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 enclosing them in @code{\[} and @code{\]}.
187 Some ligature styles may need additional input syntax specific for
188 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 ...
215 Ligatures need special spacing that has not yet been implemented. As
216 a result, there is too much space between ligatures most of the time,
217 and line breaking often is unsatisfactory. Also, lyrics do not
218 correctly align with ligatures.
220 Accidentals must not be printed within a ligature, but instead need to
221 be collected and printed in front of it.
223 The syntax still uses the deprecated infix style @code{\[ music expr
224 \]}. For consistency reasons, it will eventually be changed to
225 postfix style @code{note\[ ... note\]}.
227 @c Alternatively, the file
228 @c @file{gregorian@/-init@/.ly} can be included; it provides a scheme
231 @c \ligature @var{music expr}
233 @c with the same effect and is believed to be stable.
235 @c TODO: this does not seem to work at the moment.
242 @unnumberedsubsubsec Custodes
247 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
248 symbol that appears at the end of a staff. It anticipates the pitch
249 of the first note of the following line, thus helping the performer
250 to manage line breaks during performance.
252 Custodes were frequently used in music notation until the
253 seventeenth century. Nowadays, they have survived only in a few
254 particular forms of musical notation such as contemporary editions
255 of Gregorian chant like the @emph{Editio Vaticana}. There are
256 different custos glyphs used in different flavors of notational
259 For typesetting custodes, just put a @rinternals{Custos_engraver} into the
260 @rinternals{Staff} context when declaring the @code{\layout} block,
261 and change the style of the custos with an @code{\override} if
262 desired, as shown in the following example:
264 @lilypond[quote,ragged-right]
274 \consists Custos_engraver
275 \override Custos #'style = #'mensural
281 The custos glyph is selected by the @code{style} property. The styles
282 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
283 @code{mensural}. They are demonstrated in the following fragment
285 @lilypond[quote,ragged-right,fragment]
286 \new Lyrics \lyricmode {
288 \typewriter "vaticana"
289 \line { " " \musicglyph #"custodes.vaticana.u0" }
292 \typewriter "medicaea"
293 \line { " " \musicglyph #"custodes.medicaea.u0" }
296 \typewriter "hufnagel"
297 \line { " " \musicglyph #"custodes.hufnagel.u0" }
300 \typewriter "mensural"
301 \line { " " \musicglyph #"custodes.mensural.u0" }
308 Internals Reference: @rinternals{Custos}.
311 @rlsr{Ancient notation}.
313 @c {{{2 Figured bass support
314 @node Figured bass support
315 @unnumberedsubsubsec Figured bass support
317 There is limited support for figured bass notation from the
318 Baroque period; see @ref{Figured bass}.
321 @c {{{1 Typesetting mensural music
322 @node Typesetting mensural music
323 @subsection Typesetting mensural music
326 * Mensural contexts::
328 * Mensural time signatures::
329 * Mensural note heads::
332 * Mensural accidentals and key signatures::
333 * Annotational accidentals (musica ficta)::
334 * White mensural ligatures::
339 @c {{{2Mensural contexts
340 @node Mensural contexts
341 @unnumberedsubsubsec Mensural contexts
343 @cindex MensuralVoiceContext
344 @cindex MensuralStaffContext
346 The predefined @code{MensuralVoice} and @code{MensuralStaff}
347 contexts can be used to engrave a piece in mensural style. These
348 contexts initialize all relevant context properties and grob
349 properties to proper values, so you can immediately go ahead
350 entering the chant, as the following excerpt demonstrates:
352 @lilypond[quote,ragged-right,verbatim]
355 \new MensuralVoice = "discantus" \transpose c c' {
356 \override Score.BarNumber #'transparent = ##t {
357 c'1\melisma bes a g\melismaEnd
359 \[ f1\melisma a c'\breve d'\melismaEnd \]
361 c'\breve\melisma a1 g1\melismaEnd
362 fis\longa^\signumcongruentiae
365 \new Lyrics \lyricsto "discantus" {
366 San -- ctus, San -- ctus, San -- ctus
374 TODO: nothing here yet ...
377 @c {{{2 Mensural clefs
379 @unnumberedsubsubsec Mensural clefs
383 The following table shows all mensural clefs that are supported via
384 the @code{\clef} command. Some of the clefs use the same glyph,
385 but differ only with respect to the line they are printed on. In
386 such cases, a trailing number in the name is used to enumerate
387 these clefs, numbered from the lowest to the highest line. Still,
388 you can manually force a clef glyph to be typeset on an arbitrary
389 line, as described in @ref{Clef}. The note printed to the right
390 side of each clef in the example column denotes the @code{c'} with
391 respect to that clef.
393 Petrucci used C clefs with differently balanced left-side vertical
394 beams, depending on which staff line it is printed.
396 @multitable @columnfractions .4 .4 .2
407 @code{mensural-c1}, @code{mensural-c2},@*
408 @code{mensural-c3}, @code{mensural-c4}
410 @lilypond[fragment,relative=1,notime]
412 \override NoteHead #'style = #'mensural
421 @lilypond[fragment,relative=1,notime]
423 \override NoteHead #'style = #'mensural
432 @lilypond[fragment,relative=1,notime]
434 \override NoteHead #'style = #'mensural
441 @code{neomensural-c1}, @code{neomensural-c2},@*
442 @code{neomensural-c3}, @code{neomensural-c4}
444 @lilypond[fragment,relative=1,notime]
445 \clef "neomensural-c2" c
449 petrucci style C clefs, for use on different staff lines
450 (the example shows the 2nd staff line C clef)
452 @code{petrucci-c1}, @code{petrucci-c2},@*
453 @code{petrucci-c3}, @code{petrucci-c4},@*
456 @lilypond[fragment,relative=1,notime]
458 \override NoteHead #'style = #'mensural
463 petrucci style F clef
467 @lilypond[fragment,relative=1,notime]
469 \override NoteHead #'style = #'mensural
474 petrucci style G clef
478 @lilypond[fragment,relative=1,notime]
480 \override NoteHead #'style = #'mensural
487 Notation Reference: see @ref{Clef}.
491 The mensural g clef is mapped to the Petrucci g clef.
494 @c {{{2Mensural time signatures
495 @node Mensural time signatures
496 @unnumberedsubsubsec Mensural time signatures
498 @cindex mensuration sign
499 @cindex time signatures
501 There is limited support for mensuration signs (which are similar to, but
502 not exactly the same as time signatures). The glyphs are hard-wired to
503 particular time fractions. In other words, to get a particular mensuration
504 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
505 chosen according to the following table
507 @lilypond[quote,ragged-right]
512 \remove Staff_symbol_engraver
513 \remove Clef_engraver
514 \remove Time_signature_engraver
518 \set Score.timing = ##f
519 \set Score.barAlways = ##t
520 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
521 #"timesig.neomensural44" }
523 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
524 #"timesig.neomensural22" }
526 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
527 #"timesig.neomensural64" }
529 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
530 #"timesig.neomensural68" }
532 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
533 #"timesig.neomensural32" }
535 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
536 #"timesig.neomensural34" }
538 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
539 #"timesig.neomensural94" }
541 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
542 #"timesig.neomensural98" }
544 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
545 #"timesig.neomensural48" }
547 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
548 #"timesig.neomensural24" }
552 Use the @code{style} property of grob @rinternals{TimeSignature}
553 to select ancient time signatures. Supported styles are
554 @code{neomensural} and @code{mensural}. The above table uses the
555 @code{neomensural} style. The following examples show the
556 differences in style:
558 @lilypond[ragged-right,fragment,relative=1,quote]
563 c1^\markup { \hspace #-2.0 \typewriter default }
565 \override Staff.TimeSignature #'style = #'numbered
567 c1^\markup { \hspace #-2.0 \typewriter numbered }
569 \override Staff.TimeSignature #'style = #'mensural
571 c1^\markup { \hspace #-2.0 \typewriter mensural }
573 \override Staff.TimeSignature #'style = #'neomensural
575 c1^\markup { \hspace #-2.0 \typewriter neomensural }
576 \override Staff.TimeSignature #'style = #'single-digit
578 c1^\markup { \hspace #-2.0 \typewriter single-digit }
584 Notation Reference: @ref{Time signature}, gives a general introduction to
585 the use of time signatures.
589 Ratios of note durations do not change with the time signature. For
590 example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
591 be made by hand, by setting
594 breveTP = #(ly:make-duration -1 0 3 2)
600 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
602 The @code{mensural68alt} and @code{neomensural68alt} symbols
603 (alternate symbols for 6/8) are not addressable with @code{\time}.
604 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
607 @c {{{2Mensural note heads
608 @node Mensural note heads
609 @unnumberedsubsubsec Mensural note heads
611 @cindex note heads, ancient
613 For ancient notation, a note head style other than the @code{default} style
614 may be chosen. This is accomplished by setting the @code{style} property of
615 the @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
616 @code{mensural} or @code{petrucci}.
618 The @code{baroque} style differs from the @code{default} style by:
621 @item Providing a @code{maxima} notehead, and
622 @item Using a square shape for @code{\breve} note heads.
625 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
626 the @code{baroque} style by:
629 @item Using rhomboidal heads for semibreves and all smaller durations, and
630 @item Centering the stems on the note heads.
634 The following example demonstrates the @code{petrucci} style:
636 @c Renaissance music doesn't use bar lines ... but they do help to
637 @c separate the notes for easier identification.
639 @lilypond[quote,fragment,ragged-right,verbatim]
640 \set Score.skipBars = ##t
642 \override NoteHead #'style = #'petrucci
643 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
649 @ref{Note head styles} gives an overview of all available note head styles.
652 @c {{{2Mensural flags
654 @unnumberedsubsubsec Mensural flags
658 Use the @code{flag-style} property of grob @rinternals{Stem} to
659 select ancient flags. Besides the @code{default} flag style,
660 only the @code{mensural} style is supported.
662 @lilypond[quote,fragment,ragged-right,verbatim]
663 \override Stem #'flag-style = #'mensural
664 \override Stem #'thickness = #1.0
665 \override NoteHead #'style = #'mensural
667 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
668 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
671 Note that the innermost flare of each mensural flag always is
672 vertically aligned with a staff line.
674 There is no particular flag style for neo-mensural or Petrucci notation.
676 @c when typesetting the incipit of a transcribed piece of mensural
677 @c music, the default flag style should be used.
678 There are no flags in Gregorian chant notation.
682 TODO: nothing here yet ...
686 The attachment of ancient flags to stems is slightly off.
687 @c due to a change in early 2.3.x.
689 Vertically aligning each flag with a staff line assumes that stems
690 always end either exactly on or exactly in the middle between two
691 staff lines. This may not always be true when using advanced layout
692 features of classical notation (which however are typically out of
693 scope for mensural notation).
695 @c {{{2Mensural rests
697 @unnumberedsubsubsec Mensural rests
699 @cindex rests, ancient
701 Use the @code{style} property of grob @rinternals{Rest} to select
702 ancient rests. Supported styles are @code{classical},
703 @code{neomensural}, and @code{mensural}. @code{classical} differs
704 from the @code{default} style only in that the quarter rest looks
705 like a horizontally mirrored 8th rest. The @code{mensural} and
706 the @code{neomensural} styles mimic the appearance of rests in
707 manuscripts and prints up to the 16th century.
709 The following example demonstrates the @code{mensural} and
710 @code{neomensural} styles:
712 @lilypond[quote,fragment,ragged-right,verbatim]
713 \set Score.skipBars = ##t
714 \override Rest #'style = #'classical
715 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
716 \override Rest #'style = #'mensural
717 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
718 \override Rest #'style = #'neomensural
719 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
722 There are no 32th and 64th rests specifically for the mensural or
723 neo-mensural style. Instead, the rests from the default style will be
726 See @rlsr{Pitches,rests} for a chart of all rests.
728 There are no rests in Gregorian chant notation; instead, it uses
733 Notation Reference: @ref{Rests}, gives a general introduction into the use of
737 @c {{{2Mensural accidentals and key signatures
738 @node Mensural accidentals and key signatures
739 @unnumberedsubsubsec Mensural accidentals and key signatures
742 @cindex key signature
744 The @code{mensural} style provides a sharp and a flat sign
745 different from the default style. If called for, the natural sign
746 will be taken from the @code{vaticana} style.
748 @lilypond[quote,ragged-right,staffsize=26]
755 \line { " " \musicglyph #"accidentals.mensural-1"
756 " " \musicglyph #"accidentals.mensural1" }
762 \context { \Score \remove "Bar_number_engraver" }
764 \remove "Clef_engraver"
765 \remove "Key_engraver"
766 \remove "Time_signature_engraver"
767 \remove "Staff_symbol_engraver"
768 \override VerticalAxisGroup #'minimum-Y-extent = ##f
774 The style for accidentals and key signatures is controlled by the
775 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
776 @rinternals{KeySignature}, respectively; e.g.:
778 @code{\override Staff.Accidental #'glyph-name-alist =
779 #alteration-mensural-glyph-name-alist}
783 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
784 @ref{Automatic accidentals} give a general introduction of the use of
785 accidentals. @ref{Key signature} gives a general introduction of
786 the use of key signatures.
788 Internals Reference: @rinternals{KeySignature}.
790 @c {{{2 Annotational accidentals (musica ficta)
791 @node Annotational accidentals (musica ficta)
792 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
794 In European music from before about 1600, singers were expected to
795 chromatically alter notes at their own initiative according to
796 certain rules. This is called @notation{musica ficta}. In modern
797 transcriptions, these accidentals are usually printed over the
800 @cindex Accidental, musica ficta
803 Support for such suggested accidentals is included, and can be
804 switched on by setting @code{suggestAccidentals} to true.
806 @funindex suggestAccidentals
808 @lilypond[verbatim,fragment,relative=1]
810 \set suggestAccidentals = ##t
814 This will treat @emph{every} subsequent accidental as @emph{musica
815 ficta} until it is unset with @code{\set suggestAccidentals =
816 ##f}. A more practical way is to use @code{\once \set
817 suggestAccidentals = ##t}, which can even be defined as a
818 convenient shorthand:
820 @lilypond[quote,verbatim]
821 ficta = { \once \set suggestAccidentals = ##t }
822 \score { \relative c''
824 \once \set suggestAccidentals = ##t
825 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
832 Internals Reference: @rinternals{Accidental_engraver} engraver and
833 the @rinternals{AccidentalSuggestion} object.
836 @c {{{2White mensural ligatures
837 @node White mensural ligatures
838 @unnumberedsubsubsec White mensural ligatures
840 @cindex Mensural ligatures
841 @cindex White mensural ligatures
843 There is limited support for white mensural ligatures.
845 To engrave white mensural ligatures, in the layout block, replace
846 the @rinternals{Ligature_bracket_engraver} with the
847 @rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
854 \remove Ligature_bracket_engraver
855 \consists Mensural_ligature_engraver
860 There is no additional input language to describe the shape of a
861 white mensural ligature. The shape is rather determined solely from
862 the pitch and duration of the enclosed notes. While this approach may
863 take a new user a while to get accustomed to, it has the great advantage
864 that the full musical information of the ligature is known internally.
865 This is not only required for correct MIDI output, but also allows for
866 automatic transcription of the ligatures.
871 @c \set Score.timing = ##f
872 @c \set Score.defaultBarType = "empty"
873 @c \override NoteHead #'style = #'neomensural
874 @c \override Staff.TimeSignature #'style = #'neomensural
875 @c \clef "petrucci-g"
877 @c \[ d\longa c\breve f e d \]
878 @c \[ c'\maxima d'\longa \]
879 @c \[ e'1 a g\breve \]
881 @lilypond[quote,ragged-right,verbatim]
884 \set Score.timing = ##f
885 \set Score.defaultBarType = "empty"
886 \override NoteHead #'style = #'neomensural
887 \override Staff.TimeSignature #'style = #'neomensural
890 \[ d\longa c\breve f e d \]
891 \[ c'\maxima d'\longa \]
897 \remove Ligature_bracket_engraver
898 \consists Mensural_ligature_engraver
904 Without replacing @rinternals{Ligature_bracket_engraver} with
905 @rinternals{Mensural_ligature_engraver}, the same music transcribes
908 @lilypond[quote,ragged-right]
910 \set Score.timing = ##f
911 \set Score.defaultBarType = "empty"
912 \override NoteHead #'style = #'neomensural
913 \override Staff.TimeSignature #'style = #'neomensural
916 \[ d\longa c\breve f e d \]
917 \[ c'\maxima d'\longa \]
924 TODO: nothing here yet ...
928 Horizontal spacing is poor.
931 @c {{{1 Typesetting Gregorian chant
932 @node Typesetting Gregorian chant
933 @subsection Typesetting Gregorian chant
936 * Gregorian chant contexts::
938 * Gregorian accidentals and key signatures::
940 * Gregorian articulation signs::
941 * Augmentum dots (@emph{morae})::
942 * Gregorian square neume ligatures::
945 When typesetting a piece in Gregorian chant notation, the
946 @rinternals{Vaticana_ligature_engraver} automatically selects the
947 proper note heads, so there is no need to explicitly set the note
948 head style. Still, the note head style can be set, e.g., to
949 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
950 @rinternals{Mensural_ligature_engraver} automatically assembles
951 mensural ligatures. See @ref{Ligatures}, for how ligature
955 @c {{{2Gregorian chant contexts
956 @node Gregorian chant contexts
957 @unnumberedsubsubsec Gregorian chant contexts
959 @cindex VaticanaVoiceContext
960 @cindex VaticanaStaffContext
962 The predefined @code{VaticanaVoiceContext} and
963 @code{VaticanaStaffContext} can be used to engrave a piece of
964 Gregorian chant in the style of the Editio Vaticana. These contexts
965 initialize all relevant context properties and grob properties to
966 proper values, so you can immediately go ahead entering the chant, as
967 the following excerpt demonstrates:
969 @lilypond[quote,ragged-right,packed,verbatim]
970 \include "gregorian.ly"
973 \new VaticanaVoice = "cantus" {
974 \[ c'\melisma c' \flexa a \]
975 \[ a \flexa \deminutum g\melismaEnd \]
977 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
978 c' \divisioMinima \break
979 \[ c'\melisma c' \flexa a \]
980 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
982 \new Lyrics \lyricsto "cantus" {
983 San- ctus, San- ctus, San- ctus
991 TODO: nothing here yet ...
993 @c {{{2 Gregorian clefs
994 @node Gregorian clefs
995 @unnumberedsubsubsec Gregorian clefs
999 The following table shows all Gregorian clefs that are supported via
1000 the @code{\clef} command. Some of the clefs use the same glyph,
1001 but differ only with respect to the line they are printed on. In
1002 such cases, a trailing number in the name is used to enumerate
1003 these clefs, numbered from the lowest to the highest line. Still,
1004 you can manually force a clef glyph to be typeset on an arbitrary
1005 line, as described in @ref{Clef}. The note printed to the right
1006 side of each clef in the example column denotes the @code{c'} with
1007 respect to that clef.
1009 @multitable @columnfractions .4 .4 .2
1018 Editio Vaticana style do clef
1020 @code{vaticana-do1}, @code{vaticana-do2},@*
1023 @lilypond[fragment,relative=1,notime]
1024 \override Staff.StaffSymbol #'line-count = #4
1025 \override Staff.StaffSymbol #'color = #red
1026 \override Staff.LedgerLineSpanner #'color = #red
1027 \override Voice.Stem #'transparent = ##t
1028 \override NoteHead #'style = #'vaticana.punctum
1029 \clef "vaticana-do2"
1034 Editio Vaticana style fa clef
1036 @code{vaticana-fa1}, @code{vaticana-fa2}
1038 @lilypond[fragment,relative=1,notime]
1039 \override Staff.StaffSymbol #'line-count = #4
1040 \override Staff.StaffSymbol #'color = #red
1041 \override Staff.LedgerLineSpanner #'color = #red
1042 \override Voice.Stem #'transparent = ##t
1043 \override NoteHead #'style = #'vaticana.punctum
1044 \clef "vaticana-fa2"
1049 Editio Medicaea style do clef
1051 @code{medicaea-do1}, @code{medicaea-do2},@*
1054 @lilypond[fragment,relative=1,notime]
1055 \override Staff.StaffSymbol #'line-count = #4
1056 \override Staff.StaffSymbol #'color = #red
1057 \override Staff.LedgerLineSpanner #'color = #red
1058 \override Voice.Stem #'transparent = ##t
1059 \override NoteHead #'style = #'medicaea.punctum
1060 \clef "medicaea-do2"
1065 Editio Medicaea style fa clef
1067 @code{medicaea-fa1}, @code{medicaea-fa2}
1069 @lilypond[fragment,relative=1,notime]
1070 \override Staff.StaffSymbol #'line-count = #4
1071 \override Staff.StaffSymbol #'color = #red
1072 \override Staff.LedgerLineSpanner #'color = #red
1073 \override Voice.Stem #'transparent = ##t
1074 \override NoteHead #'style = #'medicaea.punctum
1075 \clef "medicaea-fa2"
1080 hufnagel style do clef
1082 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1085 @lilypond[fragment,relative=1,notime]
1086 \override Staff.StaffSymbol #'line-count = #4
1087 \override Staff.StaffSymbol #'color = #red
1088 \override Staff.LedgerLineSpanner #'color = #red
1089 \override Voice.Stem #'transparent = ##t
1090 \override NoteHead #'style = #'hufnagel.punctum
1091 \clef "hufnagel-do2"
1096 hufnagel style fa clef
1098 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1100 @lilypond[fragment,relative=1,notime]
1101 \override Staff.StaffSymbol #'line-count = #4
1102 \override Staff.StaffSymbol #'color = #red
1103 \override Staff.LedgerLineSpanner #'color = #red
1104 \override Voice.Stem #'transparent = ##t
1105 \override NoteHead #'style = #'hufnagel.punctum
1106 \clef "hufnagel-fa2"
1111 hufnagel style combined do/fa clef
1113 @code{hufnagel-do-fa}
1115 @lilypond[fragment,relative=1,notime]
1116 \override Staff.StaffSymbol #'color = #red
1117 \override Staff.LedgerLineSpanner #'color = #red
1118 \override Voice.Stem #'transparent = ##t
1119 \override NoteHead #'style = #'hufnagel.punctum
1120 \clef "hufnagel-do-fa"
1127 Notation Reference: see @ref{Clef}.
1129 @c {{{2 Gregorian accidentals and key signatures
1130 @node Gregorian accidentals and key signatures
1131 @unnumberedsubsubsec Gregorian accidentals and key signatures
1134 @cindex key signature
1136 Accidentals for the three different Gregorian styles are available:
1138 @lilypond[quote,ragged-right,staffsize=26]
1145 \line { " " \musicglyph #"accidentals.vaticana-1"
1146 " " \musicglyph #"accidentals.vaticana0" }
1150 \line { " " \musicglyph #"accidentals.medicaea-1" }
1154 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1160 \context { \Score \remove "Bar_number_engraver" }
1162 \remove "Clef_engraver"
1163 \remove "Key_engraver"
1164 \remove "Time_signature_engraver"
1165 \remove "Staff_symbol_engraver"
1166 \override VerticalAxisGroup #'minimum-Y-extent = ##f
1172 As shown, not all accidentals are supported by each style. When
1173 trying to access an unsupported accidental, LilyPond will switch to a
1176 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1177 @c {ancient-accidentals.ly}
1179 The style for accidentals and key signatures is controlled by the
1180 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
1181 @rinternals{KeySignature}, respectively; e.g.:
1183 @code{\override Staff.Accidental #'glyph-name-alist =
1184 #alteration-mensural-glyph-name-alist}
1188 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
1189 @ref{Automatic accidentals} give a general introduction of the use of
1190 accidentals. @ref{Key signature} gives a general introduction of
1191 the use of key signatures.
1193 Internals Reference: @rinternals{KeySignature}.
1197 @unnumberedsubsubsec Divisiones
1203 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1204 @q{division}) is a staff context symbol that is used to indicate
1205 the phrase and section structure of Gregorian music. The musical meaning of
1206 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1207 can be characterized as short, medium, and long pause, somewhat like
1208 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1209 only marks the end of a chant, but is also frequently used within a
1210 single antiphonal/responsorial chant to mark the end of each section.
1212 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
1213 contains definitions that you can apply by just inserting
1214 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1215 and @code{\finalis} at proper places in the input. Some editions use
1216 @emph{virgula} or @emph{caesura} instead of divisio minima.
1217 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
1220 @lilypondfile[quote,ragged-right]{divisiones.ly}
1228 @funindex \divisioMinima
1229 @code{\divisioMinima},
1230 @funindex \divisioMaior
1231 @code{\divisioMaior},
1232 @funindex \divisioMaxima
1233 @code{\divisioMaxima},
1239 @c {{{2Gregorian articulations
1240 @node Gregorian articulation signs
1241 @unnumberedsubsubsec Gregorian articulation signs
1243 @cindex articulations
1245 In addition to the standard articulation signs described in
1246 section @ref{Articulations and ornamentations}, articulation signs
1247 specifically designed for use with notation in @emph{Editio
1248 Vaticana} style are provided.
1250 @lilypond[quote,ragged-right,verbatim]
1251 \include "gregorian.ly"
1253 \new VaticanaVoice {
1254 \override TextScript #'font-family = #'typewriter
1255 \override TextScript #'font-shape = #'upright
1256 \override Script #'padding = #-0.1
1257 a\ictus_"ictus " \break
1258 a\circulus_"circulus " \break
1259 a\semicirculus_"semicirculus " \break
1260 a\accentus_"accentus " \break
1261 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1268 TODO: nothing here yet ...
1272 Some articulations are vertically placed too closely to the
1273 corresponding note heads.
1275 The episema line is not displayed in many cases. If it is displayed,
1276 the right end of the episema line is often too far to the right.
1279 @c {{{2Augmentum dots (@emph{morae})
1280 @node Augmentum dots (@emph{morae})
1281 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1283 Augmentum dots, also called @emph{morae}, are added with the music
1284 function @code{\augmentum}. Note that @code{\augmentum} is
1285 implemented as a unary music function rather than as head prefix. It
1286 applies to the immediately following music expression only. That is,
1287 @code{\augmentum \virga c} will have no visible effect. Instead, say
1288 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1289 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1290 @code{\augmentum a \augmentum g}.
1292 @lilypond[quote,ragged-right,verbatim]
1293 \include "gregorian.ly"
1295 \new VaticanaVoice {
1296 \[ \augmentum a \flexa \augmentum g \]
1305 Notation Reference: @ref{Breath marks}.
1307 Internals Reference: @rinternals{BreathingSign}.
1309 Examples: @rlsr{Ancient notation}.
1313 @c {{{2Gregorian square neumes ligatures
1314 @node Gregorian square neume ligatures
1315 @unnumberedsubsubsec Gregorian square neume ligatures
1317 @cindex Square neumes ligatures
1318 @cindex Gregorian square neumes ligatures
1320 There is limited support for Gregorian square neumes notation
1321 (following the style of the Editio Vaticana). Core ligatures can
1322 already be typeset, but essential issues for serious typesetting are
1323 still lacking, such as (among others) horizontal alignment of multiple
1324 ligatures, lyrics alignment, and proper handling of accidentals.
1326 The support for Gregorian neumes is enabled by @code{\include}ing
1327 "gregorian.ly" at the beginning of the file. This makes available
1328 a number of extra commands to produce the neume symbols used in
1329 plainchant notation.
1333 Note heads can be @emph{modified} and/or @emph{joined}.
1337 the note head can be modified by @emph{prefixing} the note name
1338 with any of the following commands:
1343 @funindex \inclinatum
1347 @funindex \descendens
1349 @funindex \ascendens
1355 @funindex \deminutum
1362 @item Ligatures, properly speaking (i.e. notes joined together), are
1363 produced by placing one of the joining commands @code{pes} or
1364 @code{flexa}, for upwards and downwards movement, respectively,
1365 @emph{between} the notes to be joined.
1368 A note name without any qualifiers will produce a @emph{punctum}.
1369 All other neumes, including the single-note neumes with a
1370 different shape such as the @emph{virga}, are in principle
1371 considered as ligatures and should therefore be placed
1372 between @code{\[...\]}.
1373 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1380 @item The @emph{punctum} is the basic note shape (in the
1381 @emph{Vaticana} style: a square with some curvation for
1382 typographical finesse). In addition to the regular
1383 @emph{punctum}, there is also the oblique @emph{punctum
1384 inclinatum}, produced with the prefix @code{\inclinatum}. The
1385 regular @emph{punctum} can be modified with @code{\cavum}, which
1386 produces a hollow note, and @code{\linea}, which draws vertical
1387 lines on either side of the note.
1389 @item The @emph{virga} has a descending stem on the right side. It is
1390 produced by the modifier @code{\virga}.
1396 Unlike most other neumes notation systems, the typographical
1397 appearance of ligatures is not directly dictated by the input
1398 commands, but follows certain conventions dependent on musical
1399 meaning. For example, a three-note ligature with the musical shape
1400 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1401 Torculus consisting of three Punctum heads, while the shape
1402 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1403 Porrectus with a curved flexa shape and only a single Punctum
1404 head. There is no command to explicitly typeset the curved flexa
1405 shape; the decision of when to typeset a curved flexa shape is
1406 based on the musical input. The idea of this approach is to
1407 separate the musical aspects of the input from the notation style
1408 of the output. This way, the same input can be reused to typeset
1409 the same music in a different style of Gregorian chant notation.
1414 Another main category of notes in Gregorian chant is the so-called
1415 liquescent neumes. They are used under certain circumstances at
1416 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1417 the sounding consonants that can hold a tone (the nasals, l, r, v,
1418 j, and their diphtong equivalents). Thus, the liquescent neumes
1419 are never used alone (although some of them can be produced), and
1420 they always fall at the end of a ligature.
1422 Liquescent neumes are represented graphically in two different,
1423 more or less interchangeable ways: with a smaller note or by
1424 @q{twisting} the main note upwards or downwards. The first is
1425 produced by making a regular @code{pes} or @code{flexa} and
1426 modifying the shape of the second note: @code{\[ a \pes \deminutum
1427 b \] }, the second by modifying the shape of a single-note neume
1428 with @code{\auctus} and one of the direction markers
1429 @code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus
1435 A third category of signs is made up of a small number of signs
1436 with a special meaning (which, incidentally, in most cases is only
1437 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1438 @emph{strophicus}. These are all produced by prefixing a note name
1439 with the corresponding modifier, @code{\quilisma},
1440 @code{\oriscus}, or @code{\stropha}.
1442 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1443 any number of heads may be accumulated to form a single ligature,
1444 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1445 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1446 the set of rules that underlies the construction of the ligatures
1447 in the above table is accordingly extrapolated. This way,
1448 infinitely many different ligatures can be created.
1450 Note that the use of these signs in the music itself follows
1451 certain rules, which are not checked by Lilypond. E.g., the
1452 @emph{quilisma} is always the middle note of an ascending
1453 ligature, and usually falls on a half-tone step, but it is
1454 perfectly possible to make a single-note quilisma.
1459 The following table shows a limited, but still representative pool
1460 of Gregorian ligatures, together with the code fragments that
1461 produce the ligatures. The table is based on the extended neumes
1462 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1463 Hymnarius}), published 1983 by the monks of Solesmes. The first
1464 column gives the name of the ligature, with the main form in
1465 boldface and the liquescent forms in italics. The third column
1466 shows the code fragment that produces this ligature, using
1467 @code{g}, @code{a}, and @code{b} as example pitches.
1470 @b{Single-note neums}
1472 @multitable @columnfractions .4 .2 .4
1475 @b{Basic} and @emph{Liquescent} forms
1482 @c TODO: \layout block is identical in all of the below examples.
1483 @c Therefore, it should somehow be included rather than duplicated all
1486 @c why not make variables in ly/engraver-init.ly? --hwn
1488 @c Because it's just used to typeset plain notes without
1489 @c a staff for demonstration purposes rather than something
1490 @c special of Gregorian chant notation. --jr
1496 @lilypond[staffsize=26,line-width=1.5\cm]
1497 \include "gregorian.ly"
1503 \layout { \neumeDemoLayout }}
1510 @lilypond[staffsize=26,line-width=1.5\cm]
1511 \include "gregorian.ly"
1517 \layout { \neumeDemoLayout }}
1520 @code{\[ \cavum b \]}
1524 @lilypond[staffsize=26,line-width=1.5\cm]
1525 \include "gregorian.ly"
1531 \layout { \neumeDemoLayout }}
1534 @code{\[ \linea b \]}
1537 @emph{Punctum Auctum Ascendens}
1539 @lilypond[staffsize=26,line-width=2.5\cm]
1540 \include "gregorian.ly"
1543 % Punctum Auctum Ascendens
1544 \[ \auctum \ascendens b \]
1546 \layout { \neumeDemoLayout }}
1549 @code{\[ \auctum \ascendens b \]}
1552 @emph{Punctum Auctum Descendens}
1554 @lilypond[staffsize=26,line-width=2.5\cm]
1555 \include "gregorian.ly"
1558 % Punctum Auctum Descendens
1559 \[ \auctum \descendens b \]
1561 \layout { \neumeDemoLayout }}
1564 @code{\[ \auctum \descendens b \]}
1567 @b{Punctum inclinatum}
1569 @lilypond[staffsize=26,line-width=1.5\cm]
1570 \include "gregorian.ly"
1573 % Punctum Inclinatum
1576 \layout { \neumeDemoLayout }}
1579 @code{\[ \inclinatum b \]}
1582 @emph{Punctum Inclinatum Auctum}
1584 @lilypond[staffsize=26,line-width=2.5\cm]
1585 \include "gregorian.ly"
1588 % Punctum Inclinatum Auctum
1589 \[ \inclinatum \auctum b \]
1591 \layout { \neumeDemoLayout }}
1594 @code{\[ \inclinatum \auctum b \]}
1597 @emph{Punctum Inclinatum Parvum}
1599 @lilypond[staffsize=26,line-width=1.0\cm]
1600 \include "gregorian.ly"
1603 % Punctum Inclinatum Parvum
1604 \[ \inclinatum \deminutum b \]
1606 \layout { \neumeDemoLayout }}
1609 @code{\[ \inclinatum \deminutum b \]}
1614 @lilypond[staffsize=26,line-width=1.0\cm]
1615 \include "gregorian.ly"
1621 \layout { \neumeDemoLayout }}
1628 @b{Two-note ligatures}
1630 @multitable @columnfractions .4 .2 .4
1633 @b{Clivis vel Flexa}
1635 @lilypond[staffsize=26,line-width=1.0\cm]
1636 \include "gregorian.ly"
1642 \layout { \neumeDemoLayout }}
1645 @code{\[ b \flexa g \]}
1649 @emph{Clivis Aucta Descendens}
1651 @lilypond[staffsize=26,line-width=2.0\cm]
1652 \include "gregorian.ly"
1655 % Clivis Aucta Descendens
1656 \[ b \flexa \auctum \descendens g \]
1658 \layout { \neumeDemoLayout }}
1661 @code{\[ b \flexa \auctum \descendens g \]}
1664 @emph{Clivis Aucta Ascendens}
1666 @lilypond[staffsize=26,line-width=2.0\cm]
1667 \include "gregorian.ly"
1670 % Clivis Aucta Ascendens
1671 \[ b \flexa \auctum \ascendens g \]
1673 \layout { \neumeDemoLayout }}
1676 @code{\[ b \flexa \auctum \ascendens g \]}
1681 @lilypond[staffsize=26,line-width=2.0\cm]
1682 \include "gregorian.ly"
1686 \[ b \flexa \deminutum g \]
1688 \layout { \neumeDemoLayout }}
1691 @code{\[ b \flexa \deminutum g \]}
1696 @lilypond[staffsize=26,line-width=1.0\cm]
1697 \include "gregorian.ly"
1703 \layout { \neumeDemoLayout }}
1706 @code{\[ g \pes b \]}
1709 @emph{Pes Auctus Descendens}
1711 @lilypond[staffsize=26,line-width=1.0\cm]
1712 \include "gregorian.ly"
1715 % Pes Auctus Descendens
1716 \[ g \pes \auctum \descendens b \]
1718 \layout { \neumeDemoLayout }}
1721 @code{\[ g \pes \auctum \descendens b \]}
1724 @emph{Pes Auctus Ascendens}
1726 @lilypond[staffsize=26,line-width=1.0\cm]
1727 \include "gregorian.ly"
1730 % Pes Auctus Ascendens
1731 \[ g \pes \auctum \ascendens b \]
1733 \layout { \neumeDemoLayout }}
1736 @code{\[ g \pes \auctum \ascendens b \]}
1741 @lilypond[staffsize=26,line-width=1.0\cm]
1742 \include "gregorian.ly"
1746 \[ g \pes \deminutum b \]
1748 \layout { \neumeDemoLayout }}
1751 @code{\[ g \pes \deminutum b \]}
1754 @emph{Pes Initio Debilis}
1756 @lilypond[staffsize=26,line-width=1.0\cm]
1757 \include "gregorian.ly"
1760 % Pes Initio Debilis
1761 \[ \deminutum g \pes b \]
1763 \layout { \neumeDemoLayout }}
1766 @code{\[ \deminutum g \pes b \]}
1769 @emph{Pes Auctus Descendens Initio Debilis}
1771 @lilypond[staffsize=26,line-width=1.0\cm]
1772 \include "gregorian.ly"
1775 % Pes Auctus Descendens Initio Debilis
1776 \[ \deminutum g \pes \auctum \descendens b \]
1778 \layout { \neumeDemoLayout }}
1781 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1786 @b{Multi-note ligatures}
1788 @multitable @columnfractions .4 .2 .4
1793 @lilypond[staffsize=26,line-width=1.0\cm]
1794 \include "gregorian.ly"
1798 \[ a \pes b \flexa g \]
1800 \layout { \neumeDemoLayout }}
1803 @code{\[ a \pes b \flexa g \]}
1806 @emph{Torculus Auctus Descendens}
1808 @lilypond[staffsize=26,line-width=1.0\cm]
1809 \include "gregorian.ly"
1812 % Torculus Auctus Descendens
1813 \[ a \pes b \flexa \auctum \descendens g \]
1815 \layout { \neumeDemoLayout }}
1818 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1821 @emph{Torculus Deminutus}
1823 @lilypond[staffsize=26,line-width=1.0\cm]
1824 \include "gregorian.ly"
1827 % Torculus Deminutus
1828 \[ a \pes b \flexa \deminutum g \]
1830 \layout { \neumeDemoLayout }}
1833 @code{\[ a \pes b \flexa \deminutum g \]}
1836 @emph{Torculus Initio Debilis}
1838 @lilypond[staffsize=26,line-width=1.0\cm]
1839 \include "gregorian.ly"
1842 % Torculus Initio Debilis
1843 \[ \deminutum a \pes b \flexa g \]
1845 \layout { \neumeDemoLayout }}
1848 @code{\[ \deminutum a \pes b \flexa g \]}
1851 @emph{Torculus Auctus Descendens Initio Debilis}
1853 @lilypond[staffsize=26,line-width=1.0\cm]
1854 \include "gregorian.ly"
1857 % Torculus Auctus Descendens Initio Debilis
1858 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1860 \layout { \neumeDemoLayout }}
1863 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1866 @emph{Torculus Deminutus Initio Debilis}
1868 @lilypond[staffsize=26,line-width=1.0\cm]
1869 \include "gregorian.ly"
1872 % Torculus Deminutus Initio Debilis
1873 \[ \deminutum a \pes b \flexa \deminutum g \]
1875 \layout { \neumeDemoLayout }}
1878 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1883 @lilypond[staffsize=26,line-width=1.0\cm]
1884 \include "gregorian.ly"
1888 \[ a \flexa g \pes b \]
1890 \layout { \neumeDemoLayout }}
1893 @code{\[ a \flexa g \pes b \]}
1896 @emph{Porrectus Auctus Descendens}
1898 @lilypond[staffsize=26,line-width=1.0\cm]
1899 \include "gregorian.ly"
1902 % Porrectus Auctus Descendens
1903 \[ a \flexa g \pes \auctum \descendens b \]
1905 \layout { \neumeDemoLayout }}
1908 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1911 @emph{Porrectus Deminutus}
1913 @lilypond[staffsize=26,line-width=1.0\cm]
1914 \include "gregorian.ly"
1917 % Porrectus Deminutus
1918 \[ a \flexa g \pes \deminutum b \]
1920 \layout { \neumeDemoLayout }}
1923 @code{\[ a \flexa g \pes \deminutum b \]}
1928 @lilypond[staffsize=26,line-width=1.0\cm]
1929 \include "gregorian.ly"
1933 \[ \virga b \inclinatum a \inclinatum g \]
1935 \layout { \neumeDemoLayout }}
1938 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1941 @emph{Climacus Auctus}
1943 @lilypond[staffsize=26,line-width=1.0\cm]
1944 \include "gregorian.ly"
1948 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1950 \layout { \neumeDemoLayout }}
1953 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1956 @emph{Climacus Deminutus}
1958 @lilypond[staffsize=26,line-width=1.0\cm]
1959 \include "gregorian.ly"
1962 % Climacus Deminutus
1963 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1965 \layout { \neumeDemoLayout }}
1968 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1973 @lilypond[staffsize=26,line-width=1.0\cm]
1974 \include "gregorian.ly"
1978 \[ g \pes a \virga b \]
1980 \layout { \neumeDemoLayout }}
1983 @code{\[ g \pes a \virga b \]}
1986 @emph{Scandicus Auctus Descendens}
1988 @lilypond[staffsize=26,line-width=1.0\cm]
1989 \include "gregorian.ly"
1992 % Scandicus Auctus Descendens
1993 \[ g \pes a \pes \auctum \descendens b \]
1995 \layout { \neumeDemoLayout }}
1998 @code{\[ g \pes a \pes \auctum \descendens b \]}
2001 @emph{Scandicus Deminutus}
2003 @lilypond[staffsize=26,line-width=1.0\cm]
2004 \include "gregorian.ly"
2007 % Scandicus Deminutus
2008 \[ g \pes a \pes \deminutum b \]
2010 \layout { \neumeDemoLayout }}
2013 @code{\[ g \pes a \pes \deminutum b \]}
2020 @multitable @columnfractions .4 .2 .4
2025 @lilypond[staffsize=26,line-width=1.0\cm]
2026 \include "gregorian.ly"
2030 \[ g \pes \quilisma a \pes b \]
2032 \layout { \neumeDemoLayout }}
2035 @code{\[ g \pes \quilisma a \pes b \]}
2038 @emph{Quilisma Pes Auctus Descendens}
2040 @lilypond[staffsize=26,line-width=1.0\cm]
2041 \include "gregorian.ly"
2044 % Quilisma Pes Auctus Descendens
2045 \[ g \quilisma a \pes \auctum \descendens b \]
2047 \layout { \neumeDemoLayout }}
2050 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2055 @lilypond[staffsize=26,line-width=1.0\cm]
2056 \include "gregorian.ly"
2062 \layout { \neumeDemoLayout }}
2065 @code{\[ \oriscus b \]}
2070 @lilypond[staffsize=26,line-width=1.0\cm]
2071 \include "gregorian.ly"
2075 \[ \oriscus g \pes \virga b \]
2077 \layout { \neumeDemoLayout }}
2080 @code{\[ \oriscus g \pes \virga b \]}
2083 @emph{Pes Quassus Auctus Descendens}
2085 @lilypond[staffsize=26,line-width=1.0\cm]
2086 \include "gregorian.ly"
2089 % Pes Quassus Auctus Descendens
2090 \[ \oriscus g \pes \auctum \descendens b \]
2092 \layout { \neumeDemoLayout }}
2095 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2100 @lilypond[staffsize=26,line-width=1.0\cm]
2101 \include "gregorian.ly"
2105 \[ g \oriscus a \pes \virga b \]
2107 \layout { \neumeDemoLayout }}
2110 @code{\[ g \oriscus a \pes \virga b \]}
2113 @emph{Salicus Auctus Descendens}
2115 @lilypond[staffsize=26,line-width=1.0\cm]
2116 \include "gregorian.ly"
2119 % Salicus Auctus Descendens
2120 \[ g \oriscus a \pes \auctum \descendens b \]
2122 \layout { \neumeDemoLayout }}
2125 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2130 @lilypond[staffsize=26,line-width=1.0\cm]
2131 \include "gregorian.ly"
2137 \layout { \neumeDemoLayout }}
2140 @code{\[ \stropha b \]}
2143 @emph{Stropha Aucta}
2145 @lilypond[staffsize=26,line-width=1.0\cm]
2146 \include "gregorian.ly"
2150 \[ \stropha \auctum b \]
2152 \layout { \neumeDemoLayout }}
2155 @code{\[ \stropha \auctum b \]}
2160 @lilypond[staffsize=26,line-width=1.0\cm]
2161 \include "gregorian.ly"
2165 \[ \stropha b \stropha b \]
2167 \layout { \neumeDemoLayout }}
2170 @code{\[ \stropha b \stropha b \]}
2175 @lilypond[staffsize=26,line-width=1.0\cm]
2176 \include "gregorian.ly"
2180 \[ \stropha b \stropha b \stropha b \]
2182 \layout { \neumeDemoLayout }}
2185 @code{\[ \stropha b \stropha b \stropha b \]}
2190 @lilypond[staffsize=26,line-width=1.0\cm]
2191 \include "gregorian.ly"
2195 \[ \stropha b \stropha b \stropha a \]
2197 \layout { \neumeDemoLayout }
2201 @code{\[ \stropha b \stropha b \stropha a \]}
2207 The following head prefixes are supported:
2212 @funindex \inclinatum
2216 @funindex \descendens
2218 @funindex \ascendens
2224 @funindex \deminutum
2232 Head prefixes can be accumulated, though restrictions apply. For
2233 example, either @code{\descendens} or @code{\ascendens} can be applied
2234 to a head, but not both to the same head.
2238 Two adjacent heads can be tied together with the @code{\pes} and
2239 @code{\flexa} infix commands for a rising and falling line of melody,
2242 @funindex \augmentum
2243 Use the unary music function @code{\augmentum} to add augmentum dots.
2247 TODO: nothing here yet ...
2251 When an @code{\augmentum} dot appears at the end of the last staff
2252 within a ligature, it is sometimes vertically placed wrong. As a
2253 workaround, add an additional skip note (e.g. @code{s8}) as last note
2256 @code{\augmentum} should be implemented as a head prefix rather than a
2257 unary music function, such that @code{\augmentum} can be intermixed
2258 with head prefixes in arbitrary order.
2262 @c Working with ancient music: scenarios and solutions:: {{{1
2263 @node Working with ancient music---scenarios and solutions
2264 @subsection Working with ancient music---scenarios and solutions
2268 * Mensurstriche layout::
2269 * Transcribing Gregorian chant::
2270 * Ancient and modern from one source::
2271 * Editorial markings::
2274 Working with ancient music frequently involves particular tasks
2275 which differ considerably from the modern notation for which
2276 Lilypond is designed. In the rest of this section, a number of
2277 typical scenarios are outlined, with suggestions of solutions.
2281 @item how to make incipits (i.e. prefatory material to indicate
2282 what the original has looked like) to modern transcriptions of
2284 @item how to achieve the @emph{Mensurstriche} layout frequently
2285 used for modern transcriptions of polyphonic music;
2286 @item how to transcribe Gregorian chant in modern notation;
2287 @item how to generate both ancient and modern notation from the
2293 @unnumberedsubsubsec Incipits
2296 @c clefs, mensuration signs etc from lsr and -user
2297 @c use snippet Transcription-of-ancient-music-with-incipit
2302 @c ... and reference to other sections ...
2304 @c {{{2Mensurstriche layout
2305 @node Mensurstriche layout
2306 @unnumberedsubsubsec Mensurstriche layout
2308 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2309 for bar lines that are drawn between the staves of a system but
2310 not through the staves themselves. It is a common way to preserve
2311 the rhythmic appearance of the original, i.e. not having to break
2312 syncopated notes at bar lines, while still providing the
2313 orientation aids that bar lines give.
2316 @lilypondfile[verbatim,lilyquote,texidoc]
2317 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2319 @c This simple setup will take care of the
2320 @c TODO Add text about lyrics to the lowest line, to be placed
2321 @c outside the StaffGroup.
2322 @c from lsr and -user
2327 @c ... and reference to other sections ...
2330 @c {{{2Transcribing Gregorian chant
2331 @node Transcribing Gregorian chant
2332 @unnumberedsubsubsec Transcribing Gregorian chant
2335 @c extract from 1.6.1.1
2340 @c ... and reference to other sections ...
2343 @c {{{2Ancient and modern from one source
2344 @node Ancient and modern from one source
2345 @unnumberedsubsubsec Ancient and modern from one source
2348 @c Here among others the snippets about reducing note length
2353 @c ... and reference to other sections ...
2356 @c {{{2Editorial markings
2357 @node Editorial markings
2358 @unnumberedsubsubsec Editorial markings
2360 @c {{{2Baroque rhythmic notation
2361 @c @node Baroque rhythmic notation
2362 @c @unnumberedsubsubsec Baroque rhythmic notation
2366 @c Add example of white noteheads:
2367 @c In the french baroque some composers used white noteheads in slow pieces,
2368 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2369 @c notehead. (Franz-Rudolf Kuhnen)
2371 @c TODO Add example of this:
2372 @c I was referring to e.g. notated a8. a16, which should, if I
2373 @c remember correctly, be interpreted more like a8.. a32 (in the french
2374 @c style). The editor might want to show that rythmic figure above the
2375 @c staff as an hint to performers. (Karl Hammer)
2382 @c ... and reference to other sections ...