1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
11 @node Ancient notation
12 @section Ancient notation
14 @cindex Vaticana, Editio
15 @cindex Medicaea, Editio
21 * Introduction to ancient notation::
22 * Alternative note signs::
23 * Additional note signs::
24 * Pre-defined contexts::
25 * Transcribing ancient music::
26 * Editorial markings::
29 @node Introduction to ancient notation
30 @subsection Introduction to ancient notation
33 * Ancient notation supported::
36 @node Ancient notation supported
37 @subsubsection Ancient notation supported
39 Support for ancient notation includes features for mensural notation
40 and Gregorian Chant notation. There is also limited support for
41 figured bass notation, see @ref{Figured bass}.
43 Many graphical objects provide a @code{style} property, see
46 @ref{Ancient note heads},
48 @ref{Ancient accidentals},
56 @ref{Ancient time signatures}.
59 By manipulating such a grob property, the typographical appearance of
60 the affected graphical objects can be accommodated for a specific
61 notation flavor without the need for introducing any new notational
64 In addition to the standard articulation signs described in
65 section @ref{Articulations and ornamentations}, specific
66 articulation signs for ancient notation are provided.
70 @ref{Ancient articulations}
73 Other aspects of ancient notation can not that easily be expressed
74 in terms of just changing a style property of a graphical object or
75 adding articulation signs. Some notational concepts are introduced
76 specifically for ancient notation,
87 If this all is too much of documentation for you, and you just want to
88 dive into typesetting without worrying too much about the details on
89 how to customize a context, you may have a look at the predefined
90 contexts. Use them to set up predefined style-specific voice and
91 staff contexts, and directly go ahead with the note entry,
95 @ref{Gregorian Chant contexts},
97 @ref{Mensural contexts}.
100 There is limited support for figured bass notation which came
101 up during the baroque period.
108 @c Here are all subtopics at a glance:
110 @node Alternative note signs
111 @subsection Alternative note signs
114 * Ancient note heads::
115 * Ancient accidentals::
119 * Ancient time signatures::
122 @node Ancient note heads
123 @subsubsection Ancient note heads
125 @cindex note heads, ancient
127 For ancient notation, a note head style other than the @code{default}
128 style may be chosen. This is accomplished by setting the @code{style}
129 property of the @rinternals{NoteHead} object to @code{baroque},
130 @code{neomensural}, @code{mensural} or @code{petrucci}. The
131 @code{baroque} style differs from the @code{default} style only in
132 using a square shape for @code{\breve} note heads. The
133 @code{neomensural} style differs from the @code{baroque} style in that
134 it uses rhomboidal heads for whole notes and all smaller durations.
135 Stems are centered on the note heads. This style is particularly
136 useful when transcribing mensural music, e.g., for the incipit. The
137 @code{mensural} style produces note heads that mimic the look of note
138 heads in historic printings of the 16th century. Finally, the
139 @code{petrucci} style also mimics historic printings, but uses bigger
142 The following example demonstrates the @code{neomensural} style
144 @lilypond[quote,fragment,ragged-right,verbatim]
145 \set Score.skipBars = ##t
146 \override NoteHead #'style = #'neomensural
147 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
150 When typesetting a piece in Gregorian Chant notation, the
151 @rinternals{Gregorian_ligature_engraver} will automatically select
152 the proper note heads, so there is no need to explicitly set the
153 note head style. Still, the note head style can be set, e.g., to
154 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
155 @rinternals{Mensural_ligature_engraver} is used to automatically
156 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
161 @ref{Note head styles}, gives an overview over all available note head styles.
164 @node Ancient accidentals
165 @subsubsection Ancient accidentals
170 Use the @code{glyph-name-alist} property of grob
171 @rinternals{Accidental} and @rinternals{KeySignature} to select
174 @lilypond[quote,ragged-right,staffsize=26]
181 \line { " " \musicglyph #"accidentals.vaticana-1"
182 " " \musicglyph #"accidentals.vaticana0" }
186 \line { " " \musicglyph #"accidentals.medicaea-1" }
190 \line { " " \musicglyph #"accidentals.hufnagel-1" }
194 \line { " " \musicglyph #"accidentals.mensural-1"
195 " " \musicglyph #"accidentals.mensural1" }
201 \context { \Score \remove "Bar_number_engraver" }
203 \remove "Clef_engraver"
204 \remove "Key_engraver"
205 \remove "Time_signature_engraver"
206 \remove "Staff_symbol_engraver"
207 \override VerticalAxisGroup #'minimum-Y-extent = ##f
213 As shown, not all accidentals are supported by each style. When
214 trying to access an unsupported accidental, LilyPond will switch to a
215 different style, as demonstrated in
216 @c @lsr{ancient,ancient-accidentals.ly}.
218 Similarly to local accidentals, the style of the key signature can be
219 controlled by the @code{glyph-name-alist} property of the
220 @rinternals{KeySignature} grob.
224 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
225 @ref{Automatic accidentals}, give a general introduction of the use of
226 accidentals. @ref{Key signature}, gives a general introduction of
227 the use of key signatures.
229 Internals Reference: @rinternals{KeySignature}.
233 @subsubsection Ancient rests
235 @cindex rests, ancient
238 Use the @code{style} property of grob @rinternals{Rest} to select
239 ancient rests. Supported styles are @code{classical},
240 @code{neomensural}, and @code{mensural}. @code{classical} differs
241 from the @code{default} style only in that the quarter rest looks like
242 a horizontally mirrored 8th rest. The @code{neomensural} style suits
243 well for, e.g., the incipit of a transcribed mensural piece of music.
244 The @code{mensural} style finally mimics the appearance of rests as
245 in historic prints of the 16th century.
247 The following example demonstrates the @code{neomensural} style
249 @lilypond[quote,fragment,ragged-right,verbatim]
250 \set Score.skipBars = ##t
251 \override Rest #'style = #'neomensural
252 r\longa r\breve r1 r2 r4 r8 r16
255 There are no 32th and 64th rests specifically for the mensural or
256 neo-mensural style. Instead, the rests from the default style will be
257 taken. See @c @lsr{pitches,rests} for a chart of all rests.
259 There are no rests in Gregorian Chant notation; instead, it uses
264 Notation Reference: @ref{Rests}, gives a general introduction into the use of
269 @subsubsection Ancient clefs
274 LilyPond supports a variety of clefs, many of them ancient.
276 The following table shows all ancient clefs that are supported via the
277 @code{\clef} command. Some of the clefs use the same glyph, but
278 differ only with respect to the line they are printed on. In such
279 cases, a trailing number in the name is used to enumerate these clefs.
280 Still, you can manually force a clef glyph to be typeset on an
281 arbitrary line, as described in @ref{Clef}. The note printed to the
282 right side of each clef in the example column denotes the @code{c'}
283 with respect to that clef.
285 @multitable @columnfractions .4 .4 .2
294 modern style mensural C clef
296 @code{neomensural-c1}, @code{neomensural-c2},@*
297 @code{neomensural-c3}, @code{neomensural-c4}
299 @lilypond[fragment,relative=1,notime]
300 \clef "neomensural-c2" c
304 petrucci style mensural C clefs, for use on different staff lines
305 (the examples show the 2nd staff line C clef)
307 @code{petrucci-c1}, @code{petrucci-c2},@*
308 @code{petrucci-c3}, @code{petrucci-c4},@*
311 @lilypond[fragment,relative=1,notime]
313 \override NoteHead #'style = #'mensural
318 petrucci style mensural F clef
322 @lilypond[fragment,relative=1,notime]
324 \override NoteHead #'style = #'mensural
329 petrucci style mensural G clef
333 @lilypond[fragment,relative=1,notime]
335 \override NoteHead #'style = #'mensural
340 historic style mensural C clef
342 @code{mensural-c1}, @code{mensural-c2},@*
343 @code{mensural-c3}, @code{mensural-c4}
345 @lilypond[fragment,relative=1,notime]
347 \override NoteHead #'style = #'mensural
352 historic style mensural F clef
356 @lilypond[fragment,relative=1,notime]
358 \override NoteHead #'style = #'mensural
363 historic style mensural G clef
367 @lilypond[fragment,relative=1,notime]
369 \override NoteHead #'style = #'mensural
374 Editio Vaticana style do clef
376 @code{vaticana-do1}, @code{vaticana-do2},@*
379 @lilypond[fragment,relative=1,notime]
380 \override Staff.StaffSymbol #'line-count = #4
381 \override Staff.StaffSymbol #'color = #red
382 \override Staff.LedgerLineSpanner #'color = #red
383 \override Voice.Stem #'transparent = ##t
384 \override NoteHead #'style = #'vaticana.punctum
390 Editio Vaticana style fa clef
392 @code{vaticana-fa1}, @code{vaticana-fa2}
394 @lilypond[fragment,relative=1,notime]
395 \override Staff.StaffSymbol #'line-count = #4
396 \override Staff.StaffSymbol #'color = #red
397 \override Staff.LedgerLineSpanner #'color = #red
398 \override Voice.Stem #'transparent = ##t
399 \override NoteHead #'style = #'vaticana.punctum
405 Editio Medicaea style do clef
407 @code{medicaea-do1}, @code{medicaea-do2},@*
410 @lilypond[fragment,relative=1,notime]
411 \override Staff.StaffSymbol #'line-count = #4
412 \override Staff.StaffSymbol #'color = #red
413 \override Staff.LedgerLineSpanner #'color = #red
414 \override Voice.Stem #'transparent = ##t
415 \override NoteHead #'style = #'medicaea.punctum
421 Editio Medicaea style fa clef
423 @code{medicaea-fa1}, @code{medicaea-fa2}
425 @lilypond[fragment,relative=1,notime]
426 \override Staff.StaffSymbol #'line-count = #4
427 \override Staff.StaffSymbol #'color = #red
428 \override Staff.LedgerLineSpanner #'color = #red
429 \override Voice.Stem #'transparent = ##t
430 \override NoteHead #'style = #'medicaea.punctum
436 historic style hufnagel do clef
438 @code{hufnagel-do1}, @code{hufnagel-do2},@*
441 @lilypond[fragment,relative=1,notime]
442 \override Staff.StaffSymbol #'line-count = #4
443 \override Staff.StaffSymbol #'color = #red
444 \override Staff.LedgerLineSpanner #'color = #red
445 \override Voice.Stem #'transparent = ##t
446 \override NoteHead #'style = #'hufnagel.punctum
452 historic style hufnagel fa clef
454 @code{hufnagel-fa1}, @code{hufnagel-fa2}
456 @lilypond[fragment,relative=1,notime]
457 \override Staff.StaffSymbol #'line-count = #4
458 \override Staff.StaffSymbol #'color = #red
459 \override Staff.LedgerLineSpanner #'color = #red
460 \override Voice.Stem #'transparent = ##t
461 \override NoteHead #'style = #'hufnagel.punctum
467 historic style hufnagel combined do/fa clef
469 @code{hufnagel-do-fa}
471 @lilypond[fragment,relative=1,notime]
472 \override Staff.StaffSymbol #'color = #red
473 \override Staff.LedgerLineSpanner #'color = #red
474 \override Voice.Stem #'transparent = ##t
475 \override NoteHead #'style = #'hufnagel.punctum
476 \clef "hufnagel-do-fa"
483 @emph{Modern style} means @qq{as is typeset in contemporary editions of
484 transcribed mensural music.}
486 @emph{Petrucci style} means @qq{inspired by printings published by the
487 famous engraver Petrucci (1466-1539).}
489 @emph{Historic style} means @qq{as was typeset or written in historic
490 editions (other than those of Petrucci).}
492 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
494 Petrucci used C clefs with differently balanced left-side vertical
495 beams, depending on which staff line it is printed.
499 Notation Reference: see @ref{Clef}.
503 The mensural g clef is mapped to the Petrucci g clef.
508 @subsubsection Ancient flags
513 Use the @code{flag-style} property of grob @rinternals{Stem} to
514 select ancient flags. Besides the @code{default} flag style,
515 only the @code{mensural} style is supported
517 @lilypond[quote,fragment,ragged-right,verbatim]
518 \override Stem #'flag-style = #'mensural
519 \override Stem #'thickness = #1.0
520 \override NoteHead #'style = #'mensural
522 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
523 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
526 Note that the innermost flare of each mensural flag always is
527 vertically aligned with a staff line.
529 There is no particular flag style for neo-mensural notation. Hence,
530 when typesetting the incipit of a transcribed piece of mensural
531 music, the default flag style should be used. There are no flags in
532 Gregorian Chant notation.
536 The attachment of ancient flags to stems is slightly off due to a
537 change in early 2.3.x.
539 Vertically aligning each flag with a staff line assumes that stems
540 always end either exactly on or exactly in the middle between two
541 staff lines. This may not always be true when using advanced layout
542 features of classical notation (which however are typically out of
543 scope for mensural notation).
545 @node Ancient time signatures
546 @subsubsection Ancient time signatures
548 @cindex time signatures
551 There is limited support for mensural time signatures. The
552 glyphs are hard-wired to particular time fractions. In other words,
553 to get a particular mensural signature glyph with the @code{\time n/m}
554 command, @code{n} and @code{m} have to be chosen according to the
557 @lilypond[quote,ragged-right]
562 \remove Staff_symbol_engraver
563 \remove Clef_engraver
564 \remove Time_signature_engraver
568 \set Score.timing = ##f
569 \set Score.barAlways = ##t
570 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
571 #"timesig.neomensural44" }
573 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
574 #"timesig.neomensural22" }
576 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
577 #"timesig.neomensural64" }
579 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
580 #"timesig.neomensural68" }
582 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
583 #"timesig.neomensural32" }
585 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
586 #"timesig.neomensural34" }
588 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
589 #"timesig.neomensural94" }
591 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
592 #"timesig.neomensural98" }
594 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
595 #"timesig.neomensural48" }
597 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
598 #"timesig.neomensural24" }
602 Use the @code{style} property of grob @rinternals{TimeSignature} to
603 select ancient time signatures. Supported styles are
604 @code{neomensural} and @code{mensural}. The above table uses the
605 @code{neomensural} style. This style is appropriate for the
606 incipit of transcriptions of mensural pieces. The @code{mensural}
607 style mimics the look of historical printings of the 16th century.
609 The following examples show the differences in style,
611 @lilypond[ragged-right,fragment,relative=1,quote]
616 c1^\markup { \hspace #-2.0 \typewriter default }
618 \override Staff.TimeSignature #'style = #'numbered
620 c1^\markup { \hspace #-2.0 \typewriter numbered }
622 \override Staff.TimeSignature #'style = #'mensural
624 c1^\markup { \hspace #-2.0 \typewriter mensural }
626 \override Staff.TimeSignature #'style = #'neomensural
628 c1^\markup { \hspace #-2.0 \typewriter neomensural }
629 \override Staff.TimeSignature #'style = #'single-digit
631 c1^\markup { \hspace #-2.0 \typewriter single-digit }
637 This manual: @ref{Time signature}, gives a general introduction to
638 the use of time signatures.
642 Ratios of note durations do not change with the time signature. For
643 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
644 be made by hand, by setting
647 breveTP = #(ly:make-duration -1 0 3 2)
653 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
655 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
656 addressable with @code{\time}. Use a @code{\markup} instead
659 @node Additional note signs
660 @subsection Additional note signs
663 * Ancient articulations::
667 * White mensural ligatures::
668 * Gregorian square neumes ligatures::
672 @node Ancient articulations
673 @subsubsection Ancient articulations
675 @cindex articulations
677 In addition to the standard articulation signs described in
678 section @ref{Articulations and ornamentations}, articulation signs
679 for ancient notation are provided. These are specifically
680 designed for use with notation in Editio Vaticana style.
682 @lilypond[quote,ragged-right,verbatim]
683 \include "gregorian-init.ly"
686 \override TextScript #'font-family = #'typewriter
687 \override TextScript #'font-shape = #'upright
688 \override Script #'padding = #-0.1
689 a\ictus_"ictus" \break
690 a\circulus_"circulus" \break
691 a\semicirculus_"semicirculus" \break
692 a\accentus_"accentus" \break
693 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
700 Some articulations are vertically placed too closely to the
701 corresponding note heads.
703 The episem line is not displayed in many cases. If it is displayed,
704 the right end of the episem line is often too far to the right.
707 @subsubsection Custodes
712 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
713 symbol that appears at the end of a staff. It anticipates the pitch
714 of the first note(s) of the following line thus helping the performer
715 to manage line breaks during performance.
717 Custodes were frequently used in music notation until the 17th
718 century. Nowadays, they have survived only in a few particular forms
719 of musical notation such as contemporary editions of Gregorian chant
720 like the @emph{editio vaticana}. There are different custos glyphs
721 used in different flavors of notational style.
723 For typesetting custodes, just put a @rinternals{Custos_engraver} into the
724 @rinternals{Staff} context when declaring the @code{\layout} block,
725 as shown in the following example
731 \consists Custos_engraver
732 Custos \override #'style = #'mensural
737 The result looks like this
739 @lilypond[quote,ragged-right]
743 \override Staff.Custos #'style = #'mensural
748 \context { \Staff \consists Custos_engraver }
753 The custos glyph is selected by the @code{style} property. The styles
754 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
755 @code{mensural}. They are demonstrated in the following fragment
757 @lilypond[quote,ragged-right,fragment]
758 \new Lyrics \lyricmode {
760 \typewriter "vaticana"
761 \line { " " \musicglyph #"custodes.vaticana.u0" }
764 \typewriter "medicaea"
765 \line { " " \musicglyph #"custodes.medicaea.u0" }
768 \typewriter "hufnagel"
769 \line { " " \musicglyph #"custodes.hufnagel.u0" }
772 \typewriter "mensural"
773 \line { " " \musicglyph #"custodes.mensural.u0" }
780 Internals Reference: @rinternals{Custos}.
783 @c @lsr{ancient,custodes@/.ly}.
787 @subsubsection Divisiones
793 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
794 @q{division}) is a staff context symbol that is used to structure
795 Gregorian music into phrases and sections. The musical meaning of
796 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
797 can be characterized as short, medium, and long pause, somewhat like
798 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
799 only marks the end of a chant, but is also frequently used within a
800 single antiphonal/responsorial chant to mark the end of each section.
803 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
804 contains definitions that you can apply by just inserting
805 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
806 and @code{\finalis} at proper places in the input. Some editions use
807 @emph{virgula} or @emph{caesura} instead of divisio minima.
808 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
811 @lilypondfile[quote,ragged-right]{divisiones.ly}
819 @funindex \divisioMinima
820 @code{\divisioMinima},
821 @funindex \divisioMaior
822 @code{\divisioMaior},
823 @funindex \divisioMaxima
824 @code{\divisioMaxima},
830 Notation Reference: @ref{Breath marks}.
832 Internals Reference: @rinternals{BreathingSign}.
834 Examples: @c @lsr{expressive,breathing-sign.ly}.
838 @subsubsection Ligatures
842 @c TODO: Should double check if I recalled things correctly when I wrote
843 @c down the following paragraph by heart.
845 A ligature is a graphical symbol that represents at least two distinct
846 notes. Ligatures originally appeared in the manuscripts of Gregorian
847 chant notation to denote ascending or descending sequences of notes.
849 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
850 Some ligature styles may need additional input syntax specific for
851 this particular type of ligature. By default, the
852 @rinternals{LigatureBracket} engraver just puts a square bracket
855 @lilypond[quote,ragged-right,verbatim]
863 To select a specific style of ligatures, a proper ligature engraver
864 has to be added to the @rinternals{Voice} context, as explained in
865 the following subsections. Only white mensural ligatures
866 are supported with certain limitations.
872 Ligatures need special spacing that has not yet been implemented. As
873 a result, there is too much space between ligatures most of the time,
874 and line breaking often is unsatisfactory. Also, lyrics do not
875 correctly align with ligatures.
877 Accidentals must not be printed within a ligature, but instead need to
878 be collected and printed in front of it.
880 The syntax still uses the deprecated infix style @code{\[ music expr
881 \]}. For consistency reasons, it will eventually be changed to
882 postfix style @code{note\[ ... note\]}. Alternatively, the file
883 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
886 \ligature @var{music expr}
888 with the same effect and is believed to be stable.
891 * White mensural ligatures::
892 * Gregorian square neumes ligatures::
895 @node White mensural ligatures
896 @subsubsection White mensural ligatures
898 @cindex Mensural ligatures
899 @cindex White mensural ligatures
901 There is limited support for white mensural ligatures.
903 To engrave white mensural ligatures, in the layout block put the
904 @rinternals{Mensural_ligature_engraver} into the
905 @rinternals{Voice} context, and remove the
906 @rinternals{Ligature_bracket_engraver}, like this
912 \remove Ligature_bracket_engraver
913 \consists Mensural_ligature_engraver
918 There is no additional input language to describe the shape of a
919 white mensural ligature. The shape is rather determined solely from
920 the pitch and duration of the enclosed notes. While this approach may
921 take a new user a while to get accustomed to, it has the great advantage
922 that the full musical information of the ligature is known internally.
923 This is not only required for correct MIDI output, but also allows for
924 automatic transcription of the ligatures.
929 \set Score.timing = ##f
930 \set Score.defaultBarType = "empty"
931 \override NoteHead #'style = #'neomensural
932 \override Staff.TimeSignature #'style = #'neomensural
935 \[ d\longa c\breve f e d \]
936 \[ c'\maxima d'\longa \]
939 @lilypond[quote,ragged-right]
942 \set Score.timing = ##f
943 \set Score.defaultBarType = "empty"
944 \override NoteHead #'style = #'neomensural
945 \override Staff.TimeSignature #'style = #'neomensural
948 \[ d\longa c\breve f e d \]
949 \[ c'\maxima d'\longa \]
955 \remove Ligature_bracket_engraver
956 \consists Mensural_ligature_engraver
962 Without replacing @rinternals{Ligature_bracket_engraver} with
963 @rinternals{Mensural_ligature_engraver}, the same music transcribes
966 @lilypond[quote,ragged-right]
968 \set Score.timing = ##f
969 \set Score.defaultBarType = "empty"
970 \override NoteHead #'style = #'neomensural
971 \override Staff.TimeSignature #'style = #'neomensural
974 \[ d\longa c\breve f e d \]
975 \[ c'\maxima d'\longa \]
982 Horizontal spacing is poor.
984 @node Gregorian square neumes ligatures
985 @subsubsection Gregorian square neumes ligatures
987 @cindex Square neumes ligatures
988 @cindex Gregorian square neumes ligatures
990 There is limited support for Gregorian square neumes notation
991 (following the style of the Editio Vaticana). Core ligatures can
992 already be typeset, but essential issues for serious typesetting are
993 still lacking, such as (among others) horizontal alignment of multiple
994 ligatures, lyrics alignment and proper handling of accidentals.
997 The following table contains the extended neumes table of the 2nd
998 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
999 1983 by the monks of Solesmes.
1001 @multitable @columnfractions .4 .2 .2 .2
1018 @c TODO: \layout block is identical in all of the below examples.
1019 @c Therefore, it should somehow be included rather than duplicated all
1022 @c why not make variables in ly/engraver-init.ly? --hwn
1024 @c Because it's just used to typeset plain notes without
1025 @c a staff for demonstration purposes rather than something
1026 @c special of Gregorian chant notation. --jr
1031 @lilypond[staffsize=26,line-width=1.5\cm]
1032 \include "gregorian-init.ly"
1037 \noBreak s^\markup {"a"} \noBreak
1039 % Punctum Inclinatum
1041 \noBreak s^\markup {"b"}
1043 \layout { \neumeDemoLayout }}
1046 @lilypond[staffsize=26,line-width=2.5\cm]
1047 \include "gregorian-init.ly"
1050 % Punctum Auctum Ascendens
1051 \[ \auctum \ascendens b \]
1052 \noBreak s^\markup {"c"} \noBreak
1054 % Punctum Auctum Descendens
1055 \[ \auctum \descendens b \]
1056 \noBreak s^\markup {"d"} \noBreak
1058 % Punctum Inclinatum Auctum
1059 \[ \inclinatum \auctum b \]
1060 \noBreak s^\markup {"e"}
1062 \layout { \neumeDemoLayout }}
1065 @lilypond[staffsize=26,line-width=1.0\cm]
1066 \include "gregorian-init.ly"
1069 % Punctum Inclinatum Parvum
1070 \[ \inclinatum \deminutum b \]
1071 \noBreak s^\markup {"f"}
1073 \layout { \neumeDemoLayout }}
1079 @lilypond[staffsize=26,line-width=1.0\cm]
1080 \include "gregorian-init.ly"
1085 \noBreak s^\markup {"g"}
1087 \layout { \neumeDemoLayout }}
1093 @code{3. Apostropha vel Stropha}
1095 @lilypond[staffsize=26,line-width=1.0\cm]
1096 \include "gregorian-init.ly"
1101 \noBreak s^\markup {"h"}
1103 \layout { \neumeDemoLayout }}
1106 @lilypond[staffsize=26,line-width=1.0\cm]
1107 \include "gregorian-init.ly"
1111 \[ \stropha \auctum b \]
1112 \noBreak s^\markup {"i"}
1114 \layout { \neumeDemoLayout }}
1121 @lilypond[staffsize=26,line-width=1.0\cm]
1122 \include "gregorian-init.ly"
1127 \noBreak s^\markup {"j"}
1129 \layout { \neumeDemoLayout }}
1135 @code{5. Clivis vel Flexa}
1137 @lilypond[staffsize=26,line-width=1.0\cm]
1138 \include "gregorian-init.ly"
1145 \layout { \neumeDemoLayout }}
1148 @lilypond[staffsize=26,line-width=2.0\cm]
1149 \include "gregorian-init.ly"
1152 % Clivis Aucta Descendens
1153 \[ b \flexa \auctum \descendens g \]
1154 \noBreak s^\markup {"l"} \noBreak
1156 % Clivis Aucta Ascendens
1157 \[ b \flexa \auctum \ascendens g \]
1158 \noBreak s^\markup {"m"}
1160 \layout { \neumeDemoLayout }}
1163 @lilypond[staffsize=26,line-width=1.0\cm]
1164 \include "gregorian-init.ly"
1168 \[ b \flexa \deminutum g \]
1171 \layout { \neumeDemoLayout }}
1175 @code{6. Podatus vel Pes}
1177 @lilypond[staffsize=26,line-width=1.0\cm]
1178 \include "gregorian-init.ly"
1185 \layout { \neumeDemoLayout }}
1188 @lilypond[staffsize=26,line-width=2.0\cm]
1189 \include "gregorian-init.ly"
1192 % Pes Auctus Descendens
1193 \[ g \pes \auctum \descendens b \]
1194 \noBreak s^\markup {"p"} \noBreak
1196 % Pes Auctus Ascendens
1197 \[ g \pes \auctum \ascendens b \]
1198 \noBreak s^\markup {"q"}
1200 \layout { \neumeDemoLayout }}
1203 @lilypond[staffsize=26,line-width=1.0\cm]
1204 \include "gregorian-init.ly"
1208 \[ g \pes \deminutum b \]
1211 \layout { \neumeDemoLayout }}
1215 @code{7. Pes Quassus}
1217 @lilypond[staffsize=26,line-width=1.0\cm]
1218 \include "gregorian-init.ly"
1222 \[ \oriscus g \pes \virga b \]
1225 \layout { \neumeDemoLayout }}
1228 @lilypond[staffsize=26,line-width=1.0\cm]
1229 \include "gregorian-init.ly"
1232 % Pes Quassus Auctus Descendens
1233 \[ \oriscus g \pes \auctum \descendens b \]
1236 \layout { \neumeDemoLayout }}
1241 @code{8. Quilisma Pes}
1243 @lilypond[staffsize=26,line-width=1.0\cm]
1244 \include "gregorian-init.ly"
1248 \[ \quilisma g \pes b \]
1251 \layout { \neumeDemoLayout }}
1254 @lilypond[staffsize=26,line-width=1.0\cm]
1255 \include "gregorian-init.ly"
1258 % Quilisma Pes Auctus Descendens
1259 \[ \quilisma g \pes \auctum \descendens b \]
1262 \layout { \neumeDemoLayout }}
1267 @code{9. Podatus Initio Debilis}
1269 @lilypond[staffsize=26,line-width=1.0\cm]
1270 \include "gregorian-init.ly"
1273 % Pes Initio Debilis
1274 \[ \deminutum g \pes b \]
1277 \layout { \neumeDemoLayout }}
1280 @lilypond[staffsize=26,line-width=1.0\cm]
1281 \include "gregorian-init.ly"
1284 % Pes Auctus Descendens Initio Debilis
1285 \[ \deminutum g \pes \auctum \descendens b \]
1288 \layout { \neumeDemoLayout }}
1295 @lilypond[staffsize=26,line-width=1.0\cm]
1296 \include "gregorian-init.ly"
1300 \[ a \pes b \flexa g \]
1303 \layout { \neumeDemoLayout }}
1306 @lilypond[staffsize=26,line-width=1.0\cm]
1307 \include "gregorian-init.ly"
1310 % Torculus Auctus Descendens
1311 \[ a \pes b \flexa \auctum \descendens g \]
1314 \layout { \neumeDemoLayout }}
1317 @lilypond[staffsize=26,line-width=1.0\cm]
1318 \include "gregorian-init.ly"
1321 % Torculus Deminutus
1322 \[ a \pes b \flexa \deminutum g \]
1325 \layout { \neumeDemoLayout }}
1329 @code{11. Torculus Initio Debilis}
1331 @lilypond[staffsize=26,line-width=1.0\cm]
1332 \include "gregorian-init.ly"
1335 % Torculus Initio Debilis
1336 \[ \deminutum a \pes b \flexa g \]
1339 \layout { \neumeDemoLayout }}
1342 @lilypond[staffsize=26,line-width=1.0\cm]
1343 \include "gregorian-init.ly"
1346 % Torculus Auctus Descendens Initio Debilis
1347 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1350 \layout { \neumeDemoLayout }}
1353 @lilypond[staffsize=26,line-width=1.0\cm]
1354 \include "gregorian-init.ly"
1357 % Torculus Deminutus Initio Debilis
1358 \[ \deminutum a \pes b \flexa \deminutum g \]
1361 \layout { \neumeDemoLayout }}
1365 @code{12. Porrectus}
1367 @lilypond[staffsize=26,line-width=1.0\cm]
1368 \include "gregorian-init.ly"
1372 \[ a \flexa g \pes b \]
1375 \layout { \neumeDemoLayout }}
1378 @lilypond[staffsize=26,line-width=1.0\cm]
1379 \include "gregorian-init.ly"
1382 % Porrectus Auctus Descendens
1383 \[ a \flexa g \pes \auctum \descendens b \]
1386 \layout { \neumeDemoLayout }}
1389 @lilypond[staffsize=26,line-width=1.0\cm]
1390 \include "gregorian-init.ly"
1393 % Porrectus Deminutus
1394 \[ a \flexa g \pes \deminutum b \]
1397 \layout { \neumeDemoLayout }}
1403 @lilypond[staffsize=26,line-width=1.0\cm]
1404 \include "gregorian-init.ly"
1408 \[ \virga b \inclinatum a \inclinatum g \]
1411 \layout { \neumeDemoLayout }
1415 @lilypond[staffsize=26,line-width=1.0\cm]
1416 \include "gregorian-init.ly"
1420 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1423 \layout { \neumeDemoLayout }}
1426 @lilypond[staffsize=26,line-width=1.0\cm]
1427 \include "gregorian-init.ly"
1430 % Climacus Deminutus
1431 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1434 \layout { \neumeDemoLayout }}
1438 @code{14. Scandicus}
1440 @lilypond[staffsize=26,line-width=1.0\cm]
1441 \include "gregorian-init.ly"
1445 \[ g \pes a \virga b \]
1448 \layout { \neumeDemoLayout }}
1451 @lilypond[staffsize=26,line-width=1.0\cm]
1452 \include "gregorian-init.ly"
1455 % Scandicus Auctus Descendens
1456 \[ g \pes a \pes \auctum \descendens b \]
1459 \layout { \neumeDemoLayout }}
1462 @lilypond[staffsize=26,line-width=1.0\cm]
1463 \include "gregorian-init.ly"
1466 % Scandicus Deminutus
1467 \[ g \pes a \pes \deminutum b \]
1470 \layout { \neumeDemoLayout }}
1476 @lilypond[staffsize=26,line-width=1.0\cm]
1477 \include "gregorian-init.ly"
1481 \[ g \oriscus a \pes \virga b \]
1484 \layout { \neumeDemoLayout }}
1487 @lilypond[staffsize=26,line-width=1.0\cm]
1488 \include "gregorian-init.ly"
1491 % Salicus Auctus Descendens
1492 \[ g \oriscus a \pes \auctum \descendens b \]
1495 \layout { \neumeDemoLayout }}
1502 @lilypond[staffsize=26,line-width=1.0\cm]
1503 \include "gregorian-init.ly"
1507 \[ \stropha b \stropha b \stropha a \]
1510 \layout { \neumeDemoLayout }
1519 Unlike most other neumes notation systems, the input language for
1520 neumes does not reflect the typographical appearance, but is designed
1521 to focus on musical meaning. For example, @code{\[ a \pes b
1522 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1523 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1524 curved flexa shape and only a single Punctum head. There is no
1525 command to explicitly typeset the curved flexa shape; the decision of
1526 when to typeset a curved flexa shape is based on the musical
1527 input. The idea of this approach is to separate the musical aspects
1528 of the input from the notation style of the output. This way, the
1529 same input can be reused to typeset the same music in a different
1530 style of Gregorian chant notation.
1532 The following table shows the code fragments that produce the
1533 ligatures in the above neumes table. The letter in the first column
1534 in each line of the below table indicates to which ligature in the
1535 above table it refers. The second column gives the name of the
1536 ligature. The third column shows the code fragment that produces this
1537 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1539 @multitable @columnfractions .02 .31 .67
1559 @code{\[ \inclinatum b \]}
1567 @code{\[ \auctum \ascendens b \]}
1575 @code{\[ \auctum \descendens b \]}
1580 Punctum Inclinatum@*
1583 @code{\[ \inclinatum \auctum b \]}
1588 Punctum Inclinatum@*
1590 @code{\[ \inclinatum \deminutum b \]}
1597 @code{\[ \virga b \]}
1604 @code{\[ \stropha b \]}
1611 @code{\[ \stropha \auctum b \]}
1618 @code{\[ \oriscus b \]}
1625 @code{\[ b \flexa g \]}
1633 @code{\[ b \flexa \auctum \descendens g \]}
1641 @code{\[ b \flexa \auctum \ascendens g \]}
1648 @code{\[ b \flexa \deminutum g \]}
1655 @code{\[ g \pes b \]}
1663 @code{\[ g \pes \auctum \descendens b \]}
1671 @code{\[ g \pes \auctum \ascendens b \]}
1678 @code{\[ g \pes \deminutum b \]}
1685 @code{\[ \oriscus g \pes \virga b \]}
1691 Auctus Descendens @tab
1692 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1699 @code{\[ \quilisma g \pes b \]}
1707 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1714 @code{\[ \deminutum g \pes b \]}
1719 Pes Auctus Descendens@*
1722 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1729 @code{\[ a \pes b \flexa g \]}
1737 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1744 @code{\[ a \pes b \flexa \deminutum g \]}
1749 Torculus Initio Debilis
1751 @code{\[ \deminutum a \pes b \flexa g \]}
1757 Descendens Initio Debilis
1759 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1764 Torculus Deminutus@*
1767 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1774 @code{\[ a \flexa g \pes b \]}
1782 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1789 @code{\[ a \flexa g \pes \deminutum b \]}
1796 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1803 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1810 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1817 @code{\[ g \pes a \virga b \]}
1825 @code{\[ g \pes a \pes \auctum \descendens b \]}
1832 @code{\[ g \pes a \pes \deminutum b \]}
1839 @code{\[ g \oriscus a \pes \virga b \]}
1844 Salicus Auctus Descendens
1846 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1853 @code{\[ \stropha b \stropha b \stropha a \]}
1856 The ligatures listed above mainly serve as a limited, but still
1857 representative pool of Gregorian ligature examples. Virtually, within
1858 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1859 may be accumulated to form a single ligature, and head prefixes like
1860 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1861 etc. may be mixed in as desired. The use of the set of rules that
1862 underlies the construction of the ligatures in the above table is
1863 accordingly extrapolated. This way, infinitely many different
1864 ligatures can be created.
1866 Augmentum dots, also called @emph{morae}, are added with the music
1867 function @code{\augmentum}. Note that @code{\augmentum} is
1868 implemented as a unary music function rather than as head prefix. It
1869 applies to the immediately following music expression only. That is,
1870 @code{\augmentum \virga c} will have no visible effect. Instead, say
1871 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1872 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1873 @code{\augmentum a \augmentum g}.
1875 @lilypond[quote,ragged-right,verbatim]
1876 \include "gregorian-init.ly"
1878 \new VaticanaVoice {
1879 \[ \augmentum a \flexa \augmentum g \]
1887 The following head prefixes are supported
1893 @funindex \inclinatum
1897 @funindex \descendens
1899 @funindex \ascendens
1905 @funindex \deminutum
1912 Head prefixes can be accumulated, though restrictions apply. For
1913 example, either @code{\descendens} or @code{\ascendens} can be applied
1914 to a head, but not both to the same head.
1918 Two adjacent heads can be tied together with the @code{\pes} and
1919 @code{\flexa} infix commands for a rising and falling line of melody,
1922 @funindex \augmentum
1923 Use the unary music function @code{\augmentum} to add augmentum dots.
1927 When an @code{\augmentum} dot appears at the end of the last staff
1928 within a ligature, it is sometimes vertically placed wrong. As a
1929 workaround, add an additional skip note (e.g. @code{s8}) as last note
1932 @code{\augmentum} should be implemented as a head prefix rather than a
1933 unary music function, such that @code{\augmentum} can be intermixed
1934 with head prefixes in arbitrary order.
1937 @node Pre-defined contexts
1938 @subsection Pre-defined contexts
1941 * Gregorian Chant contexts::
1942 * Mensural contexts::
1946 @node Gregorian Chant contexts
1947 @subsubsection Gregorian Chant contexts
1949 @cindex VaticanaVoiceContext
1950 @cindex VaticanaStaffContext
1952 The predefined @code{VaticanaVoiceContext} and
1953 @code{VaticanaStaffContext} can be used to engrave a piece of
1954 Gregorian Chant in the style of the Editio Vaticana. These contexts
1955 initialize all relevant context properties and grob properties to
1956 proper values, so you can immediately go ahead entering the chant, as
1957 the following excerpt demonstrates
1959 @lilypond[quote,ragged-right,packed,verbatim]
1960 \include "gregorian-init.ly"
1963 \new VaticanaVoice = "cantus" {
1964 \[ c'\melisma c' \flexa a \]
1965 \[ a \flexa \deminutum g\melismaEnd \]
1967 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1968 c' \divisioMinima \break
1969 \[ c'\melisma c' \flexa a \]
1970 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1972 \new Lyrics \lyricsto "cantus" {
1973 San- ctus, San- ctus, San- ctus
1980 @node Mensural contexts
1981 @subsubsection Mensural contexts
1983 @cindex MensuralVoiceContext
1984 @cindex MensuralStaffContext
1986 The predefined @code{MensuralVoiceContext} and
1987 @code{MensuralStaffContext} can be used to engrave a piece in
1988 mensural style. These contexts initialize all relevant context
1989 properties and grob properties to proper values, so you can
1990 immediately go ahead entering the chant, as the following excerpt
1993 @lilypond[quote,ragged-right,verbatim]
1996 \new MensuralVoice = "discantus" \transpose c c' {
1997 \override Score.BarNumber #'transparent = ##t {
1998 c'1\melisma bes a g\melismaEnd
2000 \[ f1\melisma a c'\breve d'\melismaEnd \]
2002 c'\breve\melisma a1 g1\melismaEnd
2003 fis\longa^\signumcongruentiae
2006 \new Lyrics \lyricsto "discantus" {
2007 San -- ctus, San -- ctus, San -- ctus
2013 @node Transcribing ancient music
2014 @subsection Transcribing ancient music
2017 * Ancient and modern from one source::
2019 * Mensurstriche layout::
2020 * Transcribing Gregorian chant::
2024 @node Ancient and modern from one source
2025 @subsubsection Ancient and modern from one source
2028 @c Here among others the snippets about reducing note length
2033 @subsubsection Incipits
2036 @c clefs, mensuration signs etc from lsr and -user
2037 @c use snippet Transcription-of-ancient-music-with-incipit
2042 @node Mensurstriche layout
2043 @subsubsection Mensurstriche layout
2046 @c from lsr and -user
2050 @node Transcribing Gregorian chant
2051 @subsubsection Transcribing Gregorian chant
2054 @c extract from 1.6.1.1
2058 @node Editorial markings
2059 @subsection Editorial markings
2062 * Annotational accidentals::
2063 * Baroque rhythmic notation::
2067 @node Annotational accidentals
2068 @subsubsection Annotational accidentals
2070 In European music from before about 1600, singers were often
2071 expected to chromatically alter notes at their own initiative.
2072 This is called @q{Musica Ficta}. In modern transcriptions, these
2073 accidentals are usually printed over the note.
2075 @cindex Accidental, musica ficta
2076 @cindex Musica ficta
2078 Support for such suggested accidentals is included, and can be
2079 switched on by setting @code{suggestAccidentals} to true.
2081 @funindex suggestAccidentals
2083 @lilypond[verbatim,fragment,relative=1]
2085 \set suggestAccidentals = ##t
2089 This will treat @emph{every} subsequent accidentals as
2090 @emph{musica ficta} until it is unset with @code{\set
2091 suggestAccidentals = ##f}. A more convenient way is to use
2094 @lilypond[verbatim,fragment,relative=1]
2096 \once \set suggestAccidentals = ##t
2102 Internals Reference: @rinternals{Accidental_engraver} engraver and
2103 the @rinternals{AccidentalSuggestion} object.
2106 @node Baroque rhythmic notation
2107 @subsubsection Baroque rhythmic notation
2111 @c Add example of white noteheads:
2112 @c In the french baroque some composers used white noteheads in slow pieces,
2113 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2114 @c notehead. (Franz-Rudolf Kuhnen)
2116 @c TODO Add example of this:
2117 @c I was referring to e.g. notated a8. a16, which should, if I
2118 @c remember correctly, be interpreted more like a8.. a32 (in the french
2119 @c style). The editor might want to show that rythmic figure above the
2120 @c staff as an hint to performers. (Karl Hammer)