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.
10 @section Ancient notation
12 @cindex Vaticana, Editio
13 @cindex Medicaea, Editio
18 Support for ancient notation includes features for mensural notation
19 and Gregorian Chant notation. There is also limited support for
20 figured bass notation.
22 Many graphical objects provide a @code{style} property, see
25 @ref{Ancient note heads},
27 @ref{Ancient accidentals},
35 @ref{Ancient time signatures}.
38 By manipulating such a grob property, the typographical appearance of
39 the affected graphical objects can be accommodated for a specific
40 notation flavor without the need for introducing any new notational
43 In addition to the standard articulation signs described in
44 section @ref{Articulations and ornamentations}, specific
45 articulation signs for ancient notation are provided.
49 @ref{Ancient articulations}
52 Other aspects of ancient notation can not that easily be expressed
53 in terms of just changing a style property of a graphical object or
54 adding articulation signs. Some notational concepts are introduced
55 specifically for ancient notation,
66 If this all is too much of documentation for you, and you just want to
67 dive into typesetting without worrying too much about the details on
68 how to customize a context, you may have a look at the predefined
69 contexts. Use them to set up predefined style-specific voice and
70 staff contexts, and directly go ahead with the note entry,
74 @ref{Gregorian Chant contexts},
76 @ref{Mensural contexts}.
79 There is limited support for figured bass notation which came
80 up during the baroque period.
87 Here are all subtopics at a glance:
94 @subsection Ancient TODO
99 * Ancient note heads::
100 * Ancient accidentals::
104 * Ancient time signatures::
105 * Ancient articulations::
109 * White mensural ligatures::
110 * Gregorian square neumes ligatures::
111 * Gregorian Chant contexts::
112 * Mensural contexts::
113 * Musica ficta accidentals::
117 @node Ancient note heads
118 @unnumberedsubsubsec Ancient note heads
120 @cindex note heads, ancient
122 For ancient notation, a note head style other than the @code{default}
123 style may be chosen. This is accomplished by setting the @code{style}
124 property of the @internalsref{NoteHead} object to @code{baroque},
125 @code{neomensural}, @code{mensural} or @code{petrucci}. The
126 @code{baroque} style differs from the @code{default} style only in
127 using a square shape for @code{\breve} note heads. The
128 @code{neomensural} style differs from the @code{baroque} style in that
129 it uses rhomboidal heads for whole notes and all smaller durations.
130 Stems are centered on the note heads. This style is particularly
131 useful when transcribing mensural music, e.g., for the incipit. The
132 @code{mensural} style produces note heads that mimic the look of note
133 heads in historic printings of the 16th century. Finally, the
134 @code{petrucci} style also mimicks historic printings, but uses bigger
137 The following example demonstrates the @code{neomensural} style
139 @lilypond[quote,fragment,ragged-right,verbatim]
140 \set Score.skipBars = ##t
141 \override NoteHead #'style = #'neomensural
142 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
145 When typesetting a piece in Gregorian Chant notation, the
146 @internalsref{Gregorian_ligature_engraver} will automatically select
147 the proper note heads, so there is no need to explicitly set the
148 note head style. Still, the note head style can be set, e.g., to
149 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
150 @internalsref{Mensural_ligature_engraver} is used to automatically
151 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
156 @ref{Note head styles}, gives an overview over all available note head styles.
159 @node Ancient accidentals
160 @unnumberedsubsubsec Ancient accidentals
165 Use the @code{glyph-name-alist} property of grob
166 @internalsref{Accidental} and @internalsref{KeySignature} to select
169 @lilypond[quote,ragged-right,staffsize=26]
176 \line { " " \musicglyph #"accidentals.vaticana-1"
177 " " \musicglyph #"accidentals.vaticana0" }
181 \line { " " \musicglyph #"accidentals.medicaea-1" }
185 \line { " " \musicglyph #"accidentals.hufnagel-1" }
189 \line { " " \musicglyph #"accidentals.mensural-1"
190 " " \musicglyph #"accidentals.mensural1" }
196 \context { \Score \remove "Bar_number_engraver" }
198 \remove "Clef_engraver"
199 \remove "Key_engraver"
200 \remove "Time_signature_engraver"
201 \remove "Staff_symbol_engraver"
202 \override VerticalAxisGroup #'minimum-Y-extent = ##f
208 As shown, not all accidentals are supported by each style. When
209 trying to access an unsupported accidental, LilyPond will switch to a
210 different style, as demonstrated in
211 @lsr{ancient,ancient-accidentals.ly}.
213 Similarly to local accidentals, the style of the key signature can be
214 controlled by the @code{glyph-name-alist} property of the
215 @internalsref{KeySignature} grob.
219 In this manual: @ref{Pitches}, @ref{Accidentals}, and
220 @ref{Automatic accidentals}, give a general introduction of the use of
221 accidentals. @ref{Key signature}, gives a general introduction of
222 the use of key signatures.
224 Internals Reference: @internalsref{KeySignature}.
226 Examples: @lsrdir{ancient}
229 @unnumberedsubsubsec Ancient rests
231 @cindex rests, ancient
234 Use the @code{style} property of grob @internalsref{Rest} to select
235 ancient rests. Supported styles are @code{classical},
236 @code{neomensural}, and @code{mensural}. @code{classical} differs
237 from the @code{default} style only in that the quarter rest looks like
238 a horizontally mirrored 8th rest. The @code{neomensural} style suits
239 well for, e.g., the incipit of a transcribed mensural piece of music.
240 The @code{mensural} style finally mimics the appearance of rests as
241 in historic prints of the 16th century.
243 The following example demonstrates the @code{neomensural} style
245 @lilypond[quote,fragment,ragged-right,verbatim]
246 \set Score.skipBars = ##t
247 \override Rest #'style = #'neomensural
248 r\longa r\breve r1 r2 r4 r8 r16
251 There are no 32th and 64th rests specifically for the mensural or
252 neo-mensural style. Instead, the rests from the default style will be
253 taken. See @lsr{pitches,rests} for a chart of all rests.
255 There are no rests in Gregorian Chant notation; instead, it uses
260 In this manual: @ref{Rests}, gives a general introduction into the use of
265 @unnumberedsubsubsec Ancient clefs
270 LilyPond supports a variety of clefs, many of them ancient.
272 The following table shows all ancient clefs that are supported via the
273 @code{\clef} command. Some of the clefs use the same glyph, but
274 differ only with respect to the line they are printed on. In such
275 cases, a trailing number in the name is used to enumerate these clefs.
276 Still, you can manually force a clef glyph to be typeset on an
277 arbitrary line, as described in @ref{Clef}. The note printed to the
278 right side of each clef in the example column denotes the @code{c'}
279 with respect to that clef.
281 @multitable @columnfractions .4 .4 .2
290 modern style mensural C clef
292 @code{neomensural-c1}, @code{neomensural-c2},@*
293 @code{neomensural-c3}, @code{neomensural-c4}
295 @lilypond[fragment,relative=1,notime]
296 \clef "neomensural-c2" c
300 petrucci style mensural C clefs, for use on different staff lines
301 (the examples show the 2nd staff line C clef)
303 @code{petrucci-c1}, @code{petrucci-c2},@*
304 @code{petrucci-c3}, @code{petrucci-c4},@*
307 @lilypond[fragment,relative=1,notime]
309 \override NoteHead #'style = #'mensural
314 petrucci style mensural F clef
318 @lilypond[fragment,relative=1,notime]
320 \override NoteHead #'style = #'mensural
325 petrucci style mensural G clef
329 @lilypond[fragment,relative=1,notime]
331 \override NoteHead #'style = #'mensural
336 historic style mensural C clef
338 @code{mensural-c1}, @code{mensural-c2},@*
339 @code{mensural-c3}, @code{mensural-c4}
341 @lilypond[fragment,relative=1,notime]
343 \override NoteHead #'style = #'mensural
348 historic style mensural F clef
352 @lilypond[fragment,relative=1,notime]
354 \override NoteHead #'style = #'mensural
359 historic style mensural G clef
363 @lilypond[fragment,relative=1,notime]
365 \override NoteHead #'style = #'mensural
370 Editio Vaticana style do clef
372 @code{vaticana-do1}, @code{vaticana-do2},@*
375 @lilypond[fragment,relative=1,notime]
376 \override Staff.StaffSymbol #'line-count = #4
377 \override Staff.StaffSymbol #'color = #red
378 \override Staff.LedgerLineSpanner #'color = #red
379 \override Voice.Stem #'transparent = ##t
380 \override NoteHead #'style = #'vaticana.punctum
386 Editio Vaticana style fa clef
388 @code{vaticana-fa1}, @code{vaticana-fa2}
390 @lilypond[fragment,relative=1,notime]
391 \override Staff.StaffSymbol #'line-count = #4
392 \override Staff.StaffSymbol #'color = #red
393 \override Staff.LedgerLineSpanner #'color = #red
394 \override Voice.Stem #'transparent = ##t
395 \override NoteHead #'style = #'vaticana.punctum
401 Editio Medicaea style do clef
403 @code{medicaea-do1}, @code{medicaea-do2},@*
406 @lilypond[fragment,relative=1,notime]
407 \override Staff.StaffSymbol #'line-count = #4
408 \override Staff.StaffSymbol #'color = #red
409 \override Staff.LedgerLineSpanner #'color = #red
410 \override Voice.Stem #'transparent = ##t
411 \override NoteHead #'style = #'medicaea.punctum
417 Editio Medicaea style fa clef
419 @code{medicaea-fa1}, @code{medicaea-fa2}
421 @lilypond[fragment,relative=1,notime]
422 \override Staff.StaffSymbol #'line-count = #4
423 \override Staff.StaffSymbol #'color = #red
424 \override Staff.LedgerLineSpanner #'color = #red
425 \override Voice.Stem #'transparent = ##t
426 \override NoteHead #'style = #'medicaea.punctum
432 historic style hufnagel do clef
434 @code{hufnagel-do1}, @code{hufnagel-do2},@*
437 @lilypond[fragment,relative=1,notime]
438 \override Staff.StaffSymbol #'line-count = #4
439 \override Staff.StaffSymbol #'color = #red
440 \override Staff.LedgerLineSpanner #'color = #red
441 \override Voice.Stem #'transparent = ##t
442 \override NoteHead #'style = #'hufnagel.punctum
448 historic style hufnagel fa clef
450 @code{hufnagel-fa1}, @code{hufnagel-fa2}
452 @lilypond[fragment,relative=1,notime]
453 \override Staff.StaffSymbol #'line-count = #4
454 \override Staff.StaffSymbol #'color = #red
455 \override Staff.LedgerLineSpanner #'color = #red
456 \override Voice.Stem #'transparent = ##t
457 \override NoteHead #'style = #'hufnagel.punctum
463 historic style hufnagel combined do/fa clef
465 @code{hufnagel-do-fa}
467 @lilypond[fragment,relative=1,notime]
468 \override Staff.StaffSymbol #'color = #red
469 \override Staff.LedgerLineSpanner #'color = #red
470 \override Voice.Stem #'transparent = ##t
471 \override NoteHead #'style = #'hufnagel.punctum
472 \clef "hufnagel-do-fa"
479 @emph{Modern style} means @qq{as is typeset in contemporary editions of
480 transcribed mensural music.}
482 @emph{Petrucci style} means @qq{inspired by printings published by the
483 famous engraver Petrucci (1466-1539).}
485 @emph{Historic style} means @qq{as was typeset or written in historic
486 editions (other than those of Petrucci).}
488 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
490 Petrucci used C clefs with differently balanced left-side vertical
491 beams, depending on which staff line it is printed.
495 In this manual: see @ref{Clef}.
499 The mensural g clef is mapped to the Petrucci g clef.
504 @unnumberedsubsubsec Ancient flags
509 Use the @code{flag-style} property of grob @internalsref{Stem} to
510 select ancient flags. Besides the @code{default} flag style,
511 only the @code{mensural} style is supported
513 @lilypond[quote,fragment,ragged-right,verbatim]
514 \override Stem #'flag-style = #'mensural
515 \override Stem #'thickness = #1.0
516 \override NoteHead #'style = #'mensural
518 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
519 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
522 Note that the innermost flare of each mensural flag always is
523 vertically aligned with a staff line.
525 There is no particular flag style for neo-mensural notation. Hence,
526 when typesetting the incipit of a transcribed piece of mensural
527 music, the default flag style should be used. There are no flags in
528 Gregorian Chant notation.
532 The attachment of ancient flags to stems is slightly off due to a
533 change in early 2.3.x.
535 Vertically aligning each flag with a staff line assumes that stems
536 always end either exactly on or exactly in the middle between two
537 staff lines. This may not always be true when using advanced layout
538 features of classical notation (which however are typically out of
539 scope for mensural notation).
541 @node Ancient time signatures
542 @unnumberedsubsubsec Ancient time signatures
544 @cindex time signatures
547 There is limited support for mensural time signatures. The
548 glyphs are hard-wired to particular time fractions. In other words,
549 to get a particular mensural signature glyph with the @code{\time n/m}
550 command, @code{n} and @code{m} have to be chosen according to the
553 @lilypond[quote,ragged-right]
558 \remove Staff_symbol_engraver
559 \remove Clef_engraver
560 \remove Time_signature_engraver
564 \set Score.timing = ##f
565 \set Score.barAlways = ##t
566 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
567 #"timesig.neomensural44" }
569 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
570 #"timesig.neomensural22" }
572 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
573 #"timesig.neomensural64" }
575 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
576 #"timesig.neomensural68" }
578 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
579 #"timesig.neomensural32" }
581 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
582 #"timesig.neomensural34" }
584 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
585 #"timesig.neomensural94" }
587 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
588 #"timesig.neomensural98" }
590 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
591 #"timesig.neomensural48" }
593 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
594 #"timesig.neomensural24" }
598 Use the @code{style} property of grob @internalsref{TimeSignature} to
599 select ancient time signatures. Supported styles are
600 @code{neomensural} and @code{mensural}. The above table uses the
601 @code{neomensural} style. This style is appropriate for the
602 incipit of transcriptions of mensural pieces. The @code{mensural}
603 style mimics the look of historical printings of the 16th century.
605 The following examples show the differences in style,
607 @lilypond[ragged-right,fragment,relative=1,quote]
612 c1^\markup { \hspace #-2.0 \typewriter default }
614 \override Staff.TimeSignature #'style = #'numbered
616 c1^\markup { \hspace #-2.0 \typewriter numbered }
618 \override Staff.TimeSignature #'style = #'mensural
620 c1^\markup { \hspace #-2.0 \typewriter mensural }
622 \override Staff.TimeSignature #'style = #'neomensural
624 c1^\markup { \hspace #-2.0 \typewriter neomensural }
625 \override Staff.TimeSignature #'style = #'single-digit
627 c1^\markup { \hspace #-2.0 \typewriter single-digit }
633 This manual: @ref{Time signature}, gives a general introduction to
634 the use of time signatures.
638 Ratios of note durations do not change with the time signature. For
639 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
640 be made by hand, by setting
643 breveTP = #(ly:make-duration -1 0 3 2)
649 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
651 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
652 addressable with @code{\time}. Use a @code{\markup} instead
654 @node Ancient articulations
655 @unnumberedsubsubsec Ancient articulations
657 @cindex articulations
659 In addition to the standard articulation signs described in
660 section @ref{Articulations and ornamentations}, articulation signs
661 for ancient notation are provided. These are specifically
662 designed for use with notation in Editio Vaticana style.
664 @lilypond[quote,ragged-right,verbatim]
665 \include "gregorian-init.ly"
668 \override TextScript #'font-family = #'typewriter
669 \override TextScript #'font-shape = #'upright
670 \override Script #'padding = #-0.1
671 a\ictus_"ictus" \break
672 a\circulus_"circulus" \break
673 a\semicirculus_"semicirculus" \break
674 a\accentus_"accentus" \break
675 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
682 Some articulations are vertically placed too closely to the
683 corresponding note heads.
685 The episem line is not displayed in many cases. If it is displayed,
686 the right end of the episem line is often too far to the right.
689 @unnumberedsubsubsec Custodes
694 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
695 symbol that appears at the end of a staff. It anticipates the pitch
696 of the first note(s) of the following line thus helping the performer
697 to manage line breaks during performance.
699 Custodes were frequently used in music notation until the 17th
700 century. Nowadays, they have survived only in a few particular forms
701 of musical notation such as contemporary editions of Gregorian chant
702 like the @emph{editio vaticana}. There are different custos glyphs
703 used in different flavors of notational style.
705 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
706 @internalsref{Staff} context when declaring the @code{\layout} block,
707 as shown in the following example
713 \consists Custos_engraver
714 Custos \override #'style = #'mensural
719 The result looks like this
721 @lilypond[quote,ragged-right]
725 \override Staff.Custos #'style = #'mensural
730 \context { \Staff \consists Custos_engraver }
735 The custos glyph is selected by the @code{style} property. The styles
736 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
737 @code{mensural}. They are demonstrated in the following fragment
739 @lilypond[quote,ragged-right,fragment]
740 \new Lyrics \lyricmode {
742 \typewriter "vaticana"
743 \line { " " \musicglyph #"custodes.vaticana.u0" }
746 \typewriter "medicaea"
747 \line { " " \musicglyph #"custodes.medicaea.u0" }
750 \typewriter "hufnagel"
751 \line { " " \musicglyph #"custodes.hufnagel.u0" }
754 \typewriter "mensural"
755 \line { " " \musicglyph #"custodes.mensural.u0" }
762 Internals Reference: @internalsref{Custos}.
765 @lsr{ancient,custodes@/.ly}.
769 @unnumberedsubsubsec Divisiones
775 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
776 @q{division}) is a staff context symbol that is used to structure
777 Gregorian music into phrases and sections. The musical meaning of
778 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
779 can be characterized as short, medium, and long pause, somewhat like
780 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
781 only marks the end of a chant, but is also frequently used within a
782 single antiphonal/responsorial chant to mark the end of each section.
785 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
786 contains definitions that you can apply by just inserting
787 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
788 and @code{\finalis} at proper places in the input. Some editions use
789 @emph{virgula} or @emph{caesura} instead of divisio minima.
790 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
793 @lilypondfile[quote,ragged-right]{divisiones.ly}
801 @funindex \divisioMinima
802 @code{\divisioMinima},
803 @funindex \divisioMaior
804 @code{\divisioMaior},
805 @funindex \divisioMaxima
806 @code{\divisioMaxima},
812 In this manual: @ref{Breath marks}.
814 Internals Reference: @internalsref{BreathingSign}.
816 Examples: @lsr{expressive,breathing-sign.ly}.
820 @unnumberedsubsubsec Ligatures
824 @c TODO: Should double check if I recalled things correctly when I wrote
825 @c down the following paragraph by heart.
827 A ligature is a graphical symbol that represents at least two distinct
828 notes. Ligatures originally appeared in the manuscripts of Gregorian
829 chant notation to denote ascending or descending sequences of notes.
831 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
832 Some ligature styles may need additional input syntax specific for
833 this particular type of ligature. By default, the
834 @internalsref{LigatureBracket} engraver just puts a square bracket
837 @lilypond[quote,ragged-right,verbatim]
845 To select a specific style of ligatures, a proper ligature engraver
846 has to be added to the @internalsref{Voice} context, as explained in
847 the following subsections. Only white mensural ligatures
848 are supported with certain limitations.
854 Ligatures need special spacing that has not yet been implemented. As
855 a result, there is too much space between ligatures most of the time,
856 and line breaking often is unsatisfactory. Also, lyrics do not
857 correctly align with ligatures.
859 Accidentals must not be printed within a ligature, but instead need to
860 be collected and printed in front of it.
862 The syntax still uses the deprecated infix style @code{\[ music expr
863 \]}. For consistency reasons, it will eventually be changed to
864 postfix style @code{note\[ ... note\]}. Alternatively, the file
865 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
868 \ligature @var{music expr}
870 with the same effect and is believed to be stable.
873 * White mensural ligatures::
874 * Gregorian square neumes ligatures::
877 @node White mensural ligatures
878 @unnumberedsubsubsec White mensural ligatures
880 @cindex Mensural ligatures
881 @cindex White mensural ligatures
883 There is limited support for white mensural ligatures.
885 To engrave white mensural ligatures, in the layout block put the
886 @internalsref{Mensural_ligature_engraver} into the
887 @internalsref{Voice} context, and remove the
888 @internalsref{Ligature_bracket_engraver}, like this
894 \remove Ligature_bracket_engraver
895 \consists Mensural_ligature_engraver
900 There is no additional input language to describe the shape of a
901 white mensural ligature. The shape is rather determined solely from
902 the pitch and duration of the enclosed notes. While this approach may
903 take a new user a while to get accustomed to, it has the great advantage
904 that the full musical information of the ligature is known internally.
905 This is not only required for correct MIDI output, but also allows for
906 automatic transcription of the ligatures.
911 \set Score.timing = ##f
912 \set Score.defaultBarType = "empty"
913 \override NoteHead #'style = #'neomensural
914 \override Staff.TimeSignature #'style = #'neomensural
917 \[ d\longa c\breve f e d \]
918 \[ c'\maxima d'\longa \]
921 @lilypond[quote,ragged-right]
924 \set Score.timing = ##f
925 \set Score.defaultBarType = "empty"
926 \override NoteHead #'style = #'neomensural
927 \override Staff.TimeSignature #'style = #'neomensural
930 \[ d\longa c\breve f e d \]
931 \[ c'\maxima d'\longa \]
937 \remove Ligature_bracket_engraver
938 \consists Mensural_ligature_engraver
944 Without replacing @internalsref{Ligature_bracket_engraver} with
945 @internalsref{Mensural_ligature_engraver}, the same music transcribes
948 @lilypond[quote,ragged-right]
950 \set Score.timing = ##f
951 \set Score.defaultBarType = "empty"
952 \override NoteHead #'style = #'neomensural
953 \override Staff.TimeSignature #'style = #'neomensural
956 \[ d\longa c\breve f e d \]
957 \[ c'\maxima d'\longa \]
964 Horizontal spacing is poor.
966 @node Gregorian square neumes ligatures
967 @unnumberedsubsubsec Gregorian square neumes ligatures
969 @cindex Square neumes ligatures
970 @cindex Gregorian square neumes ligatures
972 There is limited support for Gregorian square neumes notation
973 (following the style of the Editio Vaticana). Core ligatures can
974 already be typeset, but essential issues for serious typesetting are
975 still lacking, such as (among others) horizontal alignment of multiple
976 ligatures, lyrics alignment and proper handling of accidentals.
979 The following table contains the extended neumes table of the 2nd
980 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
981 1983 by the monks of Solesmes.
983 @multitable @columnfractions .4 .2 .2 .2
1000 @c TODO: \layout block is identical in all of the below examples.
1001 @c Therefore, it should somehow be included rather than duplicated all
1004 @c why not make variables in ly/engraver-init.ly? --hwn
1006 @c Because it's just used to typeset plain notes without
1007 @c a staff for demonstration purposes rather than something
1008 @c special of Gregorian chant notation. --jr
1013 @lilypond[staffsize=26,line-width=1.5\cm]
1014 \include "gregorian-init.ly"
1019 \noBreak s^\markup {"a"} \noBreak
1021 % Punctum Inclinatum
1023 \noBreak s^\markup {"b"}
1025 \layout { \neumeDemoLayout }}
1028 @lilypond[staffsize=26,line-width=2.5\cm]
1029 \include "gregorian-init.ly"
1032 % Punctum Auctum Ascendens
1033 \[ \auctum \ascendens b \]
1034 \noBreak s^\markup {"c"} \noBreak
1036 % Punctum Auctum Descendens
1037 \[ \auctum \descendens b \]
1038 \noBreak s^\markup {"d"} \noBreak
1040 % Punctum Inclinatum Auctum
1041 \[ \inclinatum \auctum b \]
1042 \noBreak s^\markup {"e"}
1044 \layout { \neumeDemoLayout }}
1047 @lilypond[staffsize=26,line-width=1.0\cm]
1048 \include "gregorian-init.ly"
1051 % Punctum Inclinatum Parvum
1052 \[ \inclinatum \deminutum b \]
1053 \noBreak s^\markup {"f"}
1055 \layout { \neumeDemoLayout }}
1061 @lilypond[staffsize=26,line-width=1.0\cm]
1062 \include "gregorian-init.ly"
1067 \noBreak s^\markup {"g"}
1069 \layout { \neumeDemoLayout }}
1075 @code{3. Apostropha vel Stropha}
1077 @lilypond[staffsize=26,line-width=1.0\cm]
1078 \include "gregorian-init.ly"
1083 \noBreak s^\markup {"h"}
1085 \layout { \neumeDemoLayout }}
1088 @lilypond[staffsize=26,line-width=1.0\cm]
1089 \include "gregorian-init.ly"
1093 \[ \stropha \auctum b \]
1094 \noBreak s^\markup {"i"}
1096 \layout { \neumeDemoLayout }}
1103 @lilypond[staffsize=26,line-width=1.0\cm]
1104 \include "gregorian-init.ly"
1109 \noBreak s^\markup {"j"}
1111 \layout { \neumeDemoLayout }}
1117 @code{5. Clivis vel Flexa}
1119 @lilypond[staffsize=26,line-width=1.0\cm]
1120 \include "gregorian-init.ly"
1127 \layout { \neumeDemoLayout }}
1130 @lilypond[staffsize=26,line-width=2.0\cm]
1131 \include "gregorian-init.ly"
1134 % Clivis Aucta Descendens
1135 \[ b \flexa \auctum \descendens g \]
1136 \noBreak s^\markup {"l"} \noBreak
1138 % Clivis Aucta Ascendens
1139 \[ b \flexa \auctum \ascendens g \]
1140 \noBreak s^\markup {"m"}
1142 \layout { \neumeDemoLayout }}
1145 @lilypond[staffsize=26,line-width=1.0\cm]
1146 \include "gregorian-init.ly"
1150 \[ b \flexa \deminutum g \]
1153 \layout { \neumeDemoLayout }}
1157 @code{6. Podatus vel Pes}
1159 @lilypond[staffsize=26,line-width=1.0\cm]
1160 \include "gregorian-init.ly"
1167 \layout { \neumeDemoLayout }}
1170 @lilypond[staffsize=26,line-width=2.0\cm]
1171 \include "gregorian-init.ly"
1174 % Pes Auctus Descendens
1175 \[ g \pes \auctum \descendens b \]
1176 \noBreak s^\markup {"p"} \noBreak
1178 % Pes Auctus Ascendens
1179 \[ g \pes \auctum \ascendens b \]
1180 \noBreak s^\markup {"q"}
1182 \layout { \neumeDemoLayout }}
1185 @lilypond[staffsize=26,line-width=1.0\cm]
1186 \include "gregorian-init.ly"
1190 \[ g \pes \deminutum b \]
1193 \layout { \neumeDemoLayout }}
1197 @code{7. Pes Quassus}
1199 @lilypond[staffsize=26,line-width=1.0\cm]
1200 \include "gregorian-init.ly"
1204 \[ \oriscus g \pes \virga b \]
1207 \layout { \neumeDemoLayout }}
1210 @lilypond[staffsize=26,line-width=1.0\cm]
1211 \include "gregorian-init.ly"
1214 % Pes Quassus Auctus Descendens
1215 \[ \oriscus g \pes \auctum \descendens b \]
1218 \layout { \neumeDemoLayout }}
1223 @code{8. Quilisma Pes}
1225 @lilypond[staffsize=26,line-width=1.0\cm]
1226 \include "gregorian-init.ly"
1230 \[ \quilisma g \pes b \]
1233 \layout { \neumeDemoLayout }}
1236 @lilypond[staffsize=26,line-width=1.0\cm]
1237 \include "gregorian-init.ly"
1240 % Quilisma Pes Auctus Descendens
1241 \[ \quilisma g \pes \auctum \descendens b \]
1244 \layout { \neumeDemoLayout }}
1249 @code{9. Podatus Initio Debilis}
1251 @lilypond[staffsize=26,line-width=1.0\cm]
1252 \include "gregorian-init.ly"
1255 % Pes Initio Debilis
1256 \[ \deminutum g \pes b \]
1259 \layout { \neumeDemoLayout }}
1262 @lilypond[staffsize=26,line-width=1.0\cm]
1263 \include "gregorian-init.ly"
1266 % Pes Auctus Descendens Initio Debilis
1267 \[ \deminutum g \pes \auctum \descendens b \]
1270 \layout { \neumeDemoLayout }}
1277 @lilypond[staffsize=26,line-width=1.0\cm]
1278 \include "gregorian-init.ly"
1282 \[ a \pes b \flexa g \]
1285 \layout { \neumeDemoLayout }}
1288 @lilypond[staffsize=26,line-width=1.0\cm]
1289 \include "gregorian-init.ly"
1292 % Torculus Auctus Descendens
1293 \[ a \pes b \flexa \auctum \descendens g \]
1296 \layout { \neumeDemoLayout }}
1299 @lilypond[staffsize=26,line-width=1.0\cm]
1300 \include "gregorian-init.ly"
1303 % Torculus Deminutus
1304 \[ a \pes b \flexa \deminutum g \]
1307 \layout { \neumeDemoLayout }}
1311 @code{11. Torculus Initio Debilis}
1313 @lilypond[staffsize=26,line-width=1.0\cm]
1314 \include "gregorian-init.ly"
1317 % Torculus Initio Debilis
1318 \[ \deminutum a \pes b \flexa g \]
1321 \layout { \neumeDemoLayout }}
1324 @lilypond[staffsize=26,line-width=1.0\cm]
1325 \include "gregorian-init.ly"
1328 % Torculus Auctus Descendens Initio Debilis
1329 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1332 \layout { \neumeDemoLayout }}
1335 @lilypond[staffsize=26,line-width=1.0\cm]
1336 \include "gregorian-init.ly"
1339 % Torculus Deminutus Initio Debilis
1340 \[ \deminutum a \pes b \flexa \deminutum g \]
1343 \layout { \neumeDemoLayout }}
1347 @code{12. Porrectus}
1349 @lilypond[staffsize=26,line-width=1.0\cm]
1350 \include "gregorian-init.ly"
1354 \[ a \flexa g \pes b \]
1357 \layout { \neumeDemoLayout }}
1360 @lilypond[staffsize=26,line-width=1.0\cm]
1361 \include "gregorian-init.ly"
1364 % Porrectus Auctus Descendens
1365 \[ a \flexa g \pes \auctum \descendens b \]
1368 \layout { \neumeDemoLayout }}
1371 @lilypond[staffsize=26,line-width=1.0\cm]
1372 \include "gregorian-init.ly"
1375 % Porrectus Deminutus
1376 \[ a \flexa g \pes \deminutum b \]
1379 \layout { \neumeDemoLayout }}
1385 @lilypond[staffsize=26,line-width=1.0\cm]
1386 \include "gregorian-init.ly"
1390 \[ \virga b \inclinatum a \inclinatum g \]
1393 \layout { \neumeDemoLayout }
1397 @lilypond[staffsize=26,line-width=1.0\cm]
1398 \include "gregorian-init.ly"
1402 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1405 \layout { \neumeDemoLayout }}
1408 @lilypond[staffsize=26,line-width=1.0\cm]
1409 \include "gregorian-init.ly"
1412 % Climacus Deminutus
1413 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1416 \layout { \neumeDemoLayout }}
1420 @code{14. Scandicus}
1422 @lilypond[staffsize=26,line-width=1.0\cm]
1423 \include "gregorian-init.ly"
1427 \[ g \pes a \virga b \]
1430 \layout { \neumeDemoLayout }}
1433 @lilypond[staffsize=26,line-width=1.0\cm]
1434 \include "gregorian-init.ly"
1437 % Scandicus Auctus Descendens
1438 \[ g \pes a \pes \auctum \descendens b \]
1441 \layout { \neumeDemoLayout }}
1444 @lilypond[staffsize=26,line-width=1.0\cm]
1445 \include "gregorian-init.ly"
1448 % Scandicus Deminutus
1449 \[ g \pes a \pes \deminutum b \]
1452 \layout { \neumeDemoLayout }}
1458 @lilypond[staffsize=26,line-width=1.0\cm]
1459 \include "gregorian-init.ly"
1463 \[ g \oriscus a \pes \virga b \]
1466 \layout { \neumeDemoLayout }}
1469 @lilypond[staffsize=26,line-width=1.0\cm]
1470 \include "gregorian-init.ly"
1473 % Salicus Auctus Descendens
1474 \[ g \oriscus a \pes \auctum \descendens b \]
1477 \layout { \neumeDemoLayout }}
1484 @lilypond[staffsize=26,line-width=1.0\cm]
1485 \include "gregorian-init.ly"
1489 \[ \stropha b \stropha b \stropha a \]
1492 \layout { \neumeDemoLayout }
1501 Unlike most other neumes notation systems, the input language for
1502 neumes does not reflect the typographical appearance, but is designed
1503 to focus on musical meaning. For example, @code{\[ a \pes b
1504 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1505 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1506 curved flexa shape and only a single Punctum head. There is no
1507 command to explicitly typeset the curved flexa shape; the decision of
1508 when to typeset a curved flexa shape is based on the musical
1509 input. The idea of this approach is to separate the musical aspects
1510 of the input from the notation style of the output. This way, the
1511 same input can be reused to typeset the same music in a different
1512 style of Gregorian chant notation.
1514 The following table shows the code fragments that produce the
1515 ligatures in the above neumes table. The letter in the first column
1516 in each line of the below table indicates to which ligature in the
1517 above table it refers. The second column gives the name of the
1518 ligature. The third column shows the code fragment that produces this
1519 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1521 @multitable @columnfractions .02 .31 .67
1541 @code{\[ \inclinatum b \]}
1549 @code{\[ \auctum \ascendens b \]}
1557 @code{\[ \auctum \descendens b \]}
1562 Punctum Inclinatum@*
1565 @code{\[ \inclinatum \auctum b \]}
1570 Punctum Inclinatum@*
1572 @code{\[ \inclinatum \deminutum b \]}
1579 @code{\[ \virga b \]}
1586 @code{\[ \stropha b \]}
1593 @code{\[ \stropha \auctum b \]}
1600 @code{\[ \oriscus b \]}
1607 @code{\[ b \flexa g \]}
1615 @code{\[ b \flexa \auctum \descendens g \]}
1623 @code{\[ b \flexa \auctum \ascendens g \]}
1630 @code{\[ b \flexa \deminutum g \]}
1637 @code{\[ g \pes b \]}
1645 @code{\[ g \pes \auctum \descendens b \]}
1653 @code{\[ g \pes \auctum \ascendens b \]}
1660 @code{\[ g \pes \deminutum b \]}
1667 @code{\[ \oriscus g \pes \virga b \]}
1673 Auctus Descendens @tab
1674 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1681 @code{\[ \quilisma g \pes b \]}
1689 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1696 @code{\[ \deminutum g \pes b \]}
1701 Pes Auctus Descendens@*
1704 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1711 @code{\[ a \pes b \flexa g \]}
1719 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1726 @code{\[ a \pes b \flexa \deminutum g \]}
1731 Torculus Initio Debilis
1733 @code{\[ \deminutum a \pes b \flexa g \]}
1739 Descendens Initio Debilis
1741 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1746 Torculus Deminutus@*
1749 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1756 @code{\[ a \flexa g \pes b \]}
1764 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1771 @code{\[ a \flexa g \pes \deminutum b \]}
1778 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1785 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1792 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1799 @code{\[ g \pes a \virga b \]}
1807 @code{\[ g \pes a \pes \auctum \descendens b \]}
1814 @code{\[ g \pes a \pes \deminutum b \]}
1821 @code{\[ g \oriscus a \pes \virga b \]}
1826 Salicus Auctus Descendens
1828 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1835 @code{\[ \stropha b \stropha b \stropha a \]}
1838 The ligatures listed above mainly serve as a limited, but still
1839 representative pool of Gregorian ligature examples. Virtually, within
1840 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1841 may be accumulated to form a single ligature, and head prefixes like
1842 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1843 etc. may be mixed in as desired. The use of the set of rules that
1844 underlies the construction of the ligatures in the above table is
1845 accordingly extrapolated. This way, infinitely many different
1846 ligatures can be created.
1848 Augmentum dots, also called @emph{morae}, are added with the music
1849 function @code{\augmentum}. Note that @code{\augmentum} is
1850 implemented as a unary music function rather than as head prefix. It
1851 applies to the immediately following music expression only. That is,
1852 @code{\augmentum \virga c} will have no visible effect. Instead, say
1853 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1854 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1855 @code{\augmentum a \augmentum g}.
1857 @lilypond[quote,ragged-right,verbatim]
1858 \include "gregorian-init.ly"
1860 \new VaticanaVoice {
1861 \[ \augmentum a \flexa \augmentum g \]
1869 The following head prefixes are supported
1875 @funindex \inclinatum
1879 @funindex \descendens
1881 @funindex \ascendens
1887 @funindex \deminutum
1894 Head prefixes can be accumulated, though restrictions apply. For
1895 example, either @code{\descendens} or @code{\ascendens} can be applied
1896 to a head, but not both to the same head.
1900 Two adjacent heads can be tied together with the @code{\pes} and
1901 @code{\flexa} infix commands for a rising and falling line of melody,
1904 @funindex \augmentum
1905 Use the unary music function @code{\augmentum} to add augmentum dots.
1909 When an @code{\augmentum} dot appears at the end of the last staff
1910 within a ligature, it is sometimes vertically placed wrong. As a
1911 workaround, add an additional skip note (e.g. @code{s8}) as last note
1914 @code{\augmentum} should be implemented as a head prefix rather than a
1915 unary music function, such that @code{\augmentum} can be intermixed
1916 with head prefixes in arbitrary order.
1918 @node Gregorian Chant contexts
1919 @unnumberedsubsubsec Gregorian Chant contexts
1921 @cindex VaticanaVoiceContext
1922 @cindex VaticanaStaffContext
1924 The predefined @code{VaticanaVoiceContext} and
1925 @code{VaticanaStaffContext} can be used to engrave a piece of
1926 Gregorian Chant in the style of the Editio Vaticana. These contexts
1927 initialize all relevant context properties and grob properties to
1928 proper values, so you can immediately go ahead entering the chant, as
1929 the following excerpt demonstrates
1931 @lilypond[quote,ragged-right,packed,verbatim]
1932 \include "gregorian-init.ly"
1935 \new VaticanaVoice = "cantus" {
1936 \[ c'\melisma c' \flexa a \]
1937 \[ a \flexa \deminutum g\melismaEnd \]
1939 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1940 c' \divisioMinima \break
1941 \[ c'\melisma c' \flexa a \]
1942 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1944 \new Lyrics \lyricsto "cantus" {
1945 San- ctus, San- ctus, San- ctus
1952 @node Mensural contexts
1953 @unnumberedsubsubsec Mensural contexts
1955 @cindex MensuralVoiceContext
1956 @cindex MensuralStaffContext
1958 The predefined @code{MensuralVoiceContext} and
1959 @code{MensuralStaffContext} can be used to engrave a piece in
1960 mensural style. These contexts initialize all relevant context
1961 properties and grob properties to proper values, so you can
1962 immediately go ahead entering the chant, as the following excerpt
1965 @lilypond[quote,ragged-right,verbatim]
1968 \new MensuralVoice = "discantus" \transpose c c' {
1969 \override Score.BarNumber #'transparent = ##t {
1970 c'1\melisma bes a g\melismaEnd
1972 \[ f1\melisma a c'\breve d'\melismaEnd \]
1974 c'\breve\melisma a1 g1\melismaEnd
1975 fis\longa^\signumcongruentiae
1978 \new Lyrics \lyricsto "discantus" {
1979 San -- ctus, San -- ctus, San -- ctus
1985 @node Musica ficta accidentals
1986 @unnumberedsubsubsec Musica ficta accidentals
1988 In European music from before about 1600, singers were often
1989 expected to chromatically alter notes at their own initiative.
1990 This is called @q{Musica Ficta}. In modern transcriptions, these
1991 accidentals are usually printed over the note.
1993 @cindex Accidental, musica ficta
1994 @cindex Musica ficta
1996 Support for such suggested accidentals is included, and can be
1997 switched on by setting @code{suggestAccidentals} to true.
1999 @funindex suggestAccidentals
2001 @lilypond[verbatim,fragment,relative=1]
2003 \set suggestAccidentals = ##t
2007 This will treat @emph{every} subsequent accidentals as
2008 @emph{musica ficta} until it is unset with @code{\set
2009 suggestAccidentals = ##f}. A more convenient way is to use
2012 @lilypond[verbatim,fragment,relative=1]
2014 \once \set suggestAccidentals = ##t
2020 Internals Reference: @internalsref{Accidental_engraver} engraver and
2021 the @internalsref{AccidentalSuggestion} object.
2024 @unnumberedsubsubsec Figured bass
2026 @cindex Basso continuo
2028 @c TODO: musicological blurb about FB
2031 LilyPond has support for figured bass
2033 @lilypond[quote,ragged-right,verbatim,fragment]
2035 \new Voice { \clef bass dis4 c d ais g fis}
2036 \new FiguredBass \figuremode {
2037 < 6 >4 < 7\+ >8 < 6+ [_!] >
2044 The support for figured bass consists of two parts: there is an input
2045 mode, introduced by @code{\figuremode}, where you can enter bass figures
2046 as numbers, and there is a context called @internalsref{FiguredBass} that
2047 takes care of making @internalsref{BassFigure} objects.
2049 In figures input mode, a group of bass figures is delimited by
2050 @code{<} and @code{>}. The duration is entered after the @code{>}
2054 @lilypond[quote,ragged-right,fragment]
2056 \figuremode { <4 6> }
2059 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
2060 to the numbers. A plus sign is added when you append @code{\+}, and
2061 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
2064 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
2066 @lilypond[quote,ragged-right,fragment]
2067 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
2070 Spaces may be inserted by using @code{_}. Brackets are
2071 introduced with @code{[} and @code{]}. You can also include text
2072 strings and text markups, see @ref{Overview of text markup commands}.
2075 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
2077 @lilypond[quote,ragged-right,fragment]
2079 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
2083 It is also possible to use continuation lines for repeated figures,
2085 @lilypond[verbatim,relative=1]
2092 \set useBassFigureExtenders = ##t
2099 In this case, the extender lines always replace existing figures.
2101 The @code{FiguredBass} context doesn't pay attention to the actual
2102 bass line. As a consequence, you may have to insert extra figures to
2103 get extender lines below all notes, and you may have to add @code{\!}
2104 to avoid getting an extender line, e.g.
2106 @lilypond[relative=1]
2110 \set useBassFigureExtenders = ##t
2111 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
2115 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
2120 When using continuation lines, common figures are always put in the
2121 same vertical position. When this is unwanted, you can insert a rest
2122 with @code{r}. The rest will clear any previous alignment. For
2123 example, you can write
2135 Accidentals and plus signs can appear before or after the numbers,
2136 depending on the @code{figuredBassAlterationDirection} and
2137 @code{figuredBassPlusDirection}
2143 \set figuredBassAlterationDirection = #1
2145 \set figuredBassPlusDirection = #1
2147 \set figuredBassAlterationDirection = #-1
2153 Although the support for figured bass may superficially resemble chord
2154 support, it is much simpler. The @code{\figuremode} mode simply
2155 stores the numbers and @internalsref{FiguredBass} context prints them
2156 as entered. There is no conversion to pitches and no realizations of
2157 the bass are played in the MIDI file.
2159 Internally, the code produces markup texts. You can use any of the
2160 markup text properties to override formatting. For example, the
2161 vertical spacing of the figures may be set with @code{baseline-skip}.
2164 Figured bass can also be added to @code{Staff} contexts
2165 directly. In this case, their vertical position is adjusted
2168 @lilypond[ragged-right,fragment,quote]
2170 \new Staff = someUniqueName
2175 %% send to existing Staff.
2176 \context Staff = someUniqueName
2180 \set Staff.useBassFigureExtenders = ##t
2189 By default, this method produces figures above the notes. To get
2190 figures below the notes, use
2193 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
2199 When using figured bass above the staff with extender lines and
2200 @code{implicitBassFigures} the lines may become swapped around.
2201 Maintaining order consistently will be impossible when multiple figures
2202 have overlapping extender lines. To avoid this problem, please
2203 use @code{stacking-dir} on @code{BassFigureAlignment}.
2208 Internals Reference: @internalsref{NewBassFigure},
2209 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
2210 @internalsref{BassFigureBracket}, and
2211 @internalsref{BassFigureContinuation} objects and
2212 @internalsref{FiguredBass} context.