entry without worrying about the details on how to customize a
context. See one of the pre-defined contexts
@code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
-and @code{MensuralStaff}. See
+and @code{MensuralStaff}. See further
@itemize
@item @ref{Gregorian chant contexts},
@c with the same effect and is believed to be stable.
@c TODO: this does not seem to work at the moment.
+ @c -- eo
+
@c {{{2 Custodes
rests.
-@c {{{2Mensural accidentals
-@node Mensural accidentals
-@unnumberedsubsubsec Mensural accidentals
+@c {{{2Mensural accidentals and key signatures
+@node Mensural accidentals and key signatures
+@unnumberedsubsubsec Mensural accidentals and key signatures
@cindex accidentals
+@cindex key signature
-Four different accidental styles for ancient music are available:
+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.
@lilypond[quote,ragged-right,staffsize=26]
\score {
{
\textLengthOn
s^\markup {
- \column {
- "vaticana"
- \line { " " \musicglyph #"accidentals.vaticana-1"
- " " \musicglyph #"accidentals.vaticana0" }
- }
- \column {
- "medicaea"
- \line { " " \musicglyph #"accidentals.medicaea-1" }
- }
- \column {
- "hufnagel"
- \line { " " \musicglyph #"accidentals.hufnagel-1" }
- }
\column {
"mensural"
\line { " " \musicglyph #"accidentals.mensural-1"
}
@end lilypond
-As shown, not all accidentals are supported by each style. When
-trying to access an unsupported accidental, LilyPond will switch to a
-different style, as demonstrated in
-@rlsr{Ancient}.
-
The style for accidentals and key signatures is controlled by the
@code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
@rinternals{KeySignature}, respectively; e.g.:
@menu
* Gregorian chant contexts::
* Gregorian clefs::
+* Gregorian accidentals and key signatures::
* Divisiones::
* Gregorian articulation signs::
* Augmentum dots (@emph{morae})::
Notation Reference: see @ref{Clef}.
+@c {{{2 Gregorian accidentals and key signatures
+@node Gregorian accidentals and key signatures
+@unnumberedsubsubsec Gregorian accidentals and key signatures
+
+@cindex accidentals
+@cindex key signature
+
+Accidentals for the three different Gregorian styles are available:
+
+@lilypond[quote,ragged-right,staffsize=26]
+\score {
+{
+ \textLengthOn
+ s^\markup {
+ \column {
+ "vaticana"
+ \line { " " \musicglyph #"accidentals.vaticana-1"
+ " " \musicglyph #"accidentals.vaticana0" }
+ }
+ \column {
+ "medicaea"
+ \line { " " \musicglyph #"accidentals.medicaea-1" }
+ }
+ \column {
+ "hufnagel"
+ \line { " " \musicglyph #"accidentals.hufnagel-1" }
+ }
+ }
+}
+\layout {
+ interscoreline = 1
+ \context { \Score \remove "Bar_number_engraver" }
+ \context { \Staff
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ \override VerticalAxisGroup #'minimum-Y-extent = ##f
+ }
+ }
+}
+@end lilypond
+
+As shown, not all accidentals are supported by each style. When
+trying to access an unsupported accidental, LilyPond will switch to a
+different style.
+
+@c @lilypondfile[verbatim,lilyquote,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 @rinternals{Accidental} and
+@rinternals{KeySignature}, respectively; e.g.:
+
+@code{\override Staff.Accidental #'glyph-name-alist =
+#alteration-mensural-glyph-name-alist}
+
+@seealso
+
+Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
+@ref{Automatic accidentals} give a general introduction of the use of
+accidentals. @ref{Key signature} gives a general introduction of
+the use of key signatures.
+
+Internals Reference: @rinternals{KeySignature}.
@c {{{2Divisiones
@node Divisiones
still lacking, such as (among others) horizontal alignment of multiple
ligatures, lyrics alignment, and proper handling of accidentals.
+The support for Gregorian neumes is enabled by @code{\include}ing
+"gregorian.ly" at the beginning of the file. This makes available
+a number of extra commands to produce the neume symbols used in
+plainchant notation.
+
+
+
Note heads can be @emph{modified} and/or @emph{joined}.
@itemize
@code{\cavum},
@funindex \linea
@code{\linea}.
-A note name without any qualifiers will produce a @emph{punctum}.
@item Ligatures, properly speaking (i.e. notes joined together), are
produced by placing one of the joining commands @code{pes} or
@emph{between} the notes to be joined.
@end itemize
-All neumes are in principle considered as ligatures, even the
-single-note neumes @emph{punctum} and @emph{virga}, and should
-therefore be placed between @code{\[...\]}.
+A note name without any qualifiers will produce a @emph{punctum}.
+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{\[...\]}.
+@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
+@c equivalent.
+@noindent
Single-note neumes:
@itemize
produced by the modifier @code{\virga}.
@end itemize
-@c On ligatures
-
-Unlike most other neumes notation systems, the input language for
-neumes does not reflect the typographical appearance, but is designed
-to focus on musical meaning. For example, @code{\[ a \pes b
-\flexa g \]} produces a Torculus consisting of three Punctum heads,
-while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
-curved flexa shape and only a single Punctum head. There is no
-command to explicitly typeset the curved flexa shape; the decision of
-when to typeset a curved flexa shape is based on the musical
-input. The idea of this approach is to separate the musical aspects
-of the input from the notation style of the output. This way, the
-same input can be reused to typeset the same music in a different
-style of Gregorian chant notation.
+@noindent
+Ligatures
+
+Unlike most other neumes notation systems, the typographical
+appearance of ligatures is not directly dictated by the input
+commands, but follows certain conventions dependent on musical
+meaning. For example, a three-note ligature with the musical shape
+low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
+Torculus consisting of three Punctum heads, while the shape
+high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
+Porrectus with a curved flexa shape and only a single Punctum
+head. There is no command to explicitly typeset the curved flexa
+shape; the decision of when to typeset a curved flexa shape is
+based on the musical input. The idea of this approach is to
+separate the musical aspects of the input from the notation style
+of the output. This way, the same input can be reused to typeset
+the same music in a different style of Gregorian chant notation.
-@c Liquescent neumes
+@noindent
+Liquescent neumes
Another main category of notes in Gregorian chant is the so-called
liquescent neumes. They are used under certain circumstances at
@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus
\descendens a \] }.
-@c Special signs
+@noindent
+Special signs
A third category of signs is made up of a small number of signs
with a special meaning (which, incidentally, in most cases is only
@c neume table
The following table shows a limited, but still representative pool
-of Gregorian ligature examples, with the code fragments that
-produce the ligatures. The the extended neumes table of the 2nd
-volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
-1983 by the monks of Solesmes The second column
-gives the name of the ligature. The third column shows the code
-fragment that produces this ligature, using @code{g}, @code{a},
-and @code{b} as example pitches.
+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
+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.
@b{Single-note neums}
* Transcribing Gregorian chant::
* Ancient and modern from one source::
* Editorial markings::
-* Baroque rhythmic notation::
@end menu
Working with ancient music frequently involves particular tasks
@lilypondfile[verbatim,lilyquote,texidoc]
{mensurstriche-layout-bar-lines-between-the-staves.ly}
-This simple setup will take care of the
-@c TODO Add text
-@c from lsr and -user
-TBC
-
-@seealso
-
-@c ... and reference to other sections ...
-
-
-@c {{{2Transcribing Gregorian chant
-@node Transcribing Gregorian chant
-@unnumberedsubsubsec Transcribing Gregorian chant
-
-@c TODO Add text
-@c extract from 1.6.1.1
-TBC
-
-@seealso
-
-@c ... and reference to other sections ...
-
-
-@c {{{2Ancient and modern from one source
-@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
-
-@seealso
-
-@c ... and reference to other sections ...
-
-
-@c {{{2Editorial markings
-@node Editorial markings
-@unnumberedsubsubsec Editorial markings
-
-@c {{{2Baroque rhythmic notation
-@node Baroque rhythmic notation
-@unnumberedsubsubsec Baroque rhythmic notation
-
-@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 TODO Add example of this:
-@c I was referring to e.g. notated a8. a16, which should, if I
-@c remember correctly, be interpreted more like a8.. a32 (in the french
-@c style). The editor might want to show that rythmic figure above the
-@c staff as an hint to performers. (Karl Hammer)
-
-
-TBC
-
-@seealso
-
-@c ... and reference to other sections ...
-
-@c {{{2Mensurstriche layout
-@node Mensurstriche layout
-@unnumberedsubsubsec Mensurstriche layout
-
-@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
-syncopated notes at bar lines, while still providing the
-orientation aids that bar lines give.
-
-
-@lilypondfile[verbatim,lilyquote,texidoc]
-{mensurstriche-layout-bar-lines-between-the-staves.ly}
-
-This simple setup will take care of the
-@c TODO Add text
+@c This simple setup will take care of the
+@c TODO Add text about lyrics to the lowest line, to be placed
+@c outside the StaffGroup.
@c from lsr and -user
TBC
@unnumberedsubsubsec Editorial markings
@c {{{2Baroque rhythmic notation
-@node Baroque rhythmic notation
-@unnumberedsubsubsec Baroque rhythmic notation
+@c @node Baroque rhythmic notation
+@c @unnumberedsubsubsec Baroque rhythmic notation
@c TODO Add text
@c try Till Rettig
projects / lilypond.git / blobdiff