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::
30 @node Introduction to ancient notation
31 @subsection Introduction to ancient notation
34 * Ancient notation supported::
38 @node Ancient notation supported
39 @subsubsection Ancient notation supported
41 Support for ancient notation includes features for mensural notation and
42 Gregorian chant notation, as well as limited support for figured bass notation.
44 Many graphical objects provide a @code{style} property, see
47 @item @ref{Ancient note heads},
48 @item @ref{Ancient accidentals},
49 @item @ref{Ancient rests},
50 @item @ref{Ancient clefs},
51 @item @ref{Ancient flags},
52 @item @ref{Ancient time signatures}.
55 By manipulating these grob properties, the typographical appearance of a
56 specific type of notation can be accommodated without needing to introduce any
57 new notational concepts.
59 In addition to the standard articulation signs described in
60 @ref{Articulations and ornamentations}, specific articulation signs for
61 Gregorian chant are provided.
64 @item @ref{Ancient articulations}
67 Other aspects of ancient notation cannot be easily expressed by changing a
68 style property of a graphical object or by adding articulation signs. Some
69 notational concepts are introduced specifically for ancient notation,
73 @item @ref{Divisiones},
74 @item @ref{Ligatures}.
77 To start typesetting without worrying too much about the details on how to
78 customize a context, there are predefined contexts for Gregorian chant and
79 mensural notation. They set up predefined style-specific voice and staff
80 contexts, and allow one to proceed directly with note entry:
83 @item @ref{Gregorian chant contexts},
84 @item @ref{Mensural contexts}.
87 There is limited support for figured bass notation from the Baroque period:
90 @item @ref{Figured bass}
93 @c Here are all subtopics at a glance:
96 @node Alternative note signs
97 @subsection Alternative note signs
100 * Ancient note heads::
101 * Ancient accidentals::
105 * Ancient time signatures::
108 @node Ancient note heads
109 @subsubsection Ancient note heads
111 @cindex note heads, ancient
113 For ancient notation, a note head style other than the @code{default}
114 style may be chosen. This is accomplished by setting the @code{style}
115 property of the @rinternals{NoteHead} object to @code{baroque},
116 @code{neomensural}, @code{mensural} or @code{petrucci}. The
117 @code{baroque} style differs from the @code{default} style only in
118 using a square shape for @code{\breve} note heads. The
119 @code{neomensural} style differs from the @code{baroque} style in that
120 it uses rhomboidal heads for whole notes and all smaller durations.
121 Stems are centered on the note heads. This style is particularly
122 useful when transcribing mensural music, e.g., for the incipit. The
123 @code{mensural} style produces note heads that mimic the look of note
124 heads in historic printings of the 16th century. Finally, the
125 @code{petrucci} style also mimics historic printings, but uses bigger
128 The following example demonstrates the @code{neomensural} style
130 @lilypond[quote,fragment,ragged-right,verbatim]
131 \set Score.skipBars = ##t
132 \override NoteHead #'style = #'neomensural
133 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
136 When typesetting a piece in Gregorian Chant notation, the
137 @rinternals{Gregorian_ligature_engraver} will automatically select
138 the proper note heads, so there is no need to explicitly set the
139 note head style. Still, the note head style can be set, e.g., to
140 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
141 @rinternals{Mensural_ligature_engraver} is used to automatically
142 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
147 @ref{Note head styles}, gives an overview over all available note head styles.
150 @node Ancient accidentals
151 @subsubsection Ancient accidentals
156 Use the @code{glyph-name-alist} property of grob
157 @rinternals{Accidental} and @rinternals{KeySignature} to select
160 @lilypond[quote,ragged-right,staffsize=26]
167 \line { " " \musicglyph #"accidentals.vaticana-1"
168 " " \musicglyph #"accidentals.vaticana0" }
172 \line { " " \musicglyph #"accidentals.medicaea-1" }
176 \line { " " \musicglyph #"accidentals.hufnagel-1" }
180 \line { " " \musicglyph #"accidentals.mensural-1"
181 " " \musicglyph #"accidentals.mensural1" }
187 \context { \Score \remove "Bar_number_engraver" }
189 \remove "Clef_engraver"
190 \remove "Key_engraver"
191 \remove "Time_signature_engraver"
192 \remove "Staff_symbol_engraver"
193 \override VerticalAxisGroup #'minimum-Y-extent = ##f
199 As shown, not all accidentals are supported by each style. When
200 trying to access an unsupported accidental, LilyPond will switch to a
201 different style, as demonstrated in
202 @c @lsr{ancient,ancient-accidentals.ly}.
204 Similarly to local accidentals, the style of the key signature can be
205 controlled by the @code{glyph-name-alist} property of the
206 @rinternals{KeySignature} grob.
210 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
211 @ref{Automatic accidentals}, give a general introduction of the use of
212 accidentals. @ref{Key signature}, gives a general introduction of
213 the use of key signatures.
215 Internals Reference: @rinternals{KeySignature}.
219 @subsubsection Ancient rests
221 @cindex rests, ancient
223 Use the @code{style} property of grob @rinternals{Rest} to select
224 ancient rests. Supported styles are @code{classical},
225 @code{neomensural}, and @code{mensural}. @code{classical} differs
226 from the @code{default} style only in that the quarter rest looks like
227 a horizontally mirrored 8th rest. The @code{neomensural} style suits
228 well for, e.g., the incipit of a transcribed mensural piece of music.
229 The @code{mensural} style finally mimics the appearance of rests as
230 in historic prints of the 16th century.
232 The following example demonstrates the @code{neomensural} style
234 @lilypond[quote,fragment,ragged-right,verbatim]
235 \set Score.skipBars = ##t
236 \override Rest #'style = #'neomensural
237 r\longa r\breve r1 r2 r4 r8 r16
240 There are no 32th and 64th rests specifically for the mensural or
241 neo-mensural style. Instead, the rests from the default style will be
242 taken. See @c @lsr{pitches,rests} for a chart of all rests.
244 There are no rests in Gregorian chant notation; instead, it uses
249 Notation Reference: @ref{Rests}, gives a general introduction into the use of
254 @subsubsection Ancient clefs
258 LilyPond supports a variety of clefs, many of them ancient.
260 The following table shows all ancient clefs that are supported via the
261 @code{\clef} command. Some of the clefs use the same glyph, but
262 differ only with respect to the line they are printed on. In such
263 cases, a trailing number in the name is used to enumerate these clefs.
264 Still, you can manually force a clef glyph to be typeset on an
265 arbitrary line, as described in @ref{Clef}. The note printed to the
266 right side of each clef in the example column denotes the @code{c'}
267 with respect to that clef.
269 @multitable @columnfractions .4 .4 .2
278 modern style mensural C clef
280 @code{neomensural-c1}, @code{neomensural-c2},@*
281 @code{neomensural-c3}, @code{neomensural-c4}
283 @lilypond[fragment,relative=1,notime]
284 \clef "neomensural-c2" c
288 petrucci style mensural C clefs, for use on different staff lines
289 (the examples show the 2nd staff line C clef)
291 @code{petrucci-c1}, @code{petrucci-c2},@*
292 @code{petrucci-c3}, @code{petrucci-c4},@*
295 @lilypond[fragment,relative=1,notime]
297 \override NoteHead #'style = #'mensural
302 petrucci style mensural F clef
306 @lilypond[fragment,relative=1,notime]
308 \override NoteHead #'style = #'mensural
313 petrucci style mensural G clef
317 @lilypond[fragment,relative=1,notime]
319 \override NoteHead #'style = #'mensural
324 historic style mensural C clef
326 @code{mensural-c1}, @code{mensural-c2},@*
327 @code{mensural-c3}, @code{mensural-c4}
329 @lilypond[fragment,relative=1,notime]
331 \override NoteHead #'style = #'mensural
336 historic style mensural F clef
340 @lilypond[fragment,relative=1,notime]
342 \override NoteHead #'style = #'mensural
347 historic style mensural G clef
351 @lilypond[fragment,relative=1,notime]
353 \override NoteHead #'style = #'mensural
358 Editio Vaticana style do clef
360 @code{vaticana-do1}, @code{vaticana-do2},@*
363 @lilypond[fragment,relative=1,notime]
364 \override Staff.StaffSymbol #'line-count = #4
365 \override Staff.StaffSymbol #'color = #red
366 \override Staff.LedgerLineSpanner #'color = #red
367 \override Voice.Stem #'transparent = ##t
368 \override NoteHead #'style = #'vaticana.punctum
374 Editio Vaticana style fa clef
376 @code{vaticana-fa1}, @code{vaticana-fa2}
378 @lilypond[fragment,relative=1,notime]
379 \override Staff.StaffSymbol #'line-count = #4
380 \override Staff.StaffSymbol #'color = #red
381 \override Staff.LedgerLineSpanner #'color = #red
382 \override Voice.Stem #'transparent = ##t
383 \override NoteHead #'style = #'vaticana.punctum
389 Editio Medicaea style do clef
391 @code{medicaea-do1}, @code{medicaea-do2},@*
394 @lilypond[fragment,relative=1,notime]
395 \override Staff.StaffSymbol #'line-count = #4
396 \override Staff.StaffSymbol #'color = #red
397 \override Staff.LedgerLineSpanner #'color = #red
398 \override Voice.Stem #'transparent = ##t
399 \override NoteHead #'style = #'medicaea.punctum
405 Editio Medicaea style fa clef
407 @code{medicaea-fa1}, @code{medicaea-fa2}
409 @lilypond[fragment,relative=1,notime]
410 \override Staff.StaffSymbol #'line-count = #4
411 \override Staff.StaffSymbol #'color = #red
412 \override Staff.LedgerLineSpanner #'color = #red
413 \override Voice.Stem #'transparent = ##t
414 \override NoteHead #'style = #'medicaea.punctum
420 historic style hufnagel do clef
422 @code{hufnagel-do1}, @code{hufnagel-do2},@*
425 @lilypond[fragment,relative=1,notime]
426 \override Staff.StaffSymbol #'line-count = #4
427 \override Staff.StaffSymbol #'color = #red
428 \override Staff.LedgerLineSpanner #'color = #red
429 \override Voice.Stem #'transparent = ##t
430 \override NoteHead #'style = #'hufnagel.punctum
436 historic style hufnagel fa clef
438 @code{hufnagel-fa1}, @code{hufnagel-fa2}
440 @lilypond[fragment,relative=1,notime]
441 \override Staff.StaffSymbol #'line-count = #4
442 \override Staff.StaffSymbol #'color = #red
443 \override Staff.LedgerLineSpanner #'color = #red
444 \override Voice.Stem #'transparent = ##t
445 \override NoteHead #'style = #'hufnagel.punctum
451 historic style hufnagel combined do/fa clef
453 @code{hufnagel-do-fa}
455 @lilypond[fragment,relative=1,notime]
456 \override Staff.StaffSymbol #'color = #red
457 \override Staff.LedgerLineSpanner #'color = #red
458 \override Voice.Stem #'transparent = ##t
459 \override NoteHead #'style = #'hufnagel.punctum
460 \clef "hufnagel-do-fa"
467 @emph{Modern style} means @qq{as is typeset in contemporary editions of
468 transcribed mensural music.}
470 @emph{Petrucci style} means @qq{inspired by printings published by the
471 famous engraver Petrucci (1466-1539).}
473 @emph{Historic style} means @qq{as was typeset or written in historic
474 editions (other than those of Petrucci).}
476 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
478 Petrucci used C clefs with differently balanced left-side vertical
479 beams, depending on which staff line it is printed.
483 Notation Reference: see @ref{Clef}.
487 The mensural g clef is mapped to the Petrucci g clef.
491 @subsubsection Ancient flags
495 Use the @code{flag-style} property of grob @rinternals{Stem} to
496 select ancient flags. Besides the @code{default} flag style,
497 only the @code{mensural} style is supported
499 @lilypond[quote,fragment,ragged-right,verbatim]
500 \override Stem #'flag-style = #'mensural
501 \override Stem #'thickness = #1.0
502 \override NoteHead #'style = #'mensural
504 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
505 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
508 Note that the innermost flare of each mensural flag always is
509 vertically aligned with a staff line.
511 There is no particular flag style for neo-mensural notation. Hence,
512 when typesetting the incipit of a transcribed piece of mensural
513 music, the default flag style should be used. There are no flags in
514 Gregorian chant notation.
518 TODO: nothing here yet ...
522 The attachment of ancient flags to stems is slightly off due to a
523 change in early 2.3.x.
525 Vertically aligning each flag with a staff line assumes that stems
526 always end either exactly on or exactly in the middle between two
527 staff lines. This may not always be true when using advanced layout
528 features of classical notation (which however are typically out of
529 scope for mensural notation).
531 @node Ancient time signatures
532 @subsubsection Ancient time signatures
534 @cindex time signatures
537 There is limited support for mensural time signatures. The
538 glyphs are hard-wired to particular time fractions. In other words,
539 to get a particular mensural signature glyph with the @code{\time n/m}
540 command, @code{n} and @code{m} have to be chosen according to the
543 @lilypond[quote,ragged-right]
548 \remove Staff_symbol_engraver
549 \remove Clef_engraver
550 \remove Time_signature_engraver
554 \set Score.timing = ##f
555 \set Score.barAlways = ##t
556 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
557 #"timesig.neomensural44" }
559 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
560 #"timesig.neomensural22" }
562 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
563 #"timesig.neomensural64" }
565 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
566 #"timesig.neomensural68" }
568 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
569 #"timesig.neomensural32" }
571 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
572 #"timesig.neomensural34" }
574 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
575 #"timesig.neomensural94" }
577 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
578 #"timesig.neomensural98" }
580 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
581 #"timesig.neomensural48" }
583 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
584 #"timesig.neomensural24" }
588 Use the @code{style} property of grob @rinternals{TimeSignature} to
589 select ancient time signatures. Supported styles are
590 @code{neomensural} and @code{mensural}. The above table uses the
591 @code{neomensural} style. This style is appropriate for the
592 incipit of transcriptions of mensural pieces. The @code{mensural}
593 style mimics the look of historical printings of the 16th century.
595 The following examples show the differences in style,
597 @lilypond[ragged-right,fragment,relative=1,quote]
602 c1^\markup { \hspace #-2.0 \typewriter default }
604 \override Staff.TimeSignature #'style = #'numbered
606 c1^\markup { \hspace #-2.0 \typewriter numbered }
608 \override Staff.TimeSignature #'style = #'mensural
610 c1^\markup { \hspace #-2.0 \typewriter mensural }
612 \override Staff.TimeSignature #'style = #'neomensural
614 c1^\markup { \hspace #-2.0 \typewriter neomensural }
615 \override Staff.TimeSignature #'style = #'single-digit
617 c1^\markup { \hspace #-2.0 \typewriter single-digit }
623 This manual: @ref{Time signature}, gives a general introduction to
624 the use of time signatures.
628 Ratios of note durations do not change with the time signature. For
629 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
630 be made by hand, by setting
633 breveTP = #(ly:make-duration -1 0 3 2)
639 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
641 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
642 addressable with @code{\time}. Use a @code{\markup} instead
645 @node Additional note signs
646 @subsection Additional note signs
649 * Ancient articulations::
653 * White mensural ligatures::
654 * Gregorian square neumes ligatures::
658 @node Ancient articulations
659 @subsubsection Ancient articulations
661 @cindex articulations
663 In addition to the standard articulation signs described in
664 section @ref{Articulations and ornamentations}, articulation signs
665 for ancient notation are provided. These are specifically
666 designed for use with notation in Editio Vaticana style.
668 @lilypond[quote,ragged-right,verbatim]
669 \include "gregorian-init.ly"
672 \override TextScript #'font-family = #'typewriter
673 \override TextScript #'font-shape = #'upright
674 \override Script #'padding = #-0.1
675 a\ictus_"ictus" \break
676 a\circulus_"circulus" \break
677 a\semicirculus_"semicirculus" \break
678 a\accentus_"accentus" \break
679 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
686 TODO: nothing here yet ...
690 Some articulations are vertically placed too closely to the
691 corresponding note heads.
693 The episem line is not displayed in many cases. If it is displayed,
694 the right end of the episem line is often too far to the right.
698 @subsubsection Custodes
703 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
704 symbol that appears at the end of a staff. It anticipates the pitch
705 of the first note(s) of the following line thus helping the performer
706 to manage line breaks during performance.
708 Custodes were frequently used in music notation until the 17th
709 century. Nowadays, they have survived only in a few particular forms
710 of musical notation such as contemporary editions of Gregorian chant
711 like the @emph{editio vaticana}. There are different custos glyphs
712 used in different flavors of notational style.
714 For typesetting custodes, just put a @rinternals{Custos_engraver} into the
715 @rinternals{Staff} context when declaring the @code{\layout} block,
716 as shown in the following example
722 \consists Custos_engraver
723 Custos \override #'style = #'mensural
728 The result looks like this
730 @lilypond[quote,ragged-right]
734 \override Staff.Custos #'style = #'mensural
739 \context { \Staff \consists Custos_engraver }
744 The custos glyph is selected by the @code{style} property. The styles
745 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
746 @code{mensural}. They are demonstrated in the following fragment
748 @lilypond[quote,ragged-right,fragment]
749 \new Lyrics \lyricmode {
751 \typewriter "vaticana"
752 \line { " " \musicglyph #"custodes.vaticana.u0" }
755 \typewriter "medicaea"
756 \line { " " \musicglyph #"custodes.medicaea.u0" }
759 \typewriter "hufnagel"
760 \line { " " \musicglyph #"custodes.hufnagel.u0" }
763 \typewriter "mensural"
764 \line { " " \musicglyph #"custodes.mensural.u0" }
771 Internals Reference: @rinternals{Custos}.
774 @c @lsr{ancient,custodes@/.ly}.
778 @subsubsection Divisiones
784 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
785 @q{division}) is a staff context symbol that is used to structure
786 Gregorian music into phrases and sections. The musical meaning of
787 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
788 can be characterized as short, medium, and long pause, somewhat like
789 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
790 only marks the end of a chant, but is also frequently used within a
791 single antiphonal/responsorial chant to mark the end of each section.
793 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
794 contains definitions that you can apply by just inserting
795 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
796 and @code{\finalis} at proper places in the input. Some editions use
797 @emph{virgula} or @emph{caesura} instead of divisio minima.
798 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
801 @lilypondfile[quote,ragged-right]{divisiones.ly}
809 @funindex \divisioMinima
810 @code{\divisioMinima},
811 @funindex \divisioMaior
812 @code{\divisioMaior},
813 @funindex \divisioMaxima
814 @code{\divisioMaxima},
820 Notation Reference: @ref{Breath marks}.
822 Internals Reference: @rinternals{BreathingSign}.
824 Examples: @c @lsr{expressive,breathing-sign.ly}.
828 @subsubsection Ligatures
832 @c TODO: Should double check if I recalled things correctly when I wrote
833 @c down the following paragraph by heart.
835 A ligature is a graphical symbol that represents at least two distinct
836 notes. Ligatures originally appeared in the manuscripts of Gregorian
837 chant notation to denote ascending or descending sequences of notes.
839 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
840 Some ligature styles may need additional input syntax specific for
841 this particular type of ligature. By default, the
842 @rinternals{LigatureBracket} engraver just puts a square bracket
845 @lilypond[quote,ragged-right,verbatim]
853 To select a specific style of ligatures, a proper ligature engraver
854 has to be added to the @rinternals{Voice} context, as explained in
855 the following subsections. Only white mensural ligatures
856 are supported with certain limitations.
860 TODO: nothing here yet ...
864 Ligatures need special spacing that has not yet been implemented. As
865 a result, there is too much space between ligatures most of the time,
866 and line breaking often is unsatisfactory. Also, lyrics do not
867 correctly align with ligatures.
869 Accidentals must not be printed within a ligature, but instead need to
870 be collected and printed in front of it.
872 The syntax still uses the deprecated infix style @code{\[ music expr
873 \]}. For consistency reasons, it will eventually be changed to
874 postfix style @code{note\[ ... note\]}. Alternatively, the file
875 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
878 \ligature @var{music expr}
880 with the same effect and is believed to be stable.
883 * White mensural ligatures::
884 * Gregorian square neumes ligatures::
888 @node White mensural ligatures
889 @subsubsection White mensural ligatures
891 @cindex Mensural ligatures
892 @cindex White mensural ligatures
894 There is limited support for white mensural ligatures.
896 To engrave white mensural ligatures, in the layout block put the
897 @rinternals{Mensural_ligature_engraver} into the
898 @rinternals{Voice} context, and remove the
899 @rinternals{Ligature_bracket_engraver}, like this
905 \remove Ligature_bracket_engraver
906 \consists Mensural_ligature_engraver
911 There is no additional input language to describe the shape of a
912 white mensural ligature. The shape is rather determined solely from
913 the pitch and duration of the enclosed notes. While this approach may
914 take a new user a while to get accustomed to, it has the great advantage
915 that the full musical information of the ligature is known internally.
916 This is not only required for correct MIDI output, but also allows for
917 automatic transcription of the ligatures.
922 \set Score.timing = ##f
923 \set Score.defaultBarType = "empty"
924 \override NoteHead #'style = #'neomensural
925 \override Staff.TimeSignature #'style = #'neomensural
928 \[ d\longa c\breve f e d \]
929 \[ c'\maxima d'\longa \]
932 @lilypond[quote,ragged-right]
935 \set Score.timing = ##f
936 \set Score.defaultBarType = "empty"
937 \override NoteHead #'style = #'neomensural
938 \override Staff.TimeSignature #'style = #'neomensural
941 \[ d\longa c\breve f e d \]
942 \[ c'\maxima d'\longa \]
948 \remove Ligature_bracket_engraver
949 \consists Mensural_ligature_engraver
955 Without replacing @rinternals{Ligature_bracket_engraver} with
956 @rinternals{Mensural_ligature_engraver}, the same music transcribes
959 @lilypond[quote,ragged-right]
961 \set Score.timing = ##f
962 \set Score.defaultBarType = "empty"
963 \override NoteHead #'style = #'neomensural
964 \override Staff.TimeSignature #'style = #'neomensural
967 \[ d\longa c\breve f e d \]
968 \[ c'\maxima d'\longa \]
975 TODO: nothing here yet ...
979 Horizontal spacing is poor.
982 @node Gregorian square neumes ligatures
983 @subsubsection Gregorian square neumes ligatures
985 @cindex Square neumes ligatures
986 @cindex Gregorian square neumes ligatures
988 There is limited support for Gregorian square neumes notation
989 (following the style of the Editio Vaticana). Core ligatures can
990 already be typeset, but essential issues for serious typesetting are
991 still lacking, such as (among others) horizontal alignment of multiple
992 ligatures, lyrics alignment and proper handling of accidentals.
995 The following table contains the extended neumes table of the 2nd
996 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
997 1983 by the monks of Solesmes.
999 @multitable @columnfractions .4 .2 .2 .2
1016 @c TODO: \layout block is identical in all of the below examples.
1017 @c Therefore, it should somehow be included rather than duplicated all
1020 @c why not make variables in ly/engraver-init.ly? --hwn
1022 @c Because it's just used to typeset plain notes without
1023 @c a staff for demonstration purposes rather than something
1024 @c special of Gregorian chant notation. --jr
1029 @lilypond[staffsize=26,line-width=1.5\cm]
1030 \include "gregorian-init.ly"
1035 \noBreak s^\markup {"a"} \noBreak
1037 % Punctum Inclinatum
1039 \noBreak s^\markup {"b"}
1041 \layout { \neumeDemoLayout }}
1044 @lilypond[staffsize=26,line-width=2.5\cm]
1045 \include "gregorian-init.ly"
1048 % Punctum Auctum Ascendens
1049 \[ \auctum \ascendens b \]
1050 \noBreak s^\markup {"c"} \noBreak
1052 % Punctum Auctum Descendens
1053 \[ \auctum \descendens b \]
1054 \noBreak s^\markup {"d"} \noBreak
1056 % Punctum Inclinatum Auctum
1057 \[ \inclinatum \auctum b \]
1058 \noBreak s^\markup {"e"}
1060 \layout { \neumeDemoLayout }}
1063 @lilypond[staffsize=26,line-width=1.0\cm]
1064 \include "gregorian-init.ly"
1067 % Punctum Inclinatum Parvum
1068 \[ \inclinatum \deminutum b \]
1069 \noBreak s^\markup {"f"}
1071 \layout { \neumeDemoLayout }}
1077 @lilypond[staffsize=26,line-width=1.0\cm]
1078 \include "gregorian-init.ly"
1083 \noBreak s^\markup {"g"}
1085 \layout { \neumeDemoLayout }}
1091 @code{3. Apostropha vel Stropha}
1093 @lilypond[staffsize=26,line-width=1.0\cm]
1094 \include "gregorian-init.ly"
1099 \noBreak s^\markup {"h"}
1101 \layout { \neumeDemoLayout }}
1104 @lilypond[staffsize=26,line-width=1.0\cm]
1105 \include "gregorian-init.ly"
1109 \[ \stropha \auctum b \]
1110 \noBreak s^\markup {"i"}
1112 \layout { \neumeDemoLayout }}
1119 @lilypond[staffsize=26,line-width=1.0\cm]
1120 \include "gregorian-init.ly"
1125 \noBreak s^\markup {"j"}
1127 \layout { \neumeDemoLayout }}
1133 @code{5. Clivis vel Flexa}
1135 @lilypond[staffsize=26,line-width=1.0\cm]
1136 \include "gregorian-init.ly"
1143 \layout { \neumeDemoLayout }}
1146 @lilypond[staffsize=26,line-width=2.0\cm]
1147 \include "gregorian-init.ly"
1150 % Clivis Aucta Descendens
1151 \[ b \flexa \auctum \descendens g \]
1152 \noBreak s^\markup {"l"} \noBreak
1154 % Clivis Aucta Ascendens
1155 \[ b \flexa \auctum \ascendens g \]
1156 \noBreak s^\markup {"m"}
1158 \layout { \neumeDemoLayout }}
1161 @lilypond[staffsize=26,line-width=1.0\cm]
1162 \include "gregorian-init.ly"
1166 \[ b \flexa \deminutum g \]
1169 \layout { \neumeDemoLayout }}
1173 @code{6. Podatus vel Pes}
1175 @lilypond[staffsize=26,line-width=1.0\cm]
1176 \include "gregorian-init.ly"
1183 \layout { \neumeDemoLayout }}
1186 @lilypond[staffsize=26,line-width=2.0\cm]
1187 \include "gregorian-init.ly"
1190 % Pes Auctus Descendens
1191 \[ g \pes \auctum \descendens b \]
1192 \noBreak s^\markup {"p"} \noBreak
1194 % Pes Auctus Ascendens
1195 \[ g \pes \auctum \ascendens b \]
1196 \noBreak s^\markup {"q"}
1198 \layout { \neumeDemoLayout }}
1201 @lilypond[staffsize=26,line-width=1.0\cm]
1202 \include "gregorian-init.ly"
1206 \[ g \pes \deminutum b \]
1209 \layout { \neumeDemoLayout }}
1213 @code{7. Pes Quassus}
1215 @lilypond[staffsize=26,line-width=1.0\cm]
1216 \include "gregorian-init.ly"
1220 \[ \oriscus g \pes \virga b \]
1223 \layout { \neumeDemoLayout }}
1226 @lilypond[staffsize=26,line-width=1.0\cm]
1227 \include "gregorian-init.ly"
1230 % Pes Quassus Auctus Descendens
1231 \[ \oriscus g \pes \auctum \descendens b \]
1234 \layout { \neumeDemoLayout }}
1239 @code{8. Quilisma Pes}
1241 @lilypond[staffsize=26,line-width=1.0\cm]
1242 \include "gregorian-init.ly"
1246 \[ \quilisma g \pes b \]
1249 \layout { \neumeDemoLayout }}
1252 @lilypond[staffsize=26,line-width=1.0\cm]
1253 \include "gregorian-init.ly"
1256 % Quilisma Pes Auctus Descendens
1257 \[ \quilisma g \pes \auctum \descendens b \]
1260 \layout { \neumeDemoLayout }}
1265 @code{9. Podatus Initio Debilis}
1267 @lilypond[staffsize=26,line-width=1.0\cm]
1268 \include "gregorian-init.ly"
1271 % Pes Initio Debilis
1272 \[ \deminutum g \pes b \]
1275 \layout { \neumeDemoLayout }}
1278 @lilypond[staffsize=26,line-width=1.0\cm]
1279 \include "gregorian-init.ly"
1282 % Pes Auctus Descendens Initio Debilis
1283 \[ \deminutum g \pes \auctum \descendens b \]
1286 \layout { \neumeDemoLayout }}
1293 @lilypond[staffsize=26,line-width=1.0\cm]
1294 \include "gregorian-init.ly"
1298 \[ a \pes b \flexa g \]
1301 \layout { \neumeDemoLayout }}
1304 @lilypond[staffsize=26,line-width=1.0\cm]
1305 \include "gregorian-init.ly"
1308 % Torculus Auctus Descendens
1309 \[ a \pes b \flexa \auctum \descendens g \]
1312 \layout { \neumeDemoLayout }}
1315 @lilypond[staffsize=26,line-width=1.0\cm]
1316 \include "gregorian-init.ly"
1319 % Torculus Deminutus
1320 \[ a \pes b \flexa \deminutum g \]
1323 \layout { \neumeDemoLayout }}
1327 @code{11. Torculus Initio Debilis}
1329 @lilypond[staffsize=26,line-width=1.0\cm]
1330 \include "gregorian-init.ly"
1333 % Torculus Initio Debilis
1334 \[ \deminutum a \pes b \flexa g \]
1337 \layout { \neumeDemoLayout }}
1340 @lilypond[staffsize=26,line-width=1.0\cm]
1341 \include "gregorian-init.ly"
1344 % Torculus Auctus Descendens Initio Debilis
1345 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1348 \layout { \neumeDemoLayout }}
1351 @lilypond[staffsize=26,line-width=1.0\cm]
1352 \include "gregorian-init.ly"
1355 % Torculus Deminutus Initio Debilis
1356 \[ \deminutum a \pes b \flexa \deminutum g \]
1359 \layout { \neumeDemoLayout }}
1363 @code{12. Porrectus}
1365 @lilypond[staffsize=26,line-width=1.0\cm]
1366 \include "gregorian-init.ly"
1370 \[ a \flexa g \pes b \]
1373 \layout { \neumeDemoLayout }}
1376 @lilypond[staffsize=26,line-width=1.0\cm]
1377 \include "gregorian-init.ly"
1380 % Porrectus Auctus Descendens
1381 \[ a \flexa g \pes \auctum \descendens b \]
1384 \layout { \neumeDemoLayout }}
1387 @lilypond[staffsize=26,line-width=1.0\cm]
1388 \include "gregorian-init.ly"
1391 % Porrectus Deminutus
1392 \[ a \flexa g \pes \deminutum b \]
1395 \layout { \neumeDemoLayout }}
1401 @lilypond[staffsize=26,line-width=1.0\cm]
1402 \include "gregorian-init.ly"
1406 \[ \virga b \inclinatum a \inclinatum g \]
1409 \layout { \neumeDemoLayout }
1413 @lilypond[staffsize=26,line-width=1.0\cm]
1414 \include "gregorian-init.ly"
1418 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1421 \layout { \neumeDemoLayout }}
1424 @lilypond[staffsize=26,line-width=1.0\cm]
1425 \include "gregorian-init.ly"
1428 % Climacus Deminutus
1429 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1432 \layout { \neumeDemoLayout }}
1436 @code{14. Scandicus}
1438 @lilypond[staffsize=26,line-width=1.0\cm]
1439 \include "gregorian-init.ly"
1443 \[ g \pes a \virga b \]
1446 \layout { \neumeDemoLayout }}
1449 @lilypond[staffsize=26,line-width=1.0\cm]
1450 \include "gregorian-init.ly"
1453 % Scandicus Auctus Descendens
1454 \[ g \pes a \pes \auctum \descendens b \]
1457 \layout { \neumeDemoLayout }}
1460 @lilypond[staffsize=26,line-width=1.0\cm]
1461 \include "gregorian-init.ly"
1464 % Scandicus Deminutus
1465 \[ g \pes a \pes \deminutum b \]
1468 \layout { \neumeDemoLayout }}
1474 @lilypond[staffsize=26,line-width=1.0\cm]
1475 \include "gregorian-init.ly"
1479 \[ g \oriscus a \pes \virga b \]
1482 \layout { \neumeDemoLayout }}
1485 @lilypond[staffsize=26,line-width=1.0\cm]
1486 \include "gregorian-init.ly"
1489 % Salicus Auctus Descendens
1490 \[ g \oriscus a \pes \auctum \descendens b \]
1493 \layout { \neumeDemoLayout }}
1500 @lilypond[staffsize=26,line-width=1.0\cm]
1501 \include "gregorian-init.ly"
1505 \[ \stropha b \stropha b \stropha a \]
1508 \layout { \neumeDemoLayout }
1516 Unlike most other neumes notation systems, the input language for
1517 neumes does not reflect the typographical appearance, but is designed
1518 to focus on musical meaning. For example, @code{\[ a \pes b
1519 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1520 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1521 curved flexa shape and only a single Punctum head. There is no
1522 command to explicitly typeset the curved flexa shape; the decision of
1523 when to typeset a curved flexa shape is based on the musical
1524 input. The idea of this approach is to separate the musical aspects
1525 of the input from the notation style of the output. This way, the
1526 same input can be reused to typeset the same music in a different
1527 style of Gregorian chant notation.
1529 The following table shows the code fragments that produce the
1530 ligatures in the above neumes table. The letter in the first column
1531 in each line of the below table indicates to which ligature in the
1532 above table it refers. The second column gives the name of the
1533 ligature. The third column shows the code fragment that produces this
1534 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1536 @multitable @columnfractions .02 .31 .67
1556 @code{\[ \inclinatum b \]}
1564 @code{\[ \auctum \ascendens b \]}
1572 @code{\[ \auctum \descendens b \]}
1577 Punctum Inclinatum@*
1580 @code{\[ \inclinatum \auctum b \]}
1585 Punctum Inclinatum@*
1587 @code{\[ \inclinatum \deminutum b \]}
1594 @code{\[ \virga b \]}
1601 @code{\[ \stropha b \]}
1608 @code{\[ \stropha \auctum b \]}
1615 @code{\[ \oriscus b \]}
1622 @code{\[ b \flexa g \]}
1630 @code{\[ b \flexa \auctum \descendens g \]}
1638 @code{\[ b \flexa \auctum \ascendens g \]}
1645 @code{\[ b \flexa \deminutum g \]}
1652 @code{\[ g \pes b \]}
1660 @code{\[ g \pes \auctum \descendens b \]}
1668 @code{\[ g \pes \auctum \ascendens b \]}
1675 @code{\[ g \pes \deminutum b \]}
1682 @code{\[ \oriscus g \pes \virga b \]}
1688 Auctus Descendens @tab
1689 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1696 @code{\[ \quilisma g \pes b \]}
1704 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1711 @code{\[ \deminutum g \pes b \]}
1716 Pes Auctus Descendens@*
1719 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1726 @code{\[ a \pes b \flexa g \]}
1734 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1741 @code{\[ a \pes b \flexa \deminutum g \]}
1746 Torculus Initio Debilis
1748 @code{\[ \deminutum a \pes b \flexa g \]}
1754 Descendens Initio Debilis
1756 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1761 Torculus Deminutus@*
1764 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1771 @code{\[ a \flexa g \pes b \]}
1779 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1786 @code{\[ a \flexa g \pes \deminutum b \]}
1793 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1800 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1807 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1814 @code{\[ g \pes a \virga b \]}
1822 @code{\[ g \pes a \pes \auctum \descendens b \]}
1829 @code{\[ g \pes a \pes \deminutum b \]}
1836 @code{\[ g \oriscus a \pes \virga b \]}
1841 Salicus Auctus Descendens
1843 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1850 @code{\[ \stropha b \stropha b \stropha a \]}
1853 The ligatures listed above mainly serve as a limited, but still
1854 representative pool of Gregorian ligature examples. Virtually, within
1855 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1856 may be accumulated to form a single ligature, and head prefixes like
1857 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1858 etc. may be mixed in as desired. The use of the set of rules that
1859 underlies the construction of the ligatures in the above table is
1860 accordingly extrapolated. This way, infinitely many different
1861 ligatures can be created.
1863 Augmentum dots, also called @emph{morae}, are added with the music
1864 function @code{\augmentum}. Note that @code{\augmentum} is
1865 implemented as a unary music function rather than as head prefix. It
1866 applies to the immediately following music expression only. That is,
1867 @code{\augmentum \virga c} will have no visible effect. Instead, say
1868 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1869 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1870 @code{\augmentum a \augmentum g}.
1872 @lilypond[quote,ragged-right,verbatim]
1873 \include "gregorian-init.ly"
1875 \new VaticanaVoice {
1876 \[ \augmentum a \flexa \augmentum g \]
1884 The following head prefixes are supported
1890 @funindex \inclinatum
1894 @funindex \descendens
1896 @funindex \ascendens
1902 @funindex \deminutum
1909 Head prefixes can be accumulated, though restrictions apply. For
1910 example, either @code{\descendens} or @code{\ascendens} can be applied
1911 to a head, but not both to the same head.
1915 Two adjacent heads can be tied together with the @code{\pes} and
1916 @code{\flexa} infix commands for a rising and falling line of melody,
1919 @funindex \augmentum
1920 Use the unary music function @code{\augmentum} to add augmentum dots.
1924 TODO: nothing here yet ...
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
1982 TODO: nothing here yet ...
1984 @node Mensural contexts
1985 @subsubsection Mensural contexts
1987 @cindex MensuralVoiceContext
1988 @cindex MensuralStaffContext
1990 The predefined @code{MensuralVoiceContext} and
1991 @code{MensuralStaffContext} can be used to engrave a piece in
1992 mensural style. These contexts initialize all relevant context
1993 properties and grob properties to proper values, so you can
1994 immediately go ahead entering the chant, as the following excerpt
1997 @lilypond[quote,ragged-right,verbatim]
2000 \new MensuralVoice = "discantus" \transpose c c' {
2001 \override Score.BarNumber #'transparent = ##t {
2002 c'1\melisma bes a g\melismaEnd
2004 \[ f1\melisma a c'\breve d'\melismaEnd \]
2006 c'\breve\melisma a1 g1\melismaEnd
2007 fis\longa^\signumcongruentiae
2010 \new Lyrics \lyricsto "discantus" {
2011 San -- ctus, San -- ctus, San -- ctus
2019 TODO: nothing here yet ...
2022 @node Transcribing ancient music
2023 @subsection Transcribing ancient music
2026 * Ancient and modern from one source::
2028 * Mensurstriche layout::
2029 * Transcribing Gregorian chant::
2033 @node Ancient and modern from one source
2034 @subsubsection Ancient and modern from one source
2037 @c Here among others the snippets about reducing note length
2042 @c ... and reference to other sections ...
2046 @subsubsection Incipits
2049 @c clefs, mensuration signs etc from lsr and -user
2050 @c use snippet Transcription-of-ancient-music-with-incipit
2055 @c ... and reference to other sections ...
2057 @node Mensurstriche layout
2058 @subsubsection Mensurstriche layout
2061 @c from lsr and -user
2066 @c ... and reference to other sections ...
2069 @node Transcribing Gregorian chant
2070 @subsubsection Transcribing Gregorian chant
2073 @c extract from 1.6.1.1
2078 @c ... and reference to other sections ...
2081 @node Editorial markings
2082 @subsection Editorial markings
2085 * Annotational accidentals::
2086 * Baroque rhythmic notation::
2090 @node Annotational accidentals
2091 @subsubsection Annotational accidentals
2093 In European music from before about 1600, singers were often
2094 expected to chromatically alter notes at their own initiative.
2095 This is called @notation{musica ficta}. In modern transcriptions, these
2096 accidentals are usually printed over the note.
2098 @cindex Accidental, musica ficta
2099 @cindex Musica ficta
2101 Support for such suggested accidentals is included, and can be
2102 switched on by setting @code{suggestAccidentals} to true.
2104 @funindex suggestAccidentals
2106 @lilypond[verbatim,fragment,relative=1]
2108 \set suggestAccidentals = ##t
2112 This will treat @emph{every} subsequent accidentals as
2113 @emph{musica ficta} until it is unset with @code{\set
2114 suggestAccidentals = ##f}. A more convenient way is to use
2117 @lilypond[verbatim,fragment,relative=1]
2119 \once \set suggestAccidentals = ##t
2125 Internals Reference: @rinternals{Accidental_engraver} engraver and
2126 the @rinternals{AccidentalSuggestion} object.
2129 @node Baroque rhythmic notation
2130 @subsubsection Baroque rhythmic notation
2134 @c Add example of white noteheads:
2135 @c In the french baroque some composers used white noteheads in slow pieces,
2136 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2137 @c notehead. (Franz-Rudolf Kuhnen)
2139 @c TODO Add example of this:
2140 @c I was referring to e.g. notated a8. a16, which should, if I
2141 @c remember correctly, be interpreted more like a8.. a32 (in the french
2142 @c style). The editor might want to show that rythmic figure above the
2143 @c staff as an hint to performers. (Karl Hammer)
2150 @c ... and reference to other sections ...