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 @lilypondfile[quote]{ancient-headword.ly}
16 @cindex Vaticana, Editio
17 @cindex Medicaea, Editio
23 * Introduction to ancient notation::
24 * Alternative note signs::
25 * Additional note signs::
26 * Pre-defined contexts::
27 * Transcribing ancient music::
28 * Editorial markings::
32 @node Introduction to ancient notation
33 @subsection Introduction to ancient notation
36 * Ancient notation supported::
40 @node Ancient notation supported
41 @subsubsection Ancient notation supported
43 Support for ancient notation includes features for mensural notation and
44 Gregorian chant notation, as well as limited support for figured bass notation.
46 Many graphical objects provide a @code{style} property, see
49 @item @ref{Ancient note heads},
50 @item @ref{Ancient accidentals},
51 @item @ref{Ancient rests},
52 @item @ref{Ancient clefs},
53 @item @ref{Ancient flags},
54 @item @ref{Ancient time signatures}.
57 By manipulating these grob properties, the typographical appearance of a
58 specific type of notation can be accommodated without needing to introduce any
59 new notational concepts.
61 In addition to the standard articulation signs described in
62 @ref{Articulations and ornamentations}, specific articulation signs for
63 Gregorian chant are provided.
66 @item @ref{Ancient articulations}
69 Other aspects of ancient notation cannot be easily expressed by changing a
70 style property of a graphical object or by adding articulation signs. Some
71 notational concepts are introduced specifically for ancient notation,
75 @item @ref{Divisiones},
76 @item @ref{Ligatures}.
79 To start typesetting without worrying too much about the details on how to
80 customize a context, there are predefined contexts for Gregorian chant and
81 mensural notation. They set up predefined style-specific voice and staff
82 contexts, and allow one to proceed directly with note entry:
85 @item @ref{Gregorian chant contexts},
86 @item @ref{Mensural contexts}.
89 There is limited support for figured bass notation from the Baroque period:
92 @item @ref{Figured bass}
95 @c Here are all subtopics at a glance:
98 @node Alternative note signs
99 @subsection Alternative note signs
102 * Ancient note heads::
103 * Ancient accidentals::
107 * Ancient time signatures::
111 @node Ancient note heads
112 @subsubsection Ancient note heads
114 @cindex note heads, ancient
116 For ancient notation, a note head style other than the @code{default} style
117 may be chosen. This is accomplished by setting the @code{style} property of
118 the @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
119 @code{mensural} or @code{petrucci}.
121 The @code{baroque} style differs from the @code{default} style by:
124 @item Providing a @code{maxima} notehead, and
125 @item Using a square shape for @code{\breve} note heads.
128 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
129 the @code{baroque} style by:
132 @item Using rhomboidal heads for semibreves and all smaller durations, and
133 @item Centering the stems on the note heads.
136 The @code{mensural} and @code{petrucci} styles aim to emulate the appearance
137 of historic printed music. The @code{petrucci} style uses larger note
140 The following example demonstrates the @code{petrucci} style
142 @c Renaissance music doesn't use bar lines ... but they do help to
143 @c separate the notes for easier identification.
145 @lilypond[quote,fragment,ragged-right,verbatim]
146 \set Score.skipBars = ##t
148 \override NoteHead #'style = #'petrucci
149 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
152 When typesetting a piece in Gregorian chant notation, the
153 @rinternals{Gregorian_ligature_engraver} automatically selects the proper
154 note heads, so there is no need to explicitly set the note head style.
155 Still, the note head style can be set, e.g., to @code{vaticana_punctum} to
156 produce punctum neumes. Similarly, the
157 @rinternals{Mensural_ligature_engraver} automatically assembles mensural
158 ligatures. See @ref{Ligatures}, for how ligature engravers work.
162 @ref{Note head styles}, gives an overview of all available note head styles.
165 @node Ancient accidentals
166 @subsubsection Ancient accidentals
170 Use the @code{glyph-name-alist} property of grob @rinternals{Accidental} and
171 @rinternals{KeySignature} to select ancient accidentals.
173 @lilypond[quote,ragged-right,staffsize=26]
180 \line { " " \musicglyph #"accidentals.vaticana-1"
181 " " \musicglyph #"accidentals.vaticana0" }
185 \line { " " \musicglyph #"accidentals.medicaea-1" }
189 \line { " " \musicglyph #"accidentals.hufnagel-1" }
193 \line { " " \musicglyph #"accidentals.mensural-1"
194 " " \musicglyph #"accidentals.mensural1" }
200 \context { \Score \remove "Bar_number_engraver" }
202 \remove "Clef_engraver"
203 \remove "Key_engraver"
204 \remove "Time_signature_engraver"
205 \remove "Staff_symbol_engraver"
206 \override VerticalAxisGroup #'minimum-Y-extent = ##f
212 As shown, not all accidentals are supported by each style. When
213 trying to access an unsupported accidental, LilyPond will switch to a
214 different style, as demonstrated in
215 @c @lsr{ancient,ancient-accidentals.ly}.
217 Similarly to local accidentals, the style of the key signature can be
218 controlled by the @code{glyph-name-alist} property of the
219 @rinternals{KeySignature} grob.
223 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
224 @ref{Automatic accidentals}, give a general introduction of the use of
225 accidentals. @ref{Key signature}, gives a general introduction of
226 the use of key signatures.
228 Internals Reference: @rinternals{KeySignature}.
232 @subsubsection Ancient rests
234 @cindex rests, ancient
236 Use the @code{style} property of grob @rinternals{Rest} to select
237 ancient rests. Supported styles are @code{classical},
238 @code{neomensural}, and @code{mensural}. @code{classical} differs
239 from the @code{default} style only in that the quarter rest looks like
240 a horizontally mirrored 8th rest. The @code{neomensural} style suits
241 well for, e.g., the incipit of a transcribed mensural piece of music.
242 The @code{mensural} style finally mimics the appearance of rests as
243 in historic prints of the 16th century.
245 The following example demonstrates the @code{neomensural} style
247 @lilypond[quote,fragment,ragged-right,verbatim]
248 \set Score.skipBars = ##t
249 \override Rest #'style = #'neomensural
250 r\longa r\breve r1 r2 r4 r8 r16
253 There are no 32th and 64th rests specifically for the mensural or
254 neo-mensural style. Instead, the rests from the default style will be
255 taken. See @c @lsr{pitches,rests} for a chart of all rests.
257 There are no rests in Gregorian chant notation; instead, it uses
262 Notation Reference: @ref{Rests}, gives a general introduction into the use of
267 @subsubsection Ancient clefs
271 LilyPond supports a variety of clefs, many of them ancient.
273 The following table shows all ancient clefs that are supported via the
274 @code{\clef} command. Some of the clefs use the same glyph, but
275 differ only with respect to the line they are printed on. In such
276 cases, a trailing number in the name is used to enumerate these clefs.
277 Still, you can manually force a clef glyph to be typeset on an
278 arbitrary line, as described in @ref{Clef}. The note printed to the
279 right side of each clef in the example column denotes the @code{c'}
280 with respect to that clef.
282 @multitable @columnfractions .4 .4 .2
291 modern style mensural C clef
293 @code{neomensural-c1}, @code{neomensural-c2},@*
294 @code{neomensural-c3}, @code{neomensural-c4}
296 @lilypond[fragment,relative=1,notime]
297 \clef "neomensural-c2" c
301 petrucci style mensural C clefs, for use on different staff lines
302 (the examples show the 2nd staff line C clef)
304 @code{petrucci-c1}, @code{petrucci-c2},@*
305 @code{petrucci-c3}, @code{petrucci-c4},@*
308 @lilypond[fragment,relative=1,notime]
310 \override NoteHead #'style = #'mensural
315 petrucci style mensural F clef
319 @lilypond[fragment,relative=1,notime]
321 \override NoteHead #'style = #'mensural
326 petrucci style mensural G clef
330 @lilypond[fragment,relative=1,notime]
332 \override NoteHead #'style = #'mensural
337 historic style mensural C clef
339 @code{mensural-c1}, @code{mensural-c2},@*
340 @code{mensural-c3}, @code{mensural-c4}
342 @lilypond[fragment,relative=1,notime]
344 \override NoteHead #'style = #'mensural
349 historic style mensural F clef
353 @lilypond[fragment,relative=1,notime]
355 \override NoteHead #'style = #'mensural
360 historic style mensural G clef
364 @lilypond[fragment,relative=1,notime]
366 \override NoteHead #'style = #'mensural
371 Editio Vaticana style do clef
373 @code{vaticana-do1}, @code{vaticana-do2},@*
376 @lilypond[fragment,relative=1,notime]
377 \override Staff.StaffSymbol #'line-count = #4
378 \override Staff.StaffSymbol #'color = #red
379 \override Staff.LedgerLineSpanner #'color = #red
380 \override Voice.Stem #'transparent = ##t
381 \override NoteHead #'style = #'vaticana.punctum
387 Editio Vaticana style fa clef
389 @code{vaticana-fa1}, @code{vaticana-fa2}
391 @lilypond[fragment,relative=1,notime]
392 \override Staff.StaffSymbol #'line-count = #4
393 \override Staff.StaffSymbol #'color = #red
394 \override Staff.LedgerLineSpanner #'color = #red
395 \override Voice.Stem #'transparent = ##t
396 \override NoteHead #'style = #'vaticana.punctum
402 Editio Medicaea style do clef
404 @code{medicaea-do1}, @code{medicaea-do2},@*
407 @lilypond[fragment,relative=1,notime]
408 \override Staff.StaffSymbol #'line-count = #4
409 \override Staff.StaffSymbol #'color = #red
410 \override Staff.LedgerLineSpanner #'color = #red
411 \override Voice.Stem #'transparent = ##t
412 \override NoteHead #'style = #'medicaea.punctum
418 Editio Medicaea style fa clef
420 @code{medicaea-fa1}, @code{medicaea-fa2}
422 @lilypond[fragment,relative=1,notime]
423 \override Staff.StaffSymbol #'line-count = #4
424 \override Staff.StaffSymbol #'color = #red
425 \override Staff.LedgerLineSpanner #'color = #red
426 \override Voice.Stem #'transparent = ##t
427 \override NoteHead #'style = #'medicaea.punctum
433 historic style hufnagel do clef
435 @code{hufnagel-do1}, @code{hufnagel-do2},@*
438 @lilypond[fragment,relative=1,notime]
439 \override Staff.StaffSymbol #'line-count = #4
440 \override Staff.StaffSymbol #'color = #red
441 \override Staff.LedgerLineSpanner #'color = #red
442 \override Voice.Stem #'transparent = ##t
443 \override NoteHead #'style = #'hufnagel.punctum
449 historic style hufnagel fa clef
451 @code{hufnagel-fa1}, @code{hufnagel-fa2}
453 @lilypond[fragment,relative=1,notime]
454 \override Staff.StaffSymbol #'line-count = #4
455 \override Staff.StaffSymbol #'color = #red
456 \override Staff.LedgerLineSpanner #'color = #red
457 \override Voice.Stem #'transparent = ##t
458 \override NoteHead #'style = #'hufnagel.punctum
464 historic style hufnagel combined do/fa clef
466 @code{hufnagel-do-fa}
468 @lilypond[fragment,relative=1,notime]
469 \override Staff.StaffSymbol #'color = #red
470 \override Staff.LedgerLineSpanner #'color = #red
471 \override Voice.Stem #'transparent = ##t
472 \override NoteHead #'style = #'hufnagel.punctum
473 \clef "hufnagel-do-fa"
478 @emph{Modern} or @emph{Neo-mensural style} means @qq{as is typeset in
479 modern editions of transcribed mensural music.}
481 @emph{Petrucci style} means @qq{inspired by music published by the famous
482 engraver Petrucci (1466-1539).}
484 @emph{Historic style} means @qq{as was typeset or written in historic
485 editions other than those of Petrucci.}
487 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
489 Petrucci used C clefs with differently balanced left-side vertical
490 beams, depending on which staff line it is printed.
494 Notation Reference: see @ref{Clef}.
498 The mensural g clef is mapped to the Petrucci g clef.
502 @subsubsection Ancient flags
506 Use the @code{flag-style} property of grob @rinternals{Stem} to
507 select ancient flags. Besides the @code{default} flag style,
508 only the @code{mensural} style is supported
510 @lilypond[quote,fragment,ragged-right,verbatim]
511 \override Stem #'flag-style = #'mensural
512 \override Stem #'thickness = #1.0
513 \override NoteHead #'style = #'mensural
515 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
516 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
519 Note that the innermost flare of each mensural flag always is
520 vertically aligned with a staff line.
522 There is no particular flag style for neo-mensural notation. Hence,
523 when typesetting the incipit of a transcribed piece of mensural
524 music, the default flag style should be used. There are no flags in
525 Gregorian chant notation.
529 TODO: nothing here yet ...
533 The attachment of ancient flags to stems is slightly off due to a
534 change in early 2.3.x.
536 Vertically aligning each flag with a staff line assumes that stems
537 always end either exactly on or exactly in the middle between two
538 staff lines. This may not always be true when using advanced layout
539 features of classical notation (which however are typically out of
540 scope for mensural notation).
543 @node Ancient time signatures
544 @subsubsection Ancient time signatures
546 @cindex mensuration sign
547 @cindex time signatures
549 There is limited support for mensuration signs (which are similar to, but
550 not exactly the same as time signatures). The glyphs are hard-wired to
551 particular time fractions. In other words, to get a particular mensuration
552 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
553 chosen according to the following table
555 @lilypond[quote,ragged-right]
560 \remove Staff_symbol_engraver
561 \remove Clef_engraver
562 \remove Time_signature_engraver
566 \set Score.timing = ##f
567 \set Score.barAlways = ##t
568 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
569 #"timesig.neomensural44" }
571 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
572 #"timesig.neomensural22" }
574 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
575 #"timesig.neomensural64" }
577 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
578 #"timesig.neomensural68" }
580 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
581 #"timesig.neomensural32" }
583 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
584 #"timesig.neomensural34" }
586 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
587 #"timesig.neomensural94" }
589 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
590 #"timesig.neomensural98" }
592 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
593 #"timesig.neomensural48" }
595 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
596 #"timesig.neomensural24" }
600 Use the @code{style} property of grob @rinternals{TimeSignature} to
601 select ancient time signatures. Supported styles are
602 @code{neomensural} and @code{mensural}. The above table uses the
603 @code{neomensural} style. This style is appropriate for the
604 incipit of transcriptions of mensural pieces. The @code{mensural}
605 style mimics the look of historical printings of the 16th century.
607 The following examples show the differences in style,
609 @lilypond[ragged-right,fragment,relative=1,quote]
614 c1^\markup { \hspace #-2.0 \typewriter default }
616 \override Staff.TimeSignature #'style = #'numbered
618 c1^\markup { \hspace #-2.0 \typewriter numbered }
620 \override Staff.TimeSignature #'style = #'mensural
622 c1^\markup { \hspace #-2.0 \typewriter mensural }
624 \override Staff.TimeSignature #'style = #'neomensural
626 c1^\markup { \hspace #-2.0 \typewriter neomensural }
627 \override Staff.TimeSignature #'style = #'single-digit
629 c1^\markup { \hspace #-2.0 \typewriter single-digit }
635 Notation Reference: @ref{Time signature}, gives a general introduction to
636 the use of time signatures.
640 Ratios of note durations do not change with the time signature. For
641 example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
642 be made by hand, by setting
645 breveTP = #(ly:make-duration -1 0 3 2)
651 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
653 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
654 addressable with @code{\time}. Use a @code{\markup} instead
657 @node Additional note signs
658 @subsection Additional note signs
661 * Ancient articulations::
665 * White mensural ligatures::
666 * Gregorian square neumes ligatures::
670 @node Ancient articulations
671 @subsubsection Ancient articulations
673 @cindex articulations
675 In addition to the standard articulation signs described in
676 section @ref{Articulations and ornamentations}, articulation signs
677 for ancient notation are provided. These are specifically
678 designed for use with notation in Editio Vaticana style.
680 @lilypond[quote,ragged-right,verbatim]
681 \include "gregorian-init.ly"
684 \override TextScript #'font-family = #'typewriter
685 \override TextScript #'font-shape = #'upright
686 \override Script #'padding = #-0.1
687 a\ictus_"ictus" \break
688 a\circulus_"circulus" \break
689 a\semicirculus_"semicirculus" \break
690 a\accentus_"accentus" \break
691 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
698 TODO: nothing here yet ...
702 Some articulations are vertically placed too closely to the
703 corresponding note heads.
705 The episem line is not displayed in many cases. If it is displayed,
706 the right end of the episem line is often too far to the right.
710 @subsubsection Custodes
715 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
716 symbol that appears at the end of a staff. It anticipates the pitch
717 of the first note(s) of the following line thus helping the performer
718 to manage line breaks during performance.
720 Custodes were frequently used in music notation until the 17th
721 century. Nowadays, they have survived only in a few particular forms
722 of musical notation such as contemporary editions of Gregorian chant
723 like the @emph{editio vaticana}. There are different custos glyphs
724 used in different flavors of notational style.
726 For typesetting custodes, just put a @rinternals{Custos_engraver} into the
727 @rinternals{Staff} context when declaring the @code{\layout} block,
728 as shown in the following example
734 \consists Custos_engraver
735 Custos \override #'style = #'mensural
740 The result looks like this
742 @lilypond[quote,ragged-right]
746 \override Staff.Custos #'style = #'mensural
751 \context { \Staff \consists Custos_engraver }
756 The custos glyph is selected by the @code{style} property. The styles
757 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
758 @code{mensural}. They are demonstrated in the following fragment
760 @lilypond[quote,ragged-right,fragment]
761 \new Lyrics \lyricmode {
763 \typewriter "vaticana"
764 \line { " " \musicglyph #"custodes.vaticana.u0" }
767 \typewriter "medicaea"
768 \line { " " \musicglyph #"custodes.medicaea.u0" }
771 \typewriter "hufnagel"
772 \line { " " \musicglyph #"custodes.hufnagel.u0" }
775 \typewriter "mensural"
776 \line { " " \musicglyph #"custodes.mensural.u0" }
783 Internals Reference: @rinternals{Custos}.
786 @c @lsr{ancient,custodes@/.ly}.
790 @subsubsection Divisiones
796 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
797 @q{division}) is a staff context symbol that is used to structure
798 Gregorian music into phrases and sections. The musical meaning of
799 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
800 can be characterized as short, medium, and long pause, somewhat like
801 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
802 only marks the end of a chant, but is also frequently used within a
803 single antiphonal/responsorial chant to mark the end of each section.
805 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
806 contains definitions that you can apply by just inserting
807 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
808 and @code{\finalis} at proper places in the input. Some editions use
809 @emph{virgula} or @emph{caesura} instead of divisio minima.
810 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
813 @lilypondfile[quote,ragged-right]{divisiones.ly}
821 @funindex \divisioMinima
822 @code{\divisioMinima},
823 @funindex \divisioMaior
824 @code{\divisioMaior},
825 @funindex \divisioMaxima
826 @code{\divisioMaxima},
832 Notation Reference: @ref{Breath marks}.
834 Internals Reference: @rinternals{BreathingSign}.
836 Examples: @c @lsr{expressive,breathing-sign.ly}.
840 @subsubsection Ligatures
844 @c TODO: Should double check if I recalled things correctly when I wrote
845 @c down the following paragraph by heart.
847 A ligature is a graphical symbol that represents at least two distinct
848 notes. Ligatures originally appeared in the manuscripts of Gregorian
849 chant notation to denote ascending or descending sequences of notes.
851 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
852 Some ligature styles may need additional input syntax specific for
853 this particular type of ligature. By default, the
854 @rinternals{LigatureBracket} engraver just puts a square bracket
857 @lilypond[quote,ragged-right,verbatim]
865 To select a specific style of ligatures, a proper ligature engraver
866 has to be added to the @rinternals{Voice} context, as explained in
867 the following subsections. Only white mensural ligatures
868 are supported with certain limitations.
872 TODO: nothing here yet ...
876 Ligatures need special spacing that has not yet been implemented. As
877 a result, there is too much space between ligatures most of the time,
878 and line breaking often is unsatisfactory. Also, lyrics do not
879 correctly align with ligatures.
881 Accidentals must not be printed within a ligature, but instead need to
882 be collected and printed in front of it.
884 The syntax still uses the deprecated infix style @code{\[ music expr
885 \]}. For consistency reasons, it will eventually be changed to
886 postfix style @code{note\[ ... note\]}. Alternatively, the file
887 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
890 \ligature @var{music expr}
892 with the same effect and is believed to be stable.
895 * White mensural ligatures::
896 * Gregorian square neumes ligatures::
900 @node White mensural ligatures
901 @subsubsection White mensural ligatures
903 @cindex Mensural ligatures
904 @cindex White mensural ligatures
906 There is limited support for white mensural ligatures.
908 To engrave white mensural ligatures, in the layout block put the
909 @rinternals{Mensural_ligature_engraver} into the
910 @rinternals{Voice} context, and remove the
911 @rinternals{Ligature_bracket_engraver}, like this
917 \remove Ligature_bracket_engraver
918 \consists Mensural_ligature_engraver
923 There is no additional input language to describe the shape of a
924 white mensural ligature. The shape is rather determined solely from
925 the pitch and duration of the enclosed notes. While this approach may
926 take a new user a while to get accustomed to, it has the great advantage
927 that the full musical information of the ligature is known internally.
928 This is not only required for correct MIDI output, but also allows for
929 automatic transcription of the ligatures.
934 \set Score.timing = ##f
935 \set Score.defaultBarType = "empty"
936 \override NoteHead #'style = #'neomensural
937 \override Staff.TimeSignature #'style = #'neomensural
940 \[ d\longa c\breve f e d \]
941 \[ c'\maxima d'\longa \]
944 @lilypond[quote,ragged-right]
947 \set Score.timing = ##f
948 \set Score.defaultBarType = "empty"
949 \override NoteHead #'style = #'neomensural
950 \override Staff.TimeSignature #'style = #'neomensural
953 \[ d\longa c\breve f e d \]
954 \[ c'\maxima d'\longa \]
960 \remove Ligature_bracket_engraver
961 \consists Mensural_ligature_engraver
967 Without replacing @rinternals{Ligature_bracket_engraver} with
968 @rinternals{Mensural_ligature_engraver}, the same music transcribes
971 @lilypond[quote,ragged-right]
973 \set Score.timing = ##f
974 \set Score.defaultBarType = "empty"
975 \override NoteHead #'style = #'neomensural
976 \override Staff.TimeSignature #'style = #'neomensural
979 \[ d\longa c\breve f e d \]
980 \[ c'\maxima d'\longa \]
987 TODO: nothing here yet ...
991 Horizontal spacing is poor.
994 @node Gregorian square neumes ligatures
995 @subsubsection Gregorian square neumes ligatures
997 @cindex Square neumes ligatures
998 @cindex Gregorian square neumes ligatures
1000 There is limited support for Gregorian square neumes notation
1001 (following the style of the Editio Vaticana). Core ligatures can
1002 already be typeset, but essential issues for serious typesetting are
1003 still lacking, such as (among others) horizontal alignment of multiple
1004 ligatures, lyrics alignment and proper handling of accidentals.
1007 The following table contains the extended neumes table of the 2nd
1008 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
1009 1983 by the monks of Solesmes.
1011 @multitable @columnfractions .4 .2 .2 .2
1028 @c TODO: \layout block is identical in all of the below examples.
1029 @c Therefore, it should somehow be included rather than duplicated all
1032 @c why not make variables in ly/engraver-init.ly? --hwn
1034 @c Because it's just used to typeset plain notes without
1035 @c a staff for demonstration purposes rather than something
1036 @c special of Gregorian chant notation. --jr
1041 @lilypond[staffsize=26,line-width=1.5\cm]
1042 \include "gregorian-init.ly"
1047 \noBreak s^\markup {"a"} \noBreak
1049 % Punctum Inclinatum
1051 \noBreak s^\markup {"b"}
1053 \layout { \neumeDemoLayout }}
1056 @lilypond[staffsize=26,line-width=2.5\cm]
1057 \include "gregorian-init.ly"
1060 % Punctum Auctum Ascendens
1061 \[ \auctum \ascendens b \]
1062 \noBreak s^\markup {"c"} \noBreak
1064 % Punctum Auctum Descendens
1065 \[ \auctum \descendens b \]
1066 \noBreak s^\markup {"d"} \noBreak
1068 % Punctum Inclinatum Auctum
1069 \[ \inclinatum \auctum b \]
1070 \noBreak s^\markup {"e"}
1072 \layout { \neumeDemoLayout }}
1075 @lilypond[staffsize=26,line-width=1.0\cm]
1076 \include "gregorian-init.ly"
1079 % Punctum Inclinatum Parvum
1080 \[ \inclinatum \deminutum b \]
1081 \noBreak s^\markup {"f"}
1083 \layout { \neumeDemoLayout }}
1089 @lilypond[staffsize=26,line-width=1.0\cm]
1090 \include "gregorian-init.ly"
1095 \noBreak s^\markup {"g"}
1097 \layout { \neumeDemoLayout }}
1103 @code{3. Apostropha vel Stropha}
1105 @lilypond[staffsize=26,line-width=1.0\cm]
1106 \include "gregorian-init.ly"
1111 \noBreak s^\markup {"h"}
1113 \layout { \neumeDemoLayout }}
1116 @lilypond[staffsize=26,line-width=1.0\cm]
1117 \include "gregorian-init.ly"
1121 \[ \stropha \auctum b \]
1122 \noBreak s^\markup {"i"}
1124 \layout { \neumeDemoLayout }}
1131 @lilypond[staffsize=26,line-width=1.0\cm]
1132 \include "gregorian-init.ly"
1137 \noBreak s^\markup {"j"}
1139 \layout { \neumeDemoLayout }}
1145 @code{5. Clivis vel Flexa}
1147 @lilypond[staffsize=26,line-width=1.0\cm]
1148 \include "gregorian-init.ly"
1155 \layout { \neumeDemoLayout }}
1158 @lilypond[staffsize=26,line-width=2.0\cm]
1159 \include "gregorian-init.ly"
1162 % Clivis Aucta Descendens
1163 \[ b \flexa \auctum \descendens g \]
1164 \noBreak s^\markup {"l"} \noBreak
1166 % Clivis Aucta Ascendens
1167 \[ b \flexa \auctum \ascendens g \]
1168 \noBreak s^\markup {"m"}
1170 \layout { \neumeDemoLayout }}
1173 @lilypond[staffsize=26,line-width=1.0\cm]
1174 \include "gregorian-init.ly"
1178 \[ b \flexa \deminutum g \]
1181 \layout { \neumeDemoLayout }}
1185 @code{6. Podatus vel Pes}
1187 @lilypond[staffsize=26,line-width=1.0\cm]
1188 \include "gregorian-init.ly"
1195 \layout { \neumeDemoLayout }}
1198 @lilypond[staffsize=26,line-width=2.0\cm]
1199 \include "gregorian-init.ly"
1202 % Pes Auctus Descendens
1203 \[ g \pes \auctum \descendens b \]
1204 \noBreak s^\markup {"p"} \noBreak
1206 % Pes Auctus Ascendens
1207 \[ g \pes \auctum \ascendens b \]
1208 \noBreak s^\markup {"q"}
1210 \layout { \neumeDemoLayout }}
1213 @lilypond[staffsize=26,line-width=1.0\cm]
1214 \include "gregorian-init.ly"
1218 \[ g \pes \deminutum b \]
1221 \layout { \neumeDemoLayout }}
1225 @code{7. Pes Quassus}
1227 @lilypond[staffsize=26,line-width=1.0\cm]
1228 \include "gregorian-init.ly"
1232 \[ \oriscus g \pes \virga b \]
1235 \layout { \neumeDemoLayout }}
1238 @lilypond[staffsize=26,line-width=1.0\cm]
1239 \include "gregorian-init.ly"
1242 % Pes Quassus Auctus Descendens
1243 \[ \oriscus g \pes \auctum \descendens b \]
1246 \layout { \neumeDemoLayout }}
1251 @code{8. Quilisma Pes}
1253 @lilypond[staffsize=26,line-width=1.0\cm]
1254 \include "gregorian-init.ly"
1258 \[ \quilisma g \pes b \]
1261 \layout { \neumeDemoLayout }}
1264 @lilypond[staffsize=26,line-width=1.0\cm]
1265 \include "gregorian-init.ly"
1268 % Quilisma Pes Auctus Descendens
1269 \[ \quilisma g \pes \auctum \descendens b \]
1272 \layout { \neumeDemoLayout }}
1277 @code{9. Podatus Initio Debilis}
1279 @lilypond[staffsize=26,line-width=1.0\cm]
1280 \include "gregorian-init.ly"
1283 % Pes Initio Debilis
1284 \[ \deminutum g \pes b \]
1287 \layout { \neumeDemoLayout }}
1290 @lilypond[staffsize=26,line-width=1.0\cm]
1291 \include "gregorian-init.ly"
1294 % Pes Auctus Descendens Initio Debilis
1295 \[ \deminutum g \pes \auctum \descendens b \]
1298 \layout { \neumeDemoLayout }}
1305 @lilypond[staffsize=26,line-width=1.0\cm]
1306 \include "gregorian-init.ly"
1310 \[ a \pes b \flexa g \]
1313 \layout { \neumeDemoLayout }}
1316 @lilypond[staffsize=26,line-width=1.0\cm]
1317 \include "gregorian-init.ly"
1320 % Torculus Auctus Descendens
1321 \[ a \pes b \flexa \auctum \descendens g \]
1324 \layout { \neumeDemoLayout }}
1327 @lilypond[staffsize=26,line-width=1.0\cm]
1328 \include "gregorian-init.ly"
1331 % Torculus Deminutus
1332 \[ a \pes b \flexa \deminutum g \]
1335 \layout { \neumeDemoLayout }}
1339 @code{11. Torculus Initio Debilis}
1341 @lilypond[staffsize=26,line-width=1.0\cm]
1342 \include "gregorian-init.ly"
1345 % Torculus Initio Debilis
1346 \[ \deminutum a \pes b \flexa g \]
1349 \layout { \neumeDemoLayout }}
1352 @lilypond[staffsize=26,line-width=1.0\cm]
1353 \include "gregorian-init.ly"
1356 % Torculus Auctus Descendens Initio Debilis
1357 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1360 \layout { \neumeDemoLayout }}
1363 @lilypond[staffsize=26,line-width=1.0\cm]
1364 \include "gregorian-init.ly"
1367 % Torculus Deminutus Initio Debilis
1368 \[ \deminutum a \pes b \flexa \deminutum g \]
1371 \layout { \neumeDemoLayout }}
1375 @code{12. Porrectus}
1377 @lilypond[staffsize=26,line-width=1.0\cm]
1378 \include "gregorian-init.ly"
1382 \[ a \flexa g \pes b \]
1385 \layout { \neumeDemoLayout }}
1388 @lilypond[staffsize=26,line-width=1.0\cm]
1389 \include "gregorian-init.ly"
1392 % Porrectus Auctus Descendens
1393 \[ a \flexa g \pes \auctum \descendens b \]
1396 \layout { \neumeDemoLayout }}
1399 @lilypond[staffsize=26,line-width=1.0\cm]
1400 \include "gregorian-init.ly"
1403 % Porrectus Deminutus
1404 \[ a \flexa g \pes \deminutum b \]
1407 \layout { \neumeDemoLayout }}
1413 @lilypond[staffsize=26,line-width=1.0\cm]
1414 \include "gregorian-init.ly"
1418 \[ \virga b \inclinatum a \inclinatum g \]
1421 \layout { \neumeDemoLayout }
1425 @lilypond[staffsize=26,line-width=1.0\cm]
1426 \include "gregorian-init.ly"
1430 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1433 \layout { \neumeDemoLayout }}
1436 @lilypond[staffsize=26,line-width=1.0\cm]
1437 \include "gregorian-init.ly"
1440 % Climacus Deminutus
1441 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1444 \layout { \neumeDemoLayout }}
1448 @code{14. Scandicus}
1450 @lilypond[staffsize=26,line-width=1.0\cm]
1451 \include "gregorian-init.ly"
1455 \[ g \pes a \virga b \]
1458 \layout { \neumeDemoLayout }}
1461 @lilypond[staffsize=26,line-width=1.0\cm]
1462 \include "gregorian-init.ly"
1465 % Scandicus Auctus Descendens
1466 \[ g \pes a \pes \auctum \descendens b \]
1469 \layout { \neumeDemoLayout }}
1472 @lilypond[staffsize=26,line-width=1.0\cm]
1473 \include "gregorian-init.ly"
1476 % Scandicus Deminutus
1477 \[ g \pes a \pes \deminutum b \]
1480 \layout { \neumeDemoLayout }}
1486 @lilypond[staffsize=26,line-width=1.0\cm]
1487 \include "gregorian-init.ly"
1491 \[ g \oriscus a \pes \virga b \]
1494 \layout { \neumeDemoLayout }}
1497 @lilypond[staffsize=26,line-width=1.0\cm]
1498 \include "gregorian-init.ly"
1501 % Salicus Auctus Descendens
1502 \[ g \oriscus a \pes \auctum \descendens b \]
1505 \layout { \neumeDemoLayout }}
1512 @lilypond[staffsize=26,line-width=1.0\cm]
1513 \include "gregorian-init.ly"
1517 \[ \stropha b \stropha b \stropha a \]
1520 \layout { \neumeDemoLayout }
1528 Unlike most other neumes notation systems, the input language for
1529 neumes does not reflect the typographical appearance, but is designed
1530 to focus on musical meaning. For example, @code{\[ a \pes b
1531 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1532 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1533 curved flexa shape and only a single Punctum head. There is no
1534 command to explicitly typeset the curved flexa shape; the decision of
1535 when to typeset a curved flexa shape is based on the musical
1536 input. The idea of this approach is to separate the musical aspects
1537 of the input from the notation style of the output. This way, the
1538 same input can be reused to typeset the same music in a different
1539 style of Gregorian chant notation.
1541 The following table shows the code fragments that produce the
1542 ligatures in the above neumes table. The letter in the first column
1543 in each line of the below table indicates to which ligature in the
1544 above table it refers. The second column gives the name of the
1545 ligature. The third column shows the code fragment that produces this
1546 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1548 @multitable @columnfractions .02 .31 .67
1568 @code{\[ \inclinatum b \]}
1576 @code{\[ \auctum \ascendens b \]}
1584 @code{\[ \auctum \descendens b \]}
1589 Punctum Inclinatum@*
1592 @code{\[ \inclinatum \auctum b \]}
1597 Punctum Inclinatum@*
1599 @code{\[ \inclinatum \deminutum b \]}
1606 @code{\[ \virga b \]}
1613 @code{\[ \stropha b \]}
1620 @code{\[ \stropha \auctum b \]}
1627 @code{\[ \oriscus b \]}
1634 @code{\[ b \flexa g \]}
1642 @code{\[ b \flexa \auctum \descendens g \]}
1650 @code{\[ b \flexa \auctum \ascendens g \]}
1657 @code{\[ b \flexa \deminutum g \]}
1664 @code{\[ g \pes b \]}
1672 @code{\[ g \pes \auctum \descendens b \]}
1680 @code{\[ g \pes \auctum \ascendens b \]}
1687 @code{\[ g \pes \deminutum b \]}
1694 @code{\[ \oriscus g \pes \virga b \]}
1700 Auctus Descendens @tab
1701 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1708 @code{\[ \quilisma g \pes b \]}
1716 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1723 @code{\[ \deminutum g \pes b \]}
1728 Pes Auctus Descendens@*
1731 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1738 @code{\[ a \pes b \flexa g \]}
1746 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1753 @code{\[ a \pes b \flexa \deminutum g \]}
1758 Torculus Initio Debilis
1760 @code{\[ \deminutum a \pes b \flexa g \]}
1766 Descendens Initio Debilis
1768 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1773 Torculus Deminutus@*
1776 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1783 @code{\[ a \flexa g \pes b \]}
1791 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1798 @code{\[ a \flexa g \pes \deminutum b \]}
1805 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1812 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1819 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1826 @code{\[ g \pes a \virga b \]}
1834 @code{\[ g \pes a \pes \auctum \descendens b \]}
1841 @code{\[ g \pes a \pes \deminutum b \]}
1848 @code{\[ g \oriscus a \pes \virga b \]}
1853 Salicus Auctus Descendens
1855 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1862 @code{\[ \stropha b \stropha b \stropha a \]}
1865 The ligatures listed above mainly serve as a limited, but still
1866 representative pool of Gregorian ligature examples. Virtually, within
1867 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1868 may be accumulated to form a single ligature, and head prefixes like
1869 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1870 etc. may be mixed in as desired. The use of the set of rules that
1871 underlies the construction of the ligatures in the above table is
1872 accordingly extrapolated. This way, infinitely many different
1873 ligatures can be created.
1875 Augmentum dots, also called @emph{morae}, are added with the music
1876 function @code{\augmentum}. Note that @code{\augmentum} is
1877 implemented as a unary music function rather than as head prefix. It
1878 applies to the immediately following music expression only. That is,
1879 @code{\augmentum \virga c} will have no visible effect. Instead, say
1880 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1881 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1882 @code{\augmentum a \augmentum g}.
1884 @lilypond[quote,ragged-right,verbatim]
1885 \include "gregorian-init.ly"
1887 \new VaticanaVoice {
1888 \[ \augmentum a \flexa \augmentum g \]
1896 The following head prefixes are supported
1902 @funindex \inclinatum
1906 @funindex \descendens
1908 @funindex \ascendens
1914 @funindex \deminutum
1921 Head prefixes can be accumulated, though restrictions apply. For
1922 example, either @code{\descendens} or @code{\ascendens} can be applied
1923 to a head, but not both to the same head.
1927 Two adjacent heads can be tied together with the @code{\pes} and
1928 @code{\flexa} infix commands for a rising and falling line of melody,
1931 @funindex \augmentum
1932 Use the unary music function @code{\augmentum} to add augmentum dots.
1936 TODO: nothing here yet ...
1940 When an @code{\augmentum} dot appears at the end of the last staff
1941 within a ligature, it is sometimes vertically placed wrong. As a
1942 workaround, add an additional skip note (e.g. @code{s8}) as last note
1945 @code{\augmentum} should be implemented as a head prefix rather than a
1946 unary music function, such that @code{\augmentum} can be intermixed
1947 with head prefixes in arbitrary order.
1950 @node Pre-defined contexts
1951 @subsection Pre-defined contexts
1954 * Gregorian chant contexts::
1955 * Mensural contexts::
1959 @node Gregorian chant contexts
1960 @subsubsection Gregorian chant contexts
1962 @cindex VaticanaVoiceContext
1963 @cindex VaticanaStaffContext
1965 The predefined @code{VaticanaVoiceContext} and
1966 @code{VaticanaStaffContext} can be used to engrave a piece of
1967 Gregorian chant in the style of the Editio Vaticana. These contexts
1968 initialize all relevant context properties and grob properties to
1969 proper values, so you can immediately go ahead entering the chant, as
1970 the following excerpt demonstrates
1972 @lilypond[quote,ragged-right,packed,verbatim]
1973 \include "gregorian-init.ly"
1976 \new VaticanaVoice = "cantus" {
1977 \[ c'\melisma c' \flexa a \]
1978 \[ a \flexa \deminutum g\melismaEnd \]
1980 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1981 c' \divisioMinima \break
1982 \[ c'\melisma c' \flexa a \]
1983 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1985 \new Lyrics \lyricsto "cantus" {
1986 San- ctus, San- ctus, San- ctus
1994 TODO: nothing here yet ...
1996 @node Mensural contexts
1997 @subsubsection Mensural contexts
1999 @cindex MensuralVoiceContext
2000 @cindex MensuralStaffContext
2002 The predefined @code{MensuralVoiceContext} and
2003 @code{MensuralStaffContext} can be used to engrave a piece in
2004 mensural style. These contexts initialize all relevant context
2005 properties and grob properties to proper values, so you can
2006 immediately go ahead entering the chant, as the following excerpt
2009 @lilypond[quote,ragged-right,verbatim]
2012 \new MensuralVoice = "discantus" \transpose c c' {
2013 \override Score.BarNumber #'transparent = ##t {
2014 c'1\melisma bes a g\melismaEnd
2016 \[ f1\melisma a c'\breve d'\melismaEnd \]
2018 c'\breve\melisma a1 g1\melismaEnd
2019 fis\longa^\signumcongruentiae
2022 \new Lyrics \lyricsto "discantus" {
2023 San -- ctus, San -- ctus, San -- ctus
2031 TODO: nothing here yet ...
2034 @node Transcribing ancient music
2035 @subsection Transcribing ancient music
2038 * Ancient and modern from one source::
2040 * Mensurstriche layout::
2041 * Transcribing Gregorian chant::
2045 @node Ancient and modern from one source
2046 @subsubsection Ancient and modern from one source
2049 @c Here among others the snippets about reducing note length
2054 @c ... and reference to other sections ...
2058 @subsubsection Incipits
2061 @c clefs, mensuration signs etc from lsr and -user
2062 @c use snippet Transcription-of-ancient-music-with-incipit
2067 @c ... and reference to other sections ...
2069 @node Mensurstriche layout
2070 @subsubsection Mensurstriche layout
2073 @c from lsr and -user
2078 @c ... and reference to other sections ...
2081 @node Transcribing Gregorian chant
2082 @subsubsection Transcribing Gregorian chant
2085 @c extract from 1.6.1.1
2090 @c ... and reference to other sections ...
2093 @node Editorial markings
2094 @subsection Editorial markings
2097 * Annotational accidentals::
2098 * Baroque rhythmic notation::
2102 @node Annotational accidentals
2103 @subsubsection Annotational accidentals
2105 In European music from before about 1600, singers were often
2106 expected to chromatically alter notes at their own initiative.
2107 This is called @notation{musica ficta}. In modern transcriptions, these
2108 accidentals are usually printed over the note.
2110 @cindex Accidental, musica ficta
2111 @cindex Musica ficta
2113 Support for such suggested accidentals is included, and can be
2114 switched on by setting @code{suggestAccidentals} to true.
2116 @funindex suggestAccidentals
2118 @lilypond[verbatim,fragment,relative=1]
2120 \set suggestAccidentals = ##t
2124 This will treat @emph{every} subsequent accidental as @emph{musica ficta}
2125 until it is unset with @code{\set suggestAccidentals = ##f}. A more
2126 convenient way is to use @code{\once}:
2128 @lilypond[verbatim,fragment,relative=1]
2130 \once \set suggestAccidentals = ##t
2136 Internals Reference: @rinternals{Accidental_engraver} engraver and
2137 the @rinternals{AccidentalSuggestion} object.
2140 @node Baroque rhythmic notation
2141 @subsubsection Baroque rhythmic notation
2145 @c Add example of white noteheads:
2146 @c In the french baroque some composers used white noteheads in slow pieces,
2147 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2148 @c notehead. (Franz-Rudolf Kuhnen)
2150 @c TODO Add example of this:
2151 @c I was referring to e.g. notated a8. a16, which should, if I
2152 @c remember correctly, be interpreted more like a8.. a32 (in the french
2153 @c style). The editor might want to show that rythmic figure above the
2154 @c staff as an hint to performers. (Karl Hammer)
2161 @c ... and reference to other sections ...