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
20 Support for ancient notation includes features for mensural notation
21 and Gregorian Chant notation. There is also limited support for
22 figured bass notation, see @ref{Figured bass}.
24 Many graphical objects provide a @code{style} property, see
27 @ref{Ancient note heads},
29 @ref{Ancient accidentals},
37 @ref{Ancient time signatures}.
40 By manipulating such a grob property, the typographical appearance of
41 the affected graphical objects can be accommodated for a specific
42 notation flavor without the need for introducing any new notational
45 In addition to the standard articulation signs described in
46 section @ref{Articulations and ornamentations}, specific
47 articulation signs for ancient notation are provided.
51 @ref{Ancient articulations}
54 Other aspects of ancient notation can not that easily be expressed
55 in terms of just changing a style property of a graphical object or
56 adding articulation signs. Some notational concepts are introduced
57 specifically for ancient notation,
68 If this all is too much of documentation for you, and you just want to
69 dive into typesetting without worrying too much about the details on
70 how to customize a context, you may have a look at the predefined
71 contexts. Use them to set up predefined style-specific voice and
72 staff contexts, and directly go ahead with the note entry,
76 @ref{Gregorian Chant contexts},
78 @ref{Mensural contexts}.
81 There is limited support for figured bass notation which came
82 up during the baroque period.
89 @c Here are all subtopics at a glance:
92 * Alternative note signs for ancient music::
93 * Additional note signs for ancient music::
94 * Pre-defined contexts::
95 * Musica ficta accidentals::
98 @node Alternative note signs for ancient music
99 @subsection Alternative note signs for ancient music
102 * Ancient note heads::
103 * Ancient accidentals::
107 * Ancient time signatures::
110 @node Ancient note heads
111 @subsubsection Ancient note heads
113 @cindex note heads, ancient
115 For ancient notation, a note head style other than the @code{default}
116 style may be chosen. This is accomplished by setting the @code{style}
117 property of the @internalsref{NoteHead} object to @code{baroque},
118 @code{neomensural}, @code{mensural} or @code{petrucci}. The
119 @code{baroque} style differs from the @code{default} style only in
120 using a square shape for @code{\breve} note heads. The
121 @code{neomensural} style differs from the @code{baroque} style in that
122 it uses rhomboidal heads for whole notes and all smaller durations.
123 Stems are centered on the note heads. This style is particularly
124 useful when transcribing mensural music, e.g., for the incipit. The
125 @code{mensural} style produces note heads that mimic the look of note
126 heads in historic printings of the 16th century. Finally, the
127 @code{petrucci} style also mimics historic printings, but uses bigger
130 The following example demonstrates the @code{neomensural} style
132 @lilypond[quote,fragment,ragged-right,verbatim]
133 \set Score.skipBars = ##t
134 \override NoteHead #'style = #'neomensural
135 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
138 When typesetting a piece in Gregorian Chant notation, the
139 @internalsref{Gregorian_ligature_engraver} will automatically select
140 the proper note heads, so there is no need to explicitly set the
141 note head style. Still, the note head style can be set, e.g., to
142 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
143 @internalsref{Mensural_ligature_engraver} is used to automatically
144 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
149 @ref{Note head styles}, gives an overview over all available note head styles.
152 @node Ancient accidentals
153 @subsubsection Ancient accidentals
158 Use the @code{glyph-name-alist} property of grob
159 @internalsref{Accidental} and @internalsref{KeySignature} to select
162 @lilypond[quote,ragged-right,staffsize=26]
169 \line { " " \musicglyph #"accidentals.vaticana-1"
170 " " \musicglyph #"accidentals.vaticana0" }
174 \line { " " \musicglyph #"accidentals.medicaea-1" }
178 \line { " " \musicglyph #"accidentals.hufnagel-1" }
182 \line { " " \musicglyph #"accidentals.mensural-1"
183 " " \musicglyph #"accidentals.mensural1" }
189 \context { \Score \remove "Bar_number_engraver" }
191 \remove "Clef_engraver"
192 \remove "Key_engraver"
193 \remove "Time_signature_engraver"
194 \remove "Staff_symbol_engraver"
195 \override VerticalAxisGroup #'minimum-Y-extent = ##f
201 As shown, not all accidentals are supported by each style. When
202 trying to access an unsupported accidental, LilyPond will switch to a
203 different style, as demonstrated in
204 @c @lsr{ancient,ancient-accidentals.ly}.
206 Similarly to local accidentals, the style of the key signature can be
207 controlled by the @code{glyph-name-alist} property of the
208 @internalsref{KeySignature} grob.
212 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
213 @ref{Automatic accidentals}, give a general introduction of the use of
214 accidentals. @ref{Key signature}, gives a general introduction of
215 the use of key signatures.
217 Internals Reference: @internalsref{KeySignature}.
219 Examples: @c @lsrdir{ancient}
222 @subsubsection Ancient rests
224 @cindex rests, ancient
227 Use the @code{style} property of grob @internalsref{Rest} to select
228 ancient rests. Supported styles are @code{classical},
229 @code{neomensural}, and @code{mensural}. @code{classical} differs
230 from the @code{default} style only in that the quarter rest looks like
231 a horizontally mirrored 8th rest. The @code{neomensural} style suits
232 well for, e.g., the incipit of a transcribed mensural piece of music.
233 The @code{mensural} style finally mimics the appearance of rests as
234 in historic prints of the 16th century.
236 The following example demonstrates the @code{neomensural} style
238 @lilypond[quote,fragment,ragged-right,verbatim]
239 \set Score.skipBars = ##t
240 \override Rest #'style = #'neomensural
241 r\longa r\breve r1 r2 r4 r8 r16
244 There are no 32th and 64th rests specifically for the mensural or
245 neo-mensural style. Instead, the rests from the default style will be
246 taken. See @c @lsr{pitches,rests} for a chart of all rests.
248 There are no rests in Gregorian Chant notation; instead, it uses
253 Notation Reference: @ref{Rests}, gives a general introduction into the use of
258 @subsubsection Ancient clefs
263 LilyPond supports a variety of clefs, many of them ancient.
265 The following table shows all ancient clefs that are supported via the
266 @code{\clef} command. Some of the clefs use the same glyph, but
267 differ only with respect to the line they are printed on. In such
268 cases, a trailing number in the name is used to enumerate these clefs.
269 Still, you can manually force a clef glyph to be typeset on an
270 arbitrary line, as described in @ref{Clef}. The note printed to the
271 right side of each clef in the example column denotes the @code{c'}
272 with respect to that clef.
274 @multitable @columnfractions .4 .4 .2
283 modern style mensural C clef
285 @code{neomensural-c1}, @code{neomensural-c2},@*
286 @code{neomensural-c3}, @code{neomensural-c4}
288 @lilypond[fragment,relative=1,notime]
289 \clef "neomensural-c2" c
293 petrucci style mensural C clefs, for use on different staff lines
294 (the examples show the 2nd staff line C clef)
296 @code{petrucci-c1}, @code{petrucci-c2},@*
297 @code{petrucci-c3}, @code{petrucci-c4},@*
300 @lilypond[fragment,relative=1,notime]
302 \override NoteHead #'style = #'mensural
307 petrucci style mensural F clef
311 @lilypond[fragment,relative=1,notime]
313 \override NoteHead #'style = #'mensural
318 petrucci style mensural G clef
322 @lilypond[fragment,relative=1,notime]
324 \override NoteHead #'style = #'mensural
329 historic style mensural C clef
331 @code{mensural-c1}, @code{mensural-c2},@*
332 @code{mensural-c3}, @code{mensural-c4}
334 @lilypond[fragment,relative=1,notime]
336 \override NoteHead #'style = #'mensural
341 historic style mensural F clef
345 @lilypond[fragment,relative=1,notime]
347 \override NoteHead #'style = #'mensural
352 historic style mensural G clef
356 @lilypond[fragment,relative=1,notime]
358 \override NoteHead #'style = #'mensural
363 Editio Vaticana style do clef
365 @code{vaticana-do1}, @code{vaticana-do2},@*
368 @lilypond[fragment,relative=1,notime]
369 \override Staff.StaffSymbol #'line-count = #4
370 \override Staff.StaffSymbol #'color = #red
371 \override Staff.LedgerLineSpanner #'color = #red
372 \override Voice.Stem #'transparent = ##t
373 \override NoteHead #'style = #'vaticana.punctum
379 Editio Vaticana style fa clef
381 @code{vaticana-fa1}, @code{vaticana-fa2}
383 @lilypond[fragment,relative=1,notime]
384 \override Staff.StaffSymbol #'line-count = #4
385 \override Staff.StaffSymbol #'color = #red
386 \override Staff.LedgerLineSpanner #'color = #red
387 \override Voice.Stem #'transparent = ##t
388 \override NoteHead #'style = #'vaticana.punctum
394 Editio Medicaea style do clef
396 @code{medicaea-do1}, @code{medicaea-do2},@*
399 @lilypond[fragment,relative=1,notime]
400 \override Staff.StaffSymbol #'line-count = #4
401 \override Staff.StaffSymbol #'color = #red
402 \override Staff.LedgerLineSpanner #'color = #red
403 \override Voice.Stem #'transparent = ##t
404 \override NoteHead #'style = #'medicaea.punctum
410 Editio Medicaea style fa clef
412 @code{medicaea-fa1}, @code{medicaea-fa2}
414 @lilypond[fragment,relative=1,notime]
415 \override Staff.StaffSymbol #'line-count = #4
416 \override Staff.StaffSymbol #'color = #red
417 \override Staff.LedgerLineSpanner #'color = #red
418 \override Voice.Stem #'transparent = ##t
419 \override NoteHead #'style = #'medicaea.punctum
425 historic style hufnagel do clef
427 @code{hufnagel-do1}, @code{hufnagel-do2},@*
430 @lilypond[fragment,relative=1,notime]
431 \override Staff.StaffSymbol #'line-count = #4
432 \override Staff.StaffSymbol #'color = #red
433 \override Staff.LedgerLineSpanner #'color = #red
434 \override Voice.Stem #'transparent = ##t
435 \override NoteHead #'style = #'hufnagel.punctum
441 historic style hufnagel fa clef
443 @code{hufnagel-fa1}, @code{hufnagel-fa2}
445 @lilypond[fragment,relative=1,notime]
446 \override Staff.StaffSymbol #'line-count = #4
447 \override Staff.StaffSymbol #'color = #red
448 \override Staff.LedgerLineSpanner #'color = #red
449 \override Voice.Stem #'transparent = ##t
450 \override NoteHead #'style = #'hufnagel.punctum
456 historic style hufnagel combined do/fa clef
458 @code{hufnagel-do-fa}
460 @lilypond[fragment,relative=1,notime]
461 \override Staff.StaffSymbol #'color = #red
462 \override Staff.LedgerLineSpanner #'color = #red
463 \override Voice.Stem #'transparent = ##t
464 \override NoteHead #'style = #'hufnagel.punctum
465 \clef "hufnagel-do-fa"
472 @emph{Modern style} means @qq{as is typeset in contemporary editions of
473 transcribed mensural music.}
475 @emph{Petrucci style} means @qq{inspired by printings published by the
476 famous engraver Petrucci (1466-1539).}
478 @emph{Historic style} means @qq{as was typeset or written in historic
479 editions (other than those of Petrucci).}
481 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
483 Petrucci used C clefs with differently balanced left-side vertical
484 beams, depending on which staff line it is printed.
488 Notation Reference: see @ref{Clef}.
492 The mensural g clef is mapped to the Petrucci g clef.
497 @subsubsection Ancient flags
502 Use the @code{flag-style} property of grob @internalsref{Stem} to
503 select ancient flags. Besides the @code{default} flag style,
504 only the @code{mensural} style is supported
506 @lilypond[quote,fragment,ragged-right,verbatim]
507 \override Stem #'flag-style = #'mensural
508 \override Stem #'thickness = #1.0
509 \override NoteHead #'style = #'mensural
511 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
512 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
515 Note that the innermost flare of each mensural flag always is
516 vertically aligned with a staff line.
518 There is no particular flag style for neo-mensural notation. Hence,
519 when typesetting the incipit of a transcribed piece of mensural
520 music, the default flag style should be used. There are no flags in
521 Gregorian Chant notation.
525 The attachment of ancient flags to stems is slightly off due to a
526 change in early 2.3.x.
528 Vertically aligning each flag with a staff line assumes that stems
529 always end either exactly on or exactly in the middle between two
530 staff lines. This may not always be true when using advanced layout
531 features of classical notation (which however are typically out of
532 scope for mensural notation).
534 @node Ancient time signatures
535 @subsubsection Ancient time signatures
537 @cindex time signatures
540 There is limited support for mensural time signatures. The
541 glyphs are hard-wired to particular time fractions. In other words,
542 to get a particular mensural signature glyph with the @code{\time n/m}
543 command, @code{n} and @code{m} have to be chosen according to the
546 @lilypond[quote,ragged-right]
551 \remove Staff_symbol_engraver
552 \remove Clef_engraver
553 \remove Time_signature_engraver
557 \set Score.timing = ##f
558 \set Score.barAlways = ##t
559 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
560 #"timesig.neomensural44" }
562 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
563 #"timesig.neomensural22" }
565 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
566 #"timesig.neomensural64" }
568 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
569 #"timesig.neomensural68" }
571 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
572 #"timesig.neomensural32" }
574 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
575 #"timesig.neomensural34" }
577 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
578 #"timesig.neomensural94" }
580 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
581 #"timesig.neomensural98" }
583 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
584 #"timesig.neomensural48" }
586 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
587 #"timesig.neomensural24" }
591 Use the @code{style} property of grob @internalsref{TimeSignature} to
592 select ancient time signatures. Supported styles are
593 @code{neomensural} and @code{mensural}. The above table uses the
594 @code{neomensural} style. This style is appropriate for the
595 incipit of transcriptions of mensural pieces. The @code{mensural}
596 style mimics the look of historical printings of the 16th century.
598 The following examples show the differences in style,
600 @lilypond[ragged-right,fragment,relative=1,quote]
605 c1^\markup { \hspace #-2.0 \typewriter default }
607 \override Staff.TimeSignature #'style = #'numbered
609 c1^\markup { \hspace #-2.0 \typewriter numbered }
611 \override Staff.TimeSignature #'style = #'mensural
613 c1^\markup { \hspace #-2.0 \typewriter mensural }
615 \override Staff.TimeSignature #'style = #'neomensural
617 c1^\markup { \hspace #-2.0 \typewriter neomensural }
618 \override Staff.TimeSignature #'style = #'single-digit
620 c1^\markup { \hspace #-2.0 \typewriter single-digit }
626 This manual: @ref{Time signature}, gives a general introduction to
627 the use of time signatures.
631 Ratios of note durations do not change with the time signature. For
632 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
633 be made by hand, by setting
636 breveTP = #(ly:make-duration -1 0 3 2)
642 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
644 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
645 addressable with @code{\time}. Use a @code{\markup} instead
648 @node Additional note signs for ancient music
649 @subsection Additional note signs for ancient music
652 * Ancient articulations::
656 * White mensural ligatures::
657 * Gregorian square neumes ligatures::
661 @node Ancient articulations
662 @subsubsection Ancient articulations
664 @cindex articulations
666 In addition to the standard articulation signs described in
667 section @ref{Articulations and ornamentations}, articulation signs
668 for ancient notation are provided. These are specifically
669 designed for use with notation in Editio Vaticana style.
671 @lilypond[quote,ragged-right,verbatim]
672 \include "gregorian-init.ly"
675 \override TextScript #'font-family = #'typewriter
676 \override TextScript #'font-shape = #'upright
677 \override Script #'padding = #-0.1
678 a\ictus_"ictus" \break
679 a\circulus_"circulus" \break
680 a\semicirculus_"semicirculus" \break
681 a\accentus_"accentus" \break
682 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
689 Some articulations are vertically placed too closely to the
690 corresponding note heads.
692 The episem line is not displayed in many cases. If it is displayed,
693 the right end of the episem line is often too far to the right.
696 @subsubsection Custodes
701 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
702 symbol that appears at the end of a staff. It anticipates the pitch
703 of the first note(s) of the following line thus helping the performer
704 to manage line breaks during performance.
706 Custodes were frequently used in music notation until the 17th
707 century. Nowadays, they have survived only in a few particular forms
708 of musical notation such as contemporary editions of Gregorian chant
709 like the @emph{editio vaticana}. There are different custos glyphs
710 used in different flavors of notational style.
712 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
713 @internalsref{Staff} context when declaring the @code{\layout} block,
714 as shown in the following example
720 \consists Custos_engraver
721 Custos \override #'style = #'mensural
726 The result looks like this
728 @lilypond[quote,ragged-right]
732 \override Staff.Custos #'style = #'mensural
737 \context { \Staff \consists Custos_engraver }
742 The custos glyph is selected by the @code{style} property. The styles
743 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
744 @code{mensural}. They are demonstrated in the following fragment
746 @lilypond[quote,ragged-right,fragment]
747 \new Lyrics \lyricmode {
749 \typewriter "vaticana"
750 \line { " " \musicglyph #"custodes.vaticana.u0" }
753 \typewriter "medicaea"
754 \line { " " \musicglyph #"custodes.medicaea.u0" }
757 \typewriter "hufnagel"
758 \line { " " \musicglyph #"custodes.hufnagel.u0" }
761 \typewriter "mensural"
762 \line { " " \musicglyph #"custodes.mensural.u0" }
769 Internals Reference: @internalsref{Custos}.
772 @c @lsr{ancient,custodes@/.ly}.
776 @subsubsection Divisiones
782 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
783 @q{division}) is a staff context symbol that is used to structure
784 Gregorian music into phrases and sections. The musical meaning of
785 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
786 can be characterized as short, medium, and long pause, somewhat like
787 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
788 only marks the end of a chant, but is also frequently used within a
789 single antiphonal/responsorial chant to mark the end of each section.
792 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
793 contains definitions that you can apply by just inserting
794 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
795 and @code{\finalis} at proper places in the input. Some editions use
796 @emph{virgula} or @emph{caesura} instead of divisio minima.
797 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
800 @lilypondfile[quote,ragged-right]{divisiones.ly}
808 @funindex \divisioMinima
809 @code{\divisioMinima},
810 @funindex \divisioMaior
811 @code{\divisioMaior},
812 @funindex \divisioMaxima
813 @code{\divisioMaxima},
819 Notation Reference: @ref{Breath marks}.
821 Internals Reference: @internalsref{BreathingSign}.
823 Examples: @c @lsr{expressive,breathing-sign.ly}.
827 @subsubsection Ligatures
831 @c TODO: Should double check if I recalled things correctly when I wrote
832 @c down the following paragraph by heart.
834 A ligature is a graphical symbol that represents at least two distinct
835 notes. Ligatures originally appeared in the manuscripts of Gregorian
836 chant notation to denote ascending or descending sequences of notes.
838 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
839 Some ligature styles may need additional input syntax specific for
840 this particular type of ligature. By default, the
841 @internalsref{LigatureBracket} engraver just puts a square bracket
844 @lilypond[quote,ragged-right,verbatim]
852 To select a specific style of ligatures, a proper ligature engraver
853 has to be added to the @internalsref{Voice} context, as explained in
854 the following subsections. Only white mensural ligatures
855 are supported with certain limitations.
861 Ligatures need special spacing that has not yet been implemented. As
862 a result, there is too much space between ligatures most of the time,
863 and line breaking often is unsatisfactory. Also, lyrics do not
864 correctly align with ligatures.
866 Accidentals must not be printed within a ligature, but instead need to
867 be collected and printed in front of it.
869 The syntax still uses the deprecated infix style @code{\[ music expr
870 \]}. For consistency reasons, it will eventually be changed to
871 postfix style @code{note\[ ... note\]}. Alternatively, the file
872 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
875 \ligature @var{music expr}
877 with the same effect and is believed to be stable.
880 * White mensural ligatures::
881 * Gregorian square neumes ligatures::
884 @node White mensural ligatures
885 @subsubsection White mensural ligatures
887 @cindex Mensural ligatures
888 @cindex White mensural ligatures
890 There is limited support for white mensural ligatures.
892 To engrave white mensural ligatures, in the layout block put the
893 @internalsref{Mensural_ligature_engraver} into the
894 @internalsref{Voice} context, and remove the
895 @internalsref{Ligature_bracket_engraver}, like this
901 \remove Ligature_bracket_engraver
902 \consists Mensural_ligature_engraver
907 There is no additional input language to describe the shape of a
908 white mensural ligature. The shape is rather determined solely from
909 the pitch and duration of the enclosed notes. While this approach may
910 take a new user a while to get accustomed to, it has the great advantage
911 that the full musical information of the ligature is known internally.
912 This is not only required for correct MIDI output, but also allows for
913 automatic transcription of the ligatures.
918 \set Score.timing = ##f
919 \set Score.defaultBarType = "empty"
920 \override NoteHead #'style = #'neomensural
921 \override Staff.TimeSignature #'style = #'neomensural
924 \[ d\longa c\breve f e d \]
925 \[ c'\maxima d'\longa \]
928 @lilypond[quote,ragged-right]
931 \set Score.timing = ##f
932 \set Score.defaultBarType = "empty"
933 \override NoteHead #'style = #'neomensural
934 \override Staff.TimeSignature #'style = #'neomensural
937 \[ d\longa c\breve f e d \]
938 \[ c'\maxima d'\longa \]
944 \remove Ligature_bracket_engraver
945 \consists Mensural_ligature_engraver
951 Without replacing @internalsref{Ligature_bracket_engraver} with
952 @internalsref{Mensural_ligature_engraver}, the same music transcribes
955 @lilypond[quote,ragged-right]
957 \set Score.timing = ##f
958 \set Score.defaultBarType = "empty"
959 \override NoteHead #'style = #'neomensural
960 \override Staff.TimeSignature #'style = #'neomensural
963 \[ d\longa c\breve f e d \]
964 \[ c'\maxima d'\longa \]
971 Horizontal spacing is poor.
973 @node Gregorian square neumes ligatures
974 @subsubsection Gregorian square neumes ligatures
976 @cindex Square neumes ligatures
977 @cindex Gregorian square neumes ligatures
979 There is limited support for Gregorian square neumes notation
980 (following the style of the Editio Vaticana). Core ligatures can
981 already be typeset, but essential issues for serious typesetting are
982 still lacking, such as (among others) horizontal alignment of multiple
983 ligatures, lyrics alignment and proper handling of accidentals.
986 The following table contains the extended neumes table of the 2nd
987 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
988 1983 by the monks of Solesmes.
990 @multitable @columnfractions .4 .2 .2 .2
1007 @c TODO: \layout block is identical in all of the below examples.
1008 @c Therefore, it should somehow be included rather than duplicated all
1011 @c why not make variables in ly/engraver-init.ly? --hwn
1013 @c Because it's just used to typeset plain notes without
1014 @c a staff for demonstration purposes rather than something
1015 @c special of Gregorian chant notation. --jr
1020 @lilypond[staffsize=26,line-width=1.5\cm]
1021 \include "gregorian-init.ly"
1026 \noBreak s^\markup {"a"} \noBreak
1028 % Punctum Inclinatum
1030 \noBreak s^\markup {"b"}
1032 \layout { \neumeDemoLayout }}
1035 @lilypond[staffsize=26,line-width=2.5\cm]
1036 \include "gregorian-init.ly"
1039 % Punctum Auctum Ascendens
1040 \[ \auctum \ascendens b \]
1041 \noBreak s^\markup {"c"} \noBreak
1043 % Punctum Auctum Descendens
1044 \[ \auctum \descendens b \]
1045 \noBreak s^\markup {"d"} \noBreak
1047 % Punctum Inclinatum Auctum
1048 \[ \inclinatum \auctum b \]
1049 \noBreak s^\markup {"e"}
1051 \layout { \neumeDemoLayout }}
1054 @lilypond[staffsize=26,line-width=1.0\cm]
1055 \include "gregorian-init.ly"
1058 % Punctum Inclinatum Parvum
1059 \[ \inclinatum \deminutum b \]
1060 \noBreak s^\markup {"f"}
1062 \layout { \neumeDemoLayout }}
1068 @lilypond[staffsize=26,line-width=1.0\cm]
1069 \include "gregorian-init.ly"
1074 \noBreak s^\markup {"g"}
1076 \layout { \neumeDemoLayout }}
1082 @code{3. Apostropha vel Stropha}
1084 @lilypond[staffsize=26,line-width=1.0\cm]
1085 \include "gregorian-init.ly"
1090 \noBreak s^\markup {"h"}
1092 \layout { \neumeDemoLayout }}
1095 @lilypond[staffsize=26,line-width=1.0\cm]
1096 \include "gregorian-init.ly"
1100 \[ \stropha \auctum b \]
1101 \noBreak s^\markup {"i"}
1103 \layout { \neumeDemoLayout }}
1110 @lilypond[staffsize=26,line-width=1.0\cm]
1111 \include "gregorian-init.ly"
1116 \noBreak s^\markup {"j"}
1118 \layout { \neumeDemoLayout }}
1124 @code{5. Clivis vel Flexa}
1126 @lilypond[staffsize=26,line-width=1.0\cm]
1127 \include "gregorian-init.ly"
1134 \layout { \neumeDemoLayout }}
1137 @lilypond[staffsize=26,line-width=2.0\cm]
1138 \include "gregorian-init.ly"
1141 % Clivis Aucta Descendens
1142 \[ b \flexa \auctum \descendens g \]
1143 \noBreak s^\markup {"l"} \noBreak
1145 % Clivis Aucta Ascendens
1146 \[ b \flexa \auctum \ascendens g \]
1147 \noBreak s^\markup {"m"}
1149 \layout { \neumeDemoLayout }}
1152 @lilypond[staffsize=26,line-width=1.0\cm]
1153 \include "gregorian-init.ly"
1157 \[ b \flexa \deminutum g \]
1160 \layout { \neumeDemoLayout }}
1164 @code{6. Podatus vel Pes}
1166 @lilypond[staffsize=26,line-width=1.0\cm]
1167 \include "gregorian-init.ly"
1174 \layout { \neumeDemoLayout }}
1177 @lilypond[staffsize=26,line-width=2.0\cm]
1178 \include "gregorian-init.ly"
1181 % Pes Auctus Descendens
1182 \[ g \pes \auctum \descendens b \]
1183 \noBreak s^\markup {"p"} \noBreak
1185 % Pes Auctus Ascendens
1186 \[ g \pes \auctum \ascendens b \]
1187 \noBreak s^\markup {"q"}
1189 \layout { \neumeDemoLayout }}
1192 @lilypond[staffsize=26,line-width=1.0\cm]
1193 \include "gregorian-init.ly"
1197 \[ g \pes \deminutum b \]
1200 \layout { \neumeDemoLayout }}
1204 @code{7. Pes Quassus}
1206 @lilypond[staffsize=26,line-width=1.0\cm]
1207 \include "gregorian-init.ly"
1211 \[ \oriscus g \pes \virga b \]
1214 \layout { \neumeDemoLayout }}
1217 @lilypond[staffsize=26,line-width=1.0\cm]
1218 \include "gregorian-init.ly"
1221 % Pes Quassus Auctus Descendens
1222 \[ \oriscus g \pes \auctum \descendens b \]
1225 \layout { \neumeDemoLayout }}
1230 @code{8. Quilisma Pes}
1232 @lilypond[staffsize=26,line-width=1.0\cm]
1233 \include "gregorian-init.ly"
1237 \[ \quilisma g \pes b \]
1240 \layout { \neumeDemoLayout }}
1243 @lilypond[staffsize=26,line-width=1.0\cm]
1244 \include "gregorian-init.ly"
1247 % Quilisma Pes Auctus Descendens
1248 \[ \quilisma g \pes \auctum \descendens b \]
1251 \layout { \neumeDemoLayout }}
1256 @code{9. Podatus Initio Debilis}
1258 @lilypond[staffsize=26,line-width=1.0\cm]
1259 \include "gregorian-init.ly"
1262 % Pes Initio Debilis
1263 \[ \deminutum g \pes b \]
1266 \layout { \neumeDemoLayout }}
1269 @lilypond[staffsize=26,line-width=1.0\cm]
1270 \include "gregorian-init.ly"
1273 % Pes Auctus Descendens Initio Debilis
1274 \[ \deminutum g \pes \auctum \descendens b \]
1277 \layout { \neumeDemoLayout }}
1284 @lilypond[staffsize=26,line-width=1.0\cm]
1285 \include "gregorian-init.ly"
1289 \[ a \pes b \flexa g \]
1292 \layout { \neumeDemoLayout }}
1295 @lilypond[staffsize=26,line-width=1.0\cm]
1296 \include "gregorian-init.ly"
1299 % Torculus Auctus Descendens
1300 \[ a \pes b \flexa \auctum \descendens g \]
1303 \layout { \neumeDemoLayout }}
1306 @lilypond[staffsize=26,line-width=1.0\cm]
1307 \include "gregorian-init.ly"
1310 % Torculus Deminutus
1311 \[ a \pes b \flexa \deminutum g \]
1314 \layout { \neumeDemoLayout }}
1318 @code{11. Torculus Initio Debilis}
1320 @lilypond[staffsize=26,line-width=1.0\cm]
1321 \include "gregorian-init.ly"
1324 % Torculus Initio Debilis
1325 \[ \deminutum a \pes b \flexa g \]
1328 \layout { \neumeDemoLayout }}
1331 @lilypond[staffsize=26,line-width=1.0\cm]
1332 \include "gregorian-init.ly"
1335 % Torculus Auctus Descendens Initio Debilis
1336 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1339 \layout { \neumeDemoLayout }}
1342 @lilypond[staffsize=26,line-width=1.0\cm]
1343 \include "gregorian-init.ly"
1346 % Torculus Deminutus Initio Debilis
1347 \[ \deminutum a \pes b \flexa \deminutum g \]
1350 \layout { \neumeDemoLayout }}
1354 @code{12. Porrectus}
1356 @lilypond[staffsize=26,line-width=1.0\cm]
1357 \include "gregorian-init.ly"
1361 \[ a \flexa g \pes b \]
1364 \layout { \neumeDemoLayout }}
1367 @lilypond[staffsize=26,line-width=1.0\cm]
1368 \include "gregorian-init.ly"
1371 % Porrectus Auctus Descendens
1372 \[ a \flexa g \pes \auctum \descendens b \]
1375 \layout { \neumeDemoLayout }}
1378 @lilypond[staffsize=26,line-width=1.0\cm]
1379 \include "gregorian-init.ly"
1382 % Porrectus Deminutus
1383 \[ a \flexa g \pes \deminutum b \]
1386 \layout { \neumeDemoLayout }}
1392 @lilypond[staffsize=26,line-width=1.0\cm]
1393 \include "gregorian-init.ly"
1397 \[ \virga b \inclinatum a \inclinatum g \]
1400 \layout { \neumeDemoLayout }
1404 @lilypond[staffsize=26,line-width=1.0\cm]
1405 \include "gregorian-init.ly"
1409 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1412 \layout { \neumeDemoLayout }}
1415 @lilypond[staffsize=26,line-width=1.0\cm]
1416 \include "gregorian-init.ly"
1419 % Climacus Deminutus
1420 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1423 \layout { \neumeDemoLayout }}
1427 @code{14. Scandicus}
1429 @lilypond[staffsize=26,line-width=1.0\cm]
1430 \include "gregorian-init.ly"
1434 \[ g \pes a \virga b \]
1437 \layout { \neumeDemoLayout }}
1440 @lilypond[staffsize=26,line-width=1.0\cm]
1441 \include "gregorian-init.ly"
1444 % Scandicus Auctus Descendens
1445 \[ g \pes a \pes \auctum \descendens b \]
1448 \layout { \neumeDemoLayout }}
1451 @lilypond[staffsize=26,line-width=1.0\cm]
1452 \include "gregorian-init.ly"
1455 % Scandicus Deminutus
1456 \[ g \pes a \pes \deminutum b \]
1459 \layout { \neumeDemoLayout }}
1465 @lilypond[staffsize=26,line-width=1.0\cm]
1466 \include "gregorian-init.ly"
1470 \[ g \oriscus a \pes \virga b \]
1473 \layout { \neumeDemoLayout }}
1476 @lilypond[staffsize=26,line-width=1.0\cm]
1477 \include "gregorian-init.ly"
1480 % Salicus Auctus Descendens
1481 \[ g \oriscus a \pes \auctum \descendens b \]
1484 \layout { \neumeDemoLayout }}
1491 @lilypond[staffsize=26,line-width=1.0\cm]
1492 \include "gregorian-init.ly"
1496 \[ \stropha b \stropha b \stropha a \]
1499 \layout { \neumeDemoLayout }
1508 Unlike most other neumes notation systems, the input language for
1509 neumes does not reflect the typographical appearance, but is designed
1510 to focus on musical meaning. For example, @code{\[ a \pes b
1511 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1512 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1513 curved flexa shape and only a single Punctum head. There is no
1514 command to explicitly typeset the curved flexa shape; the decision of
1515 when to typeset a curved flexa shape is based on the musical
1516 input. The idea of this approach is to separate the musical aspects
1517 of the input from the notation style of the output. This way, the
1518 same input can be reused to typeset the same music in a different
1519 style of Gregorian chant notation.
1521 The following table shows the code fragments that produce the
1522 ligatures in the above neumes table. The letter in the first column
1523 in each line of the below table indicates to which ligature in the
1524 above table it refers. The second column gives the name of the
1525 ligature. The third column shows the code fragment that produces this
1526 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1528 @multitable @columnfractions .02 .31 .67
1548 @code{\[ \inclinatum b \]}
1556 @code{\[ \auctum \ascendens b \]}
1564 @code{\[ \auctum \descendens b \]}
1569 Punctum Inclinatum@*
1572 @code{\[ \inclinatum \auctum b \]}
1577 Punctum Inclinatum@*
1579 @code{\[ \inclinatum \deminutum b \]}
1586 @code{\[ \virga b \]}
1593 @code{\[ \stropha b \]}
1600 @code{\[ \stropha \auctum b \]}
1607 @code{\[ \oriscus b \]}
1614 @code{\[ b \flexa g \]}
1622 @code{\[ b \flexa \auctum \descendens g \]}
1630 @code{\[ b \flexa \auctum \ascendens g \]}
1637 @code{\[ b \flexa \deminutum g \]}
1644 @code{\[ g \pes b \]}
1652 @code{\[ g \pes \auctum \descendens b \]}
1660 @code{\[ g \pes \auctum \ascendens b \]}
1667 @code{\[ g \pes \deminutum b \]}
1674 @code{\[ \oriscus g \pes \virga b \]}
1680 Auctus Descendens @tab
1681 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1688 @code{\[ \quilisma g \pes b \]}
1696 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1703 @code{\[ \deminutum g \pes b \]}
1708 Pes Auctus Descendens@*
1711 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1718 @code{\[ a \pes b \flexa g \]}
1726 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1733 @code{\[ a \pes b \flexa \deminutum g \]}
1738 Torculus Initio Debilis
1740 @code{\[ \deminutum a \pes b \flexa g \]}
1746 Descendens Initio Debilis
1748 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1753 Torculus Deminutus@*
1756 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1763 @code{\[ a \flexa g \pes b \]}
1771 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1778 @code{\[ a \flexa g \pes \deminutum b \]}
1785 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1792 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1799 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1806 @code{\[ g \pes a \virga b \]}
1814 @code{\[ g \pes a \pes \auctum \descendens b \]}
1821 @code{\[ g \pes a \pes \deminutum b \]}
1828 @code{\[ g \oriscus a \pes \virga b \]}
1833 Salicus Auctus Descendens
1835 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1842 @code{\[ \stropha b \stropha b \stropha a \]}
1845 The ligatures listed above mainly serve as a limited, but still
1846 representative pool of Gregorian ligature examples. Virtually, within
1847 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1848 may be accumulated to form a single ligature, and head prefixes like
1849 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1850 etc. may be mixed in as desired. The use of the set of rules that
1851 underlies the construction of the ligatures in the above table is
1852 accordingly extrapolated. This way, infinitely many different
1853 ligatures can be created.
1855 Augmentum dots, also called @emph{morae}, are added with the music
1856 function @code{\augmentum}. Note that @code{\augmentum} is
1857 implemented as a unary music function rather than as head prefix. It
1858 applies to the immediately following music expression only. That is,
1859 @code{\augmentum \virga c} will have no visible effect. Instead, say
1860 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1861 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1862 @code{\augmentum a \augmentum g}.
1864 @lilypond[quote,ragged-right,verbatim]
1865 \include "gregorian-init.ly"
1867 \new VaticanaVoice {
1868 \[ \augmentum a \flexa \augmentum g \]
1876 The following head prefixes are supported
1882 @funindex \inclinatum
1886 @funindex \descendens
1888 @funindex \ascendens
1894 @funindex \deminutum
1901 Head prefixes can be accumulated, though restrictions apply. For
1902 example, either @code{\descendens} or @code{\ascendens} can be applied
1903 to a head, but not both to the same head.
1907 Two adjacent heads can be tied together with the @code{\pes} and
1908 @code{\flexa} infix commands for a rising and falling line of melody,
1911 @funindex \augmentum
1912 Use the unary music function @code{\augmentum} to add augmentum dots.
1916 When an @code{\augmentum} dot appears at the end of the last staff
1917 within a ligature, it is sometimes vertically placed wrong. As a
1918 workaround, add an additional skip note (e.g. @code{s8}) as last note
1921 @code{\augmentum} should be implemented as a head prefix rather than a
1922 unary music function, such that @code{\augmentum} can be intermixed
1923 with head prefixes in arbitrary order.
1926 @node Pre-defined contexts
1927 @subsection Pre-defined contexts
1930 * Gregorian Chant contexts::
1931 * Mensural contexts::
1935 @node Gregorian Chant contexts
1936 @subsubsection Gregorian Chant contexts
1938 @cindex VaticanaVoiceContext
1939 @cindex VaticanaStaffContext
1941 The predefined @code{VaticanaVoiceContext} and
1942 @code{VaticanaStaffContext} can be used to engrave a piece of
1943 Gregorian Chant in the style of the Editio Vaticana. These contexts
1944 initialize all relevant context properties and grob properties to
1945 proper values, so you can immediately go ahead entering the chant, as
1946 the following excerpt demonstrates
1948 @lilypond[quote,ragged-right,packed,verbatim]
1949 \include "gregorian-init.ly"
1952 \new VaticanaVoice = "cantus" {
1953 \[ c'\melisma c' \flexa a \]
1954 \[ a \flexa \deminutum g\melismaEnd \]
1956 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1957 c' \divisioMinima \break
1958 \[ c'\melisma c' \flexa a \]
1959 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1961 \new Lyrics \lyricsto "cantus" {
1962 San- ctus, San- ctus, San- ctus
1969 @node Mensural contexts
1970 @subsubsection Mensural contexts
1972 @cindex MensuralVoiceContext
1973 @cindex MensuralStaffContext
1975 The predefined @code{MensuralVoiceContext} and
1976 @code{MensuralStaffContext} can be used to engrave a piece in
1977 mensural style. These contexts initialize all relevant context
1978 properties and grob properties to proper values, so you can
1979 immediately go ahead entering the chant, as the following excerpt
1982 @lilypond[quote,ragged-right,verbatim]
1985 \new MensuralVoice = "discantus" \transpose c c' {
1986 \override Score.BarNumber #'transparent = ##t {
1987 c'1\melisma bes a g\melismaEnd
1989 \[ f1\melisma a c'\breve d'\melismaEnd \]
1991 c'\breve\melisma a1 g1\melismaEnd
1992 fis\longa^\signumcongruentiae
1995 \new Lyrics \lyricsto "discantus" {
1996 San -- ctus, San -- ctus, San -- ctus
2002 @node Musica ficta accidentals
2003 @subsection Musica ficta accidentals
2005 In European music from before about 1600, singers were often
2006 expected to chromatically alter notes at their own initiative.
2007 This is called @q{Musica Ficta}. In modern transcriptions, these
2008 accidentals are usually printed over the note.
2010 @cindex Accidental, musica ficta
2011 @cindex Musica ficta
2013 Support for such suggested accidentals is included, and can be
2014 switched on by setting @code{suggestAccidentals} to true.
2016 @funindex suggestAccidentals
2018 @lilypond[verbatim,fragment,relative=1]
2020 \set suggestAccidentals = ##t
2024 This will treat @emph{every} subsequent accidentals as
2025 @emph{musica ficta} until it is unset with @code{\set
2026 suggestAccidentals = ##f}. A more convenient way is to use
2029 @lilypond[verbatim,fragment,relative=1]
2031 \once \set suggestAccidentals = ##t
2037 Internals Reference: @internalsref{Accidental_engraver} engraver and
2038 the @internalsref{AccidentalSuggestion} object.