Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.36"
+@c \version "2.14.0"
@node Ancient notation
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.
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\[ ... note\]}.
@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
@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"
+ \clef "petrucci-f3"
\override NoteHead #'style = #'mensural
c
@end lilypond
@cindex mensuration sign
@cindex time signatures
-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 {
@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)
@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 multiplyer 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:
\autoBeamOff
\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:
@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
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 }
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
\transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \override NoteHead #'style = #'petrucci
+ \override Staff.TimeSignature #'style = #'mensural
\clef "petrucci-g"
\[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
+ \[ d\longa
+ \override NoteHead #'ligature-flexa = ##t
+ \once \override NoteHead #'flexa-width = #3.2
+ c\breve f e d \]
\[ c'\maxima d'\longa \]
\[ e'1 a g\breve \]
}
\transpose c c' {
\set Score.timing = ##f
\set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
+ \override NoteHead #'style = #'petrucci
+ \override Staff.TimeSignature #'style = #'mensural
\clef "petrucci-g"
\[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
+ \[ d\longa
+ \override NoteHead #'ligature-flexa = ##t
+ \once \override NoteHead #'flexa-width = #3.2
+ c\breve f e d \]
\[ c'\maxima d'\longa \]
\[ e'1 a g\breve \]
}
@knownissues
Horizontal spacing of ligatures is poor.
-
+Accidentals may collide with previous notes.
@node Typesetting Gregorian chant
@subsection Typesetting Gregorian chant
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
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"
liquescent neumes. They are used under certain circumstances at
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.
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
occasional barline is wanted.
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
@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 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 a eighth with a white
-@c notehead. (Franz-Rudolf Kuhnen)
+@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
projects / lilypond.git / blobdiff