1 @c -*- coding: utf-8; mode: texinfo; -*-
4 @section Ancient notation
6 @cindex Vaticana, Editio
7 @cindex Medicaea, Editio
12 Support for ancient notation includes features for mensural notation
13 and Gregorian Chant notation. There is also limited support for
14 figured bass notation.
16 Many graphical objects provide a @code{style} property, see
19 @ref{Ancient note heads},
21 @ref{Ancient accidentals},
29 @ref{Ancient time signatures}.
32 By manipulating such a grob property, the typographical appearance of
33 the affected graphical objects can be accommodated for a specific
34 notation flavor without the need for introducing any new notational
37 In addition to the standard articulation signs described in section
38 @ref{Articulations}, specific articulation signs for ancient notation
43 @ref{Ancient articulations}
46 Other aspects of ancient notation can not that easily be expressed
47 in terms of just changing a style property of a graphical object or
48 adding articulation signs. Some notational concepts are introduced
49 specifically for ancient notation,
60 If this all is too much of documentation for you, and you just want to
61 dive into typesetting without worrying too much about the details on
62 how to customize a context, you may have a look at the predefined
63 contexts. Use them to set up predefined style-specific voice and
64 staff contexts, and directly go ahead with the note entry,
68 @ref{Gregorian Chant contexts},
70 @ref{Mensural contexts}.
73 There is limited support for figured bass notation which came
74 up during the baroque period.
81 Here are all subtopics at a glance:
88 @subsection Ancient TODO
93 * Ancient note heads::
94 * Ancient accidentals::
98 * Ancient time signatures::
99 * Ancient articulations::
103 * White mensural ligatures::
104 * Gregorian square neumes ligatures::
105 * Gregorian Chant contexts::
106 * Mensural contexts::
107 * Musica ficta accidentals::
111 @node Ancient note heads
112 @unnumberedsubsubsec Ancient note heads
114 @cindex note heads, ancient
116 For ancient notation, a note head style other than the @code{default}
117 style may be chosen. This is accomplished by setting the @code{style}
118 property of the @internalsref{NoteHead} object to @code{baroque},
119 @code{neomensural}, @code{mensural} or @code{petrucci}. The
120 @code{baroque} style differs from the @code{default} style only in
121 using a square shape for @code{\breve} note heads. The
122 @code{neomensural} style differs from the @code{baroque} style in that
123 it uses rhomboidal heads for whole notes and all smaller durations.
124 Stems are centered on the note heads. This style is particularly
125 useful when transcribing mensural music, e.g., for the incipit. The
126 @code{mensural} style produces note heads that mimic the look of note
127 heads in historic printings of the 16th century. Finally, the
128 @code{petrucci} style also mimicks historic printings, but uses bigger
131 The following example demonstrates the @code{neomensural} style
133 @lilypond[quote,fragment,ragged-right,verbatim]
134 \set Score.skipBars = ##t
135 \override NoteHead #'style = #'neomensural
136 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
139 When typesetting a piece in Gregorian Chant notation, the
140 @internalsref{Gregorian_ligature_engraver} will automatically select
141 the proper note heads, so there is no need to explicitly set the
142 note head style. Still, the note head style can be set, e.g., to
143 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
144 @internalsref{Mensural_ligature_engraver} is used to automatically
145 assemble mensural ligatures. See @ref{Ligatures}, for how ligature
150 @ref{Note head styles}, gives an overview over all available note head styles.
153 @node Ancient accidentals
154 @unnumberedsubsubsec Ancient accidentals
159 Use the @code{glyph-name-alist} property of grob
160 @internalsref{Accidental} and @internalsref{KeySignature} to select
163 @lilypond[quote,ragged-right,staffsize=26]
170 \line { " " \musicglyph #"accidentals.vaticana-1"
171 " " \musicglyph #"accidentals.vaticana0" }
175 \line { " " \musicglyph #"accidentals.medicaea-1" }
179 \line { " " \musicglyph #"accidentals.hufnagel-1" }
183 \line { " " \musicglyph #"accidentals.mensural-1"
184 " " \musicglyph #"accidentals.mensural1" }
190 \context { \Score \remove "Bar_number_engraver" }
192 \remove "Clef_engraver"
193 \remove "Key_engraver"
194 \remove "Time_signature_engraver"
195 \remove "Staff_symbol_engraver"
196 \override VerticalAxisGroup #'minimum-Y-extent = ##f
202 As shown, not all accidentals are supported by each style. When
203 trying to access an unsupported accidental, LilyPond will switch to a
204 different style, as demonstrated in
205 @lsr{ancient,ancient-accidentals.ly}.
207 Similarly to local accidentals, the style of the key signature can be
208 controlled by the @code{glyph-name-alist} property of the
209 @internalsref{KeySignature} grob.
213 In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
214 @ref{Automatic accidentals}, give a general introduction of the use of
215 accidentals. @ref{Key signature}, gives a general introduction of
216 the use of key signatures.
218 Program reference: @internalsref{KeySignature}.
220 Examples: @lsrdir{ancient}
223 @unnumberedsubsubsec Ancient rests
225 @cindex rests, ancient
228 Use the @code{style} property of grob @internalsref{Rest} to select
229 ancient rests. Supported styles are @code{classical},
230 @code{neomensural}, and @code{mensural}. @code{classical} differs
231 from the @code{default} style only in that the quarter rest looks like
232 a horizontally mirrored 8th rest. The @code{neomensural} style suits
233 well for, e.g., the incipit of a transcribed mensural piece of music.
234 The @code{mensural} style finally mimics the appearance of rests as
235 in historic prints of the 16th century.
237 The following example demonstrates the @code{neomensural} style
239 @lilypond[quote,fragment,ragged-right,verbatim]
240 \set Score.skipBars = ##t
241 \override Rest #'style = #'neomensural
242 r\longa r\breve r1 r2 r4 r8 r16
245 There are no 32th and 64th rests specifically for the mensural or
246 neo-mensural style. Instead, the rests from the default style will be
247 taken. See @lsr{pitches,rests} for a chart of all rests.
249 There are no rests in Gregorian Chant notation; instead, it uses
254 In this manual: @ref{Rests}, gives a general introduction into the use of
259 @unnumberedsubsubsec Ancient clefs
264 LilyPond supports a variety of clefs, many of them ancient.
266 The following table shows all ancient clefs that are supported via the
267 @code{\clef} command. Some of the clefs use the same glyph, but
268 differ only with respect to the line they are printed on. In such
269 cases, a trailing number in the name is used to enumerate these clefs.
270 Still, you can manually force a clef glyph to be typeset on an
271 arbitrary line, as described in @ref{Clef}. The note printed to the
272 right side of each clef in the example column denotes the @code{c'}
273 with respect to that clef.
275 @multitable @columnfractions .4 .4 .2
284 modern style mensural C clef
286 @code{neomensural-c1}, @code{neomensural-c2},@*
287 @code{neomensural-c3}, @code{neomensural-c4}
289 @lilypond[fragment,relative=1,notime]
290 \clef "neomensural-c2" c
294 petrucci style mensural C clefs, for use on different staff lines
295 (the examples show the 2nd staff line C clef)
297 @code{petrucci-c1}, @code{petrucci-c2},@*
298 @code{petrucci-c3}, @code{petrucci-c4},@*
301 @lilypond[fragment,relative=1,notime]
303 \override NoteHead #'style = #'mensural
308 petrucci style mensural F clef
312 @lilypond[fragment,relative=1,notime]
314 \override NoteHead #'style = #'mensural
319 petrucci style mensural G clef
323 @lilypond[fragment,relative=1,notime]
325 \override NoteHead #'style = #'mensural
330 historic style mensural C clef
332 @code{mensural-c1}, @code{mensural-c2},@*
333 @code{mensural-c3}, @code{mensural-c4}
335 @lilypond[fragment,relative=1,notime]
337 \override NoteHead #'style = #'mensural
342 historic style mensural F clef
346 @lilypond[fragment,relative=1,notime]
348 \override NoteHead #'style = #'mensural
353 historic style mensural G clef
357 @lilypond[fragment,relative=1,notime]
359 \override NoteHead #'style = #'mensural
364 Editio Vaticana style do clef
366 @code{vaticana-do1}, @code{vaticana-do2},@*
369 @lilypond[fragment,relative=1,notime]
370 \override Staff.StaffSymbol #'line-count = #4
371 \override Staff.StaffSymbol #'color = #red
372 \override Staff.LedgerLineSpanner #'color = #red
373 \override Voice.Stem #'transparent = ##t
374 \override NoteHead #'style = #'vaticana.punctum
380 Editio Vaticana style fa clef
382 @code{vaticana-fa1}, @code{vaticana-fa2}
384 @lilypond[fragment,relative=1,notime]
385 \override Staff.StaffSymbol #'line-count = #4
386 \override Staff.StaffSymbol #'color = #red
387 \override Staff.LedgerLineSpanner #'color = #red
388 \override Voice.Stem #'transparent = ##t
389 \override NoteHead #'style = #'vaticana.punctum
395 Editio Medicaea style do clef
397 @code{medicaea-do1}, @code{medicaea-do2},@*
400 @lilypond[fragment,relative=1,notime]
401 \override Staff.StaffSymbol #'line-count = #4
402 \override Staff.StaffSymbol #'color = #red
403 \override Staff.LedgerLineSpanner #'color = #red
404 \override Voice.Stem #'transparent = ##t
405 \override NoteHead #'style = #'medicaea.punctum
411 Editio Medicaea style fa clef
413 @code{medicaea-fa1}, @code{medicaea-fa2}
415 @lilypond[fragment,relative=1,notime]
416 \override Staff.StaffSymbol #'line-count = #4
417 \override Staff.StaffSymbol #'color = #red
418 \override Staff.LedgerLineSpanner #'color = #red
419 \override Voice.Stem #'transparent = ##t
420 \override NoteHead #'style = #'medicaea.punctum
426 historic style hufnagel do clef
428 @code{hufnagel-do1}, @code{hufnagel-do2},@*
431 @lilypond[fragment,relative=1,notime]
432 \override Staff.StaffSymbol #'line-count = #4
433 \override Staff.StaffSymbol #'color = #red
434 \override Staff.LedgerLineSpanner #'color = #red
435 \override Voice.Stem #'transparent = ##t
436 \override NoteHead #'style = #'hufnagel.punctum
442 historic style hufnagel fa clef
444 @code{hufnagel-fa1}, @code{hufnagel-fa2}
446 @lilypond[fragment,relative=1,notime]
447 \override Staff.StaffSymbol #'line-count = #4
448 \override Staff.StaffSymbol #'color = #red
449 \override Staff.LedgerLineSpanner #'color = #red
450 \override Voice.Stem #'transparent = ##t
451 \override NoteHead #'style = #'hufnagel.punctum
457 historic style hufnagel combined do/fa clef
459 @code{hufnagel-do-fa}
461 @lilypond[fragment,relative=1,notime]
462 \override Staff.StaffSymbol #'color = #red
463 \override Staff.LedgerLineSpanner #'color = #red
464 \override Voice.Stem #'transparent = ##t
465 \override NoteHead #'style = #'hufnagel.punctum
466 \clef "hufnagel-do-fa"
473 @emph{Modern style} means @qq{as is typeset in contemporary editions of
474 transcribed mensural music.}
476 @emph{Petrucci style} means @qq{inspired by printings published by the
477 famous engraver Petrucci (1466-1539).}
479 @emph{Historic style} means @qq{as was typeset or written in historic
480 editions (other than those of Petrucci).}
482 @emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
484 Petrucci used C clefs with differently balanced left-side vertical
485 beams, depending on which staff line it is printed.
489 In this manual: see @ref{Clef}.
493 The mensural g clef is mapped to the Petrucci g clef.
498 @unnumberedsubsubsec Ancient flags
503 Use the @code{flag-style} property of grob @internalsref{Stem} to
504 select ancient flags. Besides the @code{default} flag style,
505 only the @code{mensural} style is supported
507 @lilypond[quote,fragment,ragged-right,verbatim]
508 \override Stem #'flag-style = #'mensural
509 \override Stem #'thickness = #1.0
510 \override NoteHead #'style = #'mensural
512 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
513 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
516 Note that the innermost flare of each mensural flag always is
517 vertically aligned with a staff line.
519 There is no particular flag style for neo-mensural notation. Hence,
520 when typesetting the incipit of a transcribed piece of mensural
521 music, the default flag style should be used. There are no flags in
522 Gregorian Chant notation.
526 The attachment of ancient flags to stems is slightly off due to a
527 change in early 2.3.x.
529 Vertically aligning each flag with a staff line assumes that stems
530 always end either exactly on or exactly in the middle between two
531 staff lines. This may not always be true when using advanced layout
532 features of classical notation (which however are typically out of
533 scope for mensural notation).
535 @node Ancient time signatures
536 @unnumberedsubsubsec Ancient time signatures
538 @cindex time signatures
541 There is limited support for mensural time signatures. The
542 glyphs are hard-wired to particular time fractions. In other words,
543 to get a particular mensural signature glyph with the @code{\time n/m}
544 command, @code{n} and @code{m} have to be chosen according to the
547 @lilypond[quote,ragged-right]
552 \remove Staff_symbol_engraver
553 \remove Clef_engraver
554 \remove Time_signature_engraver
558 \set Score.timing = ##f
559 \set Score.barAlways = ##t
560 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
561 #"timesig.neomensural44" }
563 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
564 #"timesig.neomensural22" }
566 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
567 #"timesig.neomensural64" }
569 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
570 #"timesig.neomensural68" }
572 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
573 #"timesig.neomensural32" }
575 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
576 #"timesig.neomensural34" }
578 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
579 #"timesig.neomensural94" }
581 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
582 #"timesig.neomensural98" }
584 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
585 #"timesig.neomensural48" }
587 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
588 #"timesig.neomensural24" }
592 Use the @code{style} property of grob @internalsref{TimeSignature} to
593 select ancient time signatures. Supported styles are
594 @code{neomensural} and @code{mensural}. The above table uses the
595 @code{neomensural} style. This style is appropriate for the
596 incipit of transcriptions of mensural pieces. The @code{mensural}
597 style mimics the look of historical printings of the 16th century.
599 The following examples show the differences in style,
601 @lilypond[ragged-right,fragment,relative=1,quote]
606 c1^\markup { \hspace #-2.0 \typewriter default }
608 \override Staff.TimeSignature #'style = #'numbered
610 c1^\markup { \hspace #-2.0 \typewriter numbered }
612 \override Staff.TimeSignature #'style = #'mensural
614 c1^\markup { \hspace #-2.0 \typewriter mensural }
616 \override Staff.TimeSignature #'style = #'neomensural
618 c1^\markup { \hspace #-2.0 \typewriter neomensural }
619 \override Staff.TimeSignature #'style = #'single-digit
621 c1^\markup { \hspace #-2.0 \typewriter single-digit }
627 This manual: @ref{Time signature}, gives a general introduction to
628 the use of time signatures.
632 Ratios of note durations do not change with the time signature. For
633 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
634 be made by hand, by setting
637 breveTP = #(ly:make-duration -1 0 3 2)
643 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
645 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
646 addressable with @code{\time}. Use a @code{\markup} instead
648 @node Ancient articulations
649 @unnumberedsubsubsec Ancient articulations
651 @cindex articulations
653 In addition to the standard articulation signs described in section
654 @ref{Articulations}, articulation signs for ancient notation are
655 provided. These are specifically designed for use with notation in
656 Editio Vaticana style.
658 @lilypond[quote,ragged-right,verbatim]
659 \include "gregorian-init.ly"
662 \override TextScript #'font-family = #'typewriter
663 \override TextScript #'font-shape = #'upright
664 \override Script #'padding = #-0.1
665 a\ictus_"ictus" \break
666 a\circulus_"circulus" \break
667 a\semicirculus_"semicirculus" \break
668 a\accentus_"accentus" \break
669 \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
676 Some articulations are vertically placed too closely to the
677 corresponding note heads.
679 The episem line is not displayed in many cases. If it is displayed,
680 the right end of the episem line is often too far to the right.
683 @unnumberedsubsubsec Custodes
688 A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
689 symbol that appears at the end of a staff. It anticipates the pitch
690 of the first note(s) of the following line thus helping the performer
691 to manage line breaks during performance.
693 Custodes were frequently used in music notation until the 17th
694 century. Nowadays, they have survived only in a few particular forms
695 of musical notation such as contemporary editions of Gregorian chant
696 like the @emph{editio vaticana}. There are different custos glyphs
697 used in different flavors of notational style.
699 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
700 @internalsref{Staff} context when declaring the @code{\layout} block,
701 as shown in the following example
707 \consists Custos_engraver
708 Custos \override #'style = #'mensural
713 The result looks like this
715 @lilypond[quote,ragged-right]
719 \override Staff.Custos #'style = #'mensural
724 \context { \Staff \consists Custos_engraver }
729 The custos glyph is selected by the @code{style} property. The styles
730 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
731 @code{mensural}. They are demonstrated in the following fragment
733 @lilypond[quote,ragged-right,fragment]
734 \new Lyrics \lyricmode {
736 \typewriter "vaticana"
737 \line { " " \musicglyph #"custodes.vaticana.u0" }
740 \typewriter "medicaea"
741 \line { " " \musicglyph #"custodes.medicaea.u0" }
744 \typewriter "hufnagel"
745 \line { " " \musicglyph #"custodes.hufnagel.u0" }
748 \typewriter "mensural"
749 \line { " " \musicglyph #"custodes.mensural.u0" }
756 Program reference: @internalsref{Custos}.
759 @lsr{ancient,custodes@/.ly}.
763 @unnumberedsubsubsec Divisiones
769 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
770 @q{division}) is a staff context symbol that is used to structure
771 Gregorian music into phrases and sections. The musical meaning of
772 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
773 can be characterized as short, medium, and long pause, somewhat like
774 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
775 only marks the end of a chant, but is also frequently used within a
776 single antiphonal/responsorial chant to mark the end of each section.
779 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
780 contains definitions that you can apply by just inserting
781 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
782 and @code{\finalis} at proper places in the input. Some editions use
783 @emph{virgula} or @emph{caesura} instead of divisio minima.
784 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
787 @lilypondfile[quote,ragged-right]{divisiones.ly}
795 @funindex \divisioMinima
796 @code{\divisioMinima},
797 @funindex \divisioMaior
798 @code{\divisioMaior},
799 @funindex \divisioMaxima
800 @code{\divisioMaxima},
806 In this manual: @ref{Breath marks}.
808 Program reference: @internalsref{BreathingSign}.
810 Examples: @lsr{expressive,breathing-sign.ly}.
814 @unnumberedsubsubsec Ligatures
818 @c TODO: Should double check if I recalled things correctly when I wrote
819 @c down the following paragraph by heart.
821 A ligature is a graphical symbol that represents at least two distinct
822 notes. Ligatures originally appeared in the manuscripts of Gregorian
823 chant notation to denote ascending or descending sequences of notes.
825 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
826 Some ligature styles may need additional input syntax specific for
827 this particular type of ligature. By default, the
828 @internalsref{LigatureBracket} engraver just puts a square bracket
831 @lilypond[quote,ragged-right,verbatim]
839 To select a specific style of ligatures, a proper ligature engraver
840 has to be added to the @internalsref{Voice} context, as explained in
841 the following subsections. Only white mensural ligatures
842 are supported with certain limitations.
848 Ligatures need special spacing that has not yet been implemented. As
849 a result, there is too much space between ligatures most of the time,
850 and line breaking often is unsatisfactory. Also, lyrics do not
851 correctly align with ligatures.
853 Accidentals must not be printed within a ligature, but instead need to
854 be collected and printed in front of it.
856 The syntax still uses the deprecated infix style @code{\[ music expr
857 \]}. For consistency reasons, it will eventually be changed to
858 postfix style @code{note\[ ... note\]}. Alternatively, the file
859 @file{gregorian@/-init@/.ly} can be included; it provides a scheme
862 \ligature @var{music expr}
864 with the same effect and is believed to be stable.
867 * White mensural ligatures::
868 * Gregorian square neumes ligatures::
871 @node White mensural ligatures
872 @unnumberedsubsubsec White mensural ligatures
874 @cindex Mensural ligatures
875 @cindex White mensural ligatures
877 There is limited support for white mensural ligatures.
879 To engrave white mensural ligatures, in the layout block put the
880 @internalsref{Mensural_ligature_engraver} into the
881 @internalsref{Voice} context, and remove the
882 @internalsref{Ligature_bracket_engraver}, like this
888 \remove Ligature_bracket_engraver
889 \consists Mensural_ligature_engraver
894 There is no additional input language to describe the shape of a
895 white mensural ligature. The shape is rather determined solely from
896 the pitch and duration of the enclosed notes. While this approach may
897 take a new user a while to get accustomed to, it has the great advantage
898 that the full musical information of the ligature is known internally.
899 This is not only required for correct MIDI output, but also allows for
900 automatic transcription of the ligatures.
905 \set Score.timing = ##f
906 \set Score.defaultBarType = "empty"
907 \override NoteHead #'style = #'neomensural
908 \override Staff.TimeSignature #'style = #'neomensural
911 \[ d\longa c\breve f e d \]
912 \[ c'\maxima d'\longa \]
915 @lilypond[quote,ragged-right]
918 \set Score.timing = ##f
919 \set Score.defaultBarType = "empty"
920 \override NoteHead #'style = #'neomensural
921 \override Staff.TimeSignature #'style = #'neomensural
924 \[ d\longa c\breve f e d \]
925 \[ c'\maxima d'\longa \]
931 \remove Ligature_bracket_engraver
932 \consists Mensural_ligature_engraver
938 Without replacing @internalsref{Ligature_bracket_engraver} with
939 @internalsref{Mensural_ligature_engraver}, the same music transcribes
942 @lilypond[quote,ragged-right]
944 \set Score.timing = ##f
945 \set Score.defaultBarType = "empty"
946 \override NoteHead #'style = #'neomensural
947 \override Staff.TimeSignature #'style = #'neomensural
950 \[ d\longa c\breve f e d \]
951 \[ c'\maxima d'\longa \]
958 Horizontal spacing is poor.
960 @node Gregorian square neumes ligatures
961 @unnumberedsubsubsec Gregorian square neumes ligatures
963 @cindex Square neumes ligatures
964 @cindex Gregorian square neumes ligatures
966 There is limited support for Gregorian square neumes notation
967 (following the style of the Editio Vaticana). Core ligatures can
968 already be typeset, but essential issues for serious typesetting are
969 still lacking, such as (among others) horizontal alignment of multiple
970 ligatures, lyrics alignment and proper handling of accidentals.
973 The following table contains the extended neumes table of the 2nd
974 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
975 1983 by the monks of Solesmes.
977 @multitable @columnfractions .4 .2 .2 .2
994 @c TODO: \layout block is identical in all of the below examples.
995 @c Therefore, it should somehow be included rather than duplicated all
998 @c why not make identifiers in ly/engraver-init.ly? --hwn
1000 @c Because it's just used to typeset plain notes without
1001 @c a staff for demonstration purposes rather than something
1002 @c special of Gregorian chant notation. --jr
1007 @lilypond[staffsize=26,line-width=1.5\cm]
1008 \include "gregorian-init.ly"
1013 \noBreak s^\markup {"a"} \noBreak
1015 % Punctum Inclinatum
1017 \noBreak s^\markup {"b"}
1019 \layout { \neumeDemoLayout }}
1022 @lilypond[staffsize=26,line-width=2.5\cm]
1023 \include "gregorian-init.ly"
1026 % Punctum Auctum Ascendens
1027 \[ \auctum \ascendens b \]
1028 \noBreak s^\markup {"c"} \noBreak
1030 % Punctum Auctum Descendens
1031 \[ \auctum \descendens b \]
1032 \noBreak s^\markup {"d"} \noBreak
1034 % Punctum Inclinatum Auctum
1035 \[ \inclinatum \auctum b \]
1036 \noBreak s^\markup {"e"}
1038 \layout { \neumeDemoLayout }}
1041 @lilypond[staffsize=26,line-width=1.0\cm]
1042 \include "gregorian-init.ly"
1045 % Punctum Inclinatum Parvum
1046 \[ \inclinatum \deminutum b \]
1047 \noBreak s^\markup {"f"}
1049 \layout { \neumeDemoLayout }}
1055 @lilypond[staffsize=26,line-width=1.0\cm]
1056 \include "gregorian-init.ly"
1061 \noBreak s^\markup {"g"}
1063 \layout { \neumeDemoLayout }}
1069 @code{3. Apostropha vel Stropha}
1071 @lilypond[staffsize=26,line-width=1.0\cm]
1072 \include "gregorian-init.ly"
1077 \noBreak s^\markup {"h"}
1079 \layout { \neumeDemoLayout }}
1082 @lilypond[staffsize=26,line-width=1.0\cm]
1083 \include "gregorian-init.ly"
1087 \[ \stropha \auctum b \]
1088 \noBreak s^\markup {"i"}
1090 \layout { \neumeDemoLayout }}
1097 @lilypond[staffsize=26,line-width=1.0\cm]
1098 \include "gregorian-init.ly"
1103 \noBreak s^\markup {"j"}
1105 \layout { \neumeDemoLayout }}
1111 @code{5. Clivis vel Flexa}
1113 @lilypond[staffsize=26,line-width=1.0\cm]
1114 \include "gregorian-init.ly"
1121 \layout { \neumeDemoLayout }}
1124 @lilypond[staffsize=26,line-width=2.0\cm]
1125 \include "gregorian-init.ly"
1128 % Clivis Aucta Descendens
1129 \[ b \flexa \auctum \descendens g \]
1130 \noBreak s^\markup {"l"} \noBreak
1132 % Clivis Aucta Ascendens
1133 \[ b \flexa \auctum \ascendens g \]
1134 \noBreak s^\markup {"m"}
1136 \layout { \neumeDemoLayout }}
1139 @lilypond[staffsize=26,line-width=1.0\cm]
1140 \include "gregorian-init.ly"
1144 \[ b \flexa \deminutum g \]
1147 \layout { \neumeDemoLayout }}
1151 @code{6. Podatus vel Pes}
1153 @lilypond[staffsize=26,line-width=1.0\cm]
1154 \include "gregorian-init.ly"
1161 \layout { \neumeDemoLayout }}
1164 @lilypond[staffsize=26,line-width=2.0\cm]
1165 \include "gregorian-init.ly"
1168 % Pes Auctus Descendens
1169 \[ g \pes \auctum \descendens b \]
1170 \noBreak s^\markup {"p"} \noBreak
1172 % Pes Auctus Ascendens
1173 \[ g \pes \auctum \ascendens b \]
1174 \noBreak s^\markup {"q"}
1176 \layout { \neumeDemoLayout }}
1179 @lilypond[staffsize=26,line-width=1.0\cm]
1180 \include "gregorian-init.ly"
1184 \[ g \pes \deminutum b \]
1187 \layout { \neumeDemoLayout }}
1191 @code{7. Pes Quassus}
1193 @lilypond[staffsize=26,line-width=1.0\cm]
1194 \include "gregorian-init.ly"
1198 \[ \oriscus g \pes \virga b \]
1201 \layout { \neumeDemoLayout }}
1204 @lilypond[staffsize=26,line-width=1.0\cm]
1205 \include "gregorian-init.ly"
1208 % Pes Quassus Auctus Descendens
1209 \[ \oriscus g \pes \auctum \descendens b \]
1212 \layout { \neumeDemoLayout }}
1217 @code{8. Quilisma Pes}
1219 @lilypond[staffsize=26,line-width=1.0\cm]
1220 \include "gregorian-init.ly"
1224 \[ \quilisma g \pes b \]
1227 \layout { \neumeDemoLayout }}
1230 @lilypond[staffsize=26,line-width=1.0\cm]
1231 \include "gregorian-init.ly"
1234 % Quilisma Pes Auctus Descendens
1235 \[ \quilisma g \pes \auctum \descendens b \]
1238 \layout { \neumeDemoLayout }}
1243 @code{9. Podatus Initio Debilis}
1245 @lilypond[staffsize=26,line-width=1.0\cm]
1246 \include "gregorian-init.ly"
1249 % Pes Initio Debilis
1250 \[ \deminutum g \pes b \]
1253 \layout { \neumeDemoLayout }}
1256 @lilypond[staffsize=26,line-width=1.0\cm]
1257 \include "gregorian-init.ly"
1260 % Pes Auctus Descendens Initio Debilis
1261 \[ \deminutum g \pes \auctum \descendens b \]
1264 \layout { \neumeDemoLayout }}
1271 @lilypond[staffsize=26,line-width=1.0\cm]
1272 \include "gregorian-init.ly"
1276 \[ a \pes b \flexa g \]
1279 \layout { \neumeDemoLayout }}
1282 @lilypond[staffsize=26,line-width=1.0\cm]
1283 \include "gregorian-init.ly"
1286 % Torculus Auctus Descendens
1287 \[ a \pes b \flexa \auctum \descendens g \]
1290 \layout { \neumeDemoLayout }}
1293 @lilypond[staffsize=26,line-width=1.0\cm]
1294 \include "gregorian-init.ly"
1297 % Torculus Deminutus
1298 \[ a \pes b \flexa \deminutum g \]
1301 \layout { \neumeDemoLayout }}
1305 @code{11. Torculus Initio Debilis}
1307 @lilypond[staffsize=26,line-width=1.0\cm]
1308 \include "gregorian-init.ly"
1311 % Torculus Initio Debilis
1312 \[ \deminutum a \pes b \flexa g \]
1315 \layout { \neumeDemoLayout }}
1318 @lilypond[staffsize=26,line-width=1.0\cm]
1319 \include "gregorian-init.ly"
1322 % Torculus Auctus Descendens Initio Debilis
1323 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1326 \layout { \neumeDemoLayout }}
1329 @lilypond[staffsize=26,line-width=1.0\cm]
1330 \include "gregorian-init.ly"
1333 % Torculus Deminutus Initio Debilis
1334 \[ \deminutum a \pes b \flexa \deminutum g \]
1337 \layout { \neumeDemoLayout }}
1341 @code{12. Porrectus}
1343 @lilypond[staffsize=26,line-width=1.0\cm]
1344 \include "gregorian-init.ly"
1348 \[ a \flexa g \pes b \]
1351 \layout { \neumeDemoLayout }}
1354 @lilypond[staffsize=26,line-width=1.0\cm]
1355 \include "gregorian-init.ly"
1358 % Porrectus Auctus Descendens
1359 \[ a \flexa g \pes \auctum \descendens b \]
1362 \layout { \neumeDemoLayout }}
1365 @lilypond[staffsize=26,line-width=1.0\cm]
1366 \include "gregorian-init.ly"
1369 % Porrectus Deminutus
1370 \[ a \flexa g \pes \deminutum b \]
1373 \layout { \neumeDemoLayout }}
1379 @lilypond[staffsize=26,line-width=1.0\cm]
1380 \include "gregorian-init.ly"
1384 \[ \virga b \inclinatum a \inclinatum g \]
1387 \layout { \neumeDemoLayout }
1391 @lilypond[staffsize=26,line-width=1.0\cm]
1392 \include "gregorian-init.ly"
1396 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1399 \layout { \neumeDemoLayout }}
1402 @lilypond[staffsize=26,line-width=1.0\cm]
1403 \include "gregorian-init.ly"
1406 % Climacus Deminutus
1407 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1410 \layout { \neumeDemoLayout }}
1414 @code{14. Scandicus}
1416 @lilypond[staffsize=26,line-width=1.0\cm]
1417 \include "gregorian-init.ly"
1421 \[ g \pes a \virga b \]
1424 \layout { \neumeDemoLayout }}
1427 @lilypond[staffsize=26,line-width=1.0\cm]
1428 \include "gregorian-init.ly"
1431 % Scandicus Auctus Descendens
1432 \[ g \pes a \pes \auctum \descendens b \]
1435 \layout { \neumeDemoLayout }}
1438 @lilypond[staffsize=26,line-width=1.0\cm]
1439 \include "gregorian-init.ly"
1442 % Scandicus Deminutus
1443 \[ g \pes a \pes \deminutum b \]
1446 \layout { \neumeDemoLayout }}
1452 @lilypond[staffsize=26,line-width=1.0\cm]
1453 \include "gregorian-init.ly"
1457 \[ g \oriscus a \pes \virga b \]
1460 \layout { \neumeDemoLayout }}
1463 @lilypond[staffsize=26,line-width=1.0\cm]
1464 \include "gregorian-init.ly"
1467 % Salicus Auctus Descendens
1468 \[ g \oriscus a \pes \auctum \descendens b \]
1471 \layout { \neumeDemoLayout }}
1478 @lilypond[staffsize=26,line-width=1.0\cm]
1479 \include "gregorian-init.ly"
1483 \[ \stropha b \stropha b \stropha a \]
1486 \layout { \neumeDemoLayout }
1495 Unlike most other neumes notation systems, the input language for
1496 neumes does not reflect the typographical appearance, but is designed
1497 to focus on musical meaning. For example, @code{\[ a \pes b
1498 \flexa g \]} produces a Torculus consisting of three Punctum heads,
1499 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
1500 curved flexa shape and only a single Punctum head. There is no
1501 command to explicitly typeset the curved flexa shape; the decision of
1502 when to typeset a curved flexa shape is based on the musical
1503 input. The idea of this approach is to separate the musical aspects
1504 of the input from the notation style of the output. This way, the
1505 same input can be reused to typeset the same music in a different
1506 style of Gregorian chant notation.
1508 The following table shows the code fragments that produce the
1509 ligatures in the above neumes table. The letter in the first column
1510 in each line of the below table indicates to which ligature in the
1511 above table it refers. The second column gives the name of the
1512 ligature. The third column shows the code fragment that produces this
1513 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
1515 @multitable @columnfractions .02 .31 .67
1535 @code{\[ \inclinatum b \]}
1543 @code{\[ \auctum \ascendens b \]}
1551 @code{\[ \auctum \descendens b \]}
1556 Punctum Inclinatum@*
1559 @code{\[ \inclinatum \auctum b \]}
1564 Punctum Inclinatum@*
1566 @code{\[ \inclinatum \deminutum b \]}
1573 @code{\[ \virga b \]}
1580 @code{\[ \stropha b \]}
1587 @code{\[ \stropha \auctum b \]}
1594 @code{\[ \oriscus b \]}
1601 @code{\[ b \flexa g \]}
1609 @code{\[ b \flexa \auctum \descendens g \]}
1617 @code{\[ b \flexa \auctum \ascendens g \]}
1624 @code{\[ b \flexa \deminutum g \]}
1631 @code{\[ g \pes b \]}
1639 @code{\[ g \pes \auctum \descendens b \]}
1647 @code{\[ g \pes \auctum \ascendens b \]}
1654 @code{\[ g \pes \deminutum b \]}
1661 @code{\[ \oriscus g \pes \virga b \]}
1667 Auctus Descendens @tab
1668 @code{\[ \oriscus g \pes \auctum \descendens b \]}
1675 @code{\[ \quilisma g \pes b \]}
1683 @code{\[ \quilisma g \pes \auctum \descendens b \]}
1690 @code{\[ \deminutum g \pes b \]}
1695 Pes Auctus Descendens@*
1698 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1705 @code{\[ a \pes b \flexa g \]}
1713 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1720 @code{\[ a \pes b \flexa \deminutum g \]}
1725 Torculus Initio Debilis
1727 @code{\[ \deminutum a \pes b \flexa g \]}
1733 Descendens Initio Debilis
1735 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1740 Torculus Deminutus@*
1743 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1750 @code{\[ a \flexa g \pes b \]}
1758 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1765 @code{\[ a \flexa g \pes \deminutum b \]}
1772 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1779 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1786 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1793 @code{\[ g \pes a \virga b \]}
1801 @code{\[ g \pes a \pes \auctum \descendens b \]}
1808 @code{\[ g \pes a \pes \deminutum b \]}
1815 @code{\[ g \oriscus a \pes \virga b \]}
1820 Salicus Auctus Descendens
1822 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
1829 @code{\[ \stropha b \stropha b \stropha a \]}
1832 The ligatures listed above mainly serve as a limited, but still
1833 representative pool of Gregorian ligature examples. Virtually, within
1834 the ligature delimiters @code{\[} and @code{\]}, any number of heads
1835 may be accumulated to form a single ligature, and head prefixes like
1836 @code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
1837 etc. may be mixed in as desired. The use of the set of rules that
1838 underlies the construction of the ligatures in the above table is
1839 accordingly extrapolated. This way, infinitely many different
1840 ligatures can be created.
1842 Augmentum dots, also called @emph{morae}, are added with the music
1843 function @code{\augmentum}. Note that @code{\augmentum} is
1844 implemented as a unary music function rather than as head prefix. It
1845 applies to the immediately following music expression only. That is,
1846 @code{\augmentum \virga c} will have no visible effect. Instead, say
1847 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1848 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1849 @code{\augmentum a \augmentum g}.
1851 @lilypond[quote,ragged-right,verbatim]
1852 \include "gregorian-init.ly"
1854 \new VaticanaVoice {
1855 \[ \augmentum a \flexa \augmentum g \]
1863 The following head prefixes are supported
1869 @funindex \inclinatum
1873 @funindex \descendens
1875 @funindex \ascendens
1881 @funindex \deminutum
1888 Head prefixes can be accumulated, though restrictions apply. For
1889 example, either @code{\descendens} or @code{\ascendens} can be applied
1890 to a head, but not both to the same head.
1894 Two adjacent heads can be tied together with the @code{\pes} and
1895 @code{\flexa} infix commands for a rising and falling line of melody,
1898 @funindex \augmentum
1899 Use the unary music function @code{\augmentum} to add augmentum dots.
1903 When an @code{\augmentum} dot appears at the end of the last staff
1904 within a ligature, it is sometimes vertically placed wrong. As a
1905 workaround, add an additional skip note (e.g. @code{s8}) as last note
1908 @code{\augmentum} should be implemented as a head prefix rather than a
1909 unary music function, such that @code{\augmentum} can be intermixed
1910 with head prefixes in arbitrary order.
1912 @node Gregorian Chant contexts
1913 @unnumberedsubsubsec Gregorian Chant contexts
1915 @cindex VaticanaVoiceContext
1916 @cindex VaticanaStaffContext
1918 The predefined @code{VaticanaVoiceContext} and
1919 @code{VaticanaStaffContext} can be used to engrave a piece of
1920 Gregorian Chant in the style of the Editio Vaticana. These contexts
1921 initialize all relevant context properties and grob properties to
1922 proper values, so you can immediately go ahead entering the chant, as
1923 the following excerpt demonstrates
1925 @lilypond[quote,ragged-right,packed,verbatim]
1926 \include "gregorian-init.ly"
1929 \new VaticanaVoice = "cantus" {
1930 \[ c'\melisma c' \flexa a \]
1931 \[ a \flexa \deminutum g\melismaEnd \]
1933 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1934 c' \divisioMinima \break
1935 \[ c'\melisma c' \flexa a \]
1936 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1938 \new Lyrics \lyricsto "cantus" {
1939 San- ctus, San- ctus, San- ctus
1946 @node Mensural contexts
1947 @unnumberedsubsubsec Mensural contexts
1949 @cindex MensuralVoiceContext
1950 @cindex MensuralStaffContext
1952 The predefined @code{MensuralVoiceContext} and
1953 @code{MensuralStaffContext} can be used to engrave a piece in mensural
1954 style. These contexts initialize all relevant context properties and
1955 grob properties to proper values, so you can immediately go ahead
1956 entering the chant, as the following excerpt demonstrates
1958 @lilypond[quote,ragged-right,verbatim]
1961 \new MensuralVoice = "discantus" \transpose c c' {
1962 \override Score.BarNumber #'transparent = ##t {
1963 c'1\melisma bes a g\melismaEnd
1965 \[ f1\melisma a c'\breve d'\melismaEnd \]
1967 c'\breve\melisma a1 g1\melismaEnd
1968 fis\longa^\signumcongruentiae
1971 \new Lyrics \lyricsto "discantus" {
1972 San -- ctus, San -- ctus, San -- ctus
1978 @node Musica ficta accidentals
1979 @unnumberedsubsubsec Musica ficta accidentals
1981 In European music from before about 1600, singers were often expected
1982 to chromatically alter notes at their own initiative. This is called
1983 @q{Musica Ficta}. In modern transcriptions, these accidentals are
1984 usually printed over the note.
1986 @cindex Accidental, musica ficta
1987 @cindex Musica ficta
1989 Support for such suggested accidentals is included, and can be
1990 switched on by setting @code{suggestAccidentals} to true.
1992 @funindex suggestAccidentals
1994 @lilypond[verbatim,fragment,relative=1]
1996 \set suggestAccidentals = ##t
2002 Program reference: @internalsref{Accidental_engraver} engraver and the
2003 @internalsref{AccidentalSuggestion} object.
2006 @unnumberedsubsubsec Figured bass
2008 @cindex Basso continuo
2010 @c TODO: musicological blurb about FB
2013 LilyPond has support for figured bass
2015 @lilypond[quote,ragged-right,verbatim,fragment]
2017 \new Voice { \clef bass dis4 c d ais g fis}
2018 \new FiguredBass \figuremode {
2019 < 6 >4 < 7\+ >8 < 6+ [_!] >
2026 The support for figured bass consists of two parts: there is an input
2027 mode, introduced by @code{\figuremode}, where you can enter bass figures
2028 as numbers, and there is a context called @internalsref{FiguredBass} that
2029 takes care of making @internalsref{BassFigure} objects.
2031 In figures input mode, a group of bass figures is delimited by
2032 @code{<} and @code{>}. The duration is entered after the @code{>}
2036 @lilypond[quote,ragged-right,fragment]
2038 \figuremode { <4 6> }
2041 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
2042 to the numbers. A plus sign is added when you append @code{\+}, and
2043 diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
2046 <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/>
2048 @lilypond[quote,ragged-right,fragment]
2049 \figures { <4- 6+ 7!> <5++> <3--> <7/> r <6\+ 5/> }
2052 Spaces may be inserted by using @code{_}. Brackets are
2053 introduced with @code{[} and @code{]}. You can also include text
2054 strings and text markups, see @ref{Overview of text markup commands}.
2057 < [4 6] 8 [_! 12] > < 5 \markup @{ \number 6 \super (1) @} >
2059 @lilypond[quote,ragged-right,fragment]
2061 \figuremode { < [4 6] 8 [_! 12] > < 5 \markup{ \tiny \number 6 \super (1)} > }
2065 It is also possible to use continuation lines for repeated figures,
2067 @lilypond[verbatim,relative=1]
2074 \set useBassFigureExtenders = ##t
2081 In this case, the extender lines always replace existing figures.
2083 The @code{FiguredBass} context doesn't pay attention to the actual
2084 bass line. As a consequence, you may have to insert extra figures to
2085 get extender lines below all notes, and you may have to add @code{\!}
2086 to avoid getting an extender line, e.g.
2088 @lilypond[relative=1]
2092 \set useBassFigureExtenders = ##t
2093 <6 4->4. <6 4->16. <6 4->32 <5>8. r16 <6>8 <6\! 5->
2097 f16. g32 f16. g32 f16. g32 f16. g32 f8. es16 d8 es
2102 When using continuation lines, common figures are always put in the
2103 same vertical position. When this is unwanted, you can insert a rest
2104 with @code{r}. The rest will clear any previous alignment. For
2105 example, you can write
2117 Accidentals and plus signs can appear before or after the numbers,
2118 depending on the @code{figuredBassAlterationDirection} and
2119 @code{figuredBassPlusDirection}
2125 \set figuredBassAlterationDirection = #1
2127 \set figuredBassPlusDirection = #1
2129 \set figuredBassAlterationDirection = #-1
2135 Although the support for figured bass may superficially resemble chord
2136 support, it is much simpler. The @code{\figuremode} mode simply
2137 stores the numbers and @internalsref{FiguredBass} context prints them
2138 as entered. There is no conversion to pitches and no realizations of
2139 the bass are played in the MIDI file.
2141 Internally, the code produces markup texts. You can use any of the
2142 markup text properties to override formatting. For example, the
2143 vertical spacing of the figures may be set with @code{baseline-skip}.
2146 Figured bass can also be added to @code{Staff} contexts
2147 directly. In this case, their vertical position is adjusted
2150 @lilypond[ragged-right,fragment,quote]
2152 \new Staff = someUniqueName
2157 %% send to existing Staff.
2158 \context Staff = someUniqueName
2162 \set Staff.useBassFigureExtenders = ##t
2171 By default, this method produces figures above the notes. To get
2172 figures below the notes, use
2175 \override Staff.BassFigureAlignmentPositioning #'direction = #DOWN
2181 When using figured bass above the staff with extender lines and
2182 @code{implicitBassFigures} the lines may become swapped around.
2183 Maintaining order consistently will be impossible when multiple figures
2184 have overlapping extender lines. To avoid this problem, please
2185 use @code{stacking-dir} on @code{BassFigureAlignment}.
2190 Program reference: @internalsref{NewBassFigure},
2191 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
2192 @internalsref{BassFigureBracket}, and
2193 @internalsref{BassFigureContinuation} objects and
2194 @internalsref{FiguredBass} context.