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 @internalsref{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 @internalsref{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 @internalsref{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 @internalsref{Accidental} and @internalsref{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 @internalsref{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: @internalsref{KeySignature}.
231 Examples: @c @lsrdir{ancient}
234 @subsubsection Ancient rests
236 @cindex rests, ancient
239 Use the @code{style} property of grob @internalsref{Rest} to select
240 ancient rests. Supported styles are @code{classical},
241 @code{neomensural}, and @code{mensural}. @code{classical} differs
242 from the @code{default} style only in that the quarter rest looks like
243 a horizontally mirrored 8th rest. The @code{neomensural} style suits
244 well for, e.g., the incipit of a transcribed mensural piece of music.
245 The @code{mensural} style finally mimics the appearance of rests as
246 in historic prints of the 16th century.
248 The following example demonstrates the @code{neomensural} style
250 @lilypond[quote,fragment,ragged-right,verbatim]
251 \set Score.skipBars = ##t
252 \override Rest #'style = #'neomensural
253 r\longa r\breve r1 r2 r4 r8 r16
256 There are no 32th and 64th rests specifically for the mensural or
257 neo-mensural style. Instead, the rests from the default style will be
258 taken. See @c @lsr{pitches,rests} for a chart of all rests.
260 There are no rests in Gregorian Chant notation; instead, it uses
265 Notation Reference: @ref{Rests}, gives a general introduction into the use of
270 @subsubsection Ancient clefs
275 LilyPond supports a variety of clefs, many of them ancient.
277 The following table shows all ancient clefs that are supported via the
278 @code{\clef} command. Some of the clefs use the same glyph, but
279 differ only with respect to the line they are printed on. In such
280 cases, a trailing number in the name is used to enumerate these clefs.
281 Still, you can manually force a clef glyph to be typeset on an
282 arbitrary line, as described in @ref{Clef}. The note printed to the
283 right side of each clef in the example column denotes the @code{c'}
284 with respect to that clef.
286 @multitable @columnfractions .4 .4 .2
295 modern style mensural C clef
297 @code{neomensural-c1}, @code{neomensural-c2},@*
298 @code{neomensural-c3}, @code{neomensural-c4}
300 @lilypond[fragment,relative=1,notime]
301 \clef "neomensural-c2" c
305 petrucci style mensural C clefs, for use on different staff lines
306 (the examples show the 2nd staff line C clef)
308 @code{petrucci-c1}, @code{petrucci-c2},@*
309 @code{petrucci-c3}, @code{petrucci-c4},@*
312 @lilypond[fragment,relative=1,notime]
314 \override NoteHead #'style = #'mensural
319 petrucci style mensural F clef
323 @lilypond[fragment,relative=1,notime]
325 \override NoteHead #'style = #'mensural
330 petrucci style mensural G clef
334 @lilypond[fragment,relative=1,notime]
336 \override NoteHead #'style = #'mensural
341 historic style mensural C clef
343 @code{mensural-c1}, @code{mensural-c2},@*
344 @code{mensural-c3}, @code{mensural-c4}
346 @lilypond[fragment,relative=1,notime]
348 \override NoteHead #'style = #'mensural
353 historic style mensural F clef
357 @lilypond[fragment,relative=1,notime]
359 \override NoteHead #'style = #'mensural
364 historic style mensural G clef
368 @lilypond[fragment,relative=1,notime]
370 \override NoteHead #'style = #'mensural
375 Editio Vaticana style do clef
377 @code{vaticana-do1}, @code{vaticana-do2},@*
380 @lilypond[fragment,relative=1,notime]
381 \override Staff.StaffSymbol #'line-count = #4
382 \override Staff.StaffSymbol #'color = #red
383 \override Staff.LedgerLineSpanner #'color = #red
384 \override Voice.Stem #'transparent = ##t
385 \override NoteHead #'style = #'vaticana.punctum
391 Editio Vaticana style fa clef
393 @code{vaticana-fa1}, @code{vaticana-fa2}
395 @lilypond[fragment,relative=1,notime]
396 \override Staff.StaffSymbol #'line-count = #4
397 \override Staff.StaffSymbol #'color = #red
398 \override Staff.LedgerLineSpanner #'color = #red
399 \override Voice.Stem #'transparent = ##t
400 \override NoteHead #'style = #'vaticana.punctum
406 Editio Medicaea style do clef
408 @code{medicaea-do1}, @code{medicaea-do2},@*
411 @lilypond[fragment,relative=1,notime]
412 \override Staff.StaffSymbol #'line-count = #4
413 \override Staff.StaffSymbol #'color = #red
414 \override Staff.LedgerLineSpanner #'color = #red
415 \override Voice.Stem #'transparent = ##t
416 \override NoteHead #'style = #'medicaea.punctum
422 Editio Medicaea style fa clef
424 @code{medicaea-fa1}, @code{medicaea-fa2}
426 @lilypond[fragment,relative=1,notime]
427 \override Staff.StaffSymbol #'line-count = #4
428 \override Staff.StaffSymbol #'color = #red
429 \override Staff.LedgerLineSpanner #'color = #red
430 \override Voice.Stem #'transparent = ##t
431 \override NoteHead #'style = #'medicaea.punctum
437 historic style hufnagel do clef
439 @code{hufnagel-do1}, @code{hufnagel-do2},@*
442 @lilypond[fragment,relative=1,notime]
443 \override Staff.StaffSymbol #'line-count = #4
444 \override Staff.StaffSymbol #'color = #red
445 \override Staff.LedgerLineSpanner #'color = #red
446 \override Voice.Stem #'transparent = ##t
447 \override NoteHead #'style = #'hufnagel.punctum
453 historic style hufnagel fa clef
455 @code{hufnagel-fa1}, @code{hufnagel-fa2}
457 @lilypond[fragment,relative=1,notime]
458 \override Staff.StaffSymbol #'line-count = #4
459 \override Staff.StaffSymbol #'color = #red
460 \override Staff.LedgerLineSpanner #'color = #red
461 \override Voice.Stem #'transparent = ##t
462 \override NoteHead #'style = #'hufnagel.punctum
468 historic style hufnagel combined do/fa clef
470 @code{hufnagel-do-fa}
472 @lilypond[fragment,relative=1,notime]
473 \override Staff.StaffSymbol #'color = #red
474 \override Staff.LedgerLineSpanner #'color = #red
475 \override Voice.Stem #'transparent = ##t
476 \override NoteHead #'style = #'hufnagel.punctum
477 \clef "hufnagel-do-fa"
484 @emph{Modern style} means @qq{as is typeset in contemporary editions of
485 transcribed mensural music.}
487 @emph{Petrucci style} means @qq{inspired by printings published by the
488 famous engraver Petrucci (1466-1539).}
490 @emph{Historic style} means @qq{as was typeset or written in historic
491 editions (other than those of Petrucci).}
493 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
495 Petrucci used C clefs with differently balanced left-side vertical
496 beams, depending on which staff line it is printed.
500 Notation Reference: see @ref{Clef}.
504 The mensural g clef is mapped to the Petrucci g clef.
509 @subsubsection Ancient flags
514 Use the @code{flag-style} property of grob @internalsref{Stem} to
515 select ancient flags. Besides the @code{default} flag style,
516 only the @code{mensural} style is supported
518 @lilypond[quote,fragment,ragged-right,verbatim]
519 \override Stem #'flag-style = #'mensural
520 \override Stem #'thickness = #1.0
521 \override NoteHead #'style = #'mensural
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 s8
524 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
527 Note that the innermost flare of each mensural flag always is
528 vertically aligned with a staff line.
530 There is no particular flag style for neo-mensural notation. Hence,
531 when typesetting the incipit of a transcribed piece of mensural
532 music, the default flag style should be used. There are no flags in
533 Gregorian Chant notation.
537 The attachment of ancient flags to stems is slightly off due to a
538 change in early 2.3.x.
540 Vertically aligning each flag with a staff line assumes that stems
541 always end either exactly on or exactly in the middle between two
542 staff lines. This may not always be true when using advanced layout
543 features of classical notation (which however are typically out of
544 scope for mensural notation).
546 @node Ancient time signatures
547 @subsubsection Ancient time signatures
549 @cindex time signatures
552 There is limited support for mensural time signatures. The
553 glyphs are hard-wired to particular time fractions. In other words,
554 to get a particular mensural signature glyph with the @code{\time n/m}
555 command, @code{n} and @code{m} have to be chosen according to the
558 @lilypond[quote,ragged-right]
563 \remove Staff_symbol_engraver
564 \remove Clef_engraver
565 \remove Time_signature_engraver
569 \set Score.timing = ##f
570 \set Score.barAlways = ##t
571 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
572 #"timesig.neomensural44" }
574 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
575 #"timesig.neomensural22" }
577 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
578 #"timesig.neomensural64" }
580 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
581 #"timesig.neomensural68" }
583 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
584 #"timesig.neomensural32" }
586 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
587 #"timesig.neomensural34" }
589 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
590 #"timesig.neomensural94" }
592 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
593 #"timesig.neomensural98" }
595 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
596 #"timesig.neomensural48" }
598 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
599 #"timesig.neomensural24" }
603 Use the @code{style} property of grob @internalsref{TimeSignature} to
604 select ancient time signatures. Supported styles are
605 @code{neomensural} and @code{mensural}. The above table uses the
606 @code{neomensural} style. This style is appropriate for the
607 incipit of transcriptions of mensural pieces. The @code{mensural}
608 style mimics the look of historical printings of the 16th century.
610 The following examples show the differences in style,
612 @lilypond[ragged-right,fragment,relative=1,quote]
617 c1^\markup { \hspace #-2.0 \typewriter default }
619 \override Staff.TimeSignature #'style = #'numbered
621 c1^\markup { \hspace #-2.0 \typewriter numbered }
623 \override Staff.TimeSignature #'style = #'mensural
625 c1^\markup { \hspace #-2.0 \typewriter mensural }
627 \override Staff.TimeSignature #'style = #'neomensural
629 c1^\markup { \hspace #-2.0 \typewriter neomensural }
630 \override Staff.TimeSignature #'style = #'single-digit
632 c1^\markup { \hspace #-2.0 \typewriter single-digit }
638 This manual: @ref{Time signature}, gives a general introduction to
639 the use of time signatures.
643 Ratios of note durations do not change with the time signature. For
644 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
645 be made by hand, by setting
648 breveTP = #(ly:make-duration -1 0 3 2)
654 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
656 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
657 addressable with @code{\time}. Use a @code{\markup} instead
660 @node Additional note signs
661 @subsection Additional note signs
664 * Ancient articulations::
668 * White mensural ligatures::
669 * Gregorian square neumes ligatures::
673 @node Ancient articulations
674 @subsubsection Ancient articulations
676 @cindex articulations
678 In addition to the standard articulation signs described in
679 section @ref{Articulations and ornamentations}, articulation signs
680 for ancient notation are provided. These are specifically
681 designed for use with notation in Editio Vaticana style.
683 @lilypond[quote,ragged-right,verbatim]
684 \include "gregorian-init.ly"
687 \override TextScript #'font-family = #'typewriter
688 \override TextScript #'font-shape = #'upright
689 \override Script #'padding = #-0.1
690 a\ictus_"ictus" \break
691 a\circulus_"circulus" \break
692 a\semicirculus_"semicirculus" \break
693 a\accentus_"accentus" \break
694 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
701 Some articulations are vertically placed too closely to the
702 corresponding note heads.
704 The episem line is not displayed in many cases. If it is displayed,
705 the right end of the episem line is often too far to the right.
708 @subsubsection Custodes
713 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
714 symbol that appears at the end of a staff. It anticipates the pitch
715 of the first note(s) of the following line thus helping the performer
716 to manage line breaks during performance.
718 Custodes were frequently used in music notation until the 17th
719 century. Nowadays, they have survived only in a few particular forms
720 of musical notation such as contemporary editions of Gregorian chant
721 like the @emph{editio vaticana}. There are different custos glyphs
722 used in different flavors of notational style.
724 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
725 @internalsref{Staff} context when declaring the @code{\layout} block,
726 as shown in the following example
732 \consists Custos_engraver
733 Custos \override #'style = #'mensural
738 The result looks like this
740 @lilypond[quote,ragged-right]
744 \override Staff.Custos #'style = #'mensural
749 \context { \Staff \consists Custos_engraver }
754 The custos glyph is selected by the @code{style} property. The styles
755 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
756 @code{mensural}. They are demonstrated in the following fragment
758 @lilypond[quote,ragged-right,fragment]
759 \new Lyrics \lyricmode {
761 \typewriter "vaticana"
762 \line { " " \musicglyph #"custodes.vaticana.u0" }
765 \typewriter "medicaea"
766 \line { " " \musicglyph #"custodes.medicaea.u0" }
769 \typewriter "hufnagel"
770 \line { " " \musicglyph #"custodes.hufnagel.u0" }
773 \typewriter "mensural"
774 \line { " " \musicglyph #"custodes.mensural.u0" }
781 Internals Reference: @internalsref{Custos}.
784 @c @lsr{ancient,custodes@/.ly}.
788 @subsubsection Divisiones
794 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
795 @q{division}) is a staff context symbol that is used to structure
796 Gregorian music into phrases and sections. The musical meaning of
797 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
798 can be characterized as short, medium, and long pause, somewhat like
799 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
800 only marks the end of a chant, but is also frequently used within a
801 single antiphonal/responsorial chant to mark the end of each section.
804 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
805 contains definitions that you can apply by just inserting
806 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
807 and @code{\finalis} at proper places in the input. Some editions use
808 @emph{virgula} or @emph{caesura} instead of divisio minima.
809 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
812 @lilypondfile[quote,ragged-right]{divisiones.ly}
820 @funindex \divisioMinima
821 @code{\divisioMinima},
822 @funindex \divisioMaior
823 @code{\divisioMaior},
824 @funindex \divisioMaxima
825 @code{\divisioMaxima},
831 Notation Reference: @ref{Breath marks}.
833 Internals Reference: @internalsref{BreathingSign}.
835 Examples: @c @lsr{expressive,breathing-sign.ly}.
839 @subsubsection Ligatures
843 @c TODO: Should double check if I recalled things correctly when I wrote
844 @c down the following paragraph by heart.
846 A ligature is a graphical symbol that represents at least two distinct
847 notes. Ligatures originally appeared in the manuscripts of Gregorian
848 chant notation to denote ascending or descending sequences of notes.
850 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
851 Some ligature styles may need additional input syntax specific for
852 this particular type of ligature. By default, the
853 @internalsref{LigatureBracket} engraver just puts a square bracket
856 @lilypond[quote,ragged-right,verbatim]
864 To select a specific style of ligatures, a proper ligature engraver
865 has to be added to the @internalsref{Voice} context, as explained in
866 the following subsections. Only white mensural ligatures
867 are supported with certain limitations.
873 Ligatures need special spacing that has not yet been implemented. As
874 a result, there is too much space between ligatures most of the time,
875 and line breaking often is unsatisfactory. Also, lyrics do not
876 correctly align with ligatures.
878 Accidentals must not be printed within a ligature, but instead need to
879 be collected and printed in front of it.
881 The syntax still uses the deprecated infix style @code{\[ music expr
882 \]}. For consistency reasons, it will eventually be changed to
883 postfix style @code{note\[ ... note\]}. Alternatively, the file
884 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
887 \ligature @var{music expr}
889 with the same effect and is believed to be stable.
892 * White mensural ligatures::
893 * Gregorian square neumes ligatures::
896 @node White mensural ligatures
897 @subsubsection White mensural ligatures
899 @cindex Mensural ligatures
900 @cindex White mensural ligatures
902 There is limited support for white mensural ligatures.
904 To engrave white mensural ligatures, in the layout block put the
905 @internalsref{Mensural_ligature_engraver} into the
906 @internalsref{Voice} context, and remove the
907 @internalsref{Ligature_bracket_engraver}, like this
913 \remove Ligature_bracket_engraver
914 \consists Mensural_ligature_engraver
919 There is no additional input language to describe the shape of a
920 white mensural ligature. The shape is rather determined solely from
921 the pitch and duration of the enclosed notes. While this approach may
922 take a new user a while to get accustomed to, it has the great advantage
923 that the full musical information of the ligature is known internally.
924 This is not only required for correct MIDI output, but also allows for
925 automatic transcription of the ligatures.
930 \set Score.timing = ##f
931 \set Score.defaultBarType = "empty"
932 \override NoteHead #'style = #'neomensural
933 \override Staff.TimeSignature #'style = #'neomensural
936 \[ d\longa c\breve f e d \]
937 \[ c'\maxima d'\longa \]
940 @lilypond[quote,ragged-right]
943 \set Score.timing = ##f
944 \set Score.defaultBarType = "empty"
945 \override NoteHead #'style = #'neomensural
946 \override Staff.TimeSignature #'style = #'neomensural
949 \[ d\longa c\breve f e d \]
950 \[ c'\maxima d'\longa \]
956 \remove Ligature_bracket_engraver
957 \consists Mensural_ligature_engraver
963 Without replacing @internalsref{Ligature_bracket_engraver} with
964 @internalsref{Mensural_ligature_engraver}, the same music transcribes
967 @lilypond[quote,ragged-right]
969 \set Score.timing = ##f
970 \set Score.defaultBarType = "empty"
971 \override NoteHead #'style = #'neomensural
972 \override Staff.TimeSignature #'style = #'neomensural
975 \[ d\longa c\breve f e d \]
976 \[ c'\maxima d'\longa \]
983 Horizontal spacing is poor.
985 @node Gregorian square neumes ligatures
986 @subsubsection Gregorian square neumes ligatures
988 @cindex Square neumes ligatures
989 @cindex Gregorian square neumes ligatures
991 There is limited support for Gregorian square neumes notation
992 (following the style of the Editio Vaticana). Core ligatures can
993 already be typeset, but essential issues for serious typesetting are
994 still lacking, such as (among others) horizontal alignment of multiple
995 ligatures, lyrics alignment and proper handling of accidentals.
998 The following table contains the extended neumes table of the 2nd
999 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
1000 1983 by the monks of Solesmes.
1002 @multitable @columnfractions .4 .2 .2 .2
1019 @c TODO: \layout block is identical in all of the below examples.
1020 @c Therefore, it should somehow be included rather than duplicated all
1023 @c why not make variables in ly/engraver-init.ly? --hwn
1025 @c Because it's just used to typeset plain notes without
1026 @c a staff for demonstration purposes rather than something
1027 @c special of Gregorian chant notation. --jr
1032 @lilypond[staffsize=26,line-width=1.5\cm]
1033 \include "gregorian-init.ly"
1038 \noBreak s^\markup {"a"} \noBreak
1040 % Punctum Inclinatum
1042 \noBreak s^\markup {"b"}
1044 \layout { \neumeDemoLayout }}
1047 @lilypond[staffsize=26,line-width=2.5\cm]
1048 \include "gregorian-init.ly"
1051 % Punctum Auctum Ascendens
1052 \[ \auctum \ascendens b \]
1053 \noBreak s^\markup {"c"} \noBreak
1055 % Punctum Auctum Descendens
1056 \[ \auctum \descendens b \]
1057 \noBreak s^\markup {"d"} \noBreak
1059 % Punctum Inclinatum Auctum
1060 \[ \inclinatum \auctum b \]
1061 \noBreak s^\markup {"e"}
1063 \layout { \neumeDemoLayout }}
1066 @lilypond[staffsize=26,line-width=1.0\cm]
1067 \include "gregorian-init.ly"
1070 % Punctum Inclinatum Parvum
1071 \[ \inclinatum \deminutum b \]
1072 \noBreak s^\markup {"f"}
1074 \layout { \neumeDemoLayout }}
1080 @lilypond[staffsize=26,line-width=1.0\cm]
1081 \include "gregorian-init.ly"
1086 \noBreak s^\markup {"g"}
1088 \layout { \neumeDemoLayout }}
1094 @code{3. Apostropha vel Stropha}
1096 @lilypond[staffsize=26,line-width=1.0\cm]
1097 \include "gregorian-init.ly"
1102 \noBreak s^\markup {"h"}
1104 \layout { \neumeDemoLayout }}
1107 @lilypond[staffsize=26,line-width=1.0\cm]
1108 \include "gregorian-init.ly"
1112 \[ \stropha \auctum b \]
1113 \noBreak s^\markup {"i"}
1115 \layout { \neumeDemoLayout }}
1122 @lilypond[staffsize=26,line-width=1.0\cm]
1123 \include "gregorian-init.ly"
1128 \noBreak s^\markup {"j"}
1130 \layout { \neumeDemoLayout }}
1136 @code{5. Clivis vel Flexa}
1138 @lilypond[staffsize=26,line-width=1.0\cm]
1139 \include "gregorian-init.ly"
1146 \layout { \neumeDemoLayout }}
1149 @lilypond[staffsize=26,line-width=2.0\cm]
1150 \include "gregorian-init.ly"
1153 % Clivis Aucta Descendens
1154 \[ b \flexa \auctum \descendens g \]
1155 \noBreak s^\markup {"l"} \noBreak
1157 % Clivis Aucta Ascendens
1158 \[ b \flexa \auctum \ascendens g \]
1159 \noBreak s^\markup {"m"}
1161 \layout { \neumeDemoLayout }}
1164 @lilypond[staffsize=26,line-width=1.0\cm]
1165 \include "gregorian-init.ly"
1169 \[ b \flexa \deminutum g \]
1172 \layout { \neumeDemoLayout }}
1176 @code{6. Podatus vel Pes}
1178 @lilypond[staffsize=26,line-width=1.0\cm]
1179 \include "gregorian-init.ly"
1186 \layout { \neumeDemoLayout }}
1189 @lilypond[staffsize=26,line-width=2.0\cm]
1190 \include "gregorian-init.ly"
1193 % Pes Auctus Descendens
1194 \[ g \pes \auctum \descendens b \]
1195 \noBreak s^\markup {"p"} \noBreak
1197 % Pes Auctus Ascendens
1198 \[ g \pes \auctum \ascendens b \]
1199 \noBreak s^\markup {"q"}
1201 \layout { \neumeDemoLayout }}
1204 @lilypond[staffsize=26,line-width=1.0\cm]
1205 \include "gregorian-init.ly"
1209 \[ g \pes \deminutum b \]
1212 \layout { \neumeDemoLayout }}
1216 @code{7. Pes Quassus}
1218 @lilypond[staffsize=26,line-width=1.0\cm]
1219 \include "gregorian-init.ly"
1223 \[ \oriscus g \pes \virga b \]
1226 \layout { \neumeDemoLayout }}
1229 @lilypond[staffsize=26,line-width=1.0\cm]
1230 \include "gregorian-init.ly"
1233 % Pes Quassus Auctus Descendens
1234 \[ \oriscus g \pes \auctum \descendens b \]
1237 \layout { \neumeDemoLayout }}
1242 @code{8. Quilisma Pes}
1244 @lilypond[staffsize=26,line-width=1.0\cm]
1245 \include "gregorian-init.ly"
1249 \[ \quilisma g \pes b \]
1252 \layout { \neumeDemoLayout }}
1255 @lilypond[staffsize=26,line-width=1.0\cm]
1256 \include "gregorian-init.ly"
1259 % Quilisma Pes Auctus Descendens
1260 \[ \quilisma g \pes \auctum \descendens b \]
1263 \layout { \neumeDemoLayout }}
1268 @code{9. Podatus Initio Debilis}
1270 @lilypond[staffsize=26,line-width=1.0\cm]
1271 \include "gregorian-init.ly"
1274 % Pes Initio Debilis
1275 \[ \deminutum g \pes b \]
1278 \layout { \neumeDemoLayout }}
1281 @lilypond[staffsize=26,line-width=1.0\cm]
1282 \include "gregorian-init.ly"
1285 % Pes Auctus Descendens Initio Debilis
1286 \[ \deminutum g \pes \auctum \descendens b \]
1289 \layout { \neumeDemoLayout }}
1296 @lilypond[staffsize=26,line-width=1.0\cm]
1297 \include "gregorian-init.ly"
1301 \[ a \pes b \flexa g \]
1304 \layout { \neumeDemoLayout }}
1307 @lilypond[staffsize=26,line-width=1.0\cm]
1308 \include "gregorian-init.ly"
1311 % Torculus Auctus Descendens
1312 \[ a \pes b \flexa \auctum \descendens g \]
1315 \layout { \neumeDemoLayout }}
1318 @lilypond[staffsize=26,line-width=1.0\cm]
1319 \include "gregorian-init.ly"
1322 % Torculus Deminutus
1323 \[ a \pes b \flexa \deminutum g \]
1326 \layout { \neumeDemoLayout }}
1330 @code{11. Torculus Initio Debilis}
1332 @lilypond[staffsize=26,line-width=1.0\cm]
1333 \include "gregorian-init.ly"
1336 % Torculus Initio Debilis
1337 \[ \deminutum a \pes b \flexa g \]
1340 \layout { \neumeDemoLayout }}
1343 @lilypond[staffsize=26,line-width=1.0\cm]
1344 \include "gregorian-init.ly"
1347 % Torculus Auctus Descendens Initio Debilis
1348 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1351 \layout { \neumeDemoLayout }}
1354 @lilypond[staffsize=26,line-width=1.0\cm]
1355 \include "gregorian-init.ly"
1358 % Torculus Deminutus Initio Debilis
1359 \[ \deminutum a \pes b \flexa \deminutum g \]
1362 \layout { \neumeDemoLayout }}
1366 @code{12. Porrectus}
1368 @lilypond[staffsize=26,line-width=1.0\cm]
1369 \include "gregorian-init.ly"
1373 \[ a \flexa g \pes b \]
1376 \layout { \neumeDemoLayout }}
1379 @lilypond[staffsize=26,line-width=1.0\cm]
1380 \include "gregorian-init.ly"
1383 % Porrectus Auctus Descendens
1384 \[ a \flexa g \pes \auctum \descendens b \]
1387 \layout { \neumeDemoLayout }}
1390 @lilypond[staffsize=26,line-width=1.0\cm]
1391 \include "gregorian-init.ly"
1394 % Porrectus Deminutus
1395 \[ a \flexa g \pes \deminutum b \]
1398 \layout { \neumeDemoLayout }}
1404 @lilypond[staffsize=26,line-width=1.0\cm]
1405 \include "gregorian-init.ly"
1409 \[ \virga b \inclinatum a \inclinatum g \]
1412 \layout { \neumeDemoLayout }
1416 @lilypond[staffsize=26,line-width=1.0\cm]
1417 \include "gregorian-init.ly"
1421 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1424 \layout { \neumeDemoLayout }}
1427 @lilypond[staffsize=26,line-width=1.0\cm]
1428 \include "gregorian-init.ly"
1431 % Climacus Deminutus
1432 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1435 \layout { \neumeDemoLayout }}
1439 @code{14. Scandicus}
1441 @lilypond[staffsize=26,line-width=1.0\cm]
1442 \include "gregorian-init.ly"
1446 \[ g \pes a \virga b \]
1449 \layout { \neumeDemoLayout }}
1452 @lilypond[staffsize=26,line-width=1.0\cm]
1453 \include "gregorian-init.ly"
1456 % Scandicus Auctus Descendens
1457 \[ g \pes a \pes \auctum \descendens b \]
1460 \layout { \neumeDemoLayout }}
1463 @lilypond[staffsize=26,line-width=1.0\cm]
1464 \include "gregorian-init.ly"
1467 % Scandicus Deminutus
1468 \[ g \pes a \pes \deminutum b \]
1471 \layout { \neumeDemoLayout }}
1477 @lilypond[staffsize=26,line-width=1.0\cm]
1478 \include "gregorian-init.ly"
1482 \[ g \oriscus a \pes \virga b \]
1485 \layout { \neumeDemoLayout }}
1488 @lilypond[staffsize=26,line-width=1.0\cm]
1489 \include "gregorian-init.ly"
1492 % Salicus Auctus Descendens
1493 \[ g \oriscus a \pes \auctum \descendens b \]
1496 \layout { \neumeDemoLayout }}
1503 @lilypond[staffsize=26,line-width=1.0\cm]
1504 \include "gregorian-init.ly"
1508 \[ \stropha b \stropha b \stropha a \]
1511 \layout { \neumeDemoLayout }
1520 Unlike most other neumes notation systems, the input language for
1521 neumes does not reflect the typographical appearance, but is designed
1522 to focus on musical meaning. For example, @code{\[ a \pes b
1523 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1524 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1525 curved flexa shape and only a single Punctum head. There is no
1526 command to explicitly typeset the curved flexa shape; the decision of
1527 when to typeset a curved flexa shape is based on the musical
1528 input. The idea of this approach is to separate the musical aspects
1529 of the input from the notation style of the output. This way, the
1530 same input can be reused to typeset the same music in a different
1531 style of Gregorian chant notation.
1533 The following table shows the code fragments that produce the
1534 ligatures in the above neumes table. The letter in the first column
1535 in each line of the below table indicates to which ligature in the
1536 above table it refers. The second column gives the name of the
1537 ligature. The third column shows the code fragment that produces this
1538 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1540 @multitable @columnfractions .02 .31 .67
1560 @code{\[ \inclinatum b \]}
1568 @code{\[ \auctum \ascendens b \]}
1576 @code{\[ \auctum \descendens b \]}
1581 Punctum Inclinatum@*
1584 @code{\[ \inclinatum \auctum b \]}
1589 Punctum Inclinatum@*
1591 @code{\[ \inclinatum \deminutum b \]}
1598 @code{\[ \virga b \]}
1605 @code{\[ \stropha b \]}
1612 @code{\[ \stropha \auctum b \]}
1619 @code{\[ \oriscus b \]}
1626 @code{\[ b \flexa g \]}
1634 @code{\[ b \flexa \auctum \descendens g \]}
1642 @code{\[ b \flexa \auctum \ascendens g \]}
1649 @code{\[ b \flexa \deminutum g \]}
1656 @code{\[ g \pes b \]}
1664 @code{\[ g \pes \auctum \descendens b \]}
1672 @code{\[ g \pes \auctum \ascendens b \]}
1679 @code{\[ g \pes \deminutum b \]}
1686 @code{\[ \oriscus g \pes \virga b \]}
1692 Auctus Descendens @tab
1693 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1700 @code{\[ \quilisma g \pes b \]}
1708 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1715 @code{\[ \deminutum g \pes b \]}
1720 Pes Auctus Descendens@*
1723 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1730 @code{\[ a \pes b \flexa g \]}
1738 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1745 @code{\[ a \pes b \flexa \deminutum g \]}
1750 Torculus Initio Debilis
1752 @code{\[ \deminutum a \pes b \flexa g \]}
1758 Descendens Initio Debilis
1760 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1765 Torculus Deminutus@*
1768 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1775 @code{\[ a \flexa g \pes b \]}
1783 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1790 @code{\[ a \flexa g \pes \deminutum b \]}
1797 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1804 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1811 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1818 @code{\[ g \pes a \virga b \]}
1826 @code{\[ g \pes a \pes \auctum \descendens b \]}
1833 @code{\[ g \pes a \pes \deminutum b \]}
1840 @code{\[ g \oriscus a \pes \virga b \]}
1845 Salicus Auctus Descendens
1847 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1854 @code{\[ \stropha b \stropha b \stropha a \]}
1857 The ligatures listed above mainly serve as a limited, but still
1858 representative pool of Gregorian ligature examples. Virtually, within
1859 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1860 may be accumulated to form a single ligature, and head prefixes like
1861 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1862 etc. may be mixed in as desired. The use of the set of rules that
1863 underlies the construction of the ligatures in the above table is
1864 accordingly extrapolated. This way, infinitely many different
1865 ligatures can be created.
1867 Augmentum dots, also called @emph{morae}, are added with the music
1868 function @code{\augmentum}. Note that @code{\augmentum} is
1869 implemented as a unary music function rather than as head prefix. It
1870 applies to the immediately following music expression only. That is,
1871 @code{\augmentum \virga c} will have no visible effect. Instead, say
1872 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1873 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1874 @code{\augmentum a \augmentum g}.
1876 @lilypond[quote,ragged-right,verbatim]
1877 \include "gregorian-init.ly"
1879 \new VaticanaVoice {
1880 \[ \augmentum a \flexa \augmentum g \]
1888 The following head prefixes are supported
1894 @funindex \inclinatum
1898 @funindex \descendens
1900 @funindex \ascendens
1906 @funindex \deminutum
1913 Head prefixes can be accumulated, though restrictions apply. For
1914 example, either @code{\descendens} or @code{\ascendens} can be applied
1915 to a head, but not both to the same head.
1919 Two adjacent heads can be tied together with the @code{\pes} and
1920 @code{\flexa} infix commands for a rising and falling line of melody,
1923 @funindex \augmentum
1924 Use the unary music function @code{\augmentum} to add augmentum dots.
1928 When an @code{\augmentum} dot appears at the end of the last staff
1929 within a ligature, it is sometimes vertically placed wrong. As a
1930 workaround, add an additional skip note (e.g. @code{s8}) as last note
1933 @code{\augmentum} should be implemented as a head prefix rather than a
1934 unary music function, such that @code{\augmentum} can be intermixed
1935 with head prefixes in arbitrary order.
1938 @node Pre-defined contexts
1939 @subsection Pre-defined contexts
1942 * Gregorian Chant contexts::
1943 * Mensural contexts::
1947 @node Gregorian Chant contexts
1948 @subsubsection Gregorian Chant contexts
1950 @cindex VaticanaVoiceContext
1951 @cindex VaticanaStaffContext
1953 The predefined @code{VaticanaVoiceContext} and
1954 @code{VaticanaStaffContext} can be used to engrave a piece of
1955 Gregorian Chant in the style of the Editio Vaticana. These contexts
1956 initialize all relevant context properties and grob properties to
1957 proper values, so you can immediately go ahead entering the chant, as
1958 the following excerpt demonstrates
1960 @lilypond[quote,ragged-right,packed,verbatim]
1961 \include "gregorian-init.ly"
1964 \new VaticanaVoice = "cantus" {
1965 \[ c'\melisma c' \flexa a \]
1966 \[ a \flexa \deminutum g\melismaEnd \]
1968 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1969 c' \divisioMinima \break
1970 \[ c'\melisma c' \flexa a \]
1971 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1973 \new Lyrics \lyricsto "cantus" {
1974 San- ctus, San- ctus, San- ctus
1981 @node Mensural contexts
1982 @subsubsection Mensural contexts
1984 @cindex MensuralVoiceContext
1985 @cindex MensuralStaffContext
1987 The predefined @code{MensuralVoiceContext} and
1988 @code{MensuralStaffContext} can be used to engrave a piece in
1989 mensural style. These contexts initialize all relevant context
1990 properties and grob properties to proper values, so you can
1991 immediately go ahead entering the chant, as the following excerpt
1994 @lilypond[quote,ragged-right,verbatim]
1997 \new MensuralVoice = "discantus" \transpose c c' {
1998 \override Score.BarNumber #'transparent = ##t {
1999 c'1\melisma bes a g\melismaEnd
2001 \[ f1\melisma a c'\breve d'\melismaEnd \]
2003 c'\breve\melisma a1 g1\melismaEnd
2004 fis\longa^\signumcongruentiae
2007 \new Lyrics \lyricsto "discantus" {
2008 San -- ctus, San -- ctus, San -- ctus
2014 @node Transcribing ancient music
2015 @subsection Transcribing ancient music
2018 * Ancient and modern from one source::
2020 * Mensurstriche layout::
2021 * Transcribing Gregorian chant::
2025 @node Ancient and modern from one source
2026 @subsubsection Ancient and modern from one source
2029 @c Here among others the snippets about reducing note length
2034 @subsubsection Incipits
2037 @c clefs, mensuration signs etc from lsr and -user
2041 @node Mensurstriche layout
2042 @subsubsection Mensurstriche layout
2045 @c from lsr and -user
2049 @node Transcribing Gregorian chant
2050 @subsubsection Transcribing Gregorian chant
2053 @c extract from 1.6.1.1
2057 @node Editorial markings
2058 @subsection Editorial markings
2061 * Annotational accidentals::
2062 * Baroque rhythmic notation::
2066 @node Annotational accidentals
2067 @subsubsection Annotational accidentals
2069 In European music from before about 1600, singers were often
2070 expected to chromatically alter notes at their own initiative.
2071 This is called @q{Musica Ficta}. In modern transcriptions, these
2072 accidentals are usually printed over the note.
2074 @cindex Accidental, musica ficta
2075 @cindex Musica ficta
2077 Support for such suggested accidentals is included, and can be
2078 switched on by setting @code{suggestAccidentals} to true.
2080 @funindex suggestAccidentals
2082 @lilypond[verbatim,fragment,relative=1]
2084 \set suggestAccidentals = ##t
2088 This will treat @emph{every} subsequent accidentals as
2089 @emph{musica ficta} until it is unset with @code{\set
2090 suggestAccidentals = ##f}. A more convenient way is to use
2093 @lilypond[verbatim,fragment,relative=1]
2095 \once \set suggestAccidentals = ##t
2101 Internals Reference: @internalsref{Accidental_engraver} engraver and
2102 the @internalsref{AccidentalSuggestion} object.
2105 @node Baroque rhythmic notation
2106 @subsubsection Baroque rhythmic notation