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
24 * Introduction to ancient notation::
25 * Alternative note signs::
26 * Additional signs for Gregorian chant::
28 * Annotational accidentals (musica ficta)::
29 * Pre-defined contexts::
30 * Transcribing ancient music::
34 @node Introduction to ancient notation
35 @subsection Introduction to ancient notation
38 * Overview of the supported styles::
39 * Predefined contexts::
40 * Alternative and additional signs::
41 * Figured bass notation::
45 @c @node Ancient notation supported
46 @c @subsection Ancient notation supported
48 Support for ancient notation includes features for mensural notation and
49 Gregorian chant notation, as well as limited support for figured bass notation.
52 @node Overview of the supported styles
53 @unnumberedsubsubsec Overview of the supported styles
55 Note heads and flags, accidentals, time signatures, rests, and
56 other features can be changed to emulate several different styles
61 @item @emph{Editio Vaticana} is a complete style for
62 Gregorian chant, following the appearance of the Solesmes
63 editions, the official chant books of the Vatican since 1904.
64 Lilypond has support for all the notational signs used in this
65 style, including ligatures, @emph{custodes}, and special signs
66 such as the quilisma and the oriscus.
68 @item The @emph{Editio Medicaea} style offers certain features
69 used in the Medicaea (or Ratisbona) editions which were used prior
70 to the Solesmes editions. The most significant differences from
71 the @emph{Vaticana} style are the clefs, which have
72 downward-slanted strokes, and the noteheads, which are square and
75 @item The @emph{Hufnagel} (@qq{horseshoe nail}) style mimics the
76 writing style in chant manuscripts from Germany and Central Europe
77 during the middle ages. It is named after the basic note shape
78 (the @emph{virga}), which looks like a small nail.
80 @item The @code{mensural} and @code{petrucci} styles aim to
81 emulate the appearance of late-medieval and renaissance
82 manuscripts and prints of mensural music. The @emph{Mensural}
83 style most closely resembles the writing style used in
84 late-medieval and early renaissance manuscripts, with its small
85 and narrow, diamond-shaped noteheads and its rests which approach
88 @item The @emph{Neomensural} style is a modernized and
89 stylized version of the former: the noteheads are broader and the
90 rests are made up of straight lines. This style is particularly
91 suited, e.g., for incipits of transcribed pieces of mensural
94 @item The @emph{petrucci} style is named after Ottaviano Petrucci
95 (1466-1539), the first printer to use movable type for music (in
96 his @emph{Harmonice musices odhecaton}, 1501). The style uses
97 larger note heads than the other mensural styles.
99 @item @emph{Baroque} and @emph{Classical} are not complete styles
100 but differ from the default style only in some details: certain
101 noteheads (Baroque) and the quarter rest (Classical).
105 Only the mensural style has alternatives for all aspects of the
106 notation. Thus, there are no rests or flags in the Gregorian
107 styles, since these signs are not used in plainchant notation, and
108 the Petrucci style has no flags or accidentals of its own. Each
109 feature can be changed independently of the others, so that one
110 can use mensural flags, petrucci noteheads, classical rests and
111 vaticana clefs in the same piece, if one wishes.
113 @node Predefined contexts
114 @unnumberedsubsubsec Predefined contexts
116 For Gregorian chant and mensural notation, there are pre-defined
117 voice and staff contexts available, which set all the various
118 notation signs to values suitable for these styles. If one is
119 satisfied with these defaults, one can proceed directly with note
120 entry without worrying about the details on how to customize a
123 See @ref{Pre-defined contexts}.
127 @item @ref{Gregorian chant contexts},
128 @item @ref{Mensural contexts}.
132 @node Alternative and additional signs
133 @unnumberedsubsubsec Alternative and additional signs
135 Many graphical objects provide a @code{style} property, see
138 @item @ref{Ancient note heads},
139 @item @ref{Ancient accidentals},
140 @item @ref{Ancient rests},
141 @item @ref{Ancient clefs},
142 @item @ref{Ancient flags},
143 @item @ref{Ancient time signatures}.
146 By manipulating these grob properties, the typographical appearance of a
147 specific type of notation can be accommodated without needing to introduce any
148 new notational concepts.
150 In addition to the standard articulation signs described in
151 @ref{Articulations and ornamentations}, specific articulation signs for
152 Gregorian chant are provided.
155 @item @ref{Ancient articulations}
158 Other aspects of ancient notation cannot be easily expressed by changing a
159 style property of a graphical object or by adding articulation signs. Some
160 notational concepts are introduced specifically for ancient notation,
163 @item @ref{Custodes},
164 @item @ref{Divisiones},
165 @item @ref{Ligatures}.
168 @node Figured bass notation
169 @unnumberedsubsubsec Figured bass notation
171 There is limited support for figured bass notation from the Baroque period:
174 @item @ref{Figured bass}
177 @c Here are all subtopics at a glance:
181 @node Alternative note signs
182 @subsection Alternative note signs
185 * Ancient note heads::
186 * Ancient accidentals::
190 * Ancient time signatures::
194 @node Ancient note heads
195 @unnumberedsubsubsec Ancient note heads
197 @cindex note heads, ancient
199 For ancient notation, a note head style other than the @code{default} style
200 may be chosen. This is accomplished by setting the @code{style} property of
201 the @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
202 @code{mensural} or @code{petrucci}.
204 The @code{baroque} style differs from the @code{default} style by:
207 @item Providing a @code{maxima} notehead, and
208 @item Using a square shape for @code{\breve} note heads.
211 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
212 the @code{baroque} style by:
215 @item Using rhomboidal heads for semibreves and all smaller durations, and
216 @item Centering the stems on the note heads.
220 The following example demonstrates the @code{petrucci} style:
222 @c Renaissance music doesn't use bar lines ... but they do help to
223 @c separate the notes for easier identification.
225 @lilypond[quote,fragment,ragged-right,verbatim]
226 \set Score.skipBars = ##t
228 \override NoteHead #'style = #'petrucci
229 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
233 When typesetting a piece in Gregorian chant notation, the
234 @rinternals{Vaticana_ligature_engraver} automatically selects the
235 proper note heads, so there is no need to explicitly set the note
236 head style. Still, the note head style can be set, e.g., to
237 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
238 @rinternals{Mensural_ligature_engraver} automatically assembles
239 mensural ligatures. See @ref{Ligatures}, for how ligature
244 @ref{Note head styles} gives an overview of all available note head styles.
247 @node Ancient accidentals
248 @unnumberedsubsubsec Ancient accidentals
252 Four different accidental styles for ancient music are available:
254 @lilypond[quote,ragged-right,staffsize=26]
261 \line { " " \musicglyph #"accidentals.vaticana-1"
262 " " \musicglyph #"accidentals.vaticana0" }
266 \line { " " \musicglyph #"accidentals.medicaea-1" }
270 \line { " " \musicglyph #"accidentals.hufnagel-1" }
274 \line { " " \musicglyph #"accidentals.mensural-1"
275 " " \musicglyph #"accidentals.mensural1" }
281 \context { \Score \remove "Bar_number_engraver" }
283 \remove "Clef_engraver"
284 \remove "Key_engraver"
285 \remove "Time_signature_engraver"
286 \remove "Staff_symbol_engraver"
287 \override VerticalAxisGroup #'minimum-Y-extent = ##f
293 As shown, not all accidentals are supported by each style. When
294 trying to access an unsupported accidental, LilyPond will switch to a
295 different style, as demonstrated in
298 The style for accidentals and key signatures is controlled by the
299 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
300 @rinternals{KeySignature}, respectively; e.g.:
302 @code{\override Staff.Accidental #'glyph-name-alist =
303 #alteration-mensural-glyph-name-alist}
307 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
308 @ref{Automatic accidentals} give a general introduction of the use of
309 accidentals. @ref{Key signature} gives a general introduction of
310 the use of key signatures.
312 Internals Reference: @rinternals{KeySignature}.
316 @unnumberedsubsubsec Ancient rests
318 @cindex rests, ancient
320 Use the @code{style} property of grob @rinternals{Rest} to select
321 ancient rests. Supported styles are @code{classical},
322 @code{neomensural}, and @code{mensural}. @code{classical} differs
323 from the @code{default} style only in that the quarter rest looks
324 like a horizontally mirrored 8th rest. The @code{mensural} and
325 the @code{neomensural} styles mimic the appearance of rests in
326 manuscripts and prints up to the 16th century.
328 The following example demonstrates the @code{mensural} and
329 @code{neomensural} styles:
331 @lilypond[quote,fragment,ragged-right,verbatim]
332 \set Score.skipBars = ##t
333 \override Rest #'style = #'classical
334 r\longa^"classical" r\breve r1 r2 r4 r8 r16
335 \override Rest #'style = #'mensural
336 r\longa^"mensural" r\breve r1 r2 r4 r8 r16
337 \override Rest #'style = #'neomensural
338 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16 \break
341 There are no 32th and 64th rests specifically for the mensural or
342 neo-mensural style. Instead, the rests from the default style will be
344 @c See @lsr{pitches,rests} for a chart of all rests.
346 There are no rests in Gregorian chant notation; instead, it uses
351 Notation Reference: @ref{Rests}, gives a general introduction into the use of
356 @unnumberedsubsubsec Ancient clefs
360 LilyPond supports a variety of clefs, many of them ancient.
362 The following table shows all ancient clefs that are supported via
363 the @code{\clef} command. Some of the clefs use the same glyph,
364 but differ only with respect to the line they are printed on. In
365 such cases, a trailing number in the name is used to enumerate
366 these clefs, numbered from the lowest to the highest line. Still,
367 you can manually force a clef glyph to be typeset on an arbitrary
368 line, as described in @ref{Clef}. The note printed to the right
369 side of each clef in the example column denotes the @code{c'} with
370 respect to that clef.
372 Petrucci used C clefs with differently balanced left-side vertical
373 beams, depending on which staff line it is printed.
375 @multitable @columnfractions .4 .4 .2
386 @code{neomensural-c1}, @code{neomensural-c2},@*
387 @code{neomensural-c3}, @code{neomensural-c4}
389 @lilypond[fragment,relative=1,notime]
390 \clef "neomensural-c2" c
394 petrucci style C clefs, for use on different staff lines
395 (the examples show the 2nd staff line C clef)
397 @code{petrucci-c1}, @code{petrucci-c2},@*
398 @code{petrucci-c3}, @code{petrucci-c4},@*
401 @lilypond[fragment,relative=1,notime]
403 \override NoteHead #'style = #'mensural
408 petrucci style F clef
412 @lilypond[fragment,relative=1,notime]
414 \override NoteHead #'style = #'mensural
419 petrucci style G clef
423 @lilypond[fragment,relative=1,notime]
425 \override NoteHead #'style = #'mensural
432 @code{mensural-c1}, @code{mensural-c2},@*
433 @code{mensural-c3}, @code{mensural-c4}
435 @lilypond[fragment,relative=1,notime]
437 \override NoteHead #'style = #'mensural
446 @lilypond[fragment,relative=1,notime]
448 \override NoteHead #'style = #'mensural
457 @lilypond[fragment,relative=1,notime]
459 \override NoteHead #'style = #'mensural
464 Editio Vaticana style do clef
466 @code{vaticana-do1}, @code{vaticana-do2},@*
469 @lilypond[fragment,relative=1,notime]
470 \override Staff.StaffSymbol #'line-count = #4
471 \override Staff.StaffSymbol #'color = #red
472 \override Staff.LedgerLineSpanner #'color = #red
473 \override Voice.Stem #'transparent = ##t
474 \override NoteHead #'style = #'vaticana.punctum
480 Editio Vaticana style fa clef
482 @code{vaticana-fa1}, @code{vaticana-fa2}
484 @lilypond[fragment,relative=1,notime]
485 \override Staff.StaffSymbol #'line-count = #4
486 \override Staff.StaffSymbol #'color = #red
487 \override Staff.LedgerLineSpanner #'color = #red
488 \override Voice.Stem #'transparent = ##t
489 \override NoteHead #'style = #'vaticana.punctum
495 Editio Medicaea style do clef
497 @code{medicaea-do1}, @code{medicaea-do2},@*
500 @lilypond[fragment,relative=1,notime]
501 \override Staff.StaffSymbol #'line-count = #4
502 \override Staff.StaffSymbol #'color = #red
503 \override Staff.LedgerLineSpanner #'color = #red
504 \override Voice.Stem #'transparent = ##t
505 \override NoteHead #'style = #'medicaea.punctum
511 Editio Medicaea style fa clef
513 @code{medicaea-fa1}, @code{medicaea-fa2}
515 @lilypond[fragment,relative=1,notime]
516 \override Staff.StaffSymbol #'line-count = #4
517 \override Staff.StaffSymbol #'color = #red
518 \override Staff.LedgerLineSpanner #'color = #red
519 \override Voice.Stem #'transparent = ##t
520 \override NoteHead #'style = #'medicaea.punctum
526 hufnagel style do clef
528 @code{hufnagel-do1}, @code{hufnagel-do2},@*
531 @lilypond[fragment,relative=1,notime]
532 \override Staff.StaffSymbol #'line-count = #4
533 \override Staff.StaffSymbol #'color = #red
534 \override Staff.LedgerLineSpanner #'color = #red
535 \override Voice.Stem #'transparent = ##t
536 \override NoteHead #'style = #'hufnagel.punctum
542 hufnagel style fa clef
544 @code{hufnagel-fa1}, @code{hufnagel-fa2}
546 @lilypond[fragment,relative=1,notime]
547 \override Staff.StaffSymbol #'line-count = #4
548 \override Staff.StaffSymbol #'color = #red
549 \override Staff.LedgerLineSpanner #'color = #red
550 \override Voice.Stem #'transparent = ##t
551 \override NoteHead #'style = #'hufnagel.punctum
557 hufnagel style combined do/fa clef
559 @code{hufnagel-do-fa}
561 @lilypond[fragment,relative=1,notime]
562 \override Staff.StaffSymbol #'color = #red
563 \override Staff.LedgerLineSpanner #'color = #red
564 \override Voice.Stem #'transparent = ##t
565 \override NoteHead #'style = #'hufnagel.punctum
566 \clef "hufnagel-do-fa"
573 Notation Reference: see @ref{Clef}.
577 The mensural g clef is mapped to the Petrucci g clef.
581 @unnumberedsubsubsec Ancient flags
585 Use the @code{flag-style} property of grob @rinternals{Stem} to
586 select ancient flags. Besides the @code{default} flag style,
587 only the @code{mensural} style is supported.
589 @lilypond[quote,fragment,ragged-right,verbatim]
590 \override Stem #'flag-style = #'mensural
591 \override Stem #'thickness = #1.0
592 \override NoteHead #'style = #'mensural
594 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
595 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
598 Note that the innermost flare of each mensural flag always is
599 vertically aligned with a staff line.
601 There is no particular flag style for neo-mensural or Petrucci notation.
603 @c when typesetting the incipit of a transcribed piece of mensural
604 @c music, the default flag style should be used.
605 There are no flags in Gregorian chant notation.
609 TODO: nothing here yet ...
613 The attachment of ancient flags to stems is slightly off due to a
614 change in early 2.3.x.
616 Vertically aligning each flag with a staff line assumes that stems
617 always end either exactly on or exactly in the middle between two
618 staff lines. This may not always be true when using advanced layout
619 features of classical notation (which however are typically out of
620 scope for mensural notation).
623 @node Ancient time signatures
624 @unnumberedsubsubsec Ancient time signatures
626 @cindex mensuration sign
627 @cindex time signatures
629 There is limited support for mensuration signs (which are similar to, but
630 not exactly the same as time signatures). The glyphs are hard-wired to
631 particular time fractions. In other words, to get a particular mensuration
632 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
633 chosen according to the following table
635 @lilypond[quote,ragged-right]
640 \remove Staff_symbol_engraver
641 \remove Clef_engraver
642 \remove Time_signature_engraver
646 \set Score.timing = ##f
647 \set Score.barAlways = ##t
648 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
649 #"timesig.neomensural44" }
651 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
652 #"timesig.neomensural22" }
654 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
655 #"timesig.neomensural64" }
657 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
658 #"timesig.neomensural68" }
660 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
661 #"timesig.neomensural32" }
663 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
664 #"timesig.neomensural34" }
666 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
667 #"timesig.neomensural94" }
669 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
670 #"timesig.neomensural98" }
672 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
673 #"timesig.neomensural48" }
675 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
676 #"timesig.neomensural24" }
680 Use the @code{style} property of grob @rinternals{TimeSignature}
681 to select ancient time signatures. Supported styles are
682 @code{neomensural} and @code{mensural}. The above table uses the
683 @code{neomensural} style. The following examples show the
684 differences in style:
686 @lilypond[ragged-right,fragment,relative=1,quote]
691 c1^\markup { \hspace #-2.0 \typewriter default }
693 \override Staff.TimeSignature #'style = #'numbered
695 c1^\markup { \hspace #-2.0 \typewriter numbered }
697 \override Staff.TimeSignature #'style = #'mensural
699 c1^\markup { \hspace #-2.0 \typewriter mensural }
701 \override Staff.TimeSignature #'style = #'neomensural
703 c1^\markup { \hspace #-2.0 \typewriter neomensural }
704 \override Staff.TimeSignature #'style = #'single-digit
706 c1^\markup { \hspace #-2.0 \typewriter single-digit }
712 Notation Reference: @ref{Time signature}, gives a general introduction to
713 the use of time signatures.
717 Ratios of note durations do not change with the time signature. For
718 example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
719 be made by hand, by setting
722 breveTP = #(ly:make-duration -1 0 3 2)
728 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
730 The @code{mensural68alt} and @code{neomensural68alt} symbols
731 (alternate symbols for 6/8) are not addressable with @code{\time}.
732 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
734 @node Additional signs for Gregorian chant
735 @subsection Additional signs for Gregorian chant
738 * Ancient articulations::
744 @node Ancient articulations
745 @unnumberedsubsubsec Ancient articulations
747 @cindex articulations
749 In addition to the standard articulation signs described in
750 section @ref{Articulations and ornamentations}, articulation signs
751 specifically designed for use with notation in @emph{Editio
752 Vaticana} style are provided.
754 @lilypond[quote,ragged-right,verbatim]
755 \include "gregorian-init.ly"
758 \override TextScript #'font-family = #'typewriter
759 \override TextScript #'font-shape = #'upright
760 \override Script #'padding = #-0.1
761 a\ictus_"ictus " \break
762 a\circulus_"circulus " \break
763 a\semicirculus_"semicirculus " \break
764 a\accentus_"accentus " \break
765 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
772 TODO: nothing here yet ...
776 Some articulations are vertically placed too closely to the
777 corresponding note heads.
779 The episema line is not displayed in many cases. If it is displayed,
780 the right end of the episema line is often too far to the right.
784 @unnumberedsubsubsec Custodes
789 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
790 symbol that appears at the end of a staff. It anticipates the pitch
791 of the first note of the following line, thus helping the performer
792 to manage line breaks during performance.
794 Custodes were frequently used in music notation until the
795 seventeenth century. Nowadays, they have survived only in a few
796 particular forms of musical notation such as contemporary editions
797 of Gregorian chant like the @emph{Editio Vaticana}. There are
798 different custos glyphs used in different flavors of notational
801 For typesetting custodes, just put a @rinternals{Custos_engraver} into the
802 @rinternals{Staff} context when declaring the @code{\layout} block,
803 and change the style of the custos with an @code{\override} if
804 desired, as shown in the following example:
810 \consists Custos_engraver
811 Custos \override #'style = #'mensural
816 The result looks like this
818 @lilypond[quote,ragged-right]
822 \override Staff.Custos #'style = #'mensural
827 \context { \Staff \consists Custos_engraver }
832 The custos glyph is selected by the @code{style} property. The styles
833 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
834 @code{mensural}. They are demonstrated in the following fragment
836 @lilypond[quote,ragged-right,fragment]
837 \new Lyrics \lyricmode {
839 \typewriter "vaticana"
840 \line { " " \musicglyph #"custodes.vaticana.u0" }
843 \typewriter "medicaea"
844 \line { " " \musicglyph #"custodes.medicaea.u0" }
847 \typewriter "hufnagel"
848 \line { " " \musicglyph #"custodes.hufnagel.u0" }
851 \typewriter "mensural"
852 \line { " " \musicglyph #"custodes.mensural.u0" }
859 Internals Reference: @rinternals{Custos}.
866 @unnumberedsubsubsec Divisiones
872 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
873 @q{division}) is a staff context symbol that is used to indicate
874 the phrase and section structure of Gregorian music. The musical meaning of
875 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
876 can be characterized as short, medium, and long pause, somewhat like
877 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
878 only marks the end of a chant, but is also frequently used within a
879 single antiphonal/responsorial chant to mark the end of each section.
881 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
882 contains definitions that you can apply by just inserting
883 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
884 and @code{\finalis} at proper places in the input. Some editions use
885 @emph{virgula} or @emph{caesura} instead of divisio minima.
886 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
889 @lilypondfile[quote,ragged-right]{divisiones.ly}
897 @funindex \divisioMinima
898 @code{\divisioMinima},
899 @funindex \divisioMaior
900 @code{\divisioMaior},
901 @funindex \divisioMaxima
902 @code{\divisioMaxima},
908 Notation Reference: @ref{Breath marks}.
910 Internals Reference: @rinternals{BreathingSign}.
912 @c Examples: @lsr{Ancient}.
916 @subsection Ligatures
919 * White mensural ligatures::
920 * Gregorian square neumes ligatures::
925 @c TODO: Should double check if I recalled things correctly when I wrote
926 @c down the following paragraph by heart.
928 A ligature is a graphical symbol that represents at least two
929 distinct notes. Ligatures originally appeared in the manuscripts
930 of Gregorian chant notation to denote ascending or descending
931 sequences of notes on the same syllable. They are also used in
934 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
935 Some ligature styles may need additional input syntax specific for
936 this particular type of ligature. By default, the
937 @rinternals{LigatureBracket} engraver just puts a square bracket
940 @lilypond[quote,ragged-right,verbatim]
948 Two other ligature styles are available: the Vaticana for
949 Gregorian chant, and the Mensural for mensural music (Only white
950 mensural ligatures are supported for mensural music, and with
951 certain limitations). To use any of these styles, the default
952 @code{Ligature_bracket_engraver} has to be replaced by one of the
953 specialized ligature engravers in the @rinternals{Voice} context,
954 as explained in the following subsections.
958 TODO: nothing here yet ...
962 Ligatures need special spacing that has not yet been implemented. As
963 a result, there is too much space between ligatures most of the time,
964 and line breaking often is unsatisfactory. Also, lyrics do not
965 correctly align with ligatures.
967 Accidentals must not be printed within a ligature, but instead need to
968 be collected and printed in front of it.
970 The syntax still uses the deprecated infix style @code{\[ music expr
971 \]}. For consistency reasons, it will eventually be changed to
972 postfix style @code{note\[ ... note\]}. Alternatively, the file
973 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
976 \ligature @var{music expr}
978 with the same effect and is believed to be stable.
981 @node White mensural ligatures
982 @unnumberedsubsubsec White mensural ligatures
984 @cindex Mensural ligatures
985 @cindex White mensural ligatures
987 There is limited support for white mensural ligatures.
989 To engrave white mensural ligatures, in the layout block, replace
990 the @rinternals{Ligature_bracket_engraver} with the
991 @rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
998 \remove Ligature_bracket_engraver
999 \consists Mensural_ligature_engraver
1004 There is no additional input language to describe the shape of a
1005 white mensural ligature. The shape is rather determined solely from
1006 the pitch and duration of the enclosed notes. While this approach may
1007 take a new user a while to get accustomed to, it has the great advantage
1008 that the full musical information of the ligature is known internally.
1009 This is not only required for correct MIDI output, but also allows for
1010 automatic transcription of the ligatures.
1015 @c \set Score.timing = ##f
1016 @c \set Score.defaultBarType = "empty"
1017 @c \override NoteHead #'style = #'neomensural
1018 @c \override Staff.TimeSignature #'style = #'neomensural
1019 @c \clef "petrucci-g"
1020 @c \[ c'\maxima g \]
1021 @c \[ d\longa c\breve f e d \]
1022 @c \[ c'\maxima d'\longa \]
1023 @c \[ e'1 a g\breve \]
1025 @lilypond[quote,ragged-right,verbatim]
1028 \set Score.timing = ##f
1029 \set Score.defaultBarType = "empty"
1030 \override NoteHead #'style = #'neomensural
1031 \override Staff.TimeSignature #'style = #'neomensural
1034 \[ d\longa c\breve f e d \]
1035 \[ c'\maxima d'\longa \]
1041 \remove Ligature_bracket_engraver
1042 \consists Mensural_ligature_engraver
1048 Without replacing @rinternals{Ligature_bracket_engraver} with
1049 @rinternals{Mensural_ligature_engraver}, the same music transcribes
1052 @lilypond[quote,ragged-right]
1054 \set Score.timing = ##f
1055 \set Score.defaultBarType = "empty"
1056 \override NoteHead #'style = #'neomensural
1057 \override Staff.TimeSignature #'style = #'neomensural
1060 \[ d\longa c\breve f e d \]
1061 \[ c'\maxima d'\longa \]
1068 TODO: nothing here yet ...
1072 Horizontal spacing is poor.
1075 @node Gregorian square neumes ligatures
1076 @unnumberedsubsubsec Gregorian square neumes ligatures
1078 @cindex Square neumes ligatures
1079 @cindex Gregorian square neumes ligatures
1081 There is limited support for Gregorian square neumes notation
1082 (following the style of the Editio Vaticana). Core ligatures can
1083 already be typeset, but essential issues for serious typesetting are
1084 still lacking, such as (among others) horizontal alignment of multiple
1085 ligatures, lyrics alignment, and proper handling of accidentals.
1088 The following table contains the extended neumes table of the 2nd
1089 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
1090 1983 by the monks of Solesmes.
1092 @multitable @columnfractions .4 .2 .2 .2
1109 @c TODO: \layout block is identical in all of the below examples.
1110 @c Therefore, it should somehow be included rather than duplicated all
1113 @c why not make variables in ly/engraver-init.ly? --hwn
1115 @c Because it's just used to typeset plain notes without
1116 @c a staff for demonstration purposes rather than something
1117 @c special of Gregorian chant notation. --jr
1122 @lilypond[staffsize=26,line-width=1.5\cm]
1123 \include "gregorian-init.ly"
1128 \noBreak s^\markup {"a"} \noBreak
1130 % Punctum Inclinatum
1132 \noBreak s^\markup {"b"}
1134 \layout { \neumeDemoLayout }}
1137 @lilypond[staffsize=26,line-width=2.5\cm]
1138 \include "gregorian-init.ly"
1141 % Punctum Auctum Ascendens
1142 \[ \auctum \ascendens b \]
1143 \noBreak s^\markup {"c"} \noBreak
1145 % Punctum Auctum Descendens
1146 \[ \auctum \descendens b \]
1147 \noBreak s^\markup {"d"} \noBreak
1149 % Punctum Inclinatum Auctum
1150 \[ \inclinatum \auctum b \]
1151 \noBreak s^\markup {"e"}
1153 \layout { \neumeDemoLayout }}
1156 @lilypond[staffsize=26,line-width=1.0\cm]
1157 \include "gregorian-init.ly"
1160 % Punctum Inclinatum Parvum
1161 \[ \inclinatum \deminutum b \]
1162 \noBreak s^\markup {"f"}
1164 \layout { \neumeDemoLayout }}
1170 @lilypond[staffsize=26,line-width=1.0\cm]
1171 \include "gregorian-init.ly"
1176 \noBreak s^\markup {"g"}
1178 \layout { \neumeDemoLayout }}
1184 @code{3. Apostropha vel Stropha}
1186 @lilypond[staffsize=26,line-width=1.0\cm]
1187 \include "gregorian-init.ly"
1192 \noBreak s^\markup {"h"}
1194 \layout { \neumeDemoLayout }}
1197 @lilypond[staffsize=26,line-width=1.0\cm]
1198 \include "gregorian-init.ly"
1202 \[ \stropha \auctum b \]
1203 \noBreak s^\markup {"i"}
1205 \layout { \neumeDemoLayout }}
1212 @lilypond[staffsize=26,line-width=1.0\cm]
1213 \include "gregorian-init.ly"
1218 \noBreak s^\markup {"j"}
1220 \layout { \neumeDemoLayout }}
1226 @code{5. Clivis vel Flexa}
1228 @lilypond[staffsize=26,line-width=1.0\cm]
1229 \include "gregorian-init.ly"
1236 \layout { \neumeDemoLayout }}
1239 @lilypond[staffsize=26,line-width=2.0\cm]
1240 \include "gregorian-init.ly"
1243 % Clivis Aucta Descendens
1244 \[ b \flexa \auctum \descendens g \]
1245 \noBreak s^\markup {"l"} \noBreak
1247 % Clivis Aucta Ascendens
1248 \[ b \flexa \auctum \ascendens g \]
1249 \noBreak s^\markup {"m"}
1251 \layout { \neumeDemoLayout }}
1254 @lilypond[staffsize=26,line-width=1.0\cm]
1255 \include "gregorian-init.ly"
1259 \[ b \flexa \deminutum g \]
1262 \layout { \neumeDemoLayout }}
1266 @code{6. Podatus vel Pes}
1268 @lilypond[staffsize=26,line-width=1.0\cm]
1269 \include "gregorian-init.ly"
1276 \layout { \neumeDemoLayout }}
1279 @lilypond[staffsize=26,line-width=2.0\cm]
1280 \include "gregorian-init.ly"
1283 % Pes Auctus Descendens
1284 \[ g \pes \auctum \descendens b \]
1285 \noBreak s^\markup {"p"} \noBreak
1287 % Pes Auctus Ascendens
1288 \[ g \pes \auctum \ascendens b \]
1289 \noBreak s^\markup {"q"}
1291 \layout { \neumeDemoLayout }}
1294 @lilypond[staffsize=26,line-width=1.0\cm]
1295 \include "gregorian-init.ly"
1299 \[ g \pes \deminutum b \]
1302 \layout { \neumeDemoLayout }}
1306 @code{7. Pes Quassus}
1308 @lilypond[staffsize=26,line-width=1.0\cm]
1309 \include "gregorian-init.ly"
1313 \[ \oriscus g \pes \virga b \]
1316 \layout { \neumeDemoLayout }}
1319 @lilypond[staffsize=26,line-width=1.0\cm]
1320 \include "gregorian-init.ly"
1323 % Pes Quassus Auctus Descendens
1324 \[ \oriscus g \pes \auctum \descendens b \]
1327 \layout { \neumeDemoLayout }}
1332 @code{8. Quilisma Pes}
1334 @lilypond[staffsize=26,line-width=1.0\cm]
1335 \include "gregorian-init.ly"
1339 \[ \quilisma g \pes b \]
1342 \layout { \neumeDemoLayout }}
1345 @lilypond[staffsize=26,line-width=1.0\cm]
1346 \include "gregorian-init.ly"
1349 % Quilisma Pes Auctus Descendens
1350 \[ \quilisma g \pes \auctum \descendens b \]
1353 \layout { \neumeDemoLayout }}
1358 @code{9. Podatus Initio Debilis}
1360 @lilypond[staffsize=26,line-width=1.0\cm]
1361 \include "gregorian-init.ly"
1364 % Pes Initio Debilis
1365 \[ \deminutum g \pes b \]
1368 \layout { \neumeDemoLayout }}
1371 @lilypond[staffsize=26,line-width=1.0\cm]
1372 \include "gregorian-init.ly"
1375 % Pes Auctus Descendens Initio Debilis
1376 \[ \deminutum g \pes \auctum \descendens b \]
1379 \layout { \neumeDemoLayout }}
1386 @lilypond[staffsize=26,line-width=1.0\cm]
1387 \include "gregorian-init.ly"
1391 \[ a \pes b \flexa g \]
1394 \layout { \neumeDemoLayout }}
1397 @lilypond[staffsize=26,line-width=1.0\cm]
1398 \include "gregorian-init.ly"
1401 % Torculus Auctus Descendens
1402 \[ a \pes b \flexa \auctum \descendens g \]
1405 \layout { \neumeDemoLayout }}
1408 @lilypond[staffsize=26,line-width=1.0\cm]
1409 \include "gregorian-init.ly"
1412 % Torculus Deminutus
1413 \[ a \pes b \flexa \deminutum g \]
1416 \layout { \neumeDemoLayout }}
1420 @code{11. Torculus Initio Debilis}
1422 @lilypond[staffsize=26,line-width=1.0\cm]
1423 \include "gregorian-init.ly"
1426 % Torculus Initio Debilis
1427 \[ \deminutum a \pes b \flexa g \]
1430 \layout { \neumeDemoLayout }}
1433 @lilypond[staffsize=26,line-width=1.0\cm]
1434 \include "gregorian-init.ly"
1437 % Torculus Auctus Descendens Initio Debilis
1438 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1441 \layout { \neumeDemoLayout }}
1444 @lilypond[staffsize=26,line-width=1.0\cm]
1445 \include "gregorian-init.ly"
1448 % Torculus Deminutus Initio Debilis
1449 \[ \deminutum a \pes b \flexa \deminutum g \]
1452 \layout { \neumeDemoLayout }}
1456 @code{12. Porrectus}
1458 @lilypond[staffsize=26,line-width=1.0\cm]
1459 \include "gregorian-init.ly"
1463 \[ a \flexa g \pes b \]
1466 \layout { \neumeDemoLayout }}
1469 @lilypond[staffsize=26,line-width=1.0\cm]
1470 \include "gregorian-init.ly"
1473 % Porrectus Auctus Descendens
1474 \[ a \flexa g \pes \auctum \descendens b \]
1477 \layout { \neumeDemoLayout }}
1480 @lilypond[staffsize=26,line-width=1.0\cm]
1481 \include "gregorian-init.ly"
1484 % Porrectus Deminutus
1485 \[ a \flexa g \pes \deminutum b \]
1488 \layout { \neumeDemoLayout }}
1494 @lilypond[staffsize=26,line-width=1.0\cm]
1495 \include "gregorian-init.ly"
1499 \[ \virga b \inclinatum a \inclinatum g \]
1502 \layout { \neumeDemoLayout }
1506 @lilypond[staffsize=26,line-width=1.0\cm]
1507 \include "gregorian-init.ly"
1511 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1514 \layout { \neumeDemoLayout }}
1517 @lilypond[staffsize=26,line-width=1.0\cm]
1518 \include "gregorian-init.ly"
1521 % Climacus Deminutus
1522 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1525 \layout { \neumeDemoLayout }}
1529 @code{14. Scandicus}
1531 @lilypond[staffsize=26,line-width=1.0\cm]
1532 \include "gregorian-init.ly"
1536 \[ g \pes a \virga b \]
1539 \layout { \neumeDemoLayout }}
1542 @lilypond[staffsize=26,line-width=1.0\cm]
1543 \include "gregorian-init.ly"
1546 % Scandicus Auctus Descendens
1547 \[ g \pes a \pes \auctum \descendens b \]
1550 \layout { \neumeDemoLayout }}
1553 @lilypond[staffsize=26,line-width=1.0\cm]
1554 \include "gregorian-init.ly"
1557 % Scandicus Deminutus
1558 \[ g \pes a \pes \deminutum b \]
1561 \layout { \neumeDemoLayout }}
1567 @lilypond[staffsize=26,line-width=1.0\cm]
1568 \include "gregorian-init.ly"
1572 \[ g \oriscus a \pes \virga b \]
1575 \layout { \neumeDemoLayout }}
1578 @lilypond[staffsize=26,line-width=1.0\cm]
1579 \include "gregorian-init.ly"
1582 % Salicus Auctus Descendens
1583 \[ g \oriscus a \pes \auctum \descendens b \]
1586 \layout { \neumeDemoLayout }}
1593 @lilypond[staffsize=26,line-width=1.0\cm]
1594 \include "gregorian-init.ly"
1598 \[ \stropha b \stropha b \stropha a \]
1601 \layout { \neumeDemoLayout }
1609 Unlike most other neumes notation systems, the input language for
1610 neumes does not reflect the typographical appearance, but is designed
1611 to focus on musical meaning. For example, @code{\[ a \pes b
1612 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1613 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1614 curved flexa shape and only a single Punctum head. There is no
1615 command to explicitly typeset the curved flexa shape; the decision of
1616 when to typeset a curved flexa shape is based on the musical
1617 input. The idea of this approach is to separate the musical aspects
1618 of the input from the notation style of the output. This way, the
1619 same input can be reused to typeset the same music in a different
1620 style of Gregorian chant notation.
1622 The following table shows the code fragments that produce the
1623 ligatures in the above neumes table. The letter in the first column
1624 in each line of the below table indicates to which ligature in the
1625 above table it refers. The second column gives the name of the
1626 ligature. The third column shows the code fragment that produces this
1627 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1629 @multitable @columnfractions .02 .31 .67
1649 @code{\[ \inclinatum b \]}
1657 @code{\[ \auctum \ascendens b \]}
1665 @code{\[ \auctum \descendens b \]}
1670 Punctum Inclinatum@*
1673 @code{\[ \inclinatum \auctum b \]}
1678 Punctum Inclinatum@*
1680 @code{\[ \inclinatum \deminutum b \]}
1687 @code{\[ \virga b \]}
1694 @code{\[ \stropha b \]}
1701 @code{\[ \stropha \auctum b \]}
1708 @code{\[ \oriscus b \]}
1715 @code{\[ b \flexa g \]}
1723 @code{\[ b \flexa \auctum \descendens g \]}
1731 @code{\[ b \flexa \auctum \ascendens g \]}
1738 @code{\[ b \flexa \deminutum g \]}
1745 @code{\[ g \pes b \]}
1753 @code{\[ g \pes \auctum \descendens b \]}
1761 @code{\[ g \pes \auctum \ascendens b \]}
1768 @code{\[ g \pes \deminutum b \]}
1775 @code{\[ \oriscus g \pes \virga b \]}
1781 Auctus Descendens @tab
1782 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1789 @code{\[ \quilisma g \pes b \]}
1797 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1804 @code{\[ \deminutum g \pes b \]}
1809 Pes Auctus Descendens@*
1812 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1819 @code{\[ a \pes b \flexa g \]}
1827 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1834 @code{\[ a \pes b \flexa \deminutum g \]}
1839 Torculus Initio Debilis
1841 @code{\[ \deminutum a \pes b \flexa g \]}
1847 Descendens Initio Debilis
1849 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1854 Torculus Deminutus@*
1857 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1864 @code{\[ a \flexa g \pes b \]}
1872 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1879 @code{\[ a \flexa g \pes \deminutum b \]}
1886 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1893 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1900 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1907 @code{\[ g \pes a \virga b \]}
1915 @code{\[ g \pes a \pes \auctum \descendens b \]}
1922 @code{\[ g \pes a \pes \deminutum b \]}
1929 @code{\[ g \oriscus a \pes \virga b \]}
1934 Salicus Auctus Descendens
1936 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1943 @code{\[ \stropha b \stropha b \stropha a \]}
1946 The ligatures listed above mainly serve as a limited, but still
1947 representative pool of Gregorian ligature examples. Virtually, within
1948 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1949 may be accumulated to form a single ligature, and head prefixes like
1950 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1951 etc. may be mixed in as desired. The use of the set of rules that
1952 underlies the construction of the ligatures in the above table is
1953 accordingly extrapolated. This way, infinitely many different
1954 ligatures can be created.
1956 Augmentum dots, also called @emph{morae}, are added with the music
1957 function @code{\augmentum}. Note that @code{\augmentum} is
1958 implemented as a unary music function rather than as head prefix. It
1959 applies to the immediately following music expression only. That is,
1960 @code{\augmentum \virga c} will have no visible effect. Instead, say
1961 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1962 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1963 @code{\augmentum a \augmentum g}.
1965 @lilypond[quote,ragged-right,verbatim]
1966 \include "gregorian-init.ly"
1968 \new VaticanaVoice {
1969 \[ \augmentum a \flexa \augmentum g \]
1977 The following head prefixes are supported
1983 @funindex \inclinatum
1987 @funindex \descendens
1989 @funindex \ascendens
1995 @funindex \deminutum
2002 Head prefixes can be accumulated, though restrictions apply. For
2003 example, either @code{\descendens} or @code{\ascendens} can be applied
2004 to a head, but not both to the same head.
2008 Two adjacent heads can be tied together with the @code{\pes} and
2009 @code{\flexa} infix commands for a rising and falling line of melody,
2012 @funindex \augmentum
2013 Use the unary music function @code{\augmentum} to add augmentum dots.
2017 TODO: nothing here yet ...
2021 When an @code{\augmentum} dot appears at the end of the last staff
2022 within a ligature, it is sometimes vertically placed wrong. As a
2023 workaround, add an additional skip note (e.g. @code{s8}) as last note
2026 @code{\augmentum} should be implemented as a head prefix rather than a
2027 unary music function, such that @code{\augmentum} can be intermixed
2028 with head prefixes in arbitrary order.
2031 @node Annotational accidentals (musica ficta)
2032 @subsection Annotational accidentals (musica ficta)
2034 In European music from before about 1600, singers were expected to
2035 chromatically alter notes at their own initiative according to
2036 certain rules. This is called @notation{musica ficta}. In modern
2037 transcriptions, these accidentals are usually printed over the
2040 @cindex Accidental, musica ficta
2041 @cindex Musica ficta
2043 Support for such suggested accidentals is included, and can be
2044 switched on by setting @code{suggestAccidentals} to true.
2046 @funindex suggestAccidentals
2048 @lilypond[verbatim,fragment,relative=1]
2050 \set suggestAccidentals = ##t
2054 This will treat @emph{every} subsequent accidental as @emph{musica
2055 ficta} until it is unset with @code{\set suggestAccidentals =
2056 ##f}. A more convenient way is to use @code{\once}, or to define
2057 a macro: @code{ficta = @{ \once \set suggestAccidentals = ##t @}}
2058 and simply use @code{\ficta} @emph{note}:
2060 @c @lilypond[quote,relative=1]
2062 @c \new MensuralVoice {
2063 @c \once \set suggestAccidentals = ##t bes4 a2 g2
2064 @c \once \set suggestAccidentals = ##t fis8
2065 @c \once \set suggestAccidentals = ##t e! fis2 g1
2070 @lilypond[quote,verbatim]
2071 ficta = { \once \set suggestAccidentals = ##t }
2072 \score { \relative c''
2073 \new MensuralVoice {
2074 \once \set suggestAccidentals = ##t
2075 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
2080 @c @lilypond[quote,ragged-right]
2081 @c ossia = { f4 f f f }
2083 @c \relative c' \new Staff = "main" {
2086 @c \new Staff \with {alignAboveContext=main} \ossia
2087 @c { d8 f d f d f d f }
2095 Internals Reference: @rinternals{Accidental_engraver} engraver and
2096 the @rinternals{AccidentalSuggestion} object.
2099 @node Pre-defined contexts
2100 @subsection Pre-defined contexts
2103 * Gregorian chant contexts::
2104 * Mensural contexts::
2108 @node Gregorian chant contexts
2109 @unnumberedsubsubsec Gregorian chant contexts
2111 @cindex VaticanaVoiceContext
2112 @cindex VaticanaStaffContext
2114 The predefined @code{VaticanaVoiceContext} and
2115 @code{VaticanaStaffContext} can be used to engrave a piece of
2116 Gregorian chant in the style of the Editio Vaticana. These contexts
2117 initialize all relevant context properties and grob properties to
2118 proper values, so you can immediately go ahead entering the chant, as
2119 the following excerpt demonstrates:
2121 @lilypond[quote,ragged-right,packed,verbatim]
2122 \include "gregorian-init.ly"
2125 \new VaticanaVoice = "cantus" {
2126 \[ c'\melisma c' \flexa a \]
2127 \[ a \flexa \deminutum g\melismaEnd \]
2129 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
2130 c' \divisioMinima \break
2131 \[ c'\melisma c' \flexa a \]
2132 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
2134 \new Lyrics \lyricsto "cantus" {
2135 San- ctus, San- ctus, San- ctus
2143 TODO: nothing here yet ...
2145 @node Mensural contexts
2146 @unnumberedsubsubsec Mensural contexts
2148 @cindex MensuralVoiceContext
2149 @cindex MensuralStaffContext
2151 The predefined @code{MensuralVoiceContext} and
2152 @code{MensuralStaffContext} can be used to engrave a piece in
2153 mensural style. These contexts initialize all relevant context
2154 properties and grob properties to proper values, so you can
2155 immediately go ahead entering the chant, as the following excerpt
2158 @lilypond[quote,ragged-right,verbatim]
2161 \new MensuralVoice = "discantus" \transpose c c' {
2162 \override Score.BarNumber #'transparent = ##t {
2163 c'1\melisma bes a g\melismaEnd
2165 \[ f1\melisma a c'\breve d'\melismaEnd \]
2167 c'\breve\melisma a1 g1\melismaEnd
2168 fis\longa^\signumcongruentiae
2171 \new Lyrics \lyricsto "discantus" {
2172 San -- ctus, San -- ctus, San -- ctus
2180 TODO: nothing here yet ...
2183 @node Transcribing ancient music
2184 @subsection Transcribing ancient music
2187 * Ancient and modern from one source::
2189 * Mensurstriche layout::
2190 * Transcribing Gregorian chant::
2191 * Editorial markings::
2192 * Baroque rhythmic notation::
2196 @node Ancient and modern from one source
2197 @unnumberedsubsubsec Ancient and modern from one source
2200 @c Here among others the snippets about reducing note length
2205 @c ... and reference to other sections ...
2209 @unnumberedsubsubsec Incipits
2212 @c clefs, mensuration signs etc from lsr and -user
2213 @c use snippet Transcription-of-ancient-music-with-incipit
2218 @c ... and reference to other sections ...
2220 @node Mensurstriche layout
2221 @unnumberedsubsubsec Mensurstriche layout
2224 @c from lsr and -user
2229 @c ... and reference to other sections ...
2232 @node Transcribing Gregorian chant
2233 @unnumberedsubsubsec Transcribing Gregorian chant
2236 @c extract from 1.6.1.1
2241 @c ... and reference to other sections ...
2244 @node Editorial markings
2245 @unnumberedsubsubsec Editorial markings
2248 * Annotational accidentals (musica ficta)::
2249 * Baroque rhythmic notation::
2254 @node Baroque rhythmic notation
2255 @unnumberedsubsubsec Baroque rhythmic notation
2259 @c Add example of white noteheads:
2260 @c In the french baroque some composers used white noteheads in slow pieces,
2261 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2262 @c notehead. (Franz-Rudolf Kuhnen)
2264 @c TODO Add example of this:
2265 @c I was referring to e.g. notated a8. a16, which should, if I
2266 @c remember correctly, be interpreted more like a8.. a32 (in the french
2267 @c style). The editor might want to show that rythmic figure above the
2268 @c staff as an hint to performers. (Karl Hammer)
2275 @c ... and reference to other sections ...