@c -*- coding: utf-8; mode: texinfo; -*-
+@c vim: foldmethod=marker
@ignore
Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.51"
+@c \version "2.12.0"
@node Ancient notation
@section Ancient notation
@cindex Petrucci
@cindex mensural
-@menu
-* Introduction to ancient notation::
-* Alternative note signs::
-* Additional note signs::
-* Pre-defined contexts::
-* Transcribing ancient music::
-* Editorial markings::
-@end menu
-
-
-@node Introduction to ancient notation
-@subsection Introduction to ancient notation
@menu
-* Ancient notation supported::
+* 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 Ancient notation supported
-@subsubsection Ancient notation supported
-
-Support for ancient notation includes features for mensural notation and
-Gregorian chant notation, as well as limited support for figured bass notation.
-
-Many graphical objects provide a @code{style} property, see
-
-@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
-
-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.
+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.
-In addition to the standard articulation signs described in
-@ref{Articulations and ornamentations}, specific articulation signs for
-Gregorian chant are provided.
+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
@itemize
-@item @ref{Ancient articulations}
+@item @ref{Mensural note heads},
+@item @ref{Mensural accidentals and key signatures},
+@item @ref{Mensural rests},
+@item @ref{Mensural clefs},
+@item @ref{Gregorian clefs},
+@item @ref{Mensural flags},
+@item @ref{Mensural time signatures}.
@end itemize
-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,
+Some notational concepts are introduced specifically for ancient
+notation,
@itemize
@item @ref{Custodes},
@item @ref{Ligatures}.
@end itemize
-To start typesetting without worrying too much about the details on how to
-customize a context, there are predefined contexts for Gregorian chant and
-mensural notation. They set up predefined style-specific voice and staff
-contexts, and allow one to proceed directly with note entry:
+@c {{{1 Overview of the supported styles
+@node Overview of the supported styles
+@subsection Overview of the supported styles
+
+
+Three styles are available for typesetting Gregorian chant:
@itemize
-@item @ref{Gregorian chant contexts},
-@item @ref{Mensural contexts}.
+@item @emph{Editio Vaticana} is a complete style for
+Gregorian chant, following the appearance of the Solesmes
+editions, the official chant books of the Vatican since 1904.
+LilyPond has support for all the notational signs used in this
+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
+the @emph{Vaticana} style are the clefs, which have
+downward-slanted strokes, and the noteheads, which are square and
+regular.
+
+@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
-There is limited support for figured bass notation from the Baroque period:
+Three styles emulate the appearance of late-medieval and
+renaissance manuscripts and prints of mensural music:
@itemize
-@item @ref{Figured bass}
-@end 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.
-@c Here are all subtopics at a glance:
+@cindex mensural
+@item The @emph{Neomensural} style is a modernized and
+stylized version of the former: the noteheads are broader and the
+rests are made up of straight lines. This style is particularly
+suited, e.g., for incipits of transcribed pieces of mensural
+music.
-@node Alternative note signs
-@subsection Alternative note signs
+@cindex neomensural
-@menu
-* Ancient note heads::
-* Ancient accidentals::
-* Ancient rests::
-* Ancient clefs::
-* Ancient flags::
-* Ancient time signatures::
-@end menu
+@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.
+@cindex Petrucci
-@node Ancient note heads
-@subsubsection Ancient note heads
+@end itemize
-@cindex note heads, ancient
+@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).
-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}.
+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.
-The @code{baroque} style differs from the @code{default} style by:
+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.
-@itemize
-@item Providing a @code{maxima} notehead, and
-@item Using a square shape for @code{\breve} note heads.
-@end itemize
+@c {{{1 Ancient notation, general
+@node Ancient notation---common features
+@subsection Ancient notation---common features
-The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
-the @code{baroque} style by:
+@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 one of the pre-defined contexts
+@code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
+and @code{MensuralStaff}. See further
@itemize
-@item Using rhomboidal heads for semibreves and all smaller durations, and
-@item Centering the stems on the note heads.
+@item @ref{Gregorian chant contexts},
+@item @ref{Mensural contexts}.
@end itemize
-The @code{mensural} and @code{petrucci} styles aim to emulate the appearance
-of historic printed music. The @code{petrucci} style uses larger note
-heads.
-The following example demonstrates the @code{petrucci} style
+@c {{{2 Ligatures
+@node Ligatures
+@unnumberedsubsubsec Ligatures
+
+@cindex Ligatures
-@c Renaissance music doesn't use bar lines ... but they do help to
-@c separate the notes for easier identification.
+@c TODO: Should double check if I recalled things correctly when I wrote
+@c down the following paragraph by heart.
-@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'
+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.
+
+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.
+
+@lilypond[quote,ragged-right,verbatim]
+\transpose c c' {
+ \[ g c a f d' \]
+ a g f
+ \[ e f a g \]
+}
@end lilypond
-When typesetting a piece in Gregorian chant notation, the
-@rinternals{Gregorian_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.
+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}.
+
@seealso
+@c TODO: nothing here yet ...
-@ref{Note head styles}, gives an overview of all available note head styles.
+@knownissues
-@node Ancient accidentals
-@subsubsection Ancient accidentals
+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.
-@cindex accidentals
+Accidentals must not be printed within a ligature, but instead need to
+be collected and printed in front of it.
-Use the @code{glyph-name-alist} property of grob @rinternals{Accidental} and
-@rinternals{KeySignature} to select ancient accidentals.
+The syntax still uses the deprecated infix style @code{\[ music expr
+\]}. For consistency reasons, it will eventually be changed to
+postfix style @code{note\[ ... note\]}.
-@lilypond[quote,ragged-right,staffsize=26]
+@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.
+
+@c TODO: this does not seem to work at the moment.
+@c -- eo
+
+
+
+@c {{{2 Custodes
+@node Custodes
+@unnumberedsubsubsec Custodes
+
+@cindex custos
+@cindex custodes
+
+A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
+symbol that appears at the end of a staff. It anticipates the pitch
+of the first note of the following line, thus helping the performer
+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.
+
+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:
+
+@lilypond[quote,ragged-right]
\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" }
- }
+ \relative c'' {
+ a1
+ \break
+ g
}
-}
-\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
+ \layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
+ \override Custos #'style = #'mensural
}
}
}
@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,ancient-accidentals.ly}.
+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
+
+@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
-Similarly to local accidentals, the style of the key signature can be
-controlled by the @code{glyph-name-alist} property of the
-@rinternals{KeySignature} grob.
@seealso
+Internals Reference: @rinternals{Custos}.
-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.
+Examples:
+@rlsr{Ancient notation}.
-Internals Reference: @rinternals{KeySignature}.
+@c {{{2 Figured bass support
+@node Figured bass support
+@unnumberedsubsubsec Figured bass support
-@node Ancient rests
-@subsubsection Ancient rests
+There is limited support for figured bass notation from the
+Baroque period; see @ref{Figured bass}.
-@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{neomensural} style suits
-well for, e.g., the incipit of a transcribed mensural piece of music.
-The @code{mensural} style finally mimics the appearance of rests as
-in historic prints of the 16th century.
+@c {{{1 Typesetting mensural music
+@node Typesetting mensural music
+@subsection Typesetting mensural music
-The following example demonstrates the @code{neomensural} style
+@menu
+* Mensural contexts::
+* Mensural clefs::
+* Mensural time signatures::
+* Mensural note heads::
+* Mensural flags::
+* Mensural rests::
+* Mensural accidentals and key signatures::
+* Annotational accidentals (musica ficta)::
+* White mensural ligatures::
+@end menu
-@lilypond[quote,fragment,ragged-right,verbatim]
-\set Score.skipBars = ##t
-\override Rest #'style = #'neomensural
-r\longa 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 @c @lsr{pitches,rests} for a chart of all rests.
-There are no rests in Gregorian chant notation; instead, it uses
-@ref{Divisiones}.
+@c {{{2Mensural contexts
+@node Mensural contexts
+@unnumberedsubsubsec Mensural contexts
-@seealso
+@cindex MensuralVoiceContext
+@cindex MensuralStaffContext
-Notation Reference: @ref{Rests}, gives a general introduction into the use of
-rests.
+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 {
+ <<
+ \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
+
+
+@seealso
+TODO: nothing here yet ...
-@node Ancient clefs
-@subsubsection 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 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
+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.
-The following table shows all ancient 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.
-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.
+Petrucci used C clefs with differently balanced left-side vertical
+beams, depending on which staff line it is printed.
@multitable @columnfractions .4 .4 .2
@item
@b{Example}
@item
-modern style mensural C clef
+mensural C clef
@tab
-@code{neomensural-c1}, @code{neomensural-c2},@*
-@code{neomensural-c3}, @code{neomensural-c4}
+@code{mensural-c1}, @code{mensural-c2},@*
+@code{mensural-c3}, @code{mensural-c4}
@tab
@lilypond[fragment,relative=1,notime]
- \clef "neomensural-c2" c
+ \clef "mensural-c2"
+ \override NoteHead #'style = #'mensural
+ c
@end lilypond
@item
-petrucci style mensural C clefs, for use on different staff lines
-(the examples show the 2nd staff line C clef)
+mensural F clef
@tab
-@code{petrucci-c1}, @code{petrucci-c2},@*
-@code{petrucci-c3}, @code{petrucci-c4},@*
-@code{petrucci-c5}
+@code{mensural-f}
@tab
@lilypond[fragment,relative=1,notime]
- \clef "petrucci-c2"
+ \clef "mensural-f"
\override NoteHead #'style = #'mensural
c
@end lilypond
@item
-petrucci style mensural F clef
+mensural G clef
@tab
-@code{petrucci-f}
+@code{mensural-g}
@tab
@lilypond[fragment,relative=1,notime]
- \clef "petrucci-f"
+ \clef "mensural-g"
\override NoteHead #'style = #'mensural
c
@end lilypond
@item
-petrucci style mensural G clef
+neomensural C clef
@tab
-@code{petrucci-g}
+@code{neomensural-c1}, @code{neomensural-c2},@*
+@code{neomensural-c3}, @code{neomensural-c4}
@tab
@lilypond[fragment,relative=1,notime]
- \clef "petrucci-g"
- \override NoteHead #'style = #'mensural
- c
+ \clef "neomensural-c2" c
@end lilypond
@item
-historic style mensural C clef
+petrucci style C clefs, for use on different staff lines
+(the example shows the 2nd staff line C clef)
@tab
-@code{mensural-c1}, @code{mensural-c2},@*
-@code{mensural-c3}, @code{mensural-c4}
+@code{petrucci-c1}, @code{petrucci-c2},@*
+@code{petrucci-c3}, @code{petrucci-c4},@*
+@code{petrucci-c5}
@tab
@lilypond[fragment,relative=1,notime]
- \clef "mensural-c2"
+ \clef "petrucci-c2"
\override NoteHead #'style = #'mensural
c
@end lilypond
@item
-historic style mensural F clef
+petrucci style F clef
@tab
-@code{mensural-f}
+@code{petrucci-f}
@tab
@lilypond[fragment,relative=1,notime]
- \clef "mensural-f"
+ \clef "petrucci-f"
\override NoteHead #'style = #'mensural
c
@end lilypond
@item
-historic style mensural G clef
+petrucci style G clef
@tab
-@code{mensural-g}
+@code{petrucci-g}
@tab
@lilypond[fragment,relative=1,notime]
- \clef "mensural-g"
+ \clef "petrucci-g"
\override NoteHead #'style = #'mensural
c
@end lilypond
+@end multitable
-@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
-@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
-
-@item
-historic style hufnagel 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
-
-@item
-historic style hufnagel 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
-
-@item
-historic style hufnagel 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
-
-@emph{Modern} or @emph{Neo-mensural style} means @qq{as is typeset in
-modern editions of transcribed mensural music.}
-
-@emph{Petrucci style} means @qq{inspired by music published by the famous
-engraver Petrucci (1466-1539).}
-
-@emph{Historic style} means @qq{as was typeset or written in historic
-editions other than those of Petrucci.}
-
-@emph{Editio XXX style} means @qq{as is/was printed in Editio XXX.}
-
-Petrucci used C clefs with differently balanced left-side vertical
-beams, depending on which staff line it is printed.
@seealso
-
Notation Reference: see @ref{Clef}.
-@knownissues
-
-The mensural g clef is mapped to the Petrucci g clef.
-
-
-@node Ancient flags
-@subsubsection 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 notation. Hence,
-when typesetting the incipit of a transcribed piece of mensural
-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).
+The mensural g clef is mapped to the Petrucci g clef.
-@node Ancient time signatures
-@subsubsection Ancient time signatures
+@c {{{2Mensural time signatures
+@node Mensural time signatures
+@unnumberedsubsubsec Mensural time signatures
@cindex mensuration sign
@cindex time signatures
}
@end lilypond
-Use the @code{style} property of grob @rinternals{TimeSignature} to
-select ancient time signatures. Supported styles are
+Use the @code{style} property of grob @rinternals{TimeSignature}
+to select ancient time signatures. Supported styles are
@code{neomensural} and @code{mensural}. The above table uses the
-@code{neomensural} style. This style is appropriate for the
-incipit of transcriptions of mensural pieces. The @code{mensural}
-style mimics the look of historical printings of the 16th century.
-
-The following examples show the differences in style,
+@code{neomensural} style. The following examples show the
+differences in style:
@lilypond[ragged-right,fragment,relative=1,quote]
{
}
@end lilypond
-@seealso
+@seealso
Notation Reference: @ref{Time signature}, gives a general introduction to
the use of time signatures.
+
@knownissues
Ratios of note durations do not change with the time signature. For
@noindent
This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
-The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
-addressable with @code{\time}. Use a @code{\markup} instead
-
+The @code{mensural68alt} and @code{neomensural68alt} symbols
+(alternate symbols for 6/8) are not addressable with @code{\time}.
+Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
-@node Additional note signs
-@subsection Additional note signs
-@menu
-* Ancient articulations::
-* Custodes::
-* Divisiones::
-* Ligatures::
-* White mensural ligatures::
-* Gregorian square neumes ligatures::
-@end menu
+@c {{{2Mensural note heads
+@node Mensural note heads
+@unnumberedsubsubsec Mensural note heads
+@cindex note heads, ancient
-@node Ancient articulations
-@subsubsection Ancient articulations
-
-@cindex 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}.
-In addition to the standard articulation signs described in
-section @ref{Articulations and ornamentations}, articulation signs
-for ancient notation are provided. These are specifically
-designed for use with notation in Editio Vaticana style.
+The @code{baroque} style differs from the @code{default} style by:
-@lilypond[quote,ragged-right,verbatim]
-\include "gregorian-init.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
- \[ a_"episem" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
- }
-}
-@end lilypond
+@itemize
+@item Providing a @code{maxima} notehead, and
+@item Using a square shape for @code{\breve} note heads.
+@end itemize
-@seealso
+The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
+the @code{baroque} style by:
-TODO: nothing here yet ...
+@itemize
+@item Using rhomboidal heads for semibreves and all smaller durations, and
+@item Centering the stems on the note heads.
+@end itemize
-@knownissues
-Some articulations are vertically placed too closely to the
-corresponding note heads.
+The following example demonstrates the @code{petrucci} style:
-The episem line is not displayed in many cases. If it is displayed,
-the right end of the episem line is often too far to the right.
+@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'
-@node Custodes
-@subsubsection Custodes
+@end lilypond
-@cindex custos
-@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; Latin word for @q{guard}) is a
-symbol that appears at the end of a staff. It anticipates the pitch
-of the first note(s) of the following line thus helping the performer
-to manage line breaks during performance.
+@seealso
+@ref{Note head styles} gives an overview of all available note head styles.
-Custodes were frequently used in music notation until the 17th
-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.
-For typesetting custodes, just put a @rinternals{Custos_engraver} into the
-@rinternals{Staff} context when declaring the @code{\layout} block,
-as shown in the following example
+@c {{{2Mensural flags
+@node Mensural flags
+@unnumberedsubsubsec Mensural flags
-@example
-\layout @{
- \context @{
- \Staff
- \consists Custos_engraver
- Custos \override #'style = #'mensural
- @}
-@}
-@end example
+@cindex flags
-The result looks like this
+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,ragged-right]
-\score {
-{
- a'1
- \override Staff.Custos #'style = #'mensural
- \break
- g'
-}
-\layout {
- \context { \Staff \consists Custos_engraver }
- }
-}
+@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
-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
+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.
-@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
@seealso
+TODO: nothing here yet ...
-Internals Reference: @rinternals{Custos}.
-Examples:
-@c @lsr{ancient,custodes@/.ly}.
+@knownissues
+The attachment of ancient flags to stems is slightly off.
+@c due to a change in early 2.3.x.
-@node Divisiones
-@subsubsection Divisiones
+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).
-@cindex divisio
-@cindex divisiones
-@cindex finalis
+@c {{{2Mensural rests
+@node Mensural rests
+@unnumberedsubsubsec Mensural rests
-A @emph{divisio} (plural: @emph{divisiones}; Latin word for
-@q{division}) is a staff context symbol that is used to structure
-Gregorian music into phrases and sections. The musical meaning of
-@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
-can be characterized as short, medium, and long pause, somewhat like
-the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
-only marks the end of a chant, but is also frequently used within a
-single antiphonal/responsorial chant to mark the end of each section.
+@cindex rests, ancient
-To use divisiones, include the file @file{gregorian@/-init@/.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
-@code{\caesura}
+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.
-@lilypondfile[quote,ragged-right]{divisiones.ly}
+The following example demonstrates the @code{mensural} and
+@code{neomensural} styles:
-@predefined
+@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
-@funindex \virgula
-@code{\virgula},
-@funindex \caesura
-@code{\caesura},
-@funindex \divisioMinima
-@code{\divisioMinima},
-@funindex \divisioMaior
-@code{\divisioMaior},
-@funindex \divisioMaxima
-@code{\divisioMaxima},
-@funindex \finalis
-@code{\finalis}.
+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{Ancient notation} for a chart of all rests.
@seealso
+Notation Reference: @ref{Rests}, gives a general introduction into the use of
+rests.
-Notation Reference: @ref{Breath marks}.
-Internals Reference: @rinternals{BreathingSign}.
+@c {{{2Mensural accidentals and key signatures
+@node Mensural accidentals and key signatures
+@unnumberedsubsubsec Mensural accidentals and key signatures
-Examples: @c @lsr{expressive,breathing-sign.ly}.
+@cindex accidentals
+@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
+will be taken from the @code{vaticana} style.
-@node Ligatures
-@subsubsection Ligatures
+@lilypond[quote,ragged-right,staffsize=26]
+\score {
+{
+ \textLengthOn
+ s^\markup {
+ \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
-@cindex Ligatures
+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.:
-@c TODO: Should double check if I recalled things correctly when I wrote
-@c down the following paragraph by heart.
+@code{\override Staff.Accidental #'glyph-name-alist =
+#alteration-mensural-glyph-name-alist}
-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.
-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
+@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.
-@lilypond[quote,ragged-right,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
-}
-@end lilypond
+Internals Reference: @rinternals{KeySignature}.
-To select a specific style of ligatures, a proper ligature engraver
-has to be added to the @rinternals{Voice} context, as explained in
-the following subsections. Only white mensural ligatures
-are supported with certain limitations.
-@seealso
+@c {{{2 Annotational accidentals (musica ficta)
+@node Annotational accidentals (musica ficta)
+@unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
-TODO: nothing here yet ...
+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.
-@knownissues
+@cindex Accidental, musica ficta
+@cindex Musica ficta
-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.
+Support for such suggested accidentals is included, and can be
+switched on by setting @code{suggestAccidentals} to true.
-Accidentals must not be printed within a ligature, but instead need to
-be collected and printed in front of it.
+@funindex suggestAccidentals
-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.
+@lilypond[verbatim,fragment,relative=1]
+fis gis
+\set suggestAccidentals = ##t
+ais bis
+@end lilypond
-@menu
-* White mensural ligatures::
-* Gregorian square neumes ligatures::
-@end menu
+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
-@subsubsection 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 put the
-@rinternals{Mensural_ligature_engraver} into the
-@rinternals{Voice} context, and remove the
-@rinternals{Ligature_bracket_engraver}, like this
+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 @{
For example,
-@example
-\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 example
-@lilypond[quote,ragged-right]
+@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
}
@end lilypond
-Without replacing @rinternals{Ligature_bracket_engraver} with
-@rinternals{Mensural_ligature_engraver}, the same music transcribes
-to the following
+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
+
+Horizontal spacing of ligatures is poor.
+
+
+@c {{{1 Typesetting Gregorian chant
+@node Typesetting Gregorian chant
+@subsection Typesetting Gregorian chant
+
+@menu
+* Gregorian chant contexts::
+* Gregorian clefs::
+* Gregorian accidentals and key signatures::
+* Divisiones::
+* Gregorian articulation signs::
+* Augmentum dots (@emph{morae})::
+* Gregorian square neume ligatures::
+@end menu
+
+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 {{{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,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
+
+@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
+@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
+
+@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
+
+@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
+
+@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
+Notation Reference: see @ref{Clef}.
+
+
+@c {{{2 Gregorian accidentals and key signatures
+@node Gregorian accidentals and key signatures
+@unnumberedsubsubsec Gregorian accidentals and key signatures
+
+@cindex accidentals
+@cindex key signature
+
+Accidentals for the three different Gregorian styles are available:
+
+@lilypond[quote,ragged-right,staffsize=26]
+\score {
+{
+ \textLengthOn
+ s^\markup {
+ \column {
+ "vaticana"
+ \line { " " \musicglyph #"accidentals.vaticana-1"
+ " " \musicglyph #"accidentals.vaticana0" }
+ }
+ \column {
+ "medicaea"
+ \line { " " \musicglyph #"accidentals.medicaea-1" }
+ }
+ \column {
+ "hufnagel"
+ \line { " " \musicglyph #"accidentals.hufnagel-1" }
+ }
+ }
+}
+\layout {
+ interscoreline = 1
+ \context { \Score \remove "Bar_number_engraver" }
+ \context { \Staff
+ \remove "Clef_engraver"
+ \remove "Key_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ \override VerticalAxisGroup #'minimum-Y-extent = ##f
+ }
+ }
+}
+@end lilypond
+
+As shown, not all accidentals are supported by each style. When
+trying to access an unsupported accidental, LilyPond will switch to a
+different style.
+
+@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@c {ancient-accidentals.ly}
+
+The style for accidentals and key signatures is controlled by the
+@code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
+@rinternals{KeySignature}, respectively; e.g.:
+
+@code{\override Staff.Accidental #'glyph-name-alist =
+#alteration-mensural-glyph-name-alist}
+
+
+@seealso
+Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
+@ref{Automatic accidentals} give a general introduction of the use of
+accidentals. @ref{Key signature} gives a general introduction of
+the use of key signatures.
+
+Internals Reference: @rinternals{KeySignature}.
+
+
+@c {{{2Divisiones
+@node Divisiones
+@unnumberedsubsubsec Divisiones
+
+@cindex divisio
+@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
+@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
+can be characterized as short, medium, and long pause, somewhat like
+the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
+only marks the end of a chant, but is also frequently used within a
+single antiphonal/responsorial chant to mark the end of each section.
+
+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@/.ly} also defines @code{\virgula} and
+@code{\caesura}
+
+@lilypondfile[quote,ragged-right]{divisiones.ly}
+
+
+@predefined
+@funindex \virgula
+@code{\virgula},
+@funindex \caesura
+@code{\caesura},
+@funindex \divisioMinima
+@code{\divisioMinima},
+@funindex \divisioMaior
+@code{\divisioMaior},
+@funindex \divisioMaxima
+@code{\divisioMaxima},
+@funindex \finalis
+@code{\finalis}.
+@endpredefined
+
+
+@c {{{2Gregorian articulations
+@node Gregorian articulation signs
+@unnumberedsubsubsec Gregorian articulation signs
+
+@cindex articulations
+
+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]
+\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
+
-@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"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
+@seealso
+TODO: nothing here yet ...
+
+
+@knownissues
+
+Some articulations are vertically placed too closely to the
+corresponding note heads.
+
+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 {{{2Augmentum dots (@emph{morae})
+@node Augmentum dots (@emph{morae})
+@unnumberedsubsubsec Augmentum dots (@emph{morae})
+
+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]
+\include "gregorian.ly"
+\score {
+ \new VaticanaVoice {
+ \[ \augmentum a \flexa \augmentum g \]
+ \augmentum g
+ }
}
@end lilypond
-@seealso
-TODO: nothing here yet ...
+@seealso
+Notation Reference: @ref{Breath marks}.
-@knownissues
+Internals Reference: @rinternals{BreathingSign}.
-Horizontal spacing is poor.
+Examples: @rlsr{Ancient notation}.
-@node Gregorian square neumes ligatures
-@subsubsection 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
(following the style of the Editio Vaticana). Core ligatures can
already be typeset, but essential issues for serious typesetting are
still lacking, such as (among others) horizontal alignment of multiple
-ligatures, lyrics alignment and proper handling of accidentals.
+ligatures, lyrics alignment, and proper handling of accidentals.
+
+The support for Gregorian neumes is enabled by @code{\include}ing
+"gregorian.ly" at the beginning of the file. This makes available
+a number of extra commands to produce the neume symbols used in
+plainchant notation.
+
+
+
+Note heads can be @emph{modified} and/or @emph{joined}.
+
+@itemize
+@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}.
+
+@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
+
+A note name without any qualifiers will produce a @emph{punctum}.
+All other neumes, including the single-note neumes with a
+different shape such as the @emph{virga}, are in principle
+considered as ligatures and should therefore be placed
+between @code{\[...\]}.
+@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
+@c equivalent.
+
+@noindent
+Single-note neumes:
+
+@itemize
+@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
+
+@noindent
+Ligatures
+
+Unlike most other neumes notation systems, the typographical
+appearance of ligatures is not directly dictated by the input
+commands, but follows certain conventions dependent on musical
+meaning. For example, a three-note ligature with the musical shape
+low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
+Torculus consisting of three Punctum heads, while the shape
+high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
+Porrectus with a curved flexa shape and only a single Punctum
+head. There is no command to explicitly typeset the curved flexa
+shape; the decision of when to typeset a curved flexa shape is
+based on the musical input. The idea of this approach is to
+separate the musical aspects of the input from the notation style
+of the output. This way, the same input can be reused to typeset
+the same music in a different style of Gregorian chant notation.
+
+@noindent
+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{\auctum} and one of the direction markers
+@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctum
+\descendens a \] }.
+
+@noindent
+Special signs
+A third category of signs is made up of a small number of signs
+with a special meaning (which, incidentally, in most cases is only
+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}.
-The following table contains the extended neumes table of the 2nd
-volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
-1983 by the monks of Solesmes.
+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.
-@multitable @columnfractions .4 .2 .2 .2
+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, 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
+table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
+Hymnarius}), published 1983 by the monks of Solesmes. The first
+column gives the name of the ligature, with the main form in
+boldface and the liquescent forms in italics. The third column
+shows the code fragment that produces this ligature, using
+@code{g}, @code{a}, and @code{b} as example pitches.
+
+
+@b{Single-note neums}
+
+@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 the time. --jr
+@c the time. --jr
@c why not make variables in ly/engraver-init.ly? --hwn
@c Because it's just used to typeset plain notes without
@c a staff for demonstration purposes rather than something
-@c special of Gregorian chant notation. --jr
+@c special of Gregorian chant notation. --jr
+
@item
-@code{1. Punctum}
+@b{Punctum}
@tab
@lilypond[staffsize=26,line-width=1.5\cm]
-\include "gregorian-init.ly"
+\include "gregorian.ly"
\score {
\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]
-\include "gregorian-init.ly"
+@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]
-\include "gregorian-init.ly"
+@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]
-\include "gregorian-init.ly"
+@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]
-\include "gregorian-init.ly"
+@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]
-\include "gregorian-init.ly"
+@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]
-\include "gregorian-init.ly"
+@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-init.ly"
+\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]
-\include "gregorian-init.ly"
+@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-init.ly"
+\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]
-\include "gregorian-init.ly"
+@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-init.ly"
+\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]
-\include "gregorian-init.ly"
+@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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\include "gregorian.ly"
\score {
\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-init.ly"
+\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-init.ly"
+\include "gregorian.ly"
\score {
\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\include "gregorian.ly"
\score {
\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\include "gregorian.ly"
\score {
\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\include "gregorian.ly"
\score {
\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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-init.ly"
+\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]
-\include "gregorian-init.ly"
+@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{\[ \stropha b \stropha b \stropha a \]}
-@predefined
+@end multitable
-The following head prefixes are supported
+@predefined
+The following head prefixes are supported:
@funindex \virga
@code{\virga},
@funindex \stropha
@code{\cavum},
@funindex \linea
@code{\linea}.
+@endpredefined
Head prefixes can be accumulated, though restrictions apply. For
example, either @code{\descendens} or @code{\ascendens} can be applied
@funindex \augmentum
Use the unary music function @code{\augmentum} to add augmentum dots.
-@seealso
+@seealso
TODO: nothing here yet ...
+
@knownissues
When an @code{\augmentum} dot appears at the end of the last staff
with head prefixes in arbitrary order.
-@node Pre-defined contexts
-@subsection Pre-defined contexts
-
-@menu
-* Gregorian chant contexts::
-* Mensural contexts::
-@end menu
-
-
-@node Gregorian chant contexts
-@subsubsection 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-init.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 ...
-
-@node Mensural contexts
-@subsubsection Mensural contexts
-
-@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
-
-@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
-
-@seealso
-
-TODO: nothing here yet ...
-
-@node Transcribing ancient music
-@subsection Transcribing ancient music
+@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
@menu
-* Ancient and modern from one source::
-* Incipits::
-* Mensurstriche layout::
-* Transcribing Gregorian chant::
+* Incipits::
+* Mensurstriche layout::
+* Transcribing Gregorian chant::
+* Ancient and modern from one source::
+* Editorial markings::
@end menu
+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:
-@node Ancient and modern from one source
-@subsubsection Ancient and modern from one source
-
-@c TODO Add text
-@c Here among others the snippets about reducing note length
-TBC
-
-@seealso
-
-@c ... and reference to other sections ...
-
+@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
+@c {{{2Incipits
@node Incipits
-@subsubsection Incipits
+@unnumberedsubsubsec Incipits
@c TODO Add text
@c clefs, mensuration signs etc from lsr and -user
@c use snippet Transcription-of-ancient-music-with-incipit
TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
-@node Mensurstriche layout
-@subsubsection Mensurstriche layout
-@c TODO Add text
-@c from lsr and -user
-TBC
+@c {{{2Mensurstriche layout
+@node Mensurstriche layout
+@unnumberedsubsubsec Mensurstriche layout
-@seealso
+@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.
-@c ... and reference to other sections ...
+@lilypondfile[verbatim,lilyquote,texidoc]
+{mensurstriche-layout-bar-lines-between-the-staves.ly}
-@node Transcribing Gregorian chant
-@subsubsection Transcribing Gregorian chant
+@c This simple setup will take care of the
+@c TODO Add text about lyrics to the lowest line, to be placed
+@c outside the StaffGroup.
+@c from lsr and -user
+@c TBC
-@c TODO Add text
-@c extract from 1.6.1.1
-TBC
@seealso
-
@c ... and reference to other sections ...
-@node Editorial markings
-@subsection Editorial markings
+@c {{{2Transcribing Gregorian chant
+@node Transcribing Gregorian chant
+@unnumberedsubsubsec Transcribing Gregorian chant
-@menu
-* Annotational accidentals::
-* Baroque rhythmic notation::
-@end menu
+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
+}
-@node Annotational accidentals
-@subsubsection Annotational accidentals
+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
-In European music from before about 1600, singers were often
-expected to chromatically alter notes at their own initiative.
-This is called @notation{musica ficta}. In modern transcriptions, these
-accidentals are usually printed over the note.
+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:
-@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.
+@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
+}
-@funindex suggestAccidentals
+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.
+}
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
+\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
-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}:
+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
+}
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\once \set suggestAccidentals = ##t
-ais ais bis
+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 ...
-Internals Reference: @rinternals{Accidental_engraver} engraver and
-the @rinternals{AccidentalSuggestion} object.
+@c {{{2Ancient and modern from one source
+@node Ancient and modern from one source
+@unnumberedsubsubsec Ancient and modern from one source
+
+@c TODO Add text
+@c Here among others the snippets about reducing note length
+TBC
+
+@seealso
+@c ... and reference to other sections ...
+@c {{{2Editorial markings
+@node Editorial markings
+@unnumberedsubsubsec Editorial markings
-@node Baroque rhythmic notation
-@subsubsection Baroque rhythmic notation
+@c {{{2Baroque rhythmic notation
+@c @node Baroque rhythmic notation
+@c @unnumberedsubsubsec Baroque rhythmic notation
@c TODO Add text
@c try Till Rettig
@c Add example of white noteheads:
@c In the french baroque some composers used white noteheads in slow pieces,
-@c mainly in 3/2-time. A quarter looks there like a eighth with a white
+@c 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)
+@c style). The editor might want to show that rythmic figure above the
+@c staff as an hint to performers. (Karl Hammer)
TBC
-@seealso
+@seealso
@c ... and reference to other sections ...
+
projects / lilypond.git / blobdiff