright
1265 \override Script #'padding = #-0.1
1266 a\ictus_"ictus " \break
1267 a\circulus_"circulus " \break
1268 a\semicirculus_"semicirculus " \break
1269 a\accentus_"accentus " \break
1270 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1277 TODO: nothing here yet ...
1282 Some articulations are vertically placed too closely to the
1283 corresponding note heads.
1285 The episema line is not displayed in many cases. If it is displayed,
1286 the right end of the episema line is often too far to the right.
1289 @c {{{2Augmentum dots (@emph{morae})
1290 @node Augmentum dots (@emph{morae})
1291 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1293 Augmentum dots, also called @emph{morae}, are added with the music
1294 function @code{\augmentum}. Note that @code{\augmentum} is
1295 implemented as a unary music function rather than as head prefix. It
1296 applies to the immediately following music expression only. That is,
1297 @code{\augmentum \virga c} will have no visible effect. Instead, say
1298 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1299 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1300 @code{\augmentum a \augmentum g}.
1302 @lilypond[quote,ragged-right,verbatim]
1303 \include "gregorian.ly"
1305 \new VaticanaVoice {
1306 \[ \augmentum a \flexa \augmentum g \]
1314 Notation Reference: @ref{Breath marks}.
1316 Internals Reference: @rinternals{BreathingSign}.
1318 Examples: @rlsr{Ancient notation}.
1321 @c {{{2Gregorian square neumes ligatures
1322 @node Gregorian square neume ligatures
1323 @unnumberedsubsubsec Gregorian square neume ligatures
1325 @cindex Square neumes ligatures
1326 @cindex Gregorian square neumes ligatures
1328 There is limited support for Gregorian square neumes notation
1329 (following the style of the Editio Vaticana). Core ligatures can
1330 already be typeset, but essential issues for serious typesetting are
1331 still lacking, such as (among others) horizontal alignment of multiple
1332 ligatures, lyrics alignment, and proper handling of accidentals.
1334 The support for Gregorian neumes is enabled by @code{\include}ing
1335 "gregorian.ly" at the beginning of the file. This makes available
1336 a number of extra commands to produce the neume symbols used in
1337 plainchant notation.
1341 Note heads can be @emph{modified} and/or @emph{joined}.
1345 the note head can be modified by @emph{prefixing} the note name
1346 with any of the following commands:
1351 @funindex \inclinatum
1355 @funindex \descendens
1357 @funindex \ascendens
1363 @funindex \deminutum
1370 @item Ligatures, properly speaking (i.e. notes joined together), are
1371 produced by placing one of the joining commands @code{\pes} or
1372 @code{\flexa}, for upwards and downwards movement, respectively,
1373 @emph{between} the notes to be joined.
1376 A note name without any qualifiers will produce a @emph{punctum}.
1377 All other neumes, including the single-note neumes with a
1378 different shape such as the @emph{virga}, are in principle
1379 considered as ligatures and should therefore be placed
1380 between @code{\[...\]}.
1381 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1388 @item The @emph{punctum} is the basic note shape (in the
1389 @emph{Vaticana} style: a square with some curvation for
1390 typographical finesse). In addition to the regular
1391 @emph{punctum}, there is also the oblique @emph{punctum
1392 inclinatum}, produced with the prefix @code{\inclinatum}. The
1393 regular @emph{punctum} can be modified with @code{\cavum}, which
1394 produces a hollow note, and @code{\linea}, which draws vertical
1395 lines on either side of the note.
1397 @item The @emph{virga} has a descending stem on the right side. It is
1398 produced by the modifier @code{\virga}.
1404 Unlike most other neumes notation systems, the typographical
1405 appearance of ligatures is not directly dictated by the input
1406 commands, but follows certain conventions dependent on musical
1407 meaning. For example, a three-note ligature with the musical shape
1408 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1409 Torculus consisting of three Punctum heads, while the shape
1410 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1411 Porrectus with a curved flexa shape and only a single Punctum
1412 head. There is no command to explicitly typeset the curved flexa
1413 shape; the decision of when to typeset a curved flexa shape is
1414 based on the musical input. The idea of this approach is to
1415 separate the musical aspects of the input from the notation style
1416 of the output. This way, the same input can be reused to typeset
1417 the same music in a different style of Gregorian chant notation.
1422 Another main category of notes in Gregorian chant is the so-called
1423 liquescent neumes. They are used under certain circumstances at
1424 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1425 the sounding consonants that can hold a tone (the nasals, l, r, v,
1426 j, and their diphtong equivalents). Thus, the liquescent neumes
1427 are never used alone (although some of them can be produced), and
1428 they always fall at the end of a ligature.
1430 Liquescent neumes are represented graphically in two different,
1431 more or less interchangeable ways: with a smaller note or by
1432 @q{twisting} the main note upwards or downwards. The first is
1433 produced by making a regular @code{pes} or @code{flexa} and
1434 modifying the shape of the second note: @code{\[ a \pes \deminutum
1435 b \] }, the second by modifying the shape of a single-note neume
1436 with @code{\auctum} and one of the direction markers
1437 @code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctum
1443 A third category of signs is made up of a small number of signs
1444 with a special meaning (which, incidentally, in most cases is only
1445 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1446 @emph{strophicus}. These are all produced by prefixing a note name
1447 with the corresponding modifier, @code{\quilisma},
1448 @code{\oriscus}, or @code{\stropha}.
1450 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1451 any number of heads may be accumulated to form a single ligature,
1452 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1453 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1454 the set of rules that underlies the construction of the ligatures
1455 in the above table is accordingly extrapolated. This way,
1456 infinitely many different ligatures can be created.
1458 Note that the use of these signs in the music itself follows
1459 certain rules, which are not checked by LilyPond. E.g., the
1460 @emph{quilisma} is always the middle note of an ascending
1461 ligature, and usually falls on a half-tone step, but it is
1462 perfectly possible, although incorrect, to make a single-note
1465 In addition to the note signs, gregorian.ly also defines the
1466 commands @code{\versus}, @code{\responsum}, @code{\ij},
1467 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1468 corresponding characters, e.g. for use in lyrics, as section
1469 markers, etc. These commands use special unicode characters and
1470 will only work if a font is used which supports them.
1475 The following table shows a limited, but still representative pool
1476 of Gregorian ligatures, together with the code fragments that
1477 produce the ligatures. The table is based on the extended neumes
1478 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1479 Hymnarius}), published 1983 by the monks of Solesmes. The first
1480 column gives the name of the ligature, with the main form in
1481 boldface and the liquescent forms in italics. The third column
1482 shows the code fragment that produces this ligature, using
1483 @code{g}, @code{a}, and @code{b} as example pitches.
1486 @b{Single-note neums}
1488 @multitable @columnfractions .4 .2 .4
1491 @b{Basic} and @emph{Liquescent} forms
1498 @c TODO: \layout block is identical in all of the below examples.
1499 @c Therefore, it should somehow be included rather than duplicated all
1502 @c why not make variables in ly/engraver-init.ly? --hwn
1504 @c Because it's just used to typeset plain notes without
1505 @c a staff for demonstration purposes rather than something
1506 @c special of Gregorian chant notation. --jr
1512 @lilypond[staffsize=26,line-width=1.5\cm]
1513 \include "gregorian.ly"
1519 \layout { \neumeDemoLayout }}
1526 @lilypond[staffsize=26,line-width=1.5\cm]
1527 \include "gregorian.ly"
1533 \layout { \neumeDemoLayout }}
1536 @code{\[ \cavum b \]}
1540 @lilypond[staffsize=26,line-width=1.5\cm]
1541 \include "gregorian.ly"
1547 \layout { \neumeDemoLayout }}
1550 @code{\[ \linea b \]}
1553 @emph{Punctum Auctum Ascendens}
1555 @lilypond[staffsize=26,line-width=2.5\cm]
1556 \include "gregorian.ly"
1559 % Punctum Auctum Ascendens
1560 \[ \auctum \ascendens b \]
1562 \layout { \neumeDemoLayout }}
1565 @code{\[ \auctum \ascendens b \]}
1568 @emph{Punctum Auctum Descendens}
1570 @lilypond[staffsize=26,line-width=2.5\cm]
1571 \include "gregorian.ly"
1574 % Punctum Auctum Descendens
1575 \[ \auctum \descendens b \]
1577 \layout { \neumeDemoLayout }}
1580 @code{\[ \auctum \descendens b \]}
1583 @b{Punctum inclinatum}
1585 @lilypond[staffsize=26,line-width=1.5\cm]
1586 \include "gregorian.ly"
1589 % Punctum Inclinatum
1592 \layout { \neumeDemoLayout }}
1595 @code{\[ \inclinatum b \]}
1598 @emph{Punctum Inclinatum Auctum}
1600 @lilypond[staffsize=26,line-width=2.5\cm]
1601 \include "gregorian.ly"
1604 % Punctum Inclinatum Auctum
1605 \[ \inclinatum \auctum b \]
1607 \layout { \neumeDemoLayout }}
1610 @code{\[ \inclinatum \auctum b \]}
1613 @emph{Punctum Inclinatum Parvum}
1615 @lilypond[staffsize=26,line-width=1.0\cm]
1616 \include "gregorian.ly"
1619 % Punctum Inclinatum Parvum
1620 \[ \inclinatum \deminutum b \]
1622 \layout { \neumeDemoLayout }}
1625 @code{\[ \inclinatum \deminutum b \]}
1630 @lilypond[staffsize=26,line-width=1.0\cm]
1631 \include "gregorian.ly"
1637 \layout { \neumeDemoLayout }}
1644 @b{Two-note ligatures}
1646 @multitable @columnfractions .4 .2 .4
1649 @b{Clivis vel Flexa}
1651 @lilypond[staffsize=26,line-width=1.0\cm]
1652 \include "gregorian.ly"
1658 \layout { \neumeDemoLayout }}
1661 @code{\[ b \flexa g \]}
1665 @emph{Clivis Aucta Descendens}
1667 @lilypond[staffsize=26,line-width=2.0\cm]
1668 \include "gregorian.ly"
1671 % Clivis Aucta Descendens
1672 \[ b \flexa \auctum \descendens g \]
1674 \layout { \neumeDemoLayout }}
1677 @code{\[ b \flexa \auctum \descendens g \]}
1680 @emph{Clivis Aucta Ascendens}
1682 @lilypond[staffsize=26,line-width=2.0\cm]
1683 \include "gregorian.ly"
1686 % Clivis Aucta Ascendens
1687 \[ b \flexa \auctum \ascendens g \]
1689 \layout { \neumeDemoLayout }}
1692 @code{\[ b \flexa \auctum \ascendens g \]}
1697 @lilypond[staffsize=26,line-width=2.0\cm]
1698 \include "gregorian.ly"
1702 \[ b \flexa \deminutum g \]
1704 \layout { \neumeDemoLayout }}
1707 @code{\[ b \flexa \deminutum g \]}
1712 @lilypond[staffsize=26,line-width=1.0\cm]
1713 \include "gregorian.ly"
1719 \layout { \neumeDemoLayout }}
1722 @code{\[ g \pes b \]}
1725 @emph{Pes Auctus Descendens}
1727 @lilypond[staffsize=26,line-width=1.0\cm]
1728 \include "gregorian.ly"
1731 % Pes Auctus Descendens
1732 \[ g \pes \auctum \descendens b \]
1734 \layout { \neumeDemoLayout }}
1737 @code{\[ g \pes \auctum \descendens b \]}
1740 @emph{Pes Auctus Ascendens}
1742 @lilypond[staffsize=26,line-width=1.0\cm]
1743 \include "gregorian.ly"
1746 % Pes Auctus Ascendens
1747 \[ g \pes \auctum \ascendens b \]
1749 \layout { \neumeDemoLayout }}
1752 @code{\[ g \pes \auctum \ascendens b \]}
1757 @lilypond[staffsize=26,line-width=1.0\cm]
1758 \include "gregorian.ly"
1762 \[ g \pes \deminutum b \]
1764 \layout { \neumeDemoLayout }}
1767 @code{\[ g \pes \deminutum b \]}
1770 @emph{Pes Initio Debilis}
1772 @lilypond[staffsize=26,line-width=1.0\cm]
1773 \include "gregorian.ly"
1776 % Pes Initio Debilis
1777 \[ \deminutum g \pes b \]
1779 \layout { \neumeDemoLayout }}
1782 @code{\[ \deminutum g \pes b \]}
1785 @emph{Pes Auctus Descendens Initio Debilis}
1787 @lilypond[staffsize=26,line-width=1.0\cm]
1788 \include "gregorian.ly"
1791 % Pes Auctus Descendens Initio Debilis
1792 \[ \deminutum g \pes \auctum \descendens b \]
1794 \layout { \neumeDemoLayout }}
1797 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1802 @b{Multi-note ligatures}
1804 @multitable @columnfractions .4 .2 .4
1809 @lilypond[staffsize=26,line-width=1.0\cm]
1810 \include "gregorian.ly"
1814 \[ a \pes b \flexa g \]
1816 \layout { \neumeDemoLayout }}
1819 @code{\[ a \pes b \flexa g \]}
1822 @emph{Torculus Auctus Descendens}
1824 @lilypond[staffsize=26,line-width=1.0\cm]
1825 \include "gregorian.ly"
1828 % Torculus Auctus Descendens
1829 \[ a \pes b \flexa \auctum \descendens g \]
1831 \layout { \neumeDemoLayout }}
1834 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1837 @emph{Torculus Deminutus}
1839 @lilypond[staffsize=26,line-width=1.0\cm]
1840 \include "gregorian.ly"
1843 % Torculus Deminutus
1844 \[ a \pes b \flexa \deminutum g \]
1846 \layout { \neumeDemoLayout }}
1849 @code{\[ a \pes b \flexa \deminutum g \]}
1852 @emph{Torculus Initio Debilis}
1854 @lilypond[staffsize=26,line-width=1.0\cm]
1855 \include "gregorian.ly"
1858 % Torculus Initio Debilis
1859 \[ \deminutum a \pes b \flexa g \]
1861 \layout { \neumeDemoLayout }}
1864 @code{\[ \deminutum a \pes b \flexa g \]}
1867 @emph{Torculus Auctus Descendens Initio Debilis}
1869 @lilypond[staffsize=26,line-width=1.0\cm]
1870 \include "gregorian.ly"
1873 % Torculus Auctus Descendens Initio Debilis
1874 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1876 \layout { \neumeDemoLayout }}
1879 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1882 @emph{Torculus Deminutus Initio Debilis}
1884 @lilypond[staffsize=26,line-width=1.0\cm]
1885 \include "gregorian.ly"
1888 % Torculus Deminutus Initio Debilis
1889 \[ \deminutum a \pes b \flexa \deminutum g \]
1891 \layout { \neumeDemoLayout }}
1894 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1899 @lilypond[staffsize=26,line-width=1.0\cm]
1900 \include "gregorian.ly"
1904 \[ a \flexa g \pes b \]
1906 \layout { \neumeDemoLayout }}
1909 @code{\[ a \flexa g \pes b \]}
1912 @emph{Porrectus Auctus Descendens}
1914 @lilypond[staffsize=26,line-width=1.0\cm]
1915 \include "gregorian.ly"
1918 % Porrectus Auctus Descendens
1919 \[ a \flexa g \pes \auctum \descendens b \]
1921 \layout { \neumeDemoLayout }}
1924 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1927 @emph{Porrectus Deminutus}
1929 @lilypond[staffsize=26,line-width=1.0\cm]
1930 \include "gregorian.ly"
1933 % Porrectus Deminutus
1934 \[ a \flexa g \pes \deminutum b \]
1936 \layout { \neumeDemoLayout }}
1939 @code{\[ a \flexa g \pes \deminutum b \]}
1944 @lilypond[staffsize=26,line-width=1.0\cm]
1945 \include "gregorian.ly"
1949 \[ \virga b \inclinatum a \inclinatum g \]
1951 \layout { \neumeDemoLayout }}
1954 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1957 @emph{Climacus Auctus}
1959 @lilypond[staffsize=26,line-width=1.0\cm]
1960 \include "gregorian.ly"
1964 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1966 \layout { \neumeDemoLayout }}
1969 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1972 @emph{Climacus Deminutus}
1974 @lilypond[staffsize=26,line-width=1.0\cm]
1975 \include "gregorian.ly"
1978 % Climacus Deminutus
1979 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1981 \layout { \neumeDemoLayout }}
1984 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1989 @lilypond[staffsize=26,line-width=1.0\cm]
1990 \include "gregorian.ly"
1994 \[ g \pes a \virga b \]
1996 \layout { \neumeDemoLayout }}
1999 @code{\[ g \pes a \virga b \]}
2002 @emph{Scandicus Auctus Descendens}
2004 @lilypond[staffsize=26,line-width=1.0\cm]
2005 \include "gregorian.ly"
2008 % Scandicus Auctus Descendens
2009 \[ g \pes a \pes \auctum \descendens b \]
2011 \layout { \neumeDemoLayout }}
2014 @code{\[ g \pes a \pes \auctum \descendens b \]}
2017 @emph{Scandicus Deminutus}
2019 @lilypond[staffsize=26,line-width=1.0\cm]
2020 \include "gregorian.ly"
2023 % Scandicus Deminutus
2024 \[ g \pes a \pes \deminutum b \]
2026 \layout { \neumeDemoLayout }}
2029 @code{\[ g \pes a \pes \deminutum b \]}
2036 @multitable @columnfractions .4 .2 .4
2041 @lilypond[staffsize=26,line-width=1.0\cm]
2042 \include "gregorian.ly"
2046 \[ g \pes \quilisma a \pes b \]
2048 \layout { \neumeDemoLayout }}
2051 @code{\[ g \pes \quilisma a \pes b \]}
2054 @emph{Quilisma Pes Auctus Descendens}
2056 @lilypond[staffsize=26,line-width=1.0\cm]
2057 \include "gregorian.ly"
2060 % Quilisma Pes Auctus Descendens
2061 \[ g \quilisma a \pes \auctum \descendens b \]
2063 \layout { \neumeDemoLayout }}
2066 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2071 @lilypond[staffsize=26,line-width=1.0\cm]
2072 \include "gregorian.ly"
2078 \layout { \neumeDemoLayout }}
2081 @code{\[ \oriscus b \]}
2086 @lilypond[staffsize=26,line-width=1.0\cm]
2087 \include "gregorian.ly"
2091 \[ \oriscus g \pes \virga b \]
2093 \layout { \neumeDemoLayout }}
2096 @code{\[ \oriscus g \pes \virga b \]}
2099 @emph{Pes Quassus Auctus Descendens}
2101 @lilypond[staffsize=26,line-width=1.0\cm]
2102 \include "gregorian.ly"
2105 % Pes Quassus Auctus Descendens
2106 \[ \oriscus g \pes \auctum \descendens b \]
2108 \layout { \neumeDemoLayout }}
2111 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2116 @lilypond[staffsize=26,line-width=1.0\cm]
2117 \include "gregorian.ly"
2121 \[ g \oriscus a \pes \virga b \]
2123 \layout { \neumeDemoLayout }}
2126 @code{\[ g \oriscus a \pes \virga b \]}
2129 @emph{Salicus Auctus Descendens}
2131 @lilypond[staffsize=26,line-width=1.0\cm]
2132 \include "gregorian.ly"
2135 % Salicus Auctus Descendens
2136 \[ g \oriscus a \pes \auctum \descendens b \]
2138 \layout { \neumeDemoLayout }}
2141 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2146 @lilypond[staffsize=26,line-width=1.0\cm]
2147 \include "gregorian.ly"
2153 \layout { \neumeDemoLayout }}
2156 @code{\[ \stropha b \]}
2159 @emph{Stropha Aucta}
2161 @lilypond[staffsize=26,line-width=1.0\cm]
2162 \include "gregorian.ly"
2166 \[ \stropha \auctum b \]
2168 \layout { \neumeDemoLayout }}
2171 @code{\[ \stropha \auctum b \]}
2176 @lilypond[staffsize=26,line-width=1.0\cm]
2177 \include "gregorian.ly"
2181 \[ \stropha b \stropha b \]
2183 \layout { \neumeDemoLayout }}
2186 @code{\[ \stropha b \stropha b \]}
2191 @lilypond[staffsize=26,line-width=1.0\cm]
2192 \include "gregorian.ly"
2196 \[ \stropha b \stropha b \stropha b \]
2198 \layout { \neumeDemoLayout }}
2201 @code{\[ \stropha b \stropha b \stropha b \]}
2206 @lilypond[staffsize=26,line-width=1.0\cm]
2207 \include "gregorian.ly"
2211 \[ \stropha b \stropha b \stropha a \]
2213 \layout { \neumeDemoLayout }
2217 @code{\[ \stropha b \stropha b \stropha a \]}
2223 The following head prefixes are supported:
2228 @funindex \inclinatum
2232 @funindex \descendens
2234 @funindex \ascendens
2240 @funindex \deminutum
2248 Head prefixes can be accumulated, though restrictions apply. For
2249 example, either @code{\descendens} or @code{\ascendens} can be applied
2250 to a head, but not both to the same head.
2254 Two adjacent heads can be tied together with the @code{\pes} and
2255 @code{\flexa} infix commands for a rising and falling line of melody,
2258 @funindex \augmentum
2259 Use the unary music function @code{\augmentum} to add augmentum dots.
2263 TODO: nothing here yet ...
2268 When an @code{\augmentum} dot appears at the end of the last staff
2269 within a ligature, it is sometimes vertically placed wrong. As a
2270 workaround, add an additional skip note (e.g. @code{s8}) as last note
2273 @code{\augmentum} should be implemented as a head prefix rather than a
2274 unary music function, such that @code{\augmentum} can be intermixed
2275 with head prefixes in arbitrary order.
2279 @c Working with ancient music: scenarios and solutions:: {{{1
2280 @node Working with ancient music---scenarios and solutions
2281 @subsection Working with ancient music---scenarios and solutions
2285 * Mensurstriche layout::
2286 * Transcribing Gregorian chant::
2287 * Ancient and modern from one source::
2288 * Editorial markings::
2291 Working with ancient music frequently involves particular tasks
2292 which differ considerably from the modern notation for which
2293 LilyPond is designed. In the rest of this section, a number of
2294 typical scenarios are outlined, with suggestions of solutions.
2298 @item how to make incipits (i.e. prefatory material to indicate
2299 what the original has looked like) to modern transcriptions of
2301 @item how to achieve the @emph{Mensurstriche} layout frequently
2302 used for modern transcriptions of polyphonic music;
2303 @item how to transcribe Gregorian chant in modern notation;
2304 @item how to generate both ancient and modern notation from the
2310 @unnumberedsubsubsec Incipits
2313 @c clefs, mensuration signs etc from lsr and -user
2314 @c use snippet Transcription-of-ancient-music-with-incipit
2319 @c ... and reference to other sections ...
2322 @c {{{2Mensurstriche layout
2323 @node Mensurstriche layout
2324 @unnumberedsubsubsec Mensurstriche layout
2326 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2327 for bar lines that are drawn between the staves of a system but
2328 not through the staves themselves. It is a common way to preserve
2329 the rhythmic appearance of the original, i.e. not having to break
2330 syncopated notes at bar lines, while still providing the
2331 orientation aids that bar lines give.
2334 @lilypondfile[verbatim,lilyquote,texidoc]
2335 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2337 @c This simple setup will take care of the
2338 @c TODO Add text about lyrics to the lowest line, to be placed
2339 @c outside the StaffGroup.
2340 @c from lsr and -user
2345 @c ... and reference to other sections ...
2348 @c {{{2Transcribing Gregorian chant
2349 @node Transcribing Gregorian chant
2350 @unnumberedsubsubsec Transcribing Gregorian chant
2352 Gregorian chant can be transcribed into modern notation with a
2353 number of simple tweaks.
2355 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2356 the @code{Stem_engraver} from the Voice context:
2363 \remove "Stem_engraver"
2368 However, in some transcription styles, stems are used
2369 occasionally, for example to indicate the transition from a
2370 single-tone recitative to a fixed melodic gesture. In these cases,
2371 one can use either @code{\override Stem #'transparent = ##t} or
2372 @code{\override Stem #'length = #0} instead, and restore the stem
2373 when needed with the corresponding @code{\once \override Stem
2374 #'transparent = ##f} (see example below).
2376 @b{Timing.} For unmetered chant, there are several alternatives.
2378 The Time_signature_engraver can be removed from the Staff context
2379 without any negative side effects. The alternative, to make it
2380 transparent, will leave an empty space in the score, since the
2381 invisible signature will still take up space.
2383 In many cases, @code{\set Score.timing = ##f} will give good
2384 results. Another alternative is to use \@code{\CadenzaOn} and
2387 To remove the barlines, the radical approach is to @code{\remove}
2388 the Bar_engraver from the Staff context. Again, one may want to
2389 use @code{\override BarLine #'transparent = ##t} instead, if an
2390 occasional barline is wanted.
2392 A common type of transcription is recitativic chant where the
2393 repeated notes are indicated with a single breve. The text to
2394 the recitation tone can be dealt with in two different ways:
2395 either set as a single, left-aligned syllable:
2397 @lilypond[verbatim,ragged-right]
2398 \include "gregorian.ly"
2399 chant = \relative c' {
2401 c\breve c4 b4 a c2 c4 \divisioMaior
2402 c\breve c4 c f, f \finalis
2405 verba = \lyricmode {
2406 \once \override LyricText #'self-alignment-X = #-1
2407 "Noctem quietam et" fi -- nem per -- fec -- tum
2408 \once \override LyricText #'self-alignment-X = #-1
2409 "concedat nobis Dominus" om -- ni -- po -- tens.
2413 \new Voice = "melody" \chant
2414 \new Lyrics = "one" \lyricsto melody \verba
2419 \remove "Time_signature_engraver"
2420 \remove "Bar_engraver"
2421 \override Stem #'transparent = ##t
2427 This works fine, as long as the text doesn't span a line break. If
2428 that is the case, an alternative is to add hidden notes to the
2429 score, here in combination with changing stem visibility:
2432 @lilypond[verbatim,ragged-right]
2433 \include "gregorian.ly"
2434 chant = \relative c' {
2436 \set Score.timing = ##f
2437 c\breve \override NoteHead #'transparent = ##t c c c c c
2438 \revert NoteHead #'transparent
2439 \override Stem #'transparent = ##f \stemUp c4 b4 a
2440 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2441 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2442 \revert NoteHead #'transparent c4 c f, f \finalis
2445 verba = \lyricmode {
2446 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2447 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2452 \new Voice = "melody" \chant
2453 \new Lyrics \lyricsto "melody" \verba
2458 \remove "Time_signature_engraver"
2459 \override BarLine #'transparent = ##t
2460 \override Stem #'transparent = ##t
2466 Another common situation is transcription of neumatic or
2467 melismatic chants, i.e. chants with a varying number of notes
2468 to each syllable. In this case, one would want to set the
2469 syllable groups clearly apart, usually also the subdivisions of a
2470 longer melisma. One way to achieve this is to use a fixed
2471 @code{\time}, e.g. 1/4, and let each syllable or note group fill
2472 one of these measures, with the help of tuplets or shorter
2473 durations. If the barlines and all other rhythmical indications
2474 are made transparent, and the space around the barlines is
2475 increased, this will give a fairly good representation in modern
2476 notation of the original.
2478 To avoid that syllables of different width (such as @qq{-ri} and
2479 @qq{-rum}) spread the syllable note groups unevenly apart, the
2480 @code{#'X-extent} property of the @code{LyricText} object may be
2481 set to a fixed value. Another, more cumbersome way would be to
2482 add the syllables as @code{\markup} elements. If further
2483 adjustments are necessary, this can be easily done with
2486 @lilypond[verbatim,quote]
2487 spiritus = \relative c' {
2489 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2490 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2491 d4 f8 g g8 d f g a g f4 g8 a a4 s
2492 \times 2/3 { g8 f d } e f g a g4
2495 spirLyr = \lyricmode {
2496 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2497 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2502 \new Voice = "chant" \spiritus
2503 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2508 \remove "Time_signature_engraver"
2509 \override BarLine #'X-extent = #'(-1 . 1)
2510 \override Stem #'transparent = ##t
2511 \override Beam #'transparent = ##t
2512 \override BarLine #'transparent = ##t
2513 \override TupletNumber #'transparent = ##t
2519 @c extract from 1.6.1.1
2522 @c ... and reference to other sections ...
2524 @c {{{2Ancient and modern from one source
2525 @node Ancient and modern from one source
2526 @unnumberedsubsubsec Ancient and modern from one source
2529 @c Here among others the snippets about reducing note length
2533 @c ... and reference to other sections ...
2535 @c {{{2Editorial markings
2536 @node Editorial markings
2537 @unnumberedsubsubsec Editorial markings
2539 @c {{{2Baroque rhythmic notation
2540 @c @node Baroque rhythmic notation
2541 @c @unnumberedsubsubsec Baroque rhythmic notation
2545 @c Add example of white noteheads:
2546 @c In the french baroque some composers used white noteheads in slow pieces,
2547 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2548 @c notehead. (Franz-Rudolf Kuhnen)
2550 @c TODO Add example of this:
2551 @c I was referring to e.g. notated a8. a16, which should, if I
2552 @c remember correctly, be interpreted more like a8.. a32 (in the french
2553 @c style). The editor might want to show that rythmic figure above the
2554 @c staff as an hint to performers. (Karl Hammer)
2561 @c ... and reference to other sections ...