Many graphical objects, such as note heads and flags, accidentals,
time signatures, and rests, provide a @code{style} property, which
can be changed to emulate several different styles of ancient
-notation. See
+notation. See
@itemize
@item @ref{Mensural note heads},
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 further
+and @code{MensuralStaff}. See further
@itemize
@item @ref{Gregorian chant contexts},
sequences of notes on the same syllable. They are also used in
mensural notation.
-Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
-Some ligature styles may need additional input syntax specific for
-this particular type of ligature. By default, the
+Ligatures are entered by @emph{enclosing} them in @code{\[} and
+@code{\]}. Some ligature styles may need additional input syntax
+specific for this particular type of ligature. By default, the
@rinternals{LigatureBracket} engraver just puts a square bracket
above the ligature.
as explained in @ref{White mensural ligatures} and @ref{Gregorian
square neume ligatures}.
-@seealso
+@seealso
@c TODO: nothing here yet ...
+
@knownissues
Ligatures need special spacing that has not yet been implemented. As
and change the style of the custos with an @code{\override} if
desired, as shown in the following example:
-@example
-\layout @{
- \context @{
- \Staff
- \consists Custos_engraver
- Custos \override #'style = #'mensural
- @}
-@}
-@end example
-
-The result looks like this
-
@lilypond[quote,ragged-right]
\score {
-{
- a'1
- \override Staff.Custos #'style = #'mensural
- \break
- g'
-}
-\layout {
- \context { \Staff \consists Custos_engraver }
+ \relative c'' {
+ a1
+ \break
+ g
+ }
+ \layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
+ \override Custos #'style = #'mensural
+ }
}
}
@end lilypond
}
@end lilypond
-@seealso
+@seealso
Internals Reference: @rinternals{Custos}.
Examples:
@rlsr{Ancient notation}.
+
@c {{{2 Figured bass support
@node Figured bass support
@unnumberedsubsubsec Figured bass support
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
@end lilypond
@end multitable
-@seealso
+@seealso
Notation Reference: see @ref{Clef}.
+
@knownissues
The mensural g clef is mapped to the Petrucci g clef.
}
@end lilypond
-@seealso
+@seealso
Notation Reference: @ref{Time signature}, gives a general introduction to
the use of time signatures.
+
@knownissues
Ratios of note durations do not change with the time signature. For
@end lilypond
-@seealso
+@seealso
@ref{Note head styles} gives an overview of all available note head styles.
@c music, the default flag style should be used.
There are no flags in Gregorian chant notation.
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
The attachment of ancient flags to stems is slightly off.
See @rlsr{Pitches,rests} for a chart of all rests.
-There are no rests in Gregorian chant notation; instead, it uses
-@ref{Divisiones}.
-
@seealso
-
Notation Reference: @ref{Rests}, gives a general introduction into the use of
rests.
@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
+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]
@code{\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist}
-@seealso
+@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
Internals Reference: @rinternals{KeySignature}.
+
@c {{{2 Annotational accidentals (musica ficta)
@node Annotational accidentals (musica ficta)
@unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
}
@end lilypond
-@seealso
+@seealso
Internals Reference: @rinternals{Accidental_engraver} engraver and
the @rinternals{AccidentalSuggestion} object.
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
-Horizontal spacing is poor.
+Horizontal spacing of ligatures is poor.
@c {{{1 Typesetting Gregorian chant
proper values, so you can immediately go ahead entering the chant, as
the following excerpt demonstrates:
-@lilypond[quote,ragged-right,packed,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\include "gregorian.ly"
\score {
<<
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@c {{{2 Gregorian clefs
@node Gregorian clefs
@unnumberedsubsubsec Gregorian clefs
@end lilypond
@end multitable
-@seealso
+@seealso
Notation Reference: see @ref{Clef}.
+
@c {{{2 Gregorian accidentals and key signatures
@node Gregorian accidentals and key signatures
@unnumberedsubsubsec Gregorian accidentals and key signatures
@code{\override Staff.Accidental #'glyph-name-alist =
#alteration-mensural-glyph-name-alist}
-@seealso
+@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
Internals Reference: @rinternals{KeySignature}.
+
@c {{{2Divisiones
@node Divisiones
@unnumberedsubsubsec Divisiones
@cindex divisiones
@cindex finalis
+There are no rests in Gregorian chant notation; instead, it uses
+@ref{Divisiones}.
+
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
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@/-init@/.ly}. It
+To use divisiones, include the file @file{gregorian@/.ly}. It
contains definitions that you can apply by just inserting
@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
and @code{\finalis} at proper places in the input. Some editions use
@emph{virgula} or @emph{caesura} instead of divisio minima.
-Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
+Therefore, @file{gregorian@/.ly} also defines @code{\virgula} and
@code{\caesura}
@lilypondfile[quote,ragged-right]{divisiones.ly}
-@predefined
+@predefined
@funindex \virgula
@code{\virgula},
@funindex \caesura
@code{\divisioMaxima},
@funindex \finalis
@code{\finalis}.
+@endpredefined
@c {{{2Gregorian articulations
}
@end lilypond
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
Some articulations are vertically placed too closely to the
@seealso
-
Notation Reference: @ref{Breath marks}.
Internals Reference: @rinternals{BreathingSign}.
Examples: @rlsr{Ancient notation}.
-
@c {{{2Gregorian square neumes ligatures
@node Gregorian square neume ligatures
@unnumberedsubsubsec Gregorian square neume ligatures
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
+"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.
@code{\linea}.
@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,
+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.
@end itemize
produces a hollow note, and @code{\linea}, which draws vertical
lines on either side of the note.
-@item The @emph{virga} has a descending stem on the right side. It is
+@item The @emph{virga} has a descending stem on the right side. It is
produced by the modifier @code{\virga}.
@end itemize
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
+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
Liquescent neumes
Another main category of notes in Gregorian chant is the so-called
-liquescent neumes. They are used under certain circumstances at
+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
Liquescent neumes are represented graphically in two different,
more or less interchangeable ways: with a smaller note or by
-@q{twisting} the main note upwards or downwards. The first is
+@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{\auctus} and one of the direction markers
-@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus
+with @code{\auctum} and one of the direction markers
+@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctum
\descendens a \] }.
@noindent
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
vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
-@emph{strophicus}. These are all produced by prefixing a note name
+@emph{strophicus}. These are all produced by prefixing a note name
with the corresponding modifier, @code{\quilisma},
@code{\oriscus}, or @code{\stropha}.
certain rules, which are not checked by Lilypond. E.g., the
@emph{quilisma} is always the middle note of an ascending
ligature, and usually falls on a half-tone step, but it is
-perfectly possible to make a single-note quilisma.
+perfectly possible, although incorrect, to make a single-note
+quilisma.
+
+In addition to the note signs, gregorian.ly also defines the
+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
+will only work if a font is used which supports them.
@c neume table
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
+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
@end multitable
-@predefined
-
-The following head prefixes are supported
+@predefined
+The following head prefixes are supported:
@funindex \virga
@code{\virga},
@funindex \stropha
@code{\cavum},
@funindex \linea
@code{\linea}.
+@endpredefined
Head prefixes can be accumulated, though restrictions apply. For
example, either @code{\descendens} or @code{\ascendens} can be applied
@funindex \augmentum
Use the unary music function @code{\augmentum} to add augmentum dots.
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
Working with ancient music frequently involves particular tasks
which differ considerably from the modern notation for which
-Lilypond is designed. In the rest of this section, a number of
+Lilypond is designed. In the rest of this section, a number of
typical scenarios are outlined, with suggestions of solutions.
These involve:
@c use snippet Transcription-of-ancient-music-with-incipit
TBC
-@seealso
+@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
+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.
@c TODO Add text about lyrics to the lowest line, to be placed
@c outside the StaffGroup.
@c from lsr and -user
-TBC
+@c TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
@node Transcribing Gregorian chant
@unnumberedsubsubsec Transcribing Gregorian chant
-@c TODO Add text
+Gregorian chant can be transcribed into modern notation with a
+number of simple tweaks.
+
+@b{Stems}. Stems can be left out altogether by @code{\remove}-ing
+the @code{Stem_engraver} from the Voice context:
+
+@example
+\layout @{
+ ...
+ \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
+without any negative side effects. The alternative, to make it
+transparent, will leave an empty space in the score, since the
+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}.
+
+To remove the barlines, 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.
+
+A common type of transcription is recitativic chant where the
+repeated notes are indicated with a single breve. The text to
+the recitation tone can be dealt with in two different ways:
+either set as a single, left-aligned syllable:
+
+@lilypond[verbatim,ragged-right]
+\include "gregorian.ly"
+chant = \relative c' {
+ \clef "G_8"
+ c\breve c4 b4 a c2 c4 \divisioMaior
+ c\breve c4 c f, f \finalis
+}
+
+verba = \lyricmode {
+ \once \override LyricText #'self-alignment-X = #-1
+ "Noctem quietam et" fi -- nem per -- fec -- tum
+ \once \override LyricText #'self-alignment-X = #-1
+ "concedat nobis Dominus" om -- ni -- po -- tens.
+}
+\score {
+ \new Staff <<
+ \new Voice = "melody" \chant
+ \new Lyrics = "one" \lyricsto melody \verba
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \remove "Bar_engraver"
+ \override Stem #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+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:
+
+
+@lilypond[verbatim,ragged-right]
+\include "gregorian.ly"
+chant = \relative c' {
+ \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
+}
+
+verba = \lyricmode {
+ No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
+ con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
+}
+
+\score {
+ \new Staff <<
+ \new Voice = "melody" \chant
+ \new Lyrics \lyricsto "melody" \verba
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ \override BarLine #'transparent = ##t
+ \override Stem #'transparent = ##t
+ }
+ }
+}
+@end lilypond
+
+Another common situation is transcription of neumatic or
+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
+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
+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' {
+ \time 1/4
+ \override Lyrics.LyricText #'X-extent = #'(0 . 3)
+ d4 \times 2/3 { 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
+}
+
+spirLyr = \lyricmode {
+ Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
+ or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
+ -- _ ia.
+}
+\score {
+ \new Staff <<
+ \new Voice = "chant" \spiritus
+ \new Lyrics = "one" \lyricsto "chant" \spirLyr
+ >>
+ \layout {
+ \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
+ }
+ }
+}
+@end lilypond
+
@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
TBC
@seealso
-
@c ... and reference to other sections ...
-
@c {{{2Editorial markings
@node Editorial markings
@unnumberedsubsubsec Editorial markings
TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
projects / lilypond.git / blobdiff