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.
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]
@knownissues
-Horizontal spacing is poor.
+Horizontal spacing of ligatures is poor.
@c {{{1 Typesetting Gregorian chant
@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}
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
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:
@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
@node Transcribing Gregorian chant
@unnumberedsubsubsec Transcribing Gregorian chant
-@c TODO Add text
-@c extract from 1.6.1.1
-TBC
+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
@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 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
projects / lilypond.git / commitdiff