Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.36"
+@c \version "2.19.21"
@node Ancient notation
* Ancient notation---common features::
* Typesetting mensural music::
* Typesetting Gregorian chant::
+* Typesetting Kievan square notation::
* Working with ancient music---scenarios and solutions::
@end menu
Support for ancient notation includes features for mensural
-notation and Gregorian chant notation. These features can be
-accessed either by modifying style properties of graphical objects
-such as note heads and rests, or by using one of the pre-defined
-contexts for mensural or Gregorian notation.
+notation, Gregorian chant notation, and Kievan square notation.
+These features can be accessed either by modifying style
+properties of graphical objects such as note heads and rests,
+or by using one of the pre-defined contexts for these styles.
Many graphical objects, such as note heads and flags, accidentals,
time signatures, and rests, provide a @code{style} property, which
@node Overview of the supported styles
@subsection Overview of the supported styles
-
Three styles are available for typesetting Gregorian chant:
@itemize
used in the Medicaea (or Ratisbona) editions which were used prior
to the Solesmes editions. The most significant differences from
the @emph{Vaticana} style are the clefs, which have
-downward-slanted strokes, and the noteheads, which are square and
+downward-slanted strokes, and the note heads, which are square and
regular.
@cindex Ratisbona, Editio
@itemize
@item The @emph{Mensural} style most closely resembles the
writing style used in late-medieval and early renaissance
-manuscripts, with its small and narrow, diamond-shaped noteheads
+manuscripts, with its small and narrow, diamond-shaped note heads
and its rests which approach a hand-drawn style.
@cindex mensural
@item The @emph{Neomensural} style is a modernized and
-stylized version of the former: the noteheads are broader and the
+stylized version of the former: the note heads are broader and the
rests are made up of straight lines. This style is particularly
suited, e.g., for incipits of transcribed pieces of mensural
music.
@emph{Baroque} and @emph{Classical} are not complete styles
but differ from the default style only in some details: certain
-noteheads (Baroque) and the quarter rest (Classical).
+note heads (Baroque) and the quarter rest (Classical).
Only the mensural style has alternatives for all aspects of the
notation. Thus, there are no rests or flags in the Gregorian
the Petrucci style has no flags or accidentals of its own.
Each element of the notation can be changed independently of the
-others, so that one can use mensural flags, petrucci noteheads,
+others, so that one can use mensural flags, petrucci note heads,
classical rests and vaticana clefs in the same piece, if one
wishes.
* Pre-defined contexts::
* Ligatures::
* Custodes::
-* Figured bass support::
@end menu
above the ligature.
@lilypond[quote,ragged-right,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
+\relative {
+ \[ g' c, a' f d' \]
a g f
\[ e f a g \]
}
certain limitations). To use any of these styles, the default
@code{Ligature_bracket_engraver} has to be replaced with one of the
specialized ligature engravers in the @code{Voice} context,
-as explained in @ref{White mensural ligatures} and @ref{Gregorian
-square neume ligatures}.
+as explained in @ref{White mensural ligatures} and
+@ref{Gregorian square neume ligatures}.
@seealso
Music Glossary:
Accidentals must not be printed within a ligature, but instead need to
be collected and printed in front of it.
-The syntax still uses the deprecated infix style @code{\[ music expr
-\]}. For consistency reasons, it will eventually be changed to
-postfix style @code{note\[ ... note\]}.
+The syntax still uses the deprecated infix style
+@code{\[ music expr \]}. For consistency reasons, it will eventually
+be changed to postfix style @code{note\[ @dots{} note\]}.
@c Alternatively, the file
@c @file{gregorian-init.ly} can be included; it provides a scheme
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
-symbol that appears at the end of a staff. It anticipates the pitch
-of the first note of the following line, thus helping the performer
+A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
+is a symbol that appears at the end of a staff. It anticipates the
+pitch of the first note of the following line, thus helping the performer
to manage line breaks during performance.
Custodes were frequently used in music notation until the
@lilypond[quote,ragged-right]
\score {
- \relative c'' {
- a1
+ \relative {
+ a'1
\break
g
}
\layout {
\context {
\Staff
- \consists Custos_engraver
- \override Custos #'style = #'mensural
+ \consists "Custos_engraver"
+ \override Custos.style = #'mensural
}
}
}
Music Glossary:
@rglos{custos}.
-Internals Reference:
-@rinternals{Custos}.
-
Snippets:
@rlsr{Ancient notation}.
-
-@node Figured bass support
-@unnumberedsubsubsec Figured bass support
-
-There is limited support for figured bass notation from the
-Baroque period; see @ref{Figured bass}.
-
-@seealso
-Music Glossary:
-@rglos{figured bass}.
-
-Notation Reference:
-@ref{Figured bass}.
-
+Internals Reference:
+@rinternals{Custos}.
@node Typesetting mensural music
@subsection Typesetting mensural music
@node Mensural contexts
@unnumberedsubsubsec Mensural contexts
-@cindex MensuralVoiceContext
-@cindex MensuralStaffContext
+@cindex MensuralVoice
+@cindex MensuralStaff
The predefined @code{MensuralVoice} and @code{MensuralStaff}
contexts can be used to engrave a piece in mensural style. These
@lilypond[quote,ragged-right,verbatim]
\score {
<<
- \new MensuralVoice = "discantus" \transpose c c' {
- \override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
+ \new MensuralVoice = "discantus" \relative {
+ \hide Score.BarNumber {
+ c''1\melisma bes a g\melismaEnd
f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
+ \[ f1\melisma a c\breve d\melismaEnd \]
+ c\longa
+ c\breve\melisma a1 g1\melismaEnd
fis\longa^\signumcongruentiae
}
}
}
@end lilypond
-
@seealso
Music Glossary:
@rglos{mensural notation}.
the @code{\clef} command. Some of the clefs use the same glyph,
but differ only with respect to the line they are printed on. In
such cases, a trailing number in the name is used to enumerate
-these clefs, numbered from the lowest to the highest line. Still,
-you can manually force a clef glyph to be typeset on an arbitrary
+these clefs, numbered from the lowest to the highest line.
+You can manually force a clef glyph to be typeset on an arbitrary
line, as described in @ref{Clef}. The note printed to the right
side of each clef in the example column denotes the @code{c'} with
respect to that clef.
mensural C clef
@tab
@code{mensural-c1}, @code{mensural-c2},@*
-@code{mensural-c3}, @code{mensural-c4}
+@code{mensural-c3}, @code{mensural-c4},@*
+@code{mensural-c5}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-c2"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c'1
@end lilypond
@item
@tab
@code{mensural-f}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-f"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c'1
@end lilypond
@item
@tab
@code{mensural-g}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[fragment,notime]
\clef "mensural-g"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c'1
+@end lilypond
+
+@item
+black mensural C clef
+@tab
+@code{blackmensural-c1}, @code{blackmensural-c2},@*
+@code{blackmensural-c3}, @code{blackmensural-c4},@*
+@code{blackmensural-c5}
+@tab
+@lilypond[fragment,notime]
+ \clef "blackmensural-c2"
+ \override NoteHead.style = #'mensural
+ c'1
@end lilypond
@item
@code{neomensural-c1}, @code{neomensural-c2},@*
@code{neomensural-c3}, @code{neomensural-c4}
@tab
-@lilypond[fragment,relative=1,notime]
- \clef "neomensural-c2" c
+@lilypond[fragment,notime]
+ \clef "neomensural-c2" c'1
@end lilypond
@item
@code{petrucci-c3}, @code{petrucci-c4},@*
@code{petrucci-c5}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-c2"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c'1
@end lilypond
@item
-petrucci style F clef
+petrucci style F clefs, for use on different staff lines
+(the example shows the 3rd staff line F clef)
@tab
-@code{petrucci-f}
+@code{petrucci-f3}, @code{petrucci-f4},@*
+@code{petrucci-f5}
@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-f"
- \override NoteHead #'style = #'mensural
- c
+@lilypond[fragment,notime]
+ \clef "petrucci-f3"
+ \override NoteHead.style = #'mensural
+ c'1
@end lilypond
@item
@tab
@code{petrucci-g}
@tab
-@lilypond[fragment,relative=1,notime]
+@lilypond[fragment,notime]
\clef "petrucci-g"
- \override NoteHead #'style = #'mensural
- c
+ \override NoteHead.style = #'mensural
+ c'1
@end lilypond
@end multitable
Notation Reference:
@ref{Clef}.
-
@knownissues
The mensural g clef is mapped to the Petrucci g clef.
@unnumberedsubsubsec Mensural time signatures
@cindex mensuration sign
-@cindex time signatures
+@cindex time signature, mensural
+@cindex time signature style
-There is limited support for mensuration signs (which are similar to, but
-not exactly the same as time signatures). The glyphs are hard-wired to
-particular time fractions. In other words, to get a particular mensuration
-sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
-chosen according to the following table
+There is limited support for mensuration signs (which are similar to,
+but not exactly the same as time signatures). The glyphs are hard-wired
+to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
+@code{m} have to be chosen according to the following table
@lilypond[quote,ragged-right]
\layout {
indent = 0.0
\context {
\Staff
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
+ \remove "Staff_symbol_engraver"
+ \remove "Clef_engraver"
+ \remove "Time_signature_engraver"
}
}
{
\set Score.timing = ##f
\set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
+ \textLengthOn
+ s^\markup { "\\time 4/4" }_\markup { " " \musicglyph
#"timesig.neomensural44" }
s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
+ s^\markup { "\\time 2/2" }_\markup { " " \musicglyph
#"timesig.neomensural22" }
s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 6/4" }_\markup { " " \musicglyph
#"timesig.neomensural64" }
s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 6/8" }_\markup { " " \musicglyph
#"timesig.neomensural68" }
\break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
+ s^\markup { "\\time 3/2" }_\markup { " " \musicglyph
#"timesig.neomensural32" }
s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 3/4" }_\markup { " " \musicglyph
#"timesig.neomensural34" }
s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 9/4" }_\markup { " " \musicglyph
#"timesig.neomensural94" }
s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 9/8" }_\markup { " " \musicglyph
#"timesig.neomensural98" }
\break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
+ s^\markup { "\\time 4/8" }_\markup { " " \musicglyph
#"timesig.neomensural48" }
s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
+ s^\markup { "\\time 2/4" }_\markup { " " \musicglyph
#"timesig.neomensural24" }
}
@end lilypond
@code{neomensural} style. The following examples show the
differences in style:
-@lilypond[ragged-right,fragment,relative=1,quote]
-{
+@lilypond[ragged-right,quote]
+\relative c' {
\textLengthOn
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter default }
- \override Staff.TimeSignature #'style = #'numbered
+ \override Staff.TimeSignature.style = #'numbered
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter numbered }
- \override Staff.TimeSignature #'style = #'mensural
+ \override Staff.TimeSignature.style = #'mensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter mensural }
- \override Staff.TimeSignature #'style = #'neomensural
+ \override Staff.TimeSignature.style = #'neomensural
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter neomensural }
- \override Staff.TimeSignature #'style = #'single-digit
+ \override Staff.TimeSignature.style = #'single-digit
\time 2/2
c1^\markup { \hspace #-2.0 \typewriter single-digit }
}
@ref{Time signature}.
@knownissues
-Ratios of note durations do not change with the time signature. For
-example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
-perfectum}) must be made by hand, by setting
+Ratios of note durations cannot change with the time signature,
+as those are not constant. For
+example, the ratio of 1@tie{}breve = 3@tie{}semibreves
+(@emph{tempus perfectum}) can be made by hand, by setting
@example
-breveTP = #(ly:make-duration -1 0 3 2)
+breveTP = #(ly:make-duration -1 0 3/2)
@dots{}
@{ c\breveTP f1 @}
@end example
@cindex note heads, ancient
-For ancient notation, a note head style other than the @code{default} style
-may be chosen. This is accomplished by setting the @code{style} property of
-the @code{NoteHead} object to @code{baroque}, @code{neomensural},
-@code{mensural} or @code{petrucci}.
+For ancient notation, a note head style other than the
+@code{default} style may be chosen. This is accomplished by setting
+the @code{style} property of the @code{NoteHead} object to
+@code{baroque}, @code{neomensural}, @code{mensural},
+@code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
The @code{baroque} style differs from the @code{default} style by:
@itemize
-@item Providing a @code{maxima} notehead, and
+@item Providing a @code{maxima} note head, and
@item Using a square shape for @code{\breve} note heads.
@end itemize
-The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
-the @code{baroque} style by:
+The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
+differ from the @code{baroque} style by:
@itemize
-@item Using rhomboidal heads for semibreves and all smaller durations, and
+@item Using rhomboidal heads for semibreves and all smaller durations,
+and
@item Centering the stems on the note heads.
@end itemize
+The @code{blackpetrucci} style produces note heads usable in black
+mensural notation or coloratio sections in white mensural notation.
+Because note head style does not influence flag count, in
+this style a semiminima should be notated as @code{a8*2}, not
+@code{a4}, otherwise it will look like a minima.
+The multiplier can be different if coloratio is used, e.g., to notate
+triplets.
+
+Use @code{semipetrucci} style to draw half-colored
+note heads (breves, longas and maximas).
+
The following example demonstrates the @code{petrucci} style:
@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
\autoBeamOff
-\override NoteHead #'style = #'petrucci
+\override NoteHead.style = #'petrucci
a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
-
+\override NoteHead.style = #'semipetrucci
+a'\breve*5/6
+\override NoteHead.style = #'blackpetrucci
+a'8*4/3 a'
+\override NoteHead.style = #'petrucci
+a'\longa
@end lilypond
-@ref{Note head styles}, gives an overview of all available note head styles.
+@ref{Note head styles}, gives an overview of all available note head
+styles.
@seealso
Music Glossary:
only the @code{mensural} style is supported.
@lilypond[quote,fragment,ragged-right,verbatim]
-\override Stem #'flag-style = #'mensural
-\override Stem #'thickness = #1.0
-\override NoteHead #'style = #'mensural
-\autoBeamOff
-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
-c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
+\relative c' {
+ \override Flag.style = #'mensural
+ \override Stem.thickness = #1.0
+ \override NoteHead.style = #'mensural
+ \autoBeamOff
+ c8 d e f c16 d e f c32 d e f s8
+ c'8 d e f c16 d e f c32 d e f
+}
@end lilypond
-Note that the innermost flare of each mensural flag always is
+Note that the innermost flare of each mensural flag is
vertically aligned with a staff line.
There is no particular flag style for neo-mensural or Petrucci notation.
-@c Hence,
-@c when typesetting the incipit of a transcribed piece of mensural
-@c music, the default flag style should be used.
There are no flags in Gregorian chant notation.
-
@seealso
Music Glossary:
@rglos{mensural notation},
@rglos{flag}.
-
@knownissues
-The attachment of ancient flags to stems is slightly off.
-@c due to a change in early 2.3.x.
-
Vertically aligning each flag with a staff line assumes that stems
-always end either exactly on or exactly in the middle between two
+always end either exactly on or exactly in the middle of two
staff lines. This may not always be true when using advanced layout
features of classical notation (which however are typically out of
scope for mensural notation).
@cindex rests, ancient
Use the @code{style} property of grob @code{Rest} to select
-ancient rests. Supported styles are @code{classical},
-@code{neomensural}, and @code{mensural}. @code{classical} differs
-from the @code{default} style only in that the quarter rest looks
-like a horizontally mirrored 8th rest. The @code{mensural} and
-the @code{neomensural} styles mimic the appearance of rests in
-manuscripts and prints up to the 16th century.
+ancient rests. Supported ancient styles are
+@code{neomensural}, and @code{mensural}.
-The following example demonstrates the @code{mensural} and
-@code{neomensural} styles:
+The following example demonstrates these styles:
@lilypond[quote,fragment,ragged-right,verbatim]
\set Score.skipBars = ##t
-\override Rest #'style = #'classical
-r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'mensural
+\override Rest.style = #'mensural
r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'neomensural
+\override Rest.style = #'neomensural
r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
@end lilypond
-There are no 32th and 64th rests specifically for the mensural or
-neo-mensural style. Instead, the rests from the default style will be
-taken.
+There are no 32nd and 64th rests specifically for the mensural or
+neo-mensural styles. Rests from the default style are used.
@seealso
Music Glossary:
Snippets:
@rlsr{Ancient notation}.
+@knownissues
+The glyph for the maxima rest in mensural style is actually a perfect
+longa rest; use two (or three) longa rests to print a maxima rest.
+Longa rests are not grouped automatically, so have to be done manually by
+using pitched rests.
+
@node Mensural accidentals and key signatures
@unnumberedsubsubsec Mensural accidentals and key signatures
@cindex key signature
The @code{mensural} style provides a sharp and a flat sign
-different from the default style. If called for, the natural sign
-will be taken from the @code{vaticana} style.
+different from the default style. Mensural notation rarely used a natural
+sign: instead the appropriate sharp or flat is used. For example, a B
+natural in the key of F major would be indicated with a sharp. However,
+if specifically called for, the natural sign is taken from the @code{vaticana}
+style.
@lilypond[quote,ragged-right,staffsize=26]
\markup {
@code{glyph-name-alist} property of the grobs @code{Accidental} and
@code{KeySignature}, respectively; e.g.:
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
+@example
+\override Staff.Accidental.glyph-name-alist =
+ #alteration-mensural-glyph-name-alist
+@end example
@seealso
Music Glossary:
@funindex suggestAccidentals
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
+@lilypond[verbatim]
+\relative {
+ fis' gis
+ \set suggestAccidentals = ##t
+ ais bis
+}
@end lilypond
-This will treat @emph{every} subsequent accidental as @emph{musica
-ficta} until it is unset with @code{\set suggestAccidentals =
-##f}. A more practical way is to use @code{\once \set
-suggestAccidentals = ##t}, which can even be defined as a
-convenient shorthand:
+This will treat @emph{every} subsequent accidental as
+@emph{musica ficta} until it is unset with
+@code{\set suggestAccidentals = ##f}. A more practical way is to
+use @code{\once \set suggestAccidentals = ##t}, which can even be
+defined as a convenient shorthand:
@lilypond[quote,verbatim]
ficta = { \once \set suggestAccidentals = ##t }
-\score { \relative c''
+\score { \relative
\new MensuralVoice {
- \once \set suggestAccidentals = ##t
- bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
+ \once \set suggestAccidentals = ##t
+ bes'4 a2 g2 \ficta fis8 \ficta e! fis2 g1
}
}
@end lilypond
-
@seealso
Internals Reference:
@rinternals{Accidental_engraver},
\layout @{
\context @{
\Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
+ \remove "Ligature_bracket_engraver"
+ \consists "Mensural_ligature_engraver"
@}
@}
@end example
This is not only required for correct MIDI output, but also allows for
automatic transcription of the ligatures.
+At certain places two consecutive notes can be represented either as
+two squares or as an oblique parallelogram (flexa shape). In such
+cases the default is the two squares, but a flexa can be required by
+setting the @code{ligature-flexa} property of the @emph{second} note
+head. The length of a flexa can be set by the note head property
+@code{flexa-width}.
+
For example,
-@c @example
-@c \set Score.timing = ##f
-@c \set Score.defaultBarType = "empty"
-@c \override NoteHead #'style = #'neomensural
-@c \override Staff.TimeSignature #'style = #'neomensural
-@c \clef "petrucci-g"
-@c \[ c'\maxima g \]
-@c \[ d\longa c\breve f e d \]
-@c \[ c'\maxima d'\longa \]
-@c \[ e'1 a g\breve \]
-@c @end example
@lilypond[quote,ragged-right,verbatim]
\score {
- \transpose c c' {
+ \relative {
\set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \set Score.defaultBarType = "-"
+ \override NoteHead.style = #'petrucci
+ \override Staff.TimeSignature.style = #'mensural
\clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
+ \[ c''\maxima g \]
+ \[ d'\longa
+ \override NoteHead.ligature-flexa = ##t
+ \once \override NoteHead.flexa-width = #3.2
+ c\breve f e d \]
+ \[ c\maxima d\longa \]
+ \[ e1 a, g\breve \]
}
\layout {
\context {
\Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
+ \remove "Ligature_bracket_engraver"
+ \consists "Mensural_ligature_engraver"
}
}
}
@end lilypond
Without replacing @code{Ligature_bracket_engraver} with
-@code{Mensural_ligature_engraver}, the same music transcribes
-to the following
+@code{Mensural_ligature_engraver}, the same music looks as follows:
@lilypond[quote,ragged-right]
-\transpose c c' {
+\relative {
\set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \set Score.defaultBarType = "-"
+ \override NoteHead.style = #'petrucci
+ \override Staff.TimeSignature.style = #'mensural
\clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
+ \[ c''\maxima g \]
+ \[ d'\longa
+ \override NoteHead.ligature-flexa = ##t
+ \once \override NoteHead.flexa-width = #3.2
+ c\breve f e d \]
+ \[ c\maxima d\longa \]
+ \[ e1 a, g\breve \]
}
@end lilypond
@ref{Ligatures}.
@knownissues
-Horizontal spacing of ligatures is poor.
+Horizontal spacing of ligatures may be poor.
+Accidentals may collide with previous notes.
@node Typesetting Gregorian chant
@ref{White mensural ligatures},
@ref{Ligatures}.
+
@node Gregorian chant contexts
@unnumberedsubsubsec Gregorian chant contexts
-@cindex VaticanaVoiceContext
-@cindex VaticanaStaffContext
+@cindex VaticanaVoice
+@cindex VaticanaStaff
-The predefined @code{VaticanaVoiceContext} and
-@code{VaticanaStaffContext} can be used to engrave a piece of
+The predefined @code{VaticanaVoice} and
+@code{VaticanaStaff} can be used to engrave a piece of
Gregorian chant in the style of the Editio Vaticana. These contexts
initialize all relevant context properties and grob properties to
proper values, so you can immediately go ahead entering the chant, as
@code{vaticana-do1}, @code{vaticana-do2},@*
@code{vaticana-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
+@lilypond[fragment,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'vaticana.punctum
\clef "vaticana-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{vaticana-fa1}, @code{vaticana-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
+@lilypond[fragment,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'vaticana.punctum
\clef "vaticana-fa2"
- c
+ c'
@end lilypond
@item
@code{medicaea-do1}, @code{medicaea-do2},@*
@code{medicaea-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
+@lilypond[fragment,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'medicaea.punctum
\clef "medicaea-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{medicaea-fa1}, @code{medicaea-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
+@lilypond[fragment,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'medicaea.punctum
\clef "medicaea-fa2"
- c
+ c'
@end lilypond
@item
@code{hufnagel-do1}, @code{hufnagel-do2},@*
@code{hufnagel-do3}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[fragment,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-fa1}, @code{hufnagel-fa2}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[fragment,notime]
+ \override Staff.StaffSymbol.line-count = #4
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-fa2"
- c
+ c'
@end lilypond
@item
@tab
@code{hufnagel-do-fa}
@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
+@lilypond[fragment,notime]
+ \override Staff.StaffSymbol.color = #red
+ \override Staff.LedgerLineSpanner.color = #red
+ \hide Voice.Stem
+ \override NoteHead.style = #'hufnagel.punctum
\clef "hufnagel-do-fa"
- c
+ c'
@end lilypond
@end multitable
-
@seealso
Music Glossary:
@rglos{clef}.
trying to access an unsupported accidental, LilyPond will switch to a
different style.
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c @lilypondfile[verbatim,quote,texidoc,doctitle]
@c {ancient-accidentals.ly}
The style for accidentals and key signatures is controlled by the
@code{glyph-name-alist} property of the grobs @code{Accidental} and
@code{KeySignature}, respectively; e.g.:
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
-
+@example
+\override Staff.Accidental.glyph-name-alist =
+ #alteration-mensural-glyph-name-alist
+@end example
@seealso
Music Glossary:
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
@q{division}) is a staff context symbol that is used to indicate
-the phrase and section structure of Gregorian music. The musical meaning of
-@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
-can be characterized as short, medium, and long pause, somewhat like
-the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
-only marks the end of a chant, but is also frequently used within a
-single antiphonal/responsorial chant to mark the end of each section.
+the phrase and section structure of Gregorian music. The musical
+meaning of @emph{divisio minima}, @emph{divisio maior}, and
+@emph{divisio maxima} can be characterized as short, medium, and
+long pause, somewhat like the breath marks from @ref{Breath marks}.
+The @emph{finalis} sign not only marks the end of a chant, but is
+also frequently used within a single antiphonal/responsorial chant
+to mark the end of each section.
To use divisiones, include the file @file{gregorian.ly}. It
contains definitions that you can apply by just inserting
\score {
<<
\context VaticanaVoice {
- \override TextScript #'padding = #3
+ \override TextScript.padding = #3
g a g
s^\markup { "divisio minima" }
\divisioMinima
@ref{Breath marks}.
Installed Files:
-@file{gregorian.ly}.
+@file{ly/gregorian.ly}.
@node Gregorian articulation signs
In addition to the standard articulation signs described in
section @ref{Articulations and ornamentations}, articulation signs
-specifically designed for use with notation in @emph{Editio
-Vaticana} style are provided.
+specifically designed for use with notation in
+@emph{Editio Vaticana} style are provided.
@lilypond[quote,ragged-right,verbatim]
\include "gregorian.ly"
\score {
\new VaticanaVoice {
- \override TextScript #'font-family = #'typewriter
- \override TextScript #'font-shape = #'upright
- \override Script #'padding = #-0.1
+ \override TextScript.font-family = #'typewriter
+ \override TextScript.font-shape = #'upright
+ \override Script.padding = #-0.1
a\ictus_"ictus " \bar "" \break
a\circulus_"circulus " \bar "" \break
a\semicirculus_"semicirculus " \bar "" \break
}
@end lilypond
-
@seealso
Notation Reference:
@ref{Articulations and ornamentations}.
@rinternals{ScriptEvent},
@rinternals{Script_engraver}.
-
@knownissues
Some articulations are vertically placed too closely to the
corresponding note heads.
}
@end lilypond
-
@seealso
Notation Reference:
@ref{Breath marks}.
@funindex \linea
@code{\linea}.
-@item Ligatures, properly speaking (i.e. notes joined together), are
+@item Ligatures, properly speaking (i.e., notes joined together), are
produced by placing one of the joining commands @code{\pes} or
@code{\flexa}, for upwards and downwards movement, respectively,
@emph{between} the notes to be joined.
All other neumes, including the single-note neumes with a
different shape such as the @emph{virga}, are in principle
considered as ligatures and should therefore be placed
-between @code{\[...\]}.
+between @code{\[@dots{}\]}.
@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
@c equivalent.
Another main category of notes in Gregorian chant is the so-called
liquescent neumes. They are used under certain circumstances at
-the end of a syllable which ends in a @q{liquescent} letter, i.e.
+the end of a syllable which ends in a @q{liquescent} letter, i.e.,
the sounding consonants that can hold a tone (the nasals, l, r, v,
-j, and their diphtong equivalents). Thus, the liquescent neumes
+j, and their diphthong equivalents). Thus, the liquescent neumes
are never used alone (although some of them can be produced), and
they always fall at the end of a ligature.
more or less interchangeable ways: with a smaller note or by
@q{twisting} the main note upwards or downwards. The first is
produced by making a regular @code{pes} or @code{flexa} and
-modifying the shape of the second note: @code{\[ a \pes \deminutum
-b \] }, the second by modifying the shape of a single-note neume
-with @code{\auctum} and one of the direction markers
-@code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
-\descendens a \] }.
+modifying the shape of the second note:
+@code{\[ a \pes \deminutum b \] }, the second by modifying the shape
+of a single-note neume with @code{\auctum} and one of the direction
+markers @code{\descendens} or @code{\ascendens}, e.g.,
+@code{ \[ \auctum \descendens a \] }.
@noindent
Special signs
commands @code{\versus}, @code{\responsum}, @code{\ij},
@code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
corresponding characters, e.g., for use in lyrics, as section
-markers, etc. These commands use special unicode characters and
+markers, etc. These commands use special Unicode characters and
will only work if a font is used which supports them.
The following table shows a limited, but still representative pool
of Gregorian ligatures, together with the code fragments that
produce the ligatures. The table is based on the extended neumes
-table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
-Hymnarius}), published 1983 by the monks of Solesmes. The first
-column gives the name of the ligature, with the main form in
+table of the 2nd volume of the Antiphonale Romanum
+(@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
+The first column gives the name of the ligature, with the main form in
boldface and the liquescent forms in italics. The third column
shows the code fragment that produces this ligature, using
@code{g}, @code{a}, and @code{b} as example pitches.
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum
- \[ b \]
+ \[ b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum
- \[ \cavum b \]
+ \[ \cavum b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum
- \[ \linea b \]
+ \[ \linea b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum Auctum Ascendens
- \[ \auctum \ascendens b \]
+ \[ \auctum \ascendens b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum Auctum Descendens
- \[ \auctum \descendens b \]
+ \[ \auctum \descendens b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum Inclinatum
- \[ \inclinatum b \]
+ \[ \inclinatum b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum Inclinatum Auctum
- \[ \inclinatum \auctum b \]
+ \[ \inclinatum \auctum b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Punctum Inclinatum Parvum
- \[ \inclinatum \deminutum b \]
+ \[ \inclinatum \deminutum b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Virga
- \[ \virga b \]
+ \[ \virga b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Clivis vel Flexa
- \[ b \flexa g \]
+ \[ b' \flexa g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Clivis Aucta Descendens
- \[ b \flexa \auctum \descendens g \]
+ \[ b' \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Clivis Aucta Ascendens
- \[ b \flexa \auctum \ascendens g \]
+ \[ b' \flexa \auctum \ascendens g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Cephalicus
- \[ b \flexa \deminutum g \]
+ \[ b' \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Podatus vel Pes
- \[ g \pes b \]
+ \[ g' \pes b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Pes Auctus Descendens
- \[ g \pes \auctum \descendens b \]
+ \relative {
+ % Pes Auctus Descendens
+ \[ g' \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Pes Auctus Ascendens
- \[ g \pes \auctum \ascendens b \]
+ \[ g' \pes \auctum \ascendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Epiphonus
- \[ g \pes \deminutum b \]
+ \relative {
+ % Epiphonus
+ \[ g' \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Pes Initio Debilis
- \[ \deminutum g \pes b \]
+ \[ \deminutum g' \pes b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Pes Auctus Descendens Initio Debilis
- \[ \deminutum g \pes \auctum \descendens b \]
+ \[ \deminutum g' \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Torculus
- \[ a \pes b \flexa g \]
+ \[ a' \pes b \flexa g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens
- \[ a \pes b \flexa \auctum \descendens g \]
+ \relative {
+ % Torculus Auctus Descendens
+ \[ a' \pes b \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus
- \[ a \pes b \flexa \deminutum g \]
+ \relative {
+ % Torculus Deminutus
+ \[ a' \pes b \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Initio Debilis
- \[ \deminutum a \pes b \flexa g \]
+ \relative {
+ % Torculus Initio Debilis
+ \[ \deminutum a' \pes b \flexa g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
- \[ \deminutum a \pes b \flexa \auctum \descendens g \]
+ \relative {
+ % Torculus Auctus Descendens Initio Debilis
+ \[ \deminutum a' \pes b \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Torculus Deminutus Initio Debilis
- \[ \deminutum a \pes b \flexa \deminutum g \]
+ \relative {
+ % Torculus Deminutus Initio Debilis
+ \[ \deminutum a' \pes b \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Porrectus
- \[ a \flexa g \pes b \]
+ \[ a' \flexa g \pes b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Porrectus Auctus Descendens
- \[ a \flexa g \pes \auctum \descendens b \]
+ \relative {
+ % Porrectus Auctus Descendens
+ \[ a' \flexa g \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Porrectus Deminutus
- \[ a \flexa g \pes \deminutum b \]
+ \relative {
+ % Porrectus Deminutus
+ \[ a' \flexa g \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Climacus
- \[ \virga b \inclinatum a \inclinatum g \]
+ \[ \virga b' \inclinatum a \inclinatum g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Climacus Auctus
- \[ \virga b \inclinatum a \inclinatum \auctum g \]
+ \relative {
+ % Climacus Auctus
+ \[ \virga b' \inclinatum a \inclinatum \auctum g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Climacus Deminutus
- \[ \virga b \inclinatum a \inclinatum \deminutum g \]
+ \relative {
+ % Climacus Deminutus
+ \[ \virga b' \inclinatum a \inclinatum \deminutum g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Scandicus
- \[ g \pes a \virga b \]
+ \[ g' \pes a \virga b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Scandicus Auctus Descendens
- \[ g \pes a \pes \auctum \descendens b \]
+ \relative {
+ % Scandicus Auctus Descendens
+ \[ g' \pes a \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
- % Scandicus Deminutus
- \[ g \pes a \pes \deminutum b \]
+ \relative {
+ % Scandicus Deminutus
+ \[ g' \pes a \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Quilisma
- \[ g \pes \quilisma a \pes b \]
+ \[ g' \pes \quilisma a \pes b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Quilisma Pes Auctus Descendens
- \[ g \quilisma a \pes \auctum \descendens b \]
+ \[ g' \quilisma a \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Oriscus
- \[ \oriscus b \]
+ \[ \oriscus b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Pes Quassus
- \[ \oriscus g \pes \virga b \]
+ \[ \oriscus g' \pes \virga b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Pes Quassus Auctus Descendens
- \[ \oriscus g \pes \auctum \descendens b \]
+ \[ \oriscus g' \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Salicus
- \[ g \oriscus a \pes \virga b \]
+ \[ g' \oriscus a \pes \virga b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Salicus Auctus Descendens
- \[ g \oriscus a \pes \auctum \descendens b \]
+ \[ g' \oriscus a \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Stropha
- \[ \stropha b \]
+ \[ \stropha b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Stropha Aucta
- \[ \stropha \auctum b \]
+ \[ \stropha \auctum b' \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Bistropha
- \[ \stropha b \stropha b \]
+ \[ \stropha b' \stropha b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Tristropha
- \[ \stropha b \stropha b \stropha b \]
+ \[ \stropha b' \stropha b \stropha b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \transpose c c' {
+ \relative {
% Trigonus
- \[ \stropha b \stropha b \stropha a \]
+ \[ \stropha b' \stropha b \stropha a \]
}
\layout { \neumeDemoLayout }
}
@ref{White mensural ligatures},
@ref{Ligatures}.
-
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
within a ligature, it is sometimes vertically placed wrong. As a
unary music function, such that @code{\augmentum} can be intermixed
with head prefixes in arbitrary order.
+@node Typesetting Kievan square notation
+@subsection Typesetting Kievan square notation
+
+@menu
+* Kievan contexts::
+* Kievan clefs::
+* Kievan notes::
+* Kievan accidentals::
+* Kievan bar line::
+* Kievan melismata::
+@end menu
+
+@node Kievan contexts
+@unnumberedsubsubsec Kievan contexts
+
+@cindex KievanVoice
+@cindex KievanStaff
+
+As with Mensural and Gregorian notation, the predefined
+@code{KievanVoice} and @code{KievanStaff} contexts can be used
+to engrave a piece in square notation. These contexts initialize
+all relevant context properties and grob properties to proper
+values, so you can immediately go ahead entering the chant:
+
+@lilypond[quote,ragged-right,verbatim]
+% Font settings for Cyrillic
+\paper {
+ #(define fonts
+ (set-global-fonts
+ #:roman "Linux Libertine O,serif"
+ ))
+}
+
+\score {
+ <<
+ \new KievanVoice = "melody" \relative c' {
+ \cadenzaOn
+ c4 c c c c2 b\longa
+ \bar "k"
+ }
+ \new Lyrics \lyricsto "melody" {
+ Го -- спо -- ди по -- ми -- луй.
+ }
+ >>
+}
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation}.
+
+@knownissues
+LilyPond supports Kievan notation of the Synodal style, as used in
+the corpus of chantbooks printed by the Russian Holy Synod in the
+1910's and recently reprinted by the Moscow Patriarchate Publishing
+House. LilyPond does not support the older (less common) forms of
+Kievan notation that were used in Galicia to notate Rusyn plainchant.
+
+@node Kievan clefs
+@unnumberedsubsubsec Kievan clefs
+
+@cindex clefs
+
+There is only one clef used in Kievan notation (the Tse-fa-ut Clef).
+It is used to indicate the position of @code{c}:
+
+@lilypond[quote,fragment,notime,verbatim]
+ \clef "kievan-do"
+ \kievanOn
+ c'
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{clef}.
+
+Notation Reference:
+@ref{Clef}.
+
+@node Kievan notes
+@unnumberedsubsubsec Kievan notes
+
+@cindex note heads, ancient
+
+For Kievan square notation, the appropriate note head style needs
+to be chosen and the flags and stems need to be turned off.
+This is accomplished by calling the @code{\kievanOn} function,
+which sets the appropriate properties of the note head, stems,
+and flags. Once Kievan note heads are not needed, these
+properties can be reverted by calling the @code{\kievanOff}
+function.
+
+The Kievan final note, which usually comes at the end of a piece
+of music, may be selected by setting the duration to
+@code{\longa}. The Kievan recitative mark, used to indicate
+the chanting of several syllables on one note, may be selected by
+setting the duration to @code{\breve}. The following example
+demonstrates the various Kievan note heads:
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+\autoBeamOff
+\cadenzaOn
+\kievanOn
+b'1 b'2 b'4 b'8 b'\breve b'\longa
+\kievanOff
+b'2
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{note head}.
+
+Notation Reference:
+@ref{Note head styles}.
+
+@knownissues
+LilyPond automatically determines if the stem up or stem down
+form of a note is drawn. When setting chant in square notation,
+however, it is customary to have the stems point in the same
+direction within a single melisma. This can be done manually by
+setting the @code{direction} property of the @code{Stem} object.
+
+@node Kievan accidentals
+@unnumberedsubsubsec Kievan accidentals
+
+@cindex accidentals
+
+The @code{kievan} style for accidentals is selected with the
+@code{glyph-name-alist} property of the grob @code{Accidental}.
+The @code{kievan} style provides a sharp and a flat sign
+different from the default style. There is no natural sign
+in Kievan notation. The sharp sign is not used in Synodal music
+but may occur in earlier manuscripts. It has been included
+primarily for the sake of compatibility.
+
+@lilypond[quote,fragment,notime,verbatim]
+\clef "kievan-do"
+\override Accidental.glyph-name-alist =
+ #alteration-kievan-glyph-name-alist
+bes' dis'
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{kievan notation},
+@rglos{accidental}.
+
+Notation Reference:
+@ref{Accidentals},
+@ref{Automatic accidentals},
+@ref{The Feta font}
+
+@node Kievan bar line
+@unnumberedsubsubsec Kievan bar line
+
+A decorative figure is commonly placed at the end of a piece of
+Kievan notation, which may be called the Kievan final bar line.
+It can be invoked as @code{\bar "k"}.
+
+@lilypond[quote,fragment,notime,verbatim]
+ \kievanOn
+ \clef "kievan-do"
+ c' \bar "k"
+@end lilypond
+
+@seealso
+@ref{Bars},
+@ref{The Feta font}
+
+@node Kievan melismata
+@unnumberedsubsubsec Kievan melismata
+
+@cindex Ligatures
+
+Notes within a Kievan melisma are usually placed close to each other
+and the melismata separated by whitespace. This is done to allow
+the chanter to quickly identify the melodic structures of Znamenny
+chant. In LilyPond, melismata are treated as ligatures and the
+spacing is implemented by the @code{Kievan_ligature_engraver}.
+
+When the @code{KievanVoice} and @code{KievanStaff} contexts are used,
+the @code{Kievan_ligature_engraver} is enabled by default. In other
+contexts, it can be invoked by replacing the @code{Ligature_bracket_engraver}
+with the @code{Kievan_ligature_engraver} in the layout block:
+
+@example
+\layout @{
+ \context @{
+ \Voice
+ \remove "Ligature_bracket_engraver"
+ \consists "Kievan_ligature_engraver"
+ @}
+@}
+@end example
+
+The spacing between the notes within a Kievan ligature can be controlled
+by setting the @code{padding} property of the @code{KievanLigature}.
+
+The following example demonstrates the use of Kievan ligatures:
+
+@lilypond[quote,ragged-right,verbatim]
+% Font settings for Cyrillic
+\paper {
+ #(define fonts
+ (set-global-fonts
+ #:roman "Linux Libertine O,serif"
+ ))
+}
+
+\score {
+ <<
+ \new KievanVoice = "melody" \relative c' {
+ \cadenzaOn
+ e2 \[ e4( d4 ) \] \[ c4( d e d ) \] e1 \bar "k"
+ }
+ \new Lyrics \lyricsto "melody" {
+ Га -- врі -- и -- лу
+ }
+ >>
+}
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{ligature}.
+
+Notation Reference:
+@ref{White mensural ligatures},
+@ref{Gregorian square neume ligatures},
+@ref{Ligatures}.
+
+@knownissues
+Horizontal spacing of ligatures is poor.
@node Working with ancient music---scenarios and solutions
@subsection Working with ancient music---scenarios and solutions
These involve:
@itemize
-@item how to make incipits (i.e. prefatory material to indicate
+@item how to make incipits (i.e., prefatory material to indicate
what the original has looked like) to modern transcriptions of
mensural music;
@item how to achieve the @emph{Mensurstriche} layout frequently
@node Incipits
@unnumberedsubsubsec Incipits
+@funindex \incipit
+@cindex incipits, adding
-@c TODO Add text
-@c clefs, mensuration signs etc from lsr and -user
-@c use snippet Transcription-of-ancient-music-with-incipit
-TBC
+It is customary when transcribing mensural music into modern notation to place
+an indication of how the initial rests and note or notes of the original version
+appeared - including the original clefs. This is called an @emph{incipit}. The
+@code{\incipit} command uses the @code{indent} of the main staff to set the
+width occupied by the incipit, and @code{incipit-width} to set the width of the
+incipit staff.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ \new Staff <<
+ \new Voice = Tenor {
+ \set Staff.instrumentName = #"Tenor"
+ \override Staff.InstrumentName.self-alignment-X = #RIGHT
+ \incipit { \clef "mensural-c4" \key f \major r\breve r1 c'1 }
+ \clef "treble_8"
+ \key f \major
+ R1 r2 c'2 |
+ a4. c'8
+ }
+ \new Lyrics \lyricsto Tenor { Cyn -- thia your }
+ >>
+ \layout
+ {
+ indent = 5\cm
+ incipit-width = 3\cm
+ }
+}
+@end lilypond
+@knownissues
+Note that instrumentName must be set in the music for the incipit to be
+produced. If no instrument name is required then use
+@code{\set Staff.instrumentName = #""}.
@c @seealso
@c ... and reference to other sections ...
@emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
for bar lines that are drawn between the staves of a system but
not through the staves themselves. It is a common way to preserve
-the rhythmic appearance of the original, i.e. not having to break
+the rhythmic appearance of the original, i.e., not having to break
syncopated notes at bar lines, while still providing the
orientation aids that bar lines give.
-@lilypondfile[verbatim,lilyquote,texidoc]
+@lilypondfile[verbatim,quote,texidoc]
{mensurstriche-layout-bar-lines-between-the-staves.ly}
@c This simple setup will take care of the
@c from lsr and -user
@c TBC
-
@c @seealso
@c ... and reference to other sections ...
@example
\layout @{
- ...
+ @dots{}
\context @{
\Voice
\remove "Stem_engraver"
@}
@end example
-However, in some transcription styles, stems are used
-occasionally, for example to indicate the transition from a
-single-tone recitative to a fixed melodic gesture. In these cases,
-one can use either @code{\override Stem #'transparent = ##t} or
-@code{\override Stem #'length = #0} instead, and restore the stem
-when needed with the corresponding @code{\once \override Stem
-#'transparent = ##f} (see example below).
-
@b{Timing.} For unmetered chant, there are several alternatives.
The Time_signature_engraver can be removed from the Staff context
invisible signature will still take up space.
In many cases, @code{\set Score.timing = ##f} will give good
-results. Another alternative is to use @code{\CadenzaOn} and
-@code{\CadenzaOff}.
+results. Another alternative is to use @code{\cadenzaOn} and
+@code{\cadenzaOff}.
-To remove the barlines, the radical approach is to @code{\remove}
+To remove the bar lines, the radical approach is to @code{\remove}
the Bar_engraver from the Staff context. Again, one may want to
-use @code{\override BarLine #'transparent = ##t} instead, if an
+use @code{\hide BarLine} instead, if an
occasional barline is wanted.
A common type of transcription is recitativic chant where the
@lilypond[verbatim,ragged-right]
\include "gregorian.ly"
-chant = \relative c' {
+chant = \relative {
\clef "G_8"
- c\breve c4 b4 a c2 c4 \divisioMaior
+ c'\breve c4 b4 a c2 c4 \divisioMaior
c\breve c4 c f, f \finalis
}
verba = \lyricmode {
- \once \override LyricText #'self-alignment-X = #-1
+ \once \override LyricText.self-alignment-X = #-1
"Noctem quietam et" fi -- nem per -- fec -- tum
- \once \override LyricText #'self-alignment-X = #-1
+ \once \override LyricText.self-alignment-X = #-1
"concedat nobis Dominus" om -- ni -- po -- tens.
}
\score {
\Staff
\remove "Time_signature_engraver"
\remove "Bar_engraver"
- \override Stem #'transparent = ##t
+ }
+ \context {
+ \Voice
+ \remove "Stem_engraver"
}
}
}
This works fine, as long as the text doesn't span a line break. If
that is the case, an alternative is to add hidden notes to the
-score, here in combination with changing stem visibility:
+score, as below.
+In some transcription styles, stems are used
+occasionally, for example to indicate the transition from a
+single-tone recitative to a fixed melodic gesture. In these cases,
+one can use either @code{\hide Stem} or
+@code{\override Stem.length = #0} instead of @code{\remove}-ing
+the @code{Stem_engraver} and restore the stem
+when needed with the corresponding @code{\undo \hide Stem}.
@lilypond[verbatim,ragged-right]
\include "gregorian.ly"
-chant = \relative c' {
+chant = \relative {
\clef "G_8"
\set Score.timing = ##f
- c\breve \override NoteHead #'transparent = ##t c c c c c
- \revert NoteHead #'transparent
- \override Stem #'transparent = ##f \stemUp c4 b4 a
- \override Stem #'transparent = ##t c2 c4 \divisioMaior
- c\breve \override NoteHead #'transparent = ##t c c c c c c c
- \revert NoteHead #'transparent c4 c f, f \finalis
+ \hide Stem
+ c'\breve \hide NoteHead c c c c c
+ \undo \hide NoteHead
+ \undo \hide Stem \stemUp c4 b4 a
+ \hide Stem c2 c4 \divisioMaior
+ c\breve \hide NoteHead c c c c c c c
+ \undo \hide NoteHead c4 c f, f \finalis
}
verba = \lyricmode {
\context {
\Staff
\remove "Time_signature_engraver"
- \override BarLine #'transparent = ##t
- \override Stem #'transparent = ##t
+ \hide BarLine
}
}
}
@end lilypond
Another common situation is transcription of neumatic or
-melismatic chants, i.e. chants with a varying number of notes
+melismatic chants, i.e., chants with a varying number of notes
to each syllable. In this case, one would want to set the
syllable groups clearly apart, usually also the subdivisions of a
longer melisma. One way to achieve this is to use a fixed
@code{\time}, e.g., 1/4, and let each syllable or note group fill
one of these measures, with the help of tuplets or shorter
-durations. If the barlines and all other rhythmical indications
-are made transparent, and the space around the barlines is
+durations. If the bar lines and all other rhythmical indications
+are made transparent, and the space around the bar lines is
increased, this will give a fairly good representation in modern
notation of the original.
To avoid that syllables of different width (such as @qq{-ri} and
@qq{-rum}) spread the syllable note groups unevenly apart, the
-@code{#'X-extent} property of the @code{LyricText} object may be
+@code{'X-extent} property of the @code{LyricText} object may be
set to a fixed value. Another, more cumbersome way would be to
add the syllables as @code{\markup} elements. If further
adjustments are necessary, this can be easily done with
@code{s} @q{notes}.
@lilypond[verbatim,quote]
-spiritus = \relative c' {
+spiritus = \relative {
\time 1/4
- \override Lyrics.LyricText #'X-extent = #'(0 . 3)
- d4 \times 2/3 { f8 a g } g a a4 g f8 e
+ \override Lyrics.LyricText.X-extent = #'(0 . 3)
+ d'4 \tuplet 3/2 { f8 a g } g a a4 g f8 e
d4 f8 g g8 d f g a g f4 g8 a a4 s
- \times 2/3 { g8 f d } e f g a g4
+ \tuplet 3/2 { g8 f d } e f g a g4
}
spirLyr = \lyricmode {
\context {
\Staff
\remove "Time_signature_engraver"
- \override BarLine #'X-extent = #'(-1 . 1)
- \override Stem #'transparent = ##t
- \override Beam #'transparent = ##t
- \override BarLine #'transparent = ##t
- \override TupletNumber #'transparent = ##t
+ \override BarLine.X-extent = #'(-1 . 1)
+ \hide Stem
+ \hide Beam
+ \hide BarLine
+ \hide TupletNumber
}
}
}
@node Ancient and modern from one source
@unnumberedsubsubsec Ancient and modern from one source
-@c TODO Add text
-@c Here among others the snippets about reducing note length
-TBC
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{using-tags-to-produce-mensural-and-modern-music-from-the-same-source.ly}
@c @seealso
@c ... and reference to other sections ...
@c TODO Add text
@c try Till Rettig
-@c Add example of white noteheads:
-@c In the french baroque some composers used white noteheads in slow pieces,
-@c mainly in 3/2-time. A quarter looks there like a eighth with a white
-@c notehead. (Franz-Rudolf Kuhnen)
+@c Add example of white note heads:
+@c In the french baroque some composers used white note heads in slow pieces,
+@c mainly in 3/2-time. A quarter looks there like an eighth with a white
+@c note head. (Franz-Rudolf Kuhnen)
@c TODO Add example of this:
@c I was referring to e.g. notated a8. a16, which should, if I
@c staff as an hint to performers. (Karl Hammer)
-TBC
+@c TBC
@c @seealso
@c ... and reference to other sections ...
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projects / lilypond.git / blobdiff