@c -*- coding: utf-8; mode: texinfo; -*-
+@c vim: foldmethod=marker
@ignore
Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
@menu
-* Introduction to ancient notation::
-* Alternative note signs::
-* Additional signs for Gregorian chant::
-* Ligatures::
-* Annotational accidentals (musica ficta)::
-* Pre-defined contexts::
-* Transcribing ancient music::
+* Overview of the supported styles::
+* Ancient notation---common features::
+* Typesetting mensural music::
+* Typesetting Gregorian chant::
+* Working with ancient music---scenarios and solutions::
@end menu
-@node Introduction to ancient notation
-@subsection Introduction to ancient notation
-
-@menu
-* Overview of the supported styles::
-* Predefined contexts::
-* Alternative and additional signs::
-* Figured bass notation::
-@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.
+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
-@c @node Ancient notation supported
-@c @subsection Ancient notation supported
+@itemize
+@item @ref{Mensural note heads},
+@item @ref{Mensural accidentals},
+@item @ref{Mensural rests},
+@item @ref{Mensural clefs},
+@item @ref{Gregorian clefs},
+@item @ref{Mensural flags},
+@item @ref{Mensural time signatures}.
+@end itemize
-Support for ancient notation includes features for mensural notation and
-Gregorian chant notation, as well as limited support for figured bass notation.
+Some notational concepts are introduced specifically for ancient
+notation,
+@itemize
+@item @ref{Custodes},
+@item @ref{Divisiones},
+@item @ref{Ligatures}.
+@end itemize
+@c {{{1 Overview of the supported styles
@node Overview of the supported styles
-@unnumberedsubsubsec Overview of the supported styles
+@subsection Overview of the supported styles
-Note heads and flags, accidentals, time signatures, rests, and
-other features can be changed to emulate several different styles
-of ancient notation:
+Three styles are available for typesetting Gregorian chant:
@itemize
@item @emph{Editio Vaticana} is a complete style for
style, including ligatures, @emph{custodes}, and special signs
such as the quilisma and the oriscus.
+@cindex Solesmes
+@cindex Vaticana, Editio
+
@item The @emph{Editio Medicaea} style offers certain features
used in the Medicaea (or Ratisbona) editions which were used prior
to the Solesmes editions. The most significant differences from
downward-slanted strokes, and the noteheads, which are square and
regular.
-@item The @emph{Hufnagel} (@qq{horseshoe nail}) style mimics the
-writing style in chant manuscripts from Germany and Central Europe
-during the middle ages. It is named after the basic note shape
-(the @emph{virga}), which looks like a small nail.
+@cindex Ratisbona, Editio
+@cindex Medicaea, Editio
+
+@item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
+style mimics the writing style in chant manuscripts from Germany
+and Central Europe during the middle ages. It is named after the
+basic note shape (the @emph{virga}), which looks like a small
+nail.
+@cindex hufnagel
+@end itemize
+
+Three styles emulate the appearance of late-medieval and
+renaissance manuscripts and prints of mensural music:
-@item The @code{mensural} and @code{petrucci} styles aim to
-emulate the appearance of late-medieval and renaissance
-manuscripts and prints of mensural music. 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 and its rests which approach
-a hand-drawn style.
+@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
+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
suited, e.g., for incipits of transcribed pieces of mensural
music.
-@item The @emph{petrucci} style is named after Ottaviano Petrucci
+@cindex neomensural
+
+@item The @emph{Petrucci} style is named after Ottaviano Petrucci
(1466-1539), the first printer to use movable type for music (in
his @emph{Harmonice musices odhecaton}, 1501). The style uses
larger note heads than the other mensural styles.
-@item @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).
+@cindex Petrucci
@end itemize
+@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).
+
Only the mensural style has alternatives for all aspects of the
notation. Thus, there are no rests or flags in the Gregorian
styles, since these signs are not used in plainchant notation, and
-the Petrucci style has no flags or accidentals of its own. Each
-feature can be changed independently of the others, so that one
-can use mensural flags, petrucci noteheads, classical rests and
-vaticana clefs in the same piece, if one wishes.
+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,
+classical rests and vaticana clefs in the same piece, if one
+wishes.
+
+@c {{{1 Ancient notation, general
+@node Ancient notation---common features
+@subsection Ancient notation---common features
-@node Predefined contexts
-@unnumberedsubsubsec Predefined contexts
+@menu
+* Pre-defined contexts::
+* Ligatures::
+* Custodes::
+* Figured bass support::
+@end menu
+
+@c {{{2 Pre-defined contexts
+@node Pre-defined contexts
+@unnumberedsubsubsec Pre-defined contexts
For Gregorian chant and mensural notation, there are pre-defined
voice and staff contexts available, which set all the various
notation signs to values suitable for these styles. If one is
satisfied with these defaults, one can proceed directly with note
entry without worrying about the details on how to customize a
-context.
-
-See @ref{Pre-defined contexts}.
-
+context. See one of the pre-defined contexts
+@code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
+and @code{MensuralStaff}. See
@itemize
@item @ref{Gregorian chant contexts},
@end itemize
-@node Alternative and additional signs
-@unnumberedsubsubsec Alternative and additional signs
+@c {{{2 Ligatures
+@node Ligatures
+@unnumberedsubsubsec Ligatures
-Many graphical objects provide a @code{style} property, see
+@cindex Ligatures
-@itemize
-@item @ref{Ancient note heads},
-@item @ref{Ancient accidentals},
-@item @ref{Ancient rests},
-@item @ref{Ancient clefs},
-@item @ref{Ancient flags},
-@item @ref{Ancient time signatures}.
-@end itemize
+@c TODO: Should double check if I recalled things correctly when I wrote
+@c down the following paragraph by heart.
-By manipulating these grob properties, the typographical appearance of a
-specific type of notation can be accommodated without needing to introduce any
-new notational concepts.
+A ligature is a graphical symbol that represents at least two
+distinct notes. Ligatures originally appeared in the manuscripts
+of Gregorian chant notation to denote ascending or descending
+sequences of notes on the same syllable. They are also used in
+mensural notation.
-In addition to the standard articulation signs described in
-@ref{Articulations and ornamentations}, specific articulation signs for
-Gregorian chant are provided.
+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
+@rinternals{LigatureBracket} engraver just puts a square bracket
+above the ligature.
-@itemize
-@item @ref{Ancient articulations}
-@end itemize
+@lilypond[quote,ragged-right,verbatim]
+\transpose c c' {
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
+}
+@end lilypond
-Other aspects of ancient notation cannot be easily expressed by changing a
-style property of a graphical object or by adding articulation signs. Some
-notational concepts are introduced specifically for ancient notation,
+Two other ligature styles are available: the Vaticana for
+Gregorian chant, and the Mensural for mensural music (only white
+mensural ligatures are supported for mensural music, and with
+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 @rinternals{Voice} context,
+as explained in @ref{White mensural ligatures} and @ref{Gregorian
+square neume ligatures}.
-@itemize
-@item @ref{Custodes},
-@item @ref{Divisiones},
-@item @ref{Ligatures}.
-@end itemize
+@seealso
-@node Figured bass notation
-@unnumberedsubsubsec Figured bass notation
+@c TODO: nothing here yet ...
-There is limited support for figured bass notation from the Baroque period:
+@knownissues
-@itemize
-@item @ref{Figured bass}
-@end itemize
+Ligatures need special spacing that has not yet been implemented. As
+a result, there is too much space between ligatures most of the time,
+and line breaking often is unsatisfactory. Also, lyrics do not
+correctly align with ligatures.
-@c Here are all subtopics at a glance:
+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\[ ... note\]}.
+@c Alternatively, the file
+@c @file{gregorian@/-init@/.ly} can be included; it provides a scheme
+@c function
+@c @example
+@c \ligature @var{music expr}
+@c @end example
+@c with the same effect and is believed to be stable.
-@node Alternative note signs
-@subsection Alternative note signs
+@c TODO: this does not seem to work at the moment.
-@menu
-* Ancient note heads::
-* Ancient accidentals::
-* Ancient rests::
-* Ancient clefs::
-* Ancient flags::
-* Ancient time signatures::
-@end menu
+@c {{{2 Custodes
+@node Custodes
+@unnumberedsubsubsec Custodes
-@node Ancient note heads
-@unnumberedsubsubsec Ancient note heads
+@cindex custos
+@cindex custodes
-@cindex note heads, ancient
+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.
-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 @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
-@code{mensural} or @code{petrucci}.
+Custodes were frequently used in music notation until the
+seventeenth century. Nowadays, they have survived only in a few
+particular forms of musical notation such as contemporary editions
+of Gregorian chant like the @emph{Editio Vaticana}. There are
+different custos glyphs used in different flavors of notational
+style.
-The @code{baroque} style differs from the @code{default} style by:
+For typesetting custodes, just put a @rinternals{Custos_engraver} into the
+@rinternals{Staff} context when declaring the @code{\layout} block,
+and change the style of the custos with an @code{\override} if
+desired, as shown in the following example:
-@itemize
-@item Providing a @code{maxima} notehead, and
-@item Using a square shape for @code{\breve} note heads.
-@end itemize
+@example
+\layout @{
+ \context @{
+ \Staff
+ \consists Custos_engraver
+ Custos \override #'style = #'mensural
+ @}
+@}
+@end example
-The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
-the @code{baroque} style by:
+The result looks like this
-@itemize
-@item Using rhomboidal heads for semibreves and all smaller durations, and
-@item Centering the stems on the note heads.
-@end itemize
+@lilypond[quote,ragged-right]
+\score {
+{
+ a'1
+ \override Staff.Custos #'style = #'mensural
+ \break
+ g'
+}
+\layout {
+ \context { \Staff \consists Custos_engraver }
+ }
+}
+@end lilypond
+The custos glyph is selected by the @code{style} property. The styles
+supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
+@code{mensural}. They are demonstrated in the following fragment
-The following example demonstrates the @code{petrucci} style:
+@lilypond[quote,ragged-right,fragment]
+\new Lyrics \lyricmode {
+ \markup { \column {
+ \typewriter "vaticana"
+ \line { " " \musicglyph #"custodes.vaticana.u0" }
+ } }
+ \markup { \column {
+ \typewriter "medicaea"
+ \line { " " \musicglyph #"custodes.medicaea.u0" }
+ }}
+ \markup { \column {
+ \typewriter "hufnagel"
+ \line { " " \musicglyph #"custodes.hufnagel.u0" }
+ }}
+ \markup { \column {
+ \typewriter "mensural"
+ \line { " " \musicglyph #"custodes.mensural.u0" }
+ }}
+}
+@end lilypond
-@c Renaissance music doesn't use bar lines ... but they do help to
-@c separate the notes for easier identification.
+@seealso
-@lilypond[quote,fragment,ragged-right,verbatim]
-\set Score.skipBars = ##t
-\autoBeamOff
-\override NoteHead #'style = #'petrucci
-a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
+Internals Reference: @rinternals{Custos}.
-@end lilypond
+Examples:
+@rlsr{Ancient}.
-When typesetting a piece in Gregorian chant notation, the
-@rinternals{Vaticana_ligature_engraver} automatically selects the
-proper note heads, so there is no need to explicitly set the note
-head style. Still, the note head style can be set, e.g., to
-@code{vaticana_punctum} to produce punctum neumes. Similarly, the
-@rinternals{Mensural_ligature_engraver} automatically assembles
-mensural ligatures. See @ref{Ligatures}, for how ligature
-engravers work.
+@c {{{2 Figured bass support
+@node Figured bass support
+@unnumberedsubsubsec Figured bass support
-@seealso
+There is limited support for figured bass notation from the
+Baroque period; see @ref{Figured bass}.
-@ref{Note head styles} gives an overview of all available note head styles.
+@c {{{1 Typesetting mensural music
+@node Typesetting mensural music
+@subsection Typesetting mensural music
+
+@menu
+* Mensural contexts::
+* Mensural clefs::
+* Mensural time signatures::
+* Mensural note heads::
+* Mensural flags::
+* Mensural rests::
+* Mensural accidentals::
+* Annotational accidentals (@emph{musica ficta})::
+* White mensural ligatures::
+@end menu
-@node Ancient accidentals
-@unnumberedsubsubsec Ancient accidentals
-@cindex accidentals
-Four different accidental styles for ancient music are available:
+@c {{{2Mensural contexts
+@node Mensural contexts
+@unnumberedsubsubsec Mensural contexts
-@lilypond[quote,ragged-right,staffsize=26]
+@cindex MensuralVoiceContext
+@cindex MensuralStaffContext
+
+The predefined @code{MensuralVoice} and @code{MensuralStaff}
+contexts can be used to engrave a piece in mensural style. These
+contexts initialize all relevant context properties and grob
+properties to proper values, so you can immediately go ahead
+entering the chant, as the following excerpt demonstrates:
+
+@lilypond[quote,ragged-right,verbatim]
\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"
- " " \musicglyph #"accidentals.mensural1" }
+ <<
+ \new MensuralVoice = "discantus" \transpose c c' {
+ \override Score.BarNumber #'transparent = ##t {
+ c'1\melisma bes a g\melismaEnd
+ f\breve
+ \[ f1\melisma a c'\breve d'\melismaEnd \]
+ c'\longa
+ c'\breve\melisma a1 g1\melismaEnd
+ fis\longa^\signumcongruentiae
+ }
}
- }
-}
-\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
+ \new Lyrics \lyricsto "discantus" {
+ San -- ctus, San -- ctus, San -- ctus
}
- }
+ >>
}
@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
-@c @lsr{Ancient}.
+@seealso
-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}.
-
-
-@node Ancient rests
-@unnumberedsubsubsec Ancient rests
-
-@cindex rests, ancient
-
-Use the @code{style} property of grob @rinternals{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.
-
-The following example demonstrates the @code{mensural} and
-@code{neomensural} 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
-\override Rest #'style = #'mensural
-r\longa^"mensural" r\breve r1 r2 r4 r8 r16
-\override Rest #'style = #'neomensural
-r\longa^"neomensural" r\breve r1 r2 r4 r8 r16 \break
-@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.
-@c See @lsr{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.
+TODO: nothing here yet ...
-@node Ancient clefs
-@unnumberedsubsubsec Ancient clefs
+@c {{{2 Mensural clefs
+@node Mensural clefs
+@unnumberedsubsubsec Mensural clefs
@cindex clefs
-LilyPond supports a variety of clefs, many of them ancient.
-
-The following table shows all ancient clefs that are supported via
+The following table shows all mensural clefs that are supported via
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
@tab
@b{Example}
-@item
-neomensural C clef
-@tab
-@code{neomensural-c1}, @code{neomensural-c2},@*
-@code{neomensural-c3}, @code{neomensural-c4}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "neomensural-c2" c
-@end lilypond
-
-@item
-petrucci style C clefs, for use on different staff lines
-(the examples show the 2nd staff line C clef)
-@tab
-@code{petrucci-c1}, @code{petrucci-c2},@*
-@code{petrucci-c3}, @code{petrucci-c4},@*
-@code{petrucci-c5}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-c2"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-petrucci style F clef
-@tab
-@code{petrucci-f}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-f"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-petrucci style G clef
-@tab
-@code{petrucci-g}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-g"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
@item
mensural C clef
@tab
@end lilypond
@item
-Editio Vaticana style do clef
-@tab
-@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
- \clef "vaticana-do2"
- c
-@end lilypond
-
-@item
-Editio Vaticana style fa clef
-@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
- \clef "vaticana-fa2"
- c
-@end lilypond
-
-@item
-Editio Medicaea style do clef
-@tab
-@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
- \clef "medicaea-do2"
- c
-@end lilypond
-
-@item
-Editio Medicaea style fa clef
+neomensural C clef
@tab
-@code{medicaea-fa1}, @code{medicaea-fa2}
+@code{neomensural-c1}, @code{neomensural-c2},@*
+@code{neomensural-c3}, @code{neomensural-c4}
@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
- \clef "medicaea-fa2"
- c
+ \clef "neomensural-c2" c
@end lilypond
@item
-hufnagel style do clef
+petrucci style C clefs, for use on different staff lines
+(the example shows the 2nd staff line C clef)
@tab
-@code{hufnagel-do1}, @code{hufnagel-do2},@*
-@code{hufnagel-do3}
+@code{petrucci-c1}, @code{petrucci-c2},@*
+@code{petrucci-c3}, @code{petrucci-c4},@*
+@code{petrucci-c5}
@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
- \clef "hufnagel-do2"
+ \clef "petrucci-c2"
+ \override NoteHead #'style = #'mensural
c
@end lilypond
@item
-hufnagel style fa clef
+petrucci style F clef
@tab
-@code{hufnagel-fa1}, @code{hufnagel-fa2}
+@code{petrucci-f}
@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
- \clef "hufnagel-fa2"
+ \clef "petrucci-f"
+ \override NoteHead #'style = #'mensural
c
@end lilypond
@item
-hufnagel style combined do/fa clef
+petrucci style G clef
@tab
-@code{hufnagel-do-fa}
+@code{petrucci-g}
@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
- \clef "hufnagel-do-fa"
+ \clef "petrucci-g"
+ \override NoteHead #'style = #'mensural
c
@end lilypond
@end multitable
The mensural g clef is mapped to the Petrucci g clef.
-@node Ancient flags
-@unnumberedsubsubsec Ancient flags
-
-@cindex flags
-
-Use the @code{flag-style} property of grob @rinternals{Stem} to
-select ancient flags. Besides the @code{default} flag style,
-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
-@end lilypond
-
-Note that the innermost flare of each mensural flag always 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
-
-TODO: nothing here yet ...
-
-@knownissues
-
-The attachment of ancient flags to stems is slightly off 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
-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).
-
-
-@node Ancient time signatures
-@unnumberedsubsubsec Ancient time signatures
+@c {{{2Mensural time signatures
+@node Mensural time signatures
+@unnumberedsubsubsec Mensural time signatures
@cindex mensuration sign
@cindex time signatures
(alternate symbols for 6/8) are not addressable with @code{\time}.
Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
-@node Additional signs for Gregorian chant
-@subsection Additional signs for Gregorian chant
-@menu
-* Ancient articulations::
-* Custodes::
-* Divisiones::
-@end menu
+@c {{{2Mensural note heads
+@node Mensural note heads
+@unnumberedsubsubsec Mensural note heads
+@cindex note heads, ancient
-@node Ancient articulations
-@unnumberedsubsubsec Ancient articulations
+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 @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
+@code{mensural} or @code{petrucci}.
-@cindex articulations
+The @code{baroque} style differs from the @code{default} style by:
-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.
+@itemize
+@item Providing a @code{maxima} notehead, and
+@item Using a square shape for @code{\breve} note heads.
+@end itemize
-@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
- a\ictus_"ictus " \break
- a\circulus_"circulus " \break
- a\semicirculus_"semicirculus " \break
- a\accentus_"accentus " \break
- \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
+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 Centering the stems on the note heads.
+@end itemize
+
+
+The following example demonstrates the @code{petrucci} style:
+
+@c Renaissance music doesn't use bar lines ... but they do help to
+@c separate the notes for easier identification.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+\set Score.skipBars = ##t
+\autoBeamOff
+\override NoteHead #'style = #'petrucci
+a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
+
+@end lilypond
+
+@seealso
+
+@ref{Note head styles} gives an overview of all available note head styles.
+
+
+@c {{{2Mensural flags
+@node Mensural flags
+@unnumberedsubsubsec Mensural flags
+
+@cindex flags
+
+Use the @code{flag-style} property of grob @rinternals{Stem} to
+select ancient flags. Besides the @code{default} flag style,
+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
+@end lilypond
+
+Note that the innermost flare of each mensural flag always 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
+
+TODO: nothing here yet ...
+
+@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
+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).
+
+@c {{{2Mensural rests
+@node Mensural rests
+@unnumberedsubsubsec Mensural rests
+
+@cindex rests, ancient
+
+Use the @code{style} property of grob @rinternals{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.
+
+The following example demonstrates the @code{mensural} and
+@code{neomensural} 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
+r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
+\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.
+
+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.
+
+
+@c {{{2Mensural accidentals
+@node Mensural accidentals
+@unnumberedsubsubsec Mensural accidentals
+
+@cindex accidentals
+
+Four different accidental styles for ancient music 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" }
+ }
+ \column {
+ "mensural"
+ \line { " " \musicglyph #"accidentals.mensural-1"
+ " " \musicglyph #"accidentals.mensural1" }
+ }
+ }
+}
+\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, 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.:
+
+@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 {{{2 Annotational accidentals (musica ficta)
+@node Annotational accidentals (@emph{musica ficta})
+@unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
+
+In European music from before about 1600, singers were expected to
+chromatically alter notes at their own initiative according to
+certain rules. This is called @notation{musica ficta}. In modern
+transcriptions, these accidentals are usually printed over the
+note.
+
+@cindex Accidental, musica ficta
+@cindex Musica ficta
+
+Support for such suggested accidentals is included, and can be
+switched on by setting @code{suggestAccidentals} to true.
+
+@funindex suggestAccidentals
+
+@lilypond[verbatim,fragment,relative=1]
+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:
+
+@lilypond[quote,verbatim]
+ficta = { \once \set suggestAccidentals = ##t }
+\score { \relative c''
+ \new MensuralVoice {
+ \once \set suggestAccidentals = ##t
+ bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
}
}
@end lilypond
@seealso
+Internals Reference: @rinternals{Accidental_engraver} engraver and
+the @rinternals{AccidentalSuggestion} object.
+
+
+@c {{{2White mensural ligatures
+@node White mensural ligatures
+@unnumberedsubsubsec White mensural ligatures
+
+@cindex Mensural ligatures
+@cindex White mensural ligatures
+
+There is limited support for white mensural ligatures.
+
+To engrave white mensural ligatures, in the layout block, replace
+the @rinternals{Ligature_bracket_engraver} with the
+@rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
+context:
+
+@example
+\layout @{
+ \context @{
+ \Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ @}
+@}
+@end example
+
+There is no additional input language to describe the shape of a
+white mensural ligature. The shape is rather determined solely from
+the pitch and duration of the enclosed notes. While this approach may
+take a new user a while to get accustomed to, it has the great advantage
+that the full musical information of the ligature is known internally.
+This is not only required for correct MIDI output, but also allows for
+automatic transcription of the ligatures.
+
+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' {
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \clef "petrucci-g"
+ \[ c'\maxima g \]
+ \[ d\longa c\breve f e d \]
+ \[ c'\maxima d'\longa \]
+ \[ e'1 a g\breve \]
+ }
+ \layout {
+ \context {
+ \Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
+ }
+}
+@end lilypond
+
+Without replacing @rinternals{Ligature_bracket_engraver} with
+@rinternals{Mensural_ligature_engraver}, the same music transcribes
+to the following
+
+@lilypond[quote,ragged-right]
+\transpose c c' {
+ \set Score.timing = ##f
+ \set Score.defaultBarType = "empty"
+ \override NoteHead #'style = #'neomensural
+ \override Staff.TimeSignature #'style = #'neomensural
+ \clef "petrucci-g"
+ \[ c'\maxima g \]
+ \[ d\longa c\breve f e d \]
+ \[ c'\maxima d'\longa \]
+ \[ e'1 a g\breve \]
+}
+@end lilypond
+
+@seealso
+
TODO: nothing here yet ...
@knownissues
-Some articulations are vertically placed too closely to the
-corresponding note heads.
+Horizontal spacing is poor.
-The episema line is not displayed in many cases. If it is displayed,
-the right end of the episema line is often too far to the right.
+@c {{{1 Typesetting Gregorian chant
+@node Typesetting Gregorian chant
+@subsection Typesetting Gregorian chant
-@node Custodes
-@unnumberedsubsubsec Custodes
+@menu
+* Gregorian chant contexts::
+* Gregorian clefs::
+* Divisiones::
+* Gregorian articulation signs::
+* Augmentum dots (@emph{morae})::
+* Gregorian square neume ligatures::
+@end menu
-@cindex custos
-@cindex custodes
+When typesetting a piece in Gregorian chant notation, the
+@rinternals{Vaticana_ligature_engraver} automatically selects the
+proper note heads, so there is no need to explicitly set the note
+head style. Still, the note head style can be set, e.g., to
+@code{vaticana_punctum} to produce punctum neumes. Similarly, the
+@rinternals{Mensural_ligature_engraver} automatically assembles
+mensural ligatures. See @ref{Ligatures}, for how ligature
+engravers work.
-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
-seventeenth century. Nowadays, they have survived only in a few
-particular forms of musical notation such as contemporary editions
-of Gregorian chant like the @emph{Editio Vaticana}. There are
-different custos glyphs used in different flavors of notational
-style.
+@c {{{2Gregorian chant contexts
+@node Gregorian chant contexts
+@unnumberedsubsubsec Gregorian chant contexts
+
+@cindex VaticanaVoiceContext
+@cindex VaticanaStaffContext
+
+The predefined @code{VaticanaVoiceContext} and
+@code{VaticanaStaffContext} 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
+the following excerpt demonstrates:
+
+@lilypond[quote,ragged-right,packed,verbatim]
+\include "gregorian.ly"
+\score {
+ <<
+ \new VaticanaVoice = "cantus" {
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \]
+ f \divisioMinima
+ \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
+ c' \divisioMinima \break
+ \[ c'\melisma c' \flexa a \]
+ \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
+ }
+ \new Lyrics \lyricsto "cantus" {
+ San- ctus, San- ctus, San- ctus
+ }
+ >>
+}
+@end lilypond
+
+@seealso
+
+TODO: nothing here yet ...
+
+@c {{{2 Gregorian clefs
+@node Gregorian clefs
+@unnumberedsubsubsec Gregorian clefs
+
+@cindex clefs
+
+The following table shows all Gregorian clefs that are supported via
+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
+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.
+
+@multitable @columnfractions .4 .4 .2
+@item
+@b{Description}
+@tab
+@b{Supported Clefs}
+@tab
+@b{Example}
+
+@item
+Editio Vaticana style do clef
+@tab
+@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
+ \clef "vaticana-do2"
+ c
+@end lilypond
-For typesetting custodes, just put a @rinternals{Custos_engraver} into the
-@rinternals{Staff} context when declaring the @code{\layout} block,
-and change the style of the custos with an @code{\override} if
-desired, as shown in the following example:
+@item
+Editio Vaticana style fa clef
+@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
+ \clef "vaticana-fa2"
+ c
+@end lilypond
-@example
-\layout @{
- \context @{
- \Staff
- \consists Custos_engraver
- Custos \override #'style = #'mensural
- @}
-@}
-@end example
+@item
+Editio Medicaea style do clef
+@tab
+@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
+ \clef "medicaea-do2"
+ c
+@end lilypond
-The result looks like this
+@item
+Editio Medicaea style fa clef
+@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
+ \clef "medicaea-fa2"
+ c
+@end lilypond
-@lilypond[quote,ragged-right]
-\score {
-{
- a'1
- \override Staff.Custos #'style = #'mensural
- \break
- g'
-}
-\layout {
- \context { \Staff \consists Custos_engraver }
- }
-}
+@item
+hufnagel style do clef
+@tab
+@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
+ \clef "hufnagel-do2"
+ c
@end lilypond
-The custos glyph is selected by the @code{style} property. The styles
-supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
-@code{mensural}. They are demonstrated in the following fragment
+@item
+hufnagel style fa clef
+@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
+ \clef "hufnagel-fa2"
+ c
+@end lilypond
-@lilypond[quote,ragged-right,fragment]
-\new Lyrics \lyricmode {
- \markup { \column {
- \typewriter "vaticana"
- \line { " " \musicglyph #"custodes.vaticana.u0" }
- } }
- \markup { \column {
- \typewriter "medicaea"
- \line { " " \musicglyph #"custodes.medicaea.u0" }
- }}
- \markup { \column {
- \typewriter "hufnagel"
- \line { " " \musicglyph #"custodes.hufnagel.u0" }
- }}
- \markup { \column {
- \typewriter "mensural"
- \line { " " \musicglyph #"custodes.mensural.u0" }
- }}
-}
+@item
+hufnagel style combined do/fa clef
+@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
+ \clef "hufnagel-do-fa"
+ c
@end lilypond
+@end multitable
@seealso
-Internals Reference: @rinternals{Custos}.
-
-Examples:
-@c @lsr{Ancient}.
+Notation Reference: see @ref{Clef}.
+@c {{{2Divisiones
@node Divisiones
@unnumberedsubsubsec Divisiones
@funindex \finalis
@code{\finalis}.
-@seealso
-
-Notation Reference: @ref{Breath marks}.
-
-Internals Reference: @rinternals{BreathingSign}.
-
-@c Examples: @lsr{Ancient}.
-
-
-@node Ligatures
-@subsection Ligatures
-
-@menu
-* White mensural ligatures::
-* Gregorian square neumes ligatures::
-@end menu
-
-@cindex Ligatures
-@c TODO: Should double check if I recalled things correctly when I wrote
-@c down the following paragraph by heart.
+@c {{{2Gregorian articulations
+@node Gregorian articulation signs
+@unnumberedsubsubsec Gregorian articulation signs
-A ligature is a graphical symbol that represents at least two
-distinct notes. Ligatures originally appeared in the manuscripts
-of Gregorian chant notation to denote ascending or descending
-sequences of notes on the same syllable. They are also used in
-mensural notation.
+@cindex articulations
-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
-@rinternals{LigatureBracket} engraver just puts a square bracket
-above the ligature.
+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.
@lilypond[quote,ragged-right,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
+\include "gregorian.ly"
+\score {
+ \new VaticanaVoice {
+ \override TextScript #'font-family = #'typewriter
+ \override TextScript #'font-shape = #'upright
+ \override Script #'padding = #-0.1
+ a\ictus_"ictus " \break
+ a\circulus_"circulus " \break
+ a\semicirculus_"semicirculus " \break
+ a\accentus_"accentus " \break
+ \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
+ }
}
@end lilypond
-Two other ligature styles are available: the Vaticana for
-Gregorian chant, and the Mensural for mensural music (Only white
-mensural ligatures are supported for mensural music, and with
-certain limitations). To use any of these styles, the default
-@code{Ligature_bracket_engraver} has to be replaced by one of the
-specialized ligature engravers in the @rinternals{Voice} context,
-as explained in the following subsections.
-
@seealso
TODO: nothing here yet ...
@knownissues
-Ligatures need special spacing that has not yet been implemented. As
-a result, there is too much space between ligatures most of the time,
-and line breaking often is unsatisfactory. Also, lyrics do not
-correctly align with ligatures.
-
-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\[ ... note\]}. Alternatively, the file
-@file{gregorian@/-init@/.ly} can be included; it provides a scheme
-function
-@example
-\ligature @var{music expr}
-@end example
-with the same effect and is believed to be stable.
-
-
-@node White mensural ligatures
-@unnumberedsubsubsec White mensural ligatures
-
-@cindex Mensural ligatures
-@cindex White mensural ligatures
-
-There is limited support for white mensural ligatures.
+Some articulations are vertically placed too closely to the
+corresponding note heads.
-To engrave white mensural ligatures, in the layout block, replace
-the @rinternals{Ligature_bracket_engraver} with the
-@rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
-context:
+The episema line is not displayed in many cases. If it is displayed,
+the right end of the episema line is often too far to the right.
-@example
-\layout @{
- \context @{
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
-@}
-@end example
-There is no additional input language to describe the shape of a
-white mensural ligature. The shape is rather determined solely from
-the pitch and duration of the enclosed notes. While this approach may
-take a new user a while to get accustomed to, it has the great advantage
-that the full musical information of the ligature is known internally.
-This is not only required for correct MIDI output, but also allows for
-automatic transcription of the ligatures.
+@c {{{2Augmentum dots (@emph{morae})
+@node Augmentum dots (@emph{morae})
+@unnumberedsubsubsec Augmentum dots (@emph{morae})
-For example,
+Augmentum dots, also called @emph{morae}, are added with the music
+function @code{\augmentum}. Note that @code{\augmentum} is
+implemented as a unary music function rather than as head prefix. It
+applies to the immediately following music expression only. That is,
+@code{\augmentum \virga c} will have no visible effect. Instead, say
+@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
+note that you can say @code{\augmentum @{a g@}} as a shortcut for
+@code{\augmentum a \augmentum g}.
-@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]
+\include "gregorian.ly"
\score {
- \transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
- }
- \layout {
- \context {
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
+ \new VaticanaVoice {
+ \[ \augmentum a \flexa \augmentum g \]
+ \augmentum g
}
}
@end lilypond
-Without replacing @rinternals{Ligature_bracket_engraver} with
-@rinternals{Mensural_ligature_engraver}, the same music transcribes
-to the following
-
-@lilypond[quote,ragged-right]
-\transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
-}
-@end lilypond
@seealso
-TODO: nothing here yet ...
+Notation Reference: @ref{Breath marks}.
-@knownissues
+Internals Reference: @rinternals{BreathingSign}.
+
+Examples: @rlsr{Ancient}.
-Horizontal spacing is poor.
-@node Gregorian square neumes ligatures
-@unnumberedsubsubsec Gregorian square neumes ligatures
+@c {{{2Gregorian square neumes ligatures
+@node Gregorian square neume ligatures
+@unnumberedsubsubsec Gregorian square neume ligatures
@cindex Square neumes ligatures
@cindex Gregorian square neumes ligatures
still lacking, such as (among others) horizontal alignment of multiple
ligatures, lyrics alignment, and proper handling of accidentals.
+Note heads can be @emph{modified} and/or @emph{joined}.
+
+@itemize
+@item The shape of
+the note head can be modified by @emph{prefixing} the note name
+with any of the following commands:
+@funindex \virga
+@code{\virga},
+@funindex \stropha
+@code{\stropha},
+@funindex \inclinatum
+@code{\inclinatum},
+@funindex \auctum
+@code{\auctum},
+@funindex \descendens
+@code{\descendens},
+@funindex \ascendens
+@code{\ascendens},
+@funindex \oriscus
+@code{\oriscus},
+@funindex \quilisma
+@code{\quilisma},
+@funindex \deminutum
+@code{\deminutum},
+@funindex \cavum
+@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
+@code{flexa}, for upwards and downwards movement, respectively,
+@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{\[...\]}.
+
+Single-note neumes:
+
+@itemize
+@item The @emph{punctum} is the basic note shape (in the
+@emph{Vaticana} style: a square with some curvation for
+typographical finesse). In addition to the regular
+@emph{punctum}, there is also the oblique @emph{punctum
+inclinatum}, produced with the prefix @code{\inclinatum}. The
+regular @emph{punctum} can be modified with @code{\cavum}, which
+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
+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.
-The following table contains the extended neumes table of the 2nd
+@c Liquescent neumes
+
+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 sounding consonants that can hold a tone (the nasals, l, r, v,
+j, and their diphtong 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.
+
+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
+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{ \[ \auctus
+\descendens a \] }.
+
+@c 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
+vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
+@emph{strophicus}. These are all produced by prefixing a note name
+with the corresponding modifier, @code{\quilisma},
+@code{\oriscus}, or @code{\stropha}.
+
+Virtually, within the ligature delimiters @code{\[} and @code{\]},
+any number of heads may be accumulated to form a single ligature,
+and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
+@code{\inclinatum}, etc. may be mixed in as desired. The use of
+the set of rules that underlies the construction of the ligatures
+in the above table is accordingly extrapolated. This way,
+infinitely many different ligatures can be created.
+
+Note that the use of these signs in the music itself follows
+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.
+
+
+@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.
+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.
+
-@multitable @columnfractions .4 .2 .2 .2
+@b{Single-note neums}
+
+@multitable @columnfractions .4 .2 .4
@item
-@b{Neuma aut@*
-Neumarum Elementa}
-@tab
-@b{Figurae@*
-Rectae}
+@b{Basic} and @emph{Liquescent} forms
@tab
-@b{Figurae@*
-Liquescentes@*
-Auctae}
+@b{Output}
@tab
-@b{Figurae@*
-Liquescentes@*
-Deminutae}
+@b{Lilypond@*
+code}
@c TODO: \layout block is identical in all of the below examples.
@c Therefore, it should somehow be included rather than duplicated all
@c a staff for demonstration purposes rather than something
@c special of Gregorian chant notation. --jr
+
@item
-@code{1. Punctum}
+@b{Punctum}
@tab
@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\transpose c c' {
% Punctum
\[ b \]
- \noBreak s^\markup {"a"} \noBreak
-
- % Punctum Inclinatum
- \[ \inclinatum b \]
- \noBreak s^\markup {"b"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,line-width=2.5\cm]
+@code{\[ b \]}
+
+@item
+@tab
+@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Punctum Auctum Ascendens
- \[ \auctum \ascendens b \]
- \noBreak s^\markup {"c"} \noBreak
-
- % Punctum Auctum Descendens
- \[ \auctum \descendens b \]
- \noBreak s^\markup {"d"} \noBreak
-
- % Punctum Inclinatum Auctum
- \[ \inclinatum \auctum b \]
- \noBreak s^\markup {"e"}
+ % Punctum
+ \[ \cavum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
+@code{\[ \cavum b \]}
+
+@item
+@tab
+@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Punctum Inclinatum Parvum
- \[ \inclinatum \deminutum b \]
- \noBreak s^\markup {"f"}
+ % Punctum
+ \[ \linea b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ \linea b \]}
@item
-@code{2. Virga}
+@emph{Punctum Auctum Ascendens}
@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
+@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Virga
- \[ \virga b \]
- \noBreak s^\markup {"g"}
+ % Punctum Auctum Ascendens
+ \[ \auctum \ascendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@tab
+@code{\[ \auctum \ascendens b \]}
@item
-@code{3. Apostropha vel Stropha}
+@emph{Punctum Auctum Descendens}
@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
+@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Stropha
- \[ \stropha b \]
- \noBreak s^\markup {"h"}
+ % Punctum Auctum Descendens
+ \[ \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
+@code{\[ \auctum \descendens b \]}
+
+@item
+@b{Punctum inclinatum}
+@tab
+@lilypond[staffsize=26,line-width=1.5\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Stropha Aucta
- \[ \stropha \auctum b \]
- \noBreak s^\markup {"i"}
+ % Punctum Inclinatum
+ \[ \inclinatum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \inclinatum b \]}
@item
-@code{4. Oriscus}
+@emph{Punctum Inclinatum Auctum}
@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
+@lilypond[staffsize=26,line-width=2.5\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Oriscus
- \[ \oriscus b \]
- \noBreak s^\markup {"j"}
+ % Punctum Inclinatum Auctum
+ \[ \inclinatum \auctum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@tab
+@code{\[ \inclinatum \auctum b \]}
@item
-@code{5. Clivis vel Flexa}
+@emph{Punctum Inclinatum Parvum}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Clivis vel Flexa
- \[ b \flexa g \]
- s^\markup {"k"}
+ % Punctum Inclinatum Parvum
+ \[ \inclinatum \deminutum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,line-width=2.0\cm]
+@code{\[ \inclinatum \deminutum b \]}
+
+@item
+@b{Virga}
+@tab
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Clivis Aucta Descendens
- \[ b \flexa \auctum \descendens g \]
- \noBreak s^\markup {"l"} \noBreak
-
- % Clivis Aucta Ascendens
- \[ b \flexa \auctum \ascendens g \]
- \noBreak s^\markup {"m"}
+ % Virga
+ \[ \virga b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+
+@end multitable
+
+@noindent
+@b{Two-note ligatures}
+
+@multitable @columnfractions .4 .2 .4
+
+@item
+@b{Clivis vel Flexa}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Cephalicus
- \[ b \flexa \deminutum g \]
- s^\markup {"n"}
+ % Clivis vel Flexa
+ \[ b \flexa g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ b \flexa g \]}
+
@item
-@code{6. Podatus vel Pes}
+@emph{Clivis Aucta Descendens}
@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
+@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Podatus vel Pes
- \[ g \pes b \]
- s^\markup {"o"}
+ % Clivis Aucta Descendens
+ \[ b \flexa \auctum \descendens g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ b \flexa \auctum \descendens g \]}
+
+@item
+@emph{Clivis Aucta Ascendens}
+@tab
@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Pes Auctus Descendens
- \[ g \pes \auctum \descendens b \]
- \noBreak s^\markup {"p"} \noBreak
-
- % Pes Auctus Ascendens
- \[ g \pes \auctum \ascendens b \]
- \noBreak s^\markup {"q"}
+ % Clivis Aucta Ascendens
+ \[ b \flexa \auctum \ascendens g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
+@code{\[ b \flexa \auctum \ascendens g \]}
+
+@item
+@emph{Cephalicus}
+@tab
+@lilypond[staffsize=26,line-width=2.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Epiphonus
- \[ g \pes \deminutum b \]
- s^\markup {"r"}
+ % Cephalicus
+ \[ b \flexa \deminutum g \]
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ b \flexa \deminutum g \]}
@item
-@code{7. Pes Quassus}
+@b{Podatus/Pes}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Pes Quassus
- \[ \oriscus g \pes \virga b \]
- s^\markup {"s"}
+ % Podatus vel Pes
+ \[ g \pes b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ g \pes b \]}
+
+@item
+@emph{Pes Auctus Descendens}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Pes Quassus Auctus Descendens
- \[ \oriscus g \pes \auctum \descendens b \]
- s^\markup {"t"}
+ % Pes Auctus Descendens
+ \[ g \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ g \pes \auctum \descendens b \]}
@item
-@code{8. Quilisma Pes}
+@emph{Pes Auctus Ascendens}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Quilisma Pes
- \[ \quilisma g \pes b \]
- s^\markup {"u"}
+ % Pes Auctus Ascendens
+ \[ g \pes \auctum \ascendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ g \pes \auctum \ascendens b \]}
+
+@item
+@emph{Epiphonus}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Quilisma Pes Auctus Descendens
- \[ \quilisma g \pes \auctum \descendens b \]
- s^\markup {"v"}
+ % Epiphonus
+ \[ g \pes \deminutum b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ g \pes \deminutum b \]}
@item
-@code{9. Podatus Initio Debilis}
+@emph{Pes Initio Debilis}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\transpose c c' {
% Pes Initio Debilis
\[ \deminutum g \pes b \]
- s^\markup {"w"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \deminutum g \pes b \]}
+
+@item
+@emph{Pes Auctus Descendens Initio Debilis}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
% Pes Auctus Descendens Initio Debilis
\[ \deminutum g \pes \auctum \descendens b \]
- s^\markup {"x"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \deminutum g \pes \auctum \descendens b \]}
+
+@end multitable
+
+@noindent
+@b{Multi-note ligatures}
+
+@multitable @columnfractions .4 .2 .4
@item
-@code{10. Torculus}
+@b{Torculus}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\transpose c c' {
% Torculus
\[ a \pes b \flexa g \]
- s^\markup {"y"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ a \pes b \flexa g \]}
+
+@item
+@emph{Torculus Auctus Descendens}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Torculus Auctus Descendens
+ % Torculus Auctus Descendens
\[ a \pes b \flexa \auctum \descendens g \]
- s^\markup {"z"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ a \pes b \flexa \auctum \descendens g \]}
+
+@item
+@emph{Torculus Deminutus}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Torculus Deminutus
+ % Torculus Deminutus
\[ a \pes b \flexa \deminutum g \]
- s^\markup {"A"}
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ a \pes b \flexa \deminutum g \]}
@item
-@code{11. Torculus Initio Debilis}
+@emph{Torculus Initio Debilis}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Torculus Initio Debilis
+ % Torculus Initio Debilis
\[ \deminutum a \pes b \flexa g \]
- s^\markup {"B"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \deminutum a \pes b \flexa g \]}
+
+@item
+@emph{Torculus Auctus Descendens Initio Debilis}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
+ % Torculus Auctus Descendens Initio Debilis
\[ \deminutum a \pes b \flexa \auctum \descendens g \]
- s^\markup {"C"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
+
+@item
+@emph{Torculus Deminutus Initio Debilis}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Torculus Deminutus Initio Debilis
+ % Torculus Deminutus Initio Debilis
\[ \deminutum a \pes b \flexa \deminutum g \]
- s^\markup {"D"}
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ \deminutum a \pes b \flexa \deminutum g \]}
@item
-@code{12. Porrectus}
+@b{Porrectus}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\transpose c c' {
% Porrectus
\[ a \flexa g \pes b \]
- s^\markup {"E"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ a \flexa g \pes b \]}
+
+@item
+@emph{Porrectus Auctus Descendens}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Porrectus Auctus Descendens
+ % Porrectus Auctus Descendens
\[ a \flexa g \pes \auctum \descendens b \]
- s^\markup {"F"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ a \flexa g \pes \auctum \descendens b \]}
+
+@item
+@emph{Porrectus Deminutus}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Porrectus Deminutus
+ % Porrectus Deminutus
\[ a \flexa g \pes \deminutum b \]
- s^\markup {"G"}
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ a \flexa g \pes \deminutum b \]}
@item
-@code{13. Climacus}
+@b{Climacus}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\transpose c c' {
% Climacus
\[ \virga b \inclinatum a \inclinatum g \]
- s^\markup {"H"}
}
- \layout { \neumeDemoLayout }
-}
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \virga b \inclinatum a \inclinatum g \]}
+
+@item
+@emph{Climacus Auctus}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Climacus Auctus
+ % Climacus Auctus
\[ \virga b \inclinatum a \inclinatum \auctum g \]
- s^\markup {"I"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
+
+@item
+@emph{Climacus Deminutus}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Climacus Deminutus
+ % Climacus Deminutus
\[ \virga b \inclinatum a \inclinatum \deminutum g \]
- s^\markup {"J"}
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
@item
-@code{14. Scandicus}
+@b{Scandicus}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\transpose c c' {
% Scandicus
\[ g \pes a \virga b \]
- s^\markup {"K"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ g \pes a \virga b \]}
+
+@item
+@emph{Scandicus Auctus Descendens}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Scandicus Auctus Descendens
+ % Scandicus Auctus Descendens
\[ g \pes a \pes \auctum \descendens b \]
- s^\markup {"L"}
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ g \pes a \pes \auctum \descendens b \]}
+
+@item
+@emph{Scandicus Deminutus}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Scandicus Deminutus
+ % Scandicus Deminutus
\[ g \pes a \pes \deminutum b \]
- s^\markup {"M"}
}
\layout { \neumeDemoLayout }}
@end lilypond
+@tab
+@code{\[ g \pes a \pes \deminutum b \]}
+
+@end multitable
+
+@noindent
+@b{Special Signs}
+
+@multitable @columnfractions .4 .2 .4
@item
-@code{15. Salicus}
+@b{Quilisma}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Salicus
- \[ g \oriscus a \pes \virga b \]
- s^\markup {"N"}
+ % Quilisma
+ \[ g \pes \quilisma a \pes b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ g \pes \quilisma a \pes b \]}
+
+@item
+@emph{Quilisma Pes Auctus Descendens}
+@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Salicus Auctus Descendens
- \[ g \oriscus a \pes \auctum \descendens b \]
- s^\markup {"O"}
+ % Quilisma Pes Auctus Descendens
+ \[ g \quilisma a \pes \auctum \descendens b \]
}
\layout { \neumeDemoLayout }}
@end lilypond
@tab
+@code{\[ \quilisma g \pes \auctum \descendens b \]}
@item
-@code{16. Trigonus}
+@b{Oriscus}
@tab
@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
\transpose c c' {
- % Trigonus
- \[ \stropha b \stropha b \stropha a \]
- s^\markup {"P"}
+ % Oriscus
+ \[ \oriscus b \]
}
- \layout { \neumeDemoLayout }
-}
+\layout { \neumeDemoLayout }}
@end lilypond
@tab
-@tab
-
-@end multitable
-
-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.
-
-The following table shows the code fragments that produce the
-ligatures in the above neumes table. The letter in the first column
-in each line of the below table indicates to which ligature in the
-above table it refers. 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.
-
-@multitable @columnfractions .02 .31 .67
-@item
-@b{#}
-@tab
-@b{Name}
-@tab
-@b{Input Language}
-
-@item
-a
-@tab
-Punctum
-@tab
-@code{\[ b \]}
-
-@item
-b
-@tab
-Punctum Inclinatum
-@tab
-@code{\[ \inclinatum b \]}
-
-@item
-c
-@tab
-Punctum Auctum@*
-Ascendens
-@tab
-@code{\[ \auctum \ascendens b \]}
-
-@item
-d
-@tab
-Punctum Auctum@*
-Descendens
-@tab
-@code{\[ \auctum \descendens b \]}
-
-@item
-e
-@tab
-Punctum Inclinatum@*
-Auctum
-@tab
-@code{\[ \inclinatum \auctum b \]}
-
-@item
-f
-@tab
-Punctum Inclinatum@*
-Parvum @tab
-@code{\[ \inclinatum \deminutum b \]}
-
-@item
-g
-@tab
-Virga
-@tab
-@code{\[ \virga b \]}
-
-@item
-h
-@tab
-Stropha
-@tab
-@code{\[ \stropha b \]}
-
-@item
-i
-@tab
-Stropha Aucta
-@tab
-@code{\[ \stropha \auctum b \]}
-
-@item
-j
-@tab
-Oriscus
-@tab
@code{\[ \oriscus b \]}
@item
-k
-@tab
-Clivis vel Flexa
-@tab
-@code{\[ b \flexa g \]}
-
-@item
-l
-@tab
-Clivis Aucta@*
-Descendens
-@tab
-@code{\[ b \flexa \auctum \descendens g \]}
-
-@item
-m
-@tab
-Clivis Aucta@*
-Ascendens
-@tab
-@code{\[ b \flexa \auctum \ascendens g \]}
-
-@item
-n
-@tab
-Cephalicus
-@tab
-@code{\[ b \flexa \deminutum g \]}
-
-@item
-o
-@tab
-Podatus vel Pes
-@tab
-@code{\[ g \pes b \]}
-
-@item
-p
-@tab
-Pes Auctus@*
-Descendens
-@tab
-@code{\[ g \pes \auctum \descendens b \]}
-
-@item
-q
-@tab
-Pes Auctus@*
-Ascendens
-@tab
-@code{\[ g \pes \auctum \ascendens b \]}
-
-@item
-r
-@tab
-Epiphonus
-@tab
-@code{\[ g \pes \deminutum b \]}
-
-@item
-s
+@emph{Pes Quassus}
@tab
-Pes Quassus
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Pes Quassus
+ \[ \oriscus g \pes \virga b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
@code{\[ \oriscus g \pes \virga b \]}
@item
-t
-@tab
-Pes Quassus@*
-Auctus Descendens @tab
-@code{\[ \oriscus g \pes \auctum \descendens b \]}
-
-@item
-u
-@tab
-Quilisma Pes
-@tab
-@code{\[ \quilisma g \pes b \]}
-
-@item
-v
-@tab
-Quilisma Pes@*
-Auctus Descendens
-@tab
-@code{\[ \quilisma g \pes \auctum \descendens b \]}
-
-@item
-w
-@tab
-Pes Initio Debilis
-@tab
-@code{\[ \deminutum g \pes b \]}
-
-@item
-x
-@tab
-Pes Auctus Descendens@*
-Initio Debilis
-@tab
-@code{\[ \deminutum g \pes \auctum \descendens b \]}
-
-@item
-y
-@tab
-Torculus
-@tab
-@code{\[ a \pes b \flexa g \]}
-
-@item
-z
-@tab
-Torculus Auctus@*
-Descendens
-@tab
-@code{\[ a \pes b \flexa \auctum \descendens g \]}
-
-@item
-A
-@tab
-Torculus Deminutus
-@tab
-@code{\[ a \pes b \flexa \deminutum g \]}
-
-@item
-B
-@tab
-Torculus Initio Debilis
-@tab
-@code{\[ \deminutum a \pes b \flexa g \]}
-
-@item
-C
-@tab
-Torculus Auctus@*
-Descendens Initio Debilis
-@tab
-@code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
-
-@item
-D
-@tab
-Torculus Deminutus@*
-Initio Debilis
-@tab
-@code{\[ \deminutum a \pes b \flexa \deminutum g \]}
-
-@item
-E
-@tab
-Porrectus
-@tab
-@code{\[ a \flexa g \pes b \]}
-
-@item
-F
-@tab
-Porrectus Auctus@*
-Descendens
-@tab
-@code{\[ a \flexa g \pes \auctum \descendens b \]}
-
-@item
-G
-@tab
-Porrectus Deminutus
-@tab
-@code{\[ a \flexa g \pes \deminutum b \]}
-
-@item
-H
-@tab
-Climacus
-@tab
-@code{\[ \virga b \inclinatum a \inclinatum g \]}
-
-@item
-I
+@emph{Pes Quassus Auctus Descendens}
@tab
-Climacus Auctus
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Pes Quassus Auctus Descendens
+ \[ \oriscus g \pes \auctum \descendens b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
-@code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
+@code{\[ \oriscus g \pes \auctum \descendens b \]}
@item
-J
+@b{Salicus}
@tab
-Climacus Deminutus
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Salicus
+ \[ g \oriscus a \pes \virga b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
-@code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
+@code{\[ g \oriscus a \pes \virga b \]}
@item
-K
+@emph{Salicus Auctus Descendens}
@tab
-Scandicus
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Salicus Auctus Descendens
+ \[ g \oriscus a \pes \auctum \descendens b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
-@code{\[ g \pes a \virga b \]}
+@code{\[ g \oriscus a \pes \auctum \descendens b \]}
@item
-L
+@b{(Apo)stropha}
@tab
-Scandicus Auctus@*
-Descendens
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Stropha
+ \[ \stropha b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
-@code{\[ g \pes a \pes \auctum \descendens b \]}
+@code{\[ \stropha b \]}
@item
-M
+@emph{Stropha Aucta}
@tab
-Scandicus Deminutus
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Stropha Aucta
+ \[ \stropha \auctum b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
-@code{\[ g \pes a \pes \deminutum b \]}
+@code{\[ \stropha \auctum b \]}
@item
-N
+@b{Bistropha}
@tab
-Salicus
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Bistropha
+ \[ \stropha b \stropha b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
-@code{\[ g \oriscus a \pes \virga b \]}
+@code{\[ \stropha b \stropha b \]}
@item
-O
+@b{Tristropha}
@tab
-Salicus Auctus Descendens
+@lilypond[staffsize=26,line-width=1.0\cm]
+\include "gregorian.ly"
+\score {
+ \transpose c c' {
+ % Tristropha
+ \[ \stropha b \stropha b \stropha b \]
+ }
+\layout { \neumeDemoLayout }}
+@end lilypond
@tab
-@code{\[ g \oriscus a \pes \auctum \descendens b \]}
+@code{\[ \stropha b \stropha b \stropha b \]}
@item
-P
+@emph{Trigonus}
@tab
-Trigonus
-@tab
-@code{\[ \stropha b \stropha b \stropha a \]}
-@end multitable
-
-The ligatures listed above mainly serve as a limited, but still
-representative pool of Gregorian ligature examples. Virtually, within
-the ligature delimiters @code{\[} and @code{\]}, any number of heads
-may be accumulated to form a single ligature, and head prefixes like
-@code{\pes}, @code{\flexa}, @code{\virga}, @code{\inclinatum},
-etc. may be mixed in as desired. The use of the set of rules that
-underlies the construction of the ligatures in the above table is
-accordingly extrapolated. This way, infinitely many different
-ligatures can be created.
-
-Augmentum dots, also called @emph{morae}, are added with the music
-function @code{\augmentum}. Note that @code{\augmentum} is
-implemented as a unary music function rather than as head prefix. It
-applies to the immediately following music expression only. That is,
-@code{\augmentum \virga c} will have no visible effect. Instead, say
-@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
-note that you can say @code{\augmentum @{a g@}} as a shortcut for
-@code{\augmentum a \augmentum g}.
-
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[staffsize=26,line-width=1.0\cm]
\include "gregorian.ly"
\score {
- \new VaticanaVoice {
- \[ \augmentum a \flexa \augmentum g \]
- \augmentum g
+ \transpose c c' {
+ % Trigonus
+ \[ \stropha b \stropha b \stropha a \]
}
+ \layout { \neumeDemoLayout }
}
@end lilypond
+@tab
+@code{\[ \stropha b \stropha b \stropha a \]}
+
+@end multitable
@predefined
with head prefixes in arbitrary order.
-@node Annotational accidentals (musica ficta)
-@subsection Annotational accidentals (musica ficta)
-
-In European music from before about 1600, singers were expected to
-chromatically alter notes at their own initiative according to
-certain rules. This is called @notation{musica ficta}. In modern
-transcriptions, these accidentals are usually printed over the
-note.
-
-@cindex Accidental, musica ficta
-@cindex Musica ficta
-Support for such suggested accidentals is included, and can be
-switched on by setting @code{suggestAccidentals} to true.
+@c Working with ancient music: scenarios and solutions:: {{{1
+@node Working with ancient music---scenarios and solutions
+@subsection Working with ancient music---scenarios and solutions
-@funindex suggestAccidentals
+@menu
+* Incipits::
+* Mensurstriche layout::
+* Transcribing Gregorian chant::
+* Ancient and modern from one source::
+* Editorial markings::
+* Baroque rhythmic notation::
+@end menu
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
-@end lilypond
+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
+typical scenarios are outlined, with suggestions of solutions.
+These involve:
-This will treat @emph{every} subsequent accidental as @emph{musica
-ficta} until it is unset with @code{\set suggestAccidentals =
-##f}. A more convenient way is to use @code{\once}, or to define
-a macro: @code{ficta = @{ \once \set suggestAccidentals = ##t @}}
-and simply use @code{\ficta} @emph{note}:
-
-@c @lilypond[quote,relative=1]
-@c \score {
- @c \new MensuralVoice {
- @c \once \set suggestAccidentals = ##t bes4 a2 g2
- @c \once \set suggestAccidentals = ##t fis8
- @c \once \set suggestAccidentals = ##t e! fis2 g1
- @c }
-@c }
-@c @end lilypond
+@itemize
+@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
+used for modern transcriptions of polyphonic music;
+@item how to transcribe Gregorian chant in modern notation;
+@item how to generate both ancient and modern notation from the
+same source.
+@end itemize
-@lilypond[quote,verbatim]
-ficta = { \once \set suggestAccidentals = ##t }
-\score { \relative c''
- \new MensuralVoice {
- \once \set suggestAccidentals = ##t
- bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
- }
-}
-@end lilypond
+@c {{{2Incipits
+@node Incipits
+@unnumberedsubsubsec Incipits
-@c @lilypond[quote,ragged-right]
-@c ossia = { f4 f f f }
-@c \score{
- @c \relative c' \new Staff = "main" {
- @c c4 c c c
- @c <<
- @c \new Staff \with {alignAboveContext=main} \ossia
- @c { d8 f d f d f d f }
- @c >>
- @c }
-@c }
-@c @end lilypond
+@c TODO Add text
+@c clefs, mensuration signs etc from lsr and -user
+@c use snippet Transcription-of-ancient-music-with-incipit
+TBC
@seealso
-Internals Reference: @rinternals{Accidental_engraver} engraver and
-the @rinternals{AccidentalSuggestion} object.
-
-
-@node Pre-defined contexts
-@subsection Pre-defined contexts
-
-@menu
-* Gregorian chant contexts::
-* Mensural contexts::
-@end menu
+@c ... and reference to other sections ...
+@c {{{2Mensurstriche layout
+@node Mensurstriche layout
+@unnumberedsubsubsec Mensurstriche layout
-@node Gregorian chant contexts
-@unnumberedsubsubsec Gregorian chant contexts
+@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.
-@cindex VaticanaVoiceContext
-@cindex VaticanaStaffContext
-The predefined @code{VaticanaVoiceContext} and
-@code{VaticanaStaffContext} 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
-the following excerpt demonstrates:
+@lilypondfile[verbatim,lilyquote,texidoc]
+{mensurstriche-layout-bar-lines-between-the-staves.ly}
-@lilypond[quote,ragged-right,packed,verbatim]
-\include "gregorian.ly"
-\score {
- <<
- \new VaticanaVoice = "cantus" {
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \]
- f \divisioMinima
- \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
- c' \divisioMinima \break
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
- }
- \new Lyrics \lyricsto "cantus" {
- San- ctus, San- ctus, San- ctus
- }
- >>
-}
-@end lilypond
+This simple setup will take care of the
+@c TODO Add text
+@c from lsr and -user
+TBC
@seealso
-TODO: nothing here yet ...
-
-@node Mensural contexts
-@unnumberedsubsubsec Mensural contexts
+@c ... and reference to other sections ...
-@cindex MensuralVoiceContext
-@cindex MensuralStaffContext
-The predefined @code{MensuralVoiceContext} and
-@code{MensuralStaffContext} can be used to engrave a piece in
-mensural style. These contexts initialize all relevant context
-properties and grob properties to proper values, so you can
-immediately go ahead entering the chant, as the following excerpt
-demonstrates:
+@c {{{2Transcribing Gregorian chant
+@node Transcribing Gregorian chant
+@unnumberedsubsubsec Transcribing Gregorian chant
-@lilypond[quote,ragged-right,verbatim]
-\score {
- <<
- \new MensuralVoice = "discantus" \transpose c c' {
- \override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
- f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
- fis\longa^\signumcongruentiae
- }
- }
- \new Lyrics \lyricsto "discantus" {
- San -- ctus, San -- ctus, San -- ctus
- }
- >>
-}
-@end lilypond
+@c TODO Add text
+@c extract from 1.6.1.1
+TBC
@seealso
-TODO: nothing here yet ...
-
-
-@node Transcribing ancient music
-@subsection Transcribing ancient music
-
-@menu
-* Ancient and modern from one source::
-* Incipits::
-* Mensurstriche layout::
-* Transcribing Gregorian chant::
-* Editorial markings::
-* Baroque rhythmic notation::
-@end menu
+@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 ... and reference to other sections ...
-@node Incipits
-@unnumberedsubsubsec Incipits
+@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 clefs, mensuration signs etc from lsr and -user
-@c use snippet Transcription-of-ancient-music-with-incipit
+@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 from lsr and -user
TBC
@c ... and reference to other sections ...
+@c {{{2Transcribing Gregorian chant
@node Transcribing Gregorian chant
@unnumberedsubsubsec Transcribing Gregorian chant
@c ... and reference to other sections ...
-@node Editorial markings
-@unnumberedsubsubsec Editorial markings
+@c {{{2Ancient and modern from one source
+@node Ancient and modern from one source
+@unnumberedsubsubsec Ancient and modern from one source
-@menu
-* Annotational accidentals (musica ficta)::
-* Baroque rhythmic notation::
-@end menu
+@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 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 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:
@seealso
@c ... and reference to other sections ...
+
projects / lilypond.git / commitdiff