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14 @node Ancient notation
15 @section Ancient notation
17 @lilypondfile[quote]{ancient-headword.ly}
19 @cindex Vaticana, Editio
20 @cindex Medicaea, Editio
27 * Overview of the supported styles::
28 * Ancient notation---common features::
29 * Typesetting mensural music::
30 * Typesetting Gregorian chant::
31 * Working with ancient music---scenarios and solutions::
35 Support for ancient notation includes features for mensural
36 notation and Gregorian chant notation. These features can be
37 accessed either by modifying style properties of graphical objects
38 such as note heads and rests, or by using one of the pre-defined
39 contexts for mensural or Gregorian notation.
41 Many graphical objects, such as note heads and flags, accidentals,
42 time signatures, and rests, provide a @code{style} property, which
43 can be changed to emulate several different styles of ancient
47 @item @ref{Mensural note heads},
48 @item @ref{Mensural accidentals and key signatures},
49 @item @ref{Mensural rests},
50 @item @ref{Mensural clefs},
51 @item @ref{Gregorian clefs},
52 @item @ref{Mensural flags},
53 @item @ref{Mensural time signatures}.
56 Some notational concepts are introduced specifically for ancient
61 @item @ref{Divisiones},
62 @item @ref{Ligatures}.
69 @rglos{mensural notation}.
72 @ref{Mensural note heads},
73 @ref{Mensural accidentals and key signatures},
75 @ref{Gregorian clefs},
77 @ref{Mensural time signatures},
83 @node Overview of the supported styles
84 @subsection Overview of the supported styles
87 Three styles are available for typesetting Gregorian chant:
90 @item @emph{Editio Vaticana} is a complete style for
91 Gregorian chant, following the appearance of the Solesmes
92 editions, the official chant books of the Vatican since 1904.
93 LilyPond has support for all the notational signs used in this
94 style, including ligatures, @emph{custodes}, and special signs
95 such as the quilisma and the oriscus.
98 @cindex Vaticana, Editio
100 @item The @emph{Editio Medicaea} style offers certain features
101 used in the Medicaea (or Ratisbona) editions which were used prior
102 to the Solesmes editions. The most significant differences from
103 the @emph{Vaticana} style are the clefs, which have
104 downward-slanted strokes, and the noteheads, which are square and
107 @cindex Ratisbona, Editio
108 @cindex Medicaea, Editio
110 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
111 style mimics the writing style in chant manuscripts from Germany
112 and Central Europe during the middle ages. It is named after the
113 basic note shape (the @emph{virga}), which looks like a small
118 Three styles emulate the appearance of late-medieval and
119 renaissance manuscripts and prints of mensural music:
122 @item The @emph{Mensural} style most closely resembles the
123 writing style used in late-medieval and early renaissance
124 manuscripts, with its small and narrow, diamond-shaped noteheads
125 and its rests which approach a hand-drawn style.
129 @item The @emph{Neomensural} style is a modernized and
130 stylized version of the former: the noteheads are broader and the
131 rests are made up of straight lines. This style is particularly
132 suited, e.g., for incipits of transcribed pieces of mensural
137 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
138 (1466-1539), the first printer to use movable type for music (in
139 his @emph{Harmonice musices odhecaton}, 1501). The style uses
140 larger note heads than the other mensural styles.
146 @emph{Baroque} and @emph{Classical} are not complete styles
147 but differ from the default style only in some details: certain
148 noteheads (Baroque) and the quarter rest (Classical).
150 Only the mensural style has alternatives for all aspects of the
151 notation. Thus, there are no rests or flags in the Gregorian
152 styles, since these signs are not used in plainchant notation, and
153 the Petrucci style has no flags or accidentals of its own.
155 Each element of the notation can be changed independently of the
156 others, so that one can use mensural flags, petrucci noteheads,
157 classical rests and vaticana clefs in the same piece, if one
162 @rglos{mensural notation},
166 @node Ancient notation---common features
167 @subsection Ancient notation---common features
170 * Pre-defined contexts::
173 * Figured bass support::
177 @node Pre-defined contexts
178 @unnumberedsubsubsec Pre-defined contexts
180 For Gregorian chant and mensural notation, there are pre-defined
181 voice and staff contexts available, which set all the various
182 notation signs to values suitable for these styles. If one is
183 satisfied with these defaults, one can proceed directly with note
184 entry without worrying about the details on how to customize a
185 context. See one of the pre-defined contexts
186 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
187 and @code{MensuralStaff}. See further
190 @item @ref{Gregorian chant contexts},
191 @item @ref{Mensural contexts}.
196 @rglos{mensural notation}.
199 @ref{Gregorian chant contexts},
200 @ref{Mensural contexts}.
204 @unnumberedsubsubsec Ligatures
208 @c TODO: Should double check if I recalled things correctly when I wrote
209 @c down the following paragraph by heart.
211 A ligature is a graphical symbol that represents at least two
212 distinct notes. Ligatures originally appeared in the manuscripts
213 of Gregorian chant notation to denote ascending or descending
214 sequences of notes on the same syllable. They are also used in
217 Ligatures are entered by @emph{enclosing} them in @code{\[} and
218 @code{\]}. Some ligature styles may need additional input syntax
219 specific for this particular type of ligature. By default, the
220 @code{LigatureBracket} engraver just puts a square bracket
223 @lilypond[quote,ragged-right,verbatim]
231 Two other ligature styles are available: the Vaticana for
232 Gregorian chant, and the Mensural for mensural music (only white
233 mensural ligatures are supported for mensural music, and with
234 certain limitations). To use any of these styles, the default
235 @code{Ligature_bracket_engraver} has to be replaced with one of the
236 specialized ligature engravers in the @code{Voice} context,
237 as explained in @ref{White mensural ligatures} and @ref{Gregorian
238 square neume ligatures}.
245 @ref{White mensural ligatures},
246 @ref{Gregorian square neume ligatures}.
249 Ligatures need special spacing that has not yet been implemented. As
250 a result, there is too much space between ligatures most of the time,
251 and line breaking often is unsatisfactory. Also, lyrics do not
252 correctly align with ligatures.
254 Accidentals must not be printed within a ligature, but instead need to
255 be collected and printed in front of it.
257 The syntax still uses the deprecated infix style @code{\[ music expr
258 \]}. For consistency reasons, it will eventually be changed to
259 postfix style @code{note\[ ... note\]}.
261 @c Alternatively, the file
262 @c @file{gregorian-init.ly} can be included; it provides a scheme
265 @c \ligature @var{music expr}
267 @c with the same effect and is believed to be stable.
269 @c TODO: this does not seem to work at the moment.
274 @unnumberedsubsubsec Custodes
279 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
280 symbol that appears at the end of a staff. It anticipates the pitch
281 of the first note of the following line, thus helping the performer
282 to manage line breaks during performance.
284 Custodes were frequently used in music notation until the
285 seventeenth century. Nowadays, they have survived only in a few
286 particular forms of musical notation such as contemporary editions
287 of Gregorian chant like the @emph{Editio Vaticana}. There are
288 different custos glyphs used in different flavors of notational
291 For typesetting custodes, just put a @code{Custos_engraver} into the
292 @code{Staff} context when declaring the @code{\layout} block,
293 and change the style of the custos with an @code{\override} if
294 desired, as shown in the following example:
296 @lilypond[quote,ragged-right]
306 \consists Custos_engraver
307 \override Custos #'style = #'mensural
313 The custos glyph is selected by the @code{style} property. The styles
314 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
315 @code{mensural}. They are demonstrated in the following fragment.
317 @lilypond[quote,ragged-right,fragment]
318 \new Lyrics \lyricmode {
320 \typewriter "vaticana "
321 \line { " " \musicglyph #"custodes.vaticana.u0" }
324 \typewriter "medicaea "
325 \line { " " \musicglyph #"custodes.medicaea.u0" }
328 \typewriter "hufnagel "
329 \line { " " \musicglyph #"custodes.hufnagel.u0" }
332 \typewriter "mensural "
333 \line { " " \musicglyph #"custodes.mensural.u0" }
346 @rlsr{Ancient notation}.
349 @node Figured bass support
350 @unnumberedsubsubsec Figured bass support
352 There is limited support for figured bass notation from the
353 Baroque period; see @ref{Figured bass}.
357 @rglos{figured bass}.
363 @node Typesetting mensural music
364 @subsection Typesetting mensural music
367 * Mensural contexts::
369 * Mensural time signatures::
370 * Mensural note heads::
373 * Mensural accidentals and key signatures::
374 * Annotational accidentals (musica ficta)::
375 * White mensural ligatures::
379 @node Mensural contexts
380 @unnumberedsubsubsec Mensural contexts
382 @cindex MensuralVoiceContext
383 @cindex MensuralStaffContext
385 The predefined @code{MensuralVoice} and @code{MensuralStaff}
386 contexts can be used to engrave a piece in mensural style. These
387 contexts initialize all relevant context properties and grob
388 properties to proper values, so you can immediately go ahead
389 entering the chant, as the following excerpt demonstrates:
391 @lilypond[quote,ragged-right,verbatim]
394 \new MensuralVoice = "discantus" \transpose c c' {
395 \override Score.BarNumber #'transparent = ##t {
396 c'1\melisma bes a g\melismaEnd
398 \[ f1\melisma a c'\breve d'\melismaEnd \]
400 c'\breve\melisma a1 g1\melismaEnd
401 fis\longa^\signumcongruentiae
404 \new Lyrics \lyricsto "discantus" {
405 San -- ctus, San -- ctus, San -- ctus
414 @rglos{mensural notation}.
418 @unnumberedsubsubsec Mensural clefs
422 The following table shows all mensural clefs that are supported via
423 the @code{\clef} command. Some of the clefs use the same glyph,
424 but differ only with respect to the line they are printed on. In
425 such cases, a trailing number in the name is used to enumerate
426 these clefs, numbered from the lowest to the highest line. Still,
427 you can manually force a clef glyph to be typeset on an arbitrary
428 line, as described in @ref{Clef}. The note printed to the right
429 side of each clef in the example column denotes the @code{c'} with
430 respect to that clef.
432 Petrucci used C clefs with differently balanced left-side vertical
433 beams, depending on which staff line it is printed.
435 @multitable @columnfractions .4 .4 .2
446 @code{mensural-c1}, @code{mensural-c2},@*
447 @code{mensural-c3}, @code{mensural-c4}
449 @lilypond[fragment,relative=1,notime]
451 \override NoteHead #'style = #'mensural
460 @lilypond[fragment,relative=1,notime]
462 \override NoteHead #'style = #'mensural
471 @lilypond[fragment,relative=1,notime]
473 \override NoteHead #'style = #'mensural
480 @code{neomensural-c1}, @code{neomensural-c2},@*
481 @code{neomensural-c3}, @code{neomensural-c4}
483 @lilypond[fragment,relative=1,notime]
484 \clef "neomensural-c2" c
488 petrucci style C clefs, for use on different staff lines
489 (the example shows the 2nd staff line C clef)
491 @code{petrucci-c1}, @code{petrucci-c2},@*
492 @code{petrucci-c3}, @code{petrucci-c4},@*
495 @lilypond[fragment,relative=1,notime]
497 \override NoteHead #'style = #'mensural
502 petrucci style F clef
506 @lilypond[fragment,relative=1,notime]
508 \override NoteHead #'style = #'mensural
513 petrucci style G clef
517 @lilypond[fragment,relative=1,notime]
519 \override NoteHead #'style = #'mensural
526 @rglos{mensural notation},
534 The mensural g clef is mapped to the Petrucci g clef.
537 @node Mensural time signatures
538 @unnumberedsubsubsec Mensural time signatures
540 @cindex mensuration sign
541 @cindex time signatures
543 There is limited support for mensuration signs (which are similar to, but
544 not exactly the same as time signatures). The glyphs are hard-wired to
545 particular time fractions. In other words, to get a particular mensuration
546 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
547 chosen according to the following table
549 @lilypond[quote,ragged-right]
554 \remove Staff_symbol_engraver
555 \remove Clef_engraver
556 \remove Time_signature_engraver
560 \set Score.timing = ##f
561 \set Score.barAlways = ##t
562 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
563 #"timesig.neomensural44" }
565 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
566 #"timesig.neomensural22" }
568 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
569 #"timesig.neomensural64" }
571 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
572 #"timesig.neomensural68" }
574 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
575 #"timesig.neomensural32" }
577 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
578 #"timesig.neomensural34" }
580 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
581 #"timesig.neomensural94" }
583 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
584 #"timesig.neomensural98" }
586 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
587 #"timesig.neomensural48" }
589 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
590 #"timesig.neomensural24" }
594 Use the @code{style} property of grob @code{TimeSignature}
595 to select ancient time signatures. Supported styles are
596 @code{neomensural} and @code{mensural}. The above table uses the
597 @code{neomensural} style. The following examples show the
598 differences in style:
600 @lilypond[ragged-right,fragment,relative=1,quote]
605 c1^\markup { \hspace #-2.0 \typewriter default }
607 \override Staff.TimeSignature #'style = #'numbered
609 c1^\markup { \hspace #-2.0 \typewriter numbered }
611 \override Staff.TimeSignature #'style = #'mensural
613 c1^\markup { \hspace #-2.0 \typewriter mensural }
615 \override Staff.TimeSignature #'style = #'neomensural
617 c1^\markup { \hspace #-2.0 \typewriter neomensural }
618 \override Staff.TimeSignature #'style = #'single-digit
620 c1^\markup { \hspace #-2.0 \typewriter single-digit }
624 @ref{Time signature}, gives a general introduction to
625 the use of time signatures.
629 @rglos{mensural notation}.
632 @ref{Time signature}.
635 Ratios of note durations do not change with the time signature. For
636 example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
637 perfectum}) must be made by hand, by setting
640 breveTP = #(ly:make-duration -1 0 3 2)
646 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
648 The @code{mensural68alt} and @code{neomensural68alt} symbols
649 (alternate symbols for 6/8) are not addressable with @code{\time}.
650 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
653 @node Mensural note heads
654 @unnumberedsubsubsec Mensural note heads
656 @cindex note heads, ancient
658 For ancient notation, a note head style other than the @code{default} style
659 may be chosen. This is accomplished by setting the @code{style} property of
660 the @code{NoteHead} object to @code{baroque}, @code{neomensural},
661 @code{mensural} or @code{petrucci}.
663 The @code{baroque} style differs from the @code{default} style by:
666 @item Providing a @code{maxima} notehead, and
667 @item Using a square shape for @code{\breve} note heads.
670 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
671 the @code{baroque} style by:
674 @item Using rhomboidal heads for semibreves and all smaller durations, and
675 @item Centering the stems on the note heads.
679 The following example demonstrates the @code{petrucci} style:
681 @c Renaissance music doesn't use bar lines ... but they do help to
682 @c separate the notes for easier identification.
684 @lilypond[quote,fragment,ragged-right,verbatim]
685 \set Score.skipBars = ##t
687 \override NoteHead #'style = #'petrucci
688 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
693 @ref{Note head styles}, gives an overview of all available note head styles.
697 @rglos{mensural notation},
701 @ref{Note head styles}.
705 @unnumberedsubsubsec Mensural flags
709 Use the @code{flag-style} property of grob @code{Stem} to
710 select ancient flags. Besides the @code{default} flag style,
711 only the @code{mensural} style is supported.
713 @lilypond[quote,fragment,ragged-right,verbatim]
714 \override Stem #'flag-style = #'mensural
715 \override Stem #'thickness = #1.0
716 \override NoteHead #'style = #'mensural
718 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
719 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
722 Note that the innermost flare of each mensural flag always is
723 vertically aligned with a staff line.
725 There is no particular flag style for neo-mensural or Petrucci notation.
727 @c when typesetting the incipit of a transcribed piece of mensural
728 @c music, the default flag style should be used.
729 There are no flags in Gregorian chant notation.
734 @rglos{mensural notation},
739 The attachment of ancient flags to stems is slightly off.
740 @c due to a change in early 2.3.x.
742 Vertically aligning each flag with a staff line assumes that stems
743 always end either exactly on or exactly in the middle between two
744 staff lines. This may not always be true when using advanced layout
745 features of classical notation (which however are typically out of
746 scope for mensural notation).
750 @unnumberedsubsubsec Mensural rests
752 @cindex rests, ancient
754 Use the @code{style} property of grob @code{Rest} to select
755 ancient rests. Supported styles are @code{classical},
756 @code{neomensural}, and @code{mensural}. @code{classical} differs
757 from the @code{default} style only in that the quarter rest looks
758 like a horizontally mirrored 8th rest. The @code{mensural} and
759 the @code{neomensural} styles mimic the appearance of rests in
760 manuscripts and prints up to the 16th century.
762 The following example demonstrates the @code{mensural} and
763 @code{neomensural} styles:
765 @lilypond[quote,fragment,ragged-right,verbatim]
766 \set Score.skipBars = ##t
767 \override Rest #'style = #'classical
768 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
769 \override Rest #'style = #'mensural
770 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
771 \override Rest #'style = #'neomensural
772 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
775 There are no 32th and 64th rests specifically for the mensural or
776 neo-mensural style. Instead, the rests from the default style will be
781 @rglos{mensural notation}.
787 @rlsr{Ancient notation}.
790 @node Mensural accidentals and key signatures
791 @unnumberedsubsubsec Mensural accidentals and key signatures
794 @cindex key signature
796 The @code{mensural} style provides a sharp and a flat sign
797 different from the default style. If called for, the natural sign
798 will be taken from the @code{vaticana} style.
800 @lilypond[quote,ragged-right,staffsize=26]
804 \line { " " \musicglyph #"accidentals.mensural-1"
805 " " \musicglyph #"accidentals.mensural1" }
810 The style for accidentals and key signatures is controlled by the
811 @code{glyph-name-alist} property of the grobs @code{Accidental} and
812 @code{KeySignature}, respectively; e.g.:
814 @code{\override Staff.Accidental #'glyph-name-alist =
815 #alteration-mensural-glyph-name-alist}
819 @rglos{mensural notation},
822 @rglos{key signature}.
827 @ref{Automatic accidentals},
831 @rinternals{KeySignature}.
834 @node Annotational accidentals (musica ficta)
835 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
837 In European music from before about 1600, singers were expected to
838 chromatically alter notes at their own initiative according to
839 certain rules. This is called @notation{musica ficta}. In modern
840 transcriptions, these accidentals are usually printed over the
843 @cindex Accidental, musica ficta
846 Support for such suggested accidentals is included, and can be
847 switched on by setting @code{suggestAccidentals} to true.
849 @funindex suggestAccidentals
851 @lilypond[verbatim,fragment,relative=1]
853 \set suggestAccidentals = ##t
857 This will treat @emph{every} subsequent accidental as @emph{musica
858 ficta} until it is unset with @code{\set suggestAccidentals =
859 ##f}. A more practical way is to use @code{\once \set
860 suggestAccidentals = ##t}, which can even be defined as a
861 convenient shorthand:
863 @lilypond[quote,verbatim]
864 ficta = { \once \set suggestAccidentals = ##t }
865 \score { \relative c''
867 \once \set suggestAccidentals = ##t
868 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
876 @rinternals{Accidental_engraver},
877 @rinternals{AccidentalSuggestion}.
880 @node White mensural ligatures
881 @unnumberedsubsubsec White mensural ligatures
883 @cindex Mensural ligatures
884 @cindex White mensural ligatures
886 There is limited support for white mensural ligatures.
888 To engrave white mensural ligatures, in the layout block, replace
889 the @code{Ligature_bracket_engraver} with the
890 @code{Mensural_ligature_engraver} in the @code{Voice}
897 \remove Ligature_bracket_engraver
898 \consists Mensural_ligature_engraver
903 There is no additional input language to describe the shape of a
904 white mensural ligature. The shape is rather determined solely from
905 the pitch and duration of the enclosed notes. While this approach may
906 take a new user a while to get accustomed to, it has the great advantage
907 that the full musical information of the ligature is known internally.
908 This is not only required for correct MIDI output, but also allows for
909 automatic transcription of the ligatures.
914 @c \set Score.timing = ##f
915 @c \set Score.defaultBarType = "empty"
916 @c \override NoteHead #'style = #'neomensural
917 @c \override Staff.TimeSignature #'style = #'neomensural
918 @c \clef "petrucci-g"
920 @c \[ d\longa c\breve f e d \]
921 @c \[ c'\maxima d'\longa \]
922 @c \[ e'1 a g\breve \]
924 @lilypond[quote,ragged-right,verbatim]
927 \set Score.timing = ##f
928 \set Score.defaultBarType = "empty"
929 \override NoteHead #'style = #'neomensural
930 \override Staff.TimeSignature #'style = #'neomensural
933 \[ d\longa c\breve f e d \]
934 \[ c'\maxima d'\longa \]
940 \remove Ligature_bracket_engraver
941 \consists Mensural_ligature_engraver
947 Without replacing @code{Ligature_bracket_engraver} with
948 @code{Mensural_ligature_engraver}, the same music transcribes
951 @lilypond[quote,ragged-right]
953 \set Score.timing = ##f
954 \set Score.defaultBarType = "empty"
955 \override NoteHead #'style = #'neomensural
956 \override Staff.TimeSignature #'style = #'neomensural
959 \[ d\longa c\breve f e d \]
960 \[ c'\maxima d'\longa \]
970 @ref{Gregorian square neume ligatures},
974 Horizontal spacing of ligatures is poor.
977 @node Typesetting Gregorian chant
978 @subsection Typesetting Gregorian chant
981 * Gregorian chant contexts::
983 * Gregorian accidentals and key signatures::
985 * Gregorian articulation signs::
986 * Augmentum dots (morae)::
987 * Gregorian square neume ligatures::
990 When typesetting a piece in Gregorian chant notation, the
991 @code{Vaticana_ligature_engraver} automatically selects the
992 proper note heads, so there is no need to explicitly set the note
993 head style. Still, the note head style can be set, e.g., to
994 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
995 @code{Mensural_ligature_engraver} automatically assembles
1003 @ref{White mensural ligatures},
1006 @node Gregorian chant contexts
1007 @unnumberedsubsubsec Gregorian chant contexts
1009 @cindex VaticanaVoiceContext
1010 @cindex VaticanaStaffContext
1012 The predefined @code{VaticanaVoiceContext} and
1013 @code{VaticanaStaffContext} can be used to engrave a piece of
1014 Gregorian chant in the style of the Editio Vaticana. These contexts
1015 initialize all relevant context properties and grob properties to
1016 proper values, so you can immediately go ahead entering the chant, as
1017 the following excerpt demonstrates:
1019 @lilypond[quote,ragged-right,verbatim]
1020 \include "gregorian.ly"
1023 \new VaticanaVoice = "cantus" {
1024 \[ c'\melisma c' \flexa a \]
1025 \[ a \flexa \deminutum g\melismaEnd \]
1027 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1028 c' \divisioMinima \break
1029 \[ c'\melisma c' \flexa a \]
1030 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1032 \new Lyrics \lyricsto "cantus" {
1033 San- ctus, San- ctus, San- ctus
1041 @c TODO: nothing here yet ...
1044 @node Gregorian clefs
1045 @unnumberedsubsubsec Gregorian clefs
1049 The following table shows all Gregorian clefs that are supported via
1050 the @code{\clef} command. Some of the clefs use the same glyph,
1051 but differ only with respect to the line they are printed on. In
1052 such cases, a trailing number in the name is used to enumerate
1053 these clefs, numbered from the lowest to the highest line. Still,
1054 you can manually force a clef glyph to be typeset on an arbitrary
1055 line, as described in @ref{Clef}. The note printed to the right
1056 side of each clef in the example column denotes the @code{c'} with
1057 respect to that clef.
1059 @multitable @columnfractions .4 .4 .2
1068 Editio Vaticana style do clef
1070 @code{vaticana-do1}, @code{vaticana-do2},@*
1073 @lilypond[fragment,relative=1,notime]
1074 \override Staff.StaffSymbol #'line-count = #4
1075 \override Staff.StaffSymbol #'color = #red
1076 \override Staff.LedgerLineSpanner #'color = #red
1077 \override Voice.Stem #'transparent = ##t
1078 \override NoteHead #'style = #'vaticana.punctum
1079 \clef "vaticana-do2"
1084 Editio Vaticana style fa clef
1086 @code{vaticana-fa1}, @code{vaticana-fa2}
1088 @lilypond[fragment,relative=1,notime]
1089 \override Staff.StaffSymbol #'line-count = #4
1090 \override Staff.StaffSymbol #'color = #red
1091 \override Staff.LedgerLineSpanner #'color = #red
1092 \override Voice.Stem #'transparent = ##t
1093 \override NoteHead #'style = #'vaticana.punctum
1094 \clef "vaticana-fa2"
1099 Editio Medicaea style do clef
1101 @code{medicaea-do1}, @code{medicaea-do2},@*
1104 @lilypond[fragment,relative=1,notime]
1105 \override Staff.StaffSymbol #'line-count = #4
1106 \override Staff.StaffSymbol #'color = #red
1107 \override Staff.LedgerLineSpanner #'color = #red
1108 \override Voice.Stem #'transparent = ##t
1109 \override NoteHead #'style = #'medicaea.punctum
1110 \clef "medicaea-do2"
1115 Editio Medicaea style fa clef
1117 @code{medicaea-fa1}, @code{medicaea-fa2}
1119 @lilypond[fragment,relative=1,notime]
1120 \override Staff.StaffSymbol #'line-count = #4
1121 \override Staff.StaffSymbol #'color = #red
1122 \override Staff.LedgerLineSpanner #'color = #red
1123 \override Voice.Stem #'transparent = ##t
1124 \override NoteHead #'style = #'medicaea.punctum
1125 \clef "medicaea-fa2"
1130 hufnagel style do clef
1132 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1135 @lilypond[fragment,relative=1,notime]
1136 \override Staff.StaffSymbol #'line-count = #4
1137 \override Staff.StaffSymbol #'color = #red
1138 \override Staff.LedgerLineSpanner #'color = #red
1139 \override Voice.Stem #'transparent = ##t
1140 \override NoteHead #'style = #'hufnagel.punctum
1141 \clef "hufnagel-do2"
1146 hufnagel style fa clef
1148 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1150 @lilypond[fragment,relative=1,notime]
1151 \override Staff.StaffSymbol #'line-count = #4
1152 \override Staff.StaffSymbol #'color = #red
1153 \override Staff.LedgerLineSpanner #'color = #red
1154 \override Voice.Stem #'transparent = ##t
1155 \override NoteHead #'style = #'hufnagel.punctum
1156 \clef "hufnagel-fa2"
1161 hufnagel style combined do/fa clef
1163 @code{hufnagel-do-fa}
1165 @lilypond[fragment,relative=1,notime]
1166 \override Staff.StaffSymbol #'color = #red
1167 \override Staff.LedgerLineSpanner #'color = #red
1168 \override Voice.Stem #'transparent = ##t
1169 \override NoteHead #'style = #'hufnagel.punctum
1170 \clef "hufnagel-do-fa"
1184 @node Gregorian accidentals and key signatures
1185 @unnumberedsubsubsec Gregorian accidentals and key signatures
1188 @cindex key signature
1190 Accidentals for the three different Gregorian styles are available:
1192 @lilypond[quote,ragged-right,staffsize=26]
1196 \line { " " \musicglyph #"accidentals.vaticana-1"
1197 " " \musicglyph #"accidentals.vaticana0" }
1201 \line { " " \musicglyph #"accidentals.medicaea-1" }
1205 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1210 As shown, not all accidentals are supported by each style. When
1211 trying to access an unsupported accidental, LilyPond will switch to a
1214 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1215 @c {ancient-accidentals.ly}
1217 The style for accidentals and key signatures is controlled by the
1218 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1219 @code{KeySignature}, respectively; e.g.:
1221 @code{\override Staff.Accidental #'glyph-name-alist =
1222 #alteration-mensural-glyph-name-alist}
1228 @rglos{key signature}.
1233 @ref{Automatic accidentals},
1234 @ref{Key signature}.
1236 Internals Reference:
1237 @rinternals{KeySignature}.
1241 @unnumberedsubsubsec Divisiones
1247 There are no rests in Gregorian chant notation; instead, it uses
1250 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1251 @q{division}) is a staff context symbol that is used to indicate
1252 the phrase and section structure of Gregorian music. The musical meaning of
1253 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1254 can be characterized as short, medium, and long pause, somewhat like
1255 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1256 only marks the end of a chant, but is also frequently used within a
1257 single antiphonal/responsorial chant to mark the end of each section.
1259 To use divisiones, include the file @file{gregorian.ly}. It
1260 contains definitions that you can apply by just inserting
1261 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1262 and @code{\finalis} at proper places in the input. Some editions use
1263 @emph{virgula} or @emph{caesura} instead of divisio minima.
1264 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1267 @lilypond[quote,ragged-right]
1268 \include "gregorian.ly"
1271 \context VaticanaVoice {
1272 \override TextScript #'padding = #3
1274 s^\markup { "divisio minima" }
1277 s^\markup { "divisio maior" }
1280 s^\markup { "divisio maxima" }
1284 s^\markup { "finalis" }
1287 s^\markup { "virgula" }
1290 s^\markup { "caesura" }
1304 @funindex \divisioMinima
1305 @code{\divisioMinima},
1306 @funindex \divisioMaior
1307 @code{\divisioMaior},
1308 @funindex \divisioMaxima
1309 @code{\divisioMaxima},
1323 @file{gregorian.ly}.
1326 @node Gregorian articulation signs
1327 @unnumberedsubsubsec Gregorian articulation signs
1329 @cindex articulations
1331 In addition to the standard articulation signs described in
1332 section @ref{Articulations and ornamentations}, articulation signs
1333 specifically designed for use with notation in @emph{Editio
1334 Vaticana} style are provided.
1336 @lilypond[quote,ragged-right,verbatim]
1337 \include "gregorian.ly"
1339 \new VaticanaVoice {
1340 \override TextScript #'font-family = #'typewriter
1341 \override TextScript #'font-shape = #'upright
1342 \override Script #'padding = #-0.1
1343 a\ictus_"ictus " \bar "" \break
1344 a\circulus_"circulus " \bar "" \break
1345 a\semicirculus_"semicirculus " \bar "" \break
1346 a\accentus_"accentus " \bar "" \break
1347 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1355 @ref{Articulations and ornamentations}.
1358 @rlsr{Ancient notation}.
1360 Internals Reference:
1361 @rinternals{Episema},
1362 @rinternals{EpisemaEvent},
1363 @rinternals{Episema_engraver},
1364 @rinternals{Script},
1365 @rinternals{ScriptEvent},
1366 @rinternals{Script_engraver}.
1370 Some articulations are vertically placed too closely to the
1371 corresponding note heads.
1374 @node Augmentum dots (morae)
1375 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1377 Augmentum dots, also called @emph{morae}, are added with the music
1378 function @code{\augmentum}. Note that @code{\augmentum} is
1379 implemented as a unary music function rather than as head prefix. It
1380 applies to the immediately following music expression only. That is,
1381 @code{\augmentum \virga c} will have no visible effect. Instead, say
1382 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1383 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1384 @code{\augmentum a \augmentum g}.
1386 @lilypond[quote,ragged-right,verbatim]
1387 \include "gregorian.ly"
1389 \new VaticanaVoice {
1390 \[ \augmentum a \flexa \augmentum g \]
1401 Internals Reference:
1402 @rinternals{BreathingSign}.
1405 @rlsr{Ancient notation}.
1408 @node Gregorian square neume ligatures
1409 @unnumberedsubsubsec Gregorian square neume ligatures
1411 @cindex Square neumes ligatures
1412 @cindex Gregorian square neumes ligatures
1414 There is limited support for Gregorian square neumes notation
1415 (following the style of the Editio Vaticana). Core ligatures can
1416 already be typeset, but essential issues for serious typesetting are
1417 still lacking, such as (among others) horizontal alignment of multiple
1418 ligatures, lyrics alignment, and proper handling of accidentals.
1420 The support for Gregorian neumes is enabled by @code{\include}ing
1421 @file{gregorian.ly} at the beginning of the file. This makes available
1422 a number of extra commands to produce the neume symbols used in
1423 plainchant notation.
1427 Note heads can be @emph{modified} and/or @emph{joined}.
1431 the note head can be modified by @emph{prefixing} the note name
1432 with any of the following commands:
1437 @funindex \inclinatum
1441 @funindex \descendens
1443 @funindex \ascendens
1449 @funindex \deminutum
1456 @item Ligatures, properly speaking (i.e. notes joined together), are
1457 produced by placing one of the joining commands @code{\pes} or
1458 @code{\flexa}, for upwards and downwards movement, respectively,
1459 @emph{between} the notes to be joined.
1462 A note name without any qualifiers will produce a @emph{punctum}.
1463 All other neumes, including the single-note neumes with a
1464 different shape such as the @emph{virga}, are in principle
1465 considered as ligatures and should therefore be placed
1466 between @code{\[...\]}.
1467 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1474 @item The @emph{punctum} is the basic note shape (in the
1475 @emph{Vaticana} style: a square with some curvation for
1476 typographical finesse). In addition to the regular
1477 @emph{punctum}, there is also the oblique @emph{punctum
1478 inclinatum}, produced with the prefix @code{\inclinatum}. The
1479 regular @emph{punctum} can be modified with @code{\cavum}, which
1480 produces a hollow note, and @code{\linea}, which draws vertical
1481 lines on either side of the note.
1483 @item The @emph{virga} has a descending stem on the right side. It is
1484 produced by the modifier @code{\virga}.
1490 Unlike most other neumes notation systems, the typographical
1491 appearance of ligatures is not directly dictated by the input
1492 commands, but follows certain conventions dependent on musical
1493 meaning. For example, a three-note ligature with the musical shape
1494 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1495 Torculus consisting of three Punctum heads, while the shape
1496 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1497 Porrectus with a curved flexa shape and only a single Punctum
1498 head. There is no command to explicitly typeset the curved flexa
1499 shape; the decision of when to typeset a curved flexa shape is
1500 based on the musical input. The idea of this approach is to
1501 separate the musical aspects of the input from the notation style
1502 of the output. This way, the same input can be reused to typeset
1503 the same music in a different style of Gregorian chant notation.
1508 Another main category of notes in Gregorian chant is the so-called
1509 liquescent neumes. They are used under certain circumstances at
1510 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1511 the sounding consonants that can hold a tone (the nasals, l, r, v,
1512 j, and their diphtong equivalents). Thus, the liquescent neumes
1513 are never used alone (although some of them can be produced), and
1514 they always fall at the end of a ligature.
1516 Liquescent neumes are represented graphically in two different,
1517 more or less interchangeable ways: with a smaller note or by
1518 @q{twisting} the main note upwards or downwards. The first is
1519 produced by making a regular @code{pes} or @code{flexa} and
1520 modifying the shape of the second note: @code{\[ a \pes \deminutum
1521 b \] }, the second by modifying the shape of a single-note neume
1522 with @code{\auctum} and one of the direction markers
1523 @code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
1529 A third category of signs is made up of a small number of signs
1530 with a special meaning (which, incidentally, in most cases is only
1531 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1532 @emph{strophicus}. These are all produced by prefixing a note name
1533 with the corresponding modifier, @code{\quilisma},
1534 @code{\oriscus}, or @code{\stropha}.
1536 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1537 any number of heads may be accumulated to form a single ligature,
1538 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1539 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1540 the set of rules that underlies the construction of the ligatures
1541 in the above table is accordingly extrapolated. This way,
1542 infinitely many different ligatures can be created.
1544 Note that the use of these signs in the music itself follows
1545 certain rules, which are not checked by LilyPond. E.g., the
1546 @emph{quilisma} is always the middle note of an ascending
1547 ligature, and usually falls on a half-tone step, but it is
1548 perfectly possible, although incorrect, to make a single-note
1551 In addition to the note signs, @file{gregorian.ly} also defines the
1552 commands @code{\versus}, @code{\responsum}, @code{\ij},
1553 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1554 corresponding characters, e.g., for use in lyrics, as section
1555 markers, etc. These commands use special unicode characters and
1556 will only work if a font is used which supports them.
1561 The following table shows a limited, but still representative pool
1562 of Gregorian ligatures, together with the code fragments that
1563 produce the ligatures. The table is based on the extended neumes
1564 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1565 Hymnarius}), published 1983 by the monks of Solesmes. The first
1566 column gives the name of the ligature, with the main form in
1567 boldface and the liquescent forms in italics. The third column
1568 shows the code fragment that produces this ligature, using
1569 @code{g}, @code{a}, and @code{b} as example pitches.
1572 @b{Single-note neums}
1574 @multitable @columnfractions .4 .2 .4
1577 @b{Basic} and @emph{Liquescent} forms
1584 @c TODO: \layout block is identical in all of the below examples.
1585 @c Therefore, it should somehow be included rather than duplicated all
1588 @c why not make variables in ly/engraver-init.ly? --hwn
1590 @c Because it's just used to typeset plain notes without
1591 @c a staff for demonstration purposes rather than something
1592 @c special of Gregorian chant notation. --jr
1598 @lilypond[staffsize=26,line-width=1.5\cm]
1599 \include "gregorian.ly"
1605 \layout { \neumeDemoLayout }}
1612 @lilypond[staffsize=26,line-width=1.5\cm]
1613 \include "gregorian.ly"
1619 \layout { \neumeDemoLayout }}
1622 @code{\[ \cavum b \]}
1626 @lilypond[staffsize=26,line-width=1.5\cm]
1627 \include "gregorian.ly"
1633 \layout { \neumeDemoLayout }}
1636 @code{\[ \linea b \]}
1639 @emph{Punctum Auctum Ascendens}
1641 @lilypond[staffsize=26,line-width=2.5\cm]
1642 \include "gregorian.ly"
1645 % Punctum Auctum Ascendens
1646 \[ \auctum \ascendens b \]
1648 \layout { \neumeDemoLayout }}
1651 @code{\[ \auctum \ascendens b \]}
1654 @emph{Punctum Auctum Descendens}
1656 @lilypond[staffsize=26,line-width=2.5\cm]
1657 \include "gregorian.ly"
1660 % Punctum Auctum Descendens
1661 \[ \auctum \descendens b \]
1663 \layout { \neumeDemoLayout }}
1666 @code{\[ \auctum \descendens b \]}
1669 @b{Punctum inclinatum}
1671 @lilypond[staffsize=26,line-width=1.5\cm]
1672 \include "gregorian.ly"
1675 % Punctum Inclinatum
1678 \layout { \neumeDemoLayout }}
1681 @code{\[ \inclinatum b \]}
1684 @emph{Punctum Inclinatum Auctum}
1686 @lilypond[staffsize=26,line-width=2.5\cm]
1687 \include "gregorian.ly"
1690 % Punctum Inclinatum Auctum
1691 \[ \inclinatum \auctum b \]
1693 \layout { \neumeDemoLayout }}
1696 @code{\[ \inclinatum \auctum b \]}
1699 @emph{Punctum Inclinatum Parvum}
1701 @lilypond[staffsize=26,line-width=1.0\cm]
1702 \include "gregorian.ly"
1705 % Punctum Inclinatum Parvum
1706 \[ \inclinatum \deminutum b \]
1708 \layout { \neumeDemoLayout }}
1711 @code{\[ \inclinatum \deminutum b \]}
1716 @lilypond[staffsize=26,line-width=1.0\cm]
1717 \include "gregorian.ly"
1723 \layout { \neumeDemoLayout }}
1730 @b{Two-note ligatures}
1732 @multitable @columnfractions .4 .2 .4
1735 @b{Clivis vel Flexa}
1737 @lilypond[staffsize=26,line-width=1.0\cm]
1738 \include "gregorian.ly"
1744 \layout { \neumeDemoLayout }}
1747 @code{\[ b \flexa g \]}
1751 @emph{Clivis Aucta Descendens}
1753 @lilypond[staffsize=26,line-width=2.0\cm]
1754 \include "gregorian.ly"
1757 % Clivis Aucta Descendens
1758 \[ b \flexa \auctum \descendens g \]
1760 \layout { \neumeDemoLayout }}
1763 @code{\[ b \flexa \auctum \descendens g \]}
1766 @emph{Clivis Aucta Ascendens}
1768 @lilypond[staffsize=26,line-width=2.0\cm]
1769 \include "gregorian.ly"
1772 % Clivis Aucta Ascendens
1773 \[ b \flexa \auctum \ascendens g \]
1775 \layout { \neumeDemoLayout }}
1778 @code{\[ b \flexa \auctum \ascendens g \]}
1783 @lilypond[staffsize=26,line-width=2.0\cm]
1784 \include "gregorian.ly"
1788 \[ b \flexa \deminutum g \]
1790 \layout { \neumeDemoLayout }}
1793 @code{\[ b \flexa \deminutum g \]}
1798 @lilypond[staffsize=26,line-width=1.0\cm]
1799 \include "gregorian.ly"
1805 \layout { \neumeDemoLayout }}
1808 @code{\[ g \pes b \]}
1811 @emph{Pes Auctus Descendens}
1813 @lilypond[staffsize=26,line-width=1.0\cm]
1814 \include "gregorian.ly"
1817 % Pes Auctus Descendens
1818 \[ g \pes \auctum \descendens b \]
1820 \layout { \neumeDemoLayout }}
1823 @code{\[ g \pes \auctum \descendens b \]}
1826 @emph{Pes Auctus Ascendens}
1828 @lilypond[staffsize=26,line-width=1.0\cm]
1829 \include "gregorian.ly"
1832 % Pes Auctus Ascendens
1833 \[ g \pes \auctum \ascendens b \]
1835 \layout { \neumeDemoLayout }}
1838 @code{\[ g \pes \auctum \ascendens b \]}
1843 @lilypond[staffsize=26,line-width=1.0\cm]
1844 \include "gregorian.ly"
1848 \[ g \pes \deminutum b \]
1850 \layout { \neumeDemoLayout }}
1853 @code{\[ g \pes \deminutum b \]}
1856 @emph{Pes Initio Debilis}
1858 @lilypond[staffsize=26,line-width=1.0\cm]
1859 \include "gregorian.ly"
1862 % Pes Initio Debilis
1863 \[ \deminutum g \pes b \]
1865 \layout { \neumeDemoLayout }}
1868 @code{\[ \deminutum g \pes b \]}
1871 @emph{Pes Auctus Descendens Initio Debilis}
1873 @lilypond[staffsize=26,line-width=1.0\cm]
1874 \include "gregorian.ly"
1877 % Pes Auctus Descendens Initio Debilis
1878 \[ \deminutum g \pes \auctum \descendens b \]
1880 \layout { \neumeDemoLayout }}
1883 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1888 @b{Multi-note ligatures}
1890 @multitable @columnfractions .4 .2 .4
1895 @lilypond[staffsize=26,line-width=1.0\cm]
1896 \include "gregorian.ly"
1900 \[ a \pes b \flexa g \]
1902 \layout { \neumeDemoLayout }}
1905 @code{\[ a \pes b \flexa g \]}
1908 @emph{Torculus Auctus Descendens}
1910 @lilypond[staffsize=26,line-width=1.0\cm]
1911 \include "gregorian.ly"
1914 % Torculus Auctus Descendens
1915 \[ a \pes b \flexa \auctum \descendens g \]
1917 \layout { \neumeDemoLayout }}
1920 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1923 @emph{Torculus Deminutus}
1925 @lilypond[staffsize=26,line-width=1.0\cm]
1926 \include "gregorian.ly"
1929 % Torculus Deminutus
1930 \[ a \pes b \flexa \deminutum g \]
1932 \layout { \neumeDemoLayout }}
1935 @code{\[ a \pes b \flexa \deminutum g \]}
1938 @emph{Torculus Initio Debilis}
1940 @lilypond[staffsize=26,line-width=1.0\cm]
1941 \include "gregorian.ly"
1944 % Torculus Initio Debilis
1945 \[ \deminutum a \pes b \flexa g \]
1947 \layout { \neumeDemoLayout }}
1950 @code{\[ \deminutum a \pes b \flexa g \]}
1953 @emph{Torculus Auctus Descendens Initio Debilis}
1955 @lilypond[staffsize=26,line-width=1.0\cm]
1956 \include "gregorian.ly"
1959 % Torculus Auctus Descendens Initio Debilis
1960 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1962 \layout { \neumeDemoLayout }}
1965 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1968 @emph{Torculus Deminutus Initio Debilis}
1970 @lilypond[staffsize=26,line-width=1.0\cm]
1971 \include "gregorian.ly"
1974 % Torculus Deminutus Initio Debilis
1975 \[ \deminutum a \pes b \flexa \deminutum g \]
1977 \layout { \neumeDemoLayout }}
1980 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1985 @lilypond[staffsize=26,line-width=1.0\cm]
1986 \include "gregorian.ly"
1990 \[ a \flexa g \pes b \]
1992 \layout { \neumeDemoLayout }}
1995 @code{\[ a \flexa g \pes b \]}
1998 @emph{Porrectus Auctus Descendens}
2000 @lilypond[staffsize=26,line-width=1.0\cm]
2001 \include "gregorian.ly"
2004 % Porrectus Auctus Descendens
2005 \[ a \flexa g \pes \auctum \descendens b \]
2007 \layout { \neumeDemoLayout }}
2010 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2013 @emph{Porrectus Deminutus}
2015 @lilypond[staffsize=26,line-width=1.0\cm]
2016 \include "gregorian.ly"
2019 % Porrectus Deminutus
2020 \[ a \flexa g \pes \deminutum b \]
2022 \layout { \neumeDemoLayout }}
2025 @code{\[ a \flexa g \pes \deminutum b \]}
2030 @lilypond[staffsize=26,line-width=1.0\cm]
2031 \include "gregorian.ly"
2035 \[ \virga b \inclinatum a \inclinatum g \]
2037 \layout { \neumeDemoLayout }}
2040 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2043 @emph{Climacus Auctus}
2045 @lilypond[staffsize=26,line-width=1.0\cm]
2046 \include "gregorian.ly"
2050 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2052 \layout { \neumeDemoLayout }}
2055 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2058 @emph{Climacus Deminutus}
2060 @lilypond[staffsize=26,line-width=1.0\cm]
2061 \include "gregorian.ly"
2064 % Climacus Deminutus
2065 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2067 \layout { \neumeDemoLayout }}
2070 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2075 @lilypond[staffsize=26,line-width=1.0\cm]
2076 \include "gregorian.ly"
2080 \[ g \pes a \virga b \]
2082 \layout { \neumeDemoLayout }}
2085 @code{\[ g \pes a \virga b \]}
2088 @emph{Scandicus Auctus Descendens}
2090 @lilypond[staffsize=26,line-width=1.0\cm]
2091 \include "gregorian.ly"
2094 % Scandicus Auctus Descendens
2095 \[ g \pes a \pes \auctum \descendens b \]
2097 \layout { \neumeDemoLayout }}
2100 @code{\[ g \pes a \pes \auctum \descendens b \]}
2103 @emph{Scandicus Deminutus}
2105 @lilypond[staffsize=26,line-width=1.0\cm]
2106 \include "gregorian.ly"
2109 % Scandicus Deminutus
2110 \[ g \pes a \pes \deminutum b \]
2112 \layout { \neumeDemoLayout }}
2115 @code{\[ g \pes a \pes \deminutum b \]}
2122 @multitable @columnfractions .4 .2 .4
2127 @lilypond[staffsize=26,line-width=1.0\cm]
2128 \include "gregorian.ly"
2132 \[ g \pes \quilisma a \pes b \]
2134 \layout { \neumeDemoLayout }}
2137 @code{\[ g \pes \quilisma a \pes b \]}
2140 @emph{Quilisma Pes Auctus Descendens}
2142 @lilypond[staffsize=26,line-width=1.0\cm]
2143 \include "gregorian.ly"
2146 % Quilisma Pes Auctus Descendens
2147 \[ g \quilisma a \pes \auctum \descendens b \]
2149 \layout { \neumeDemoLayout }}
2152 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2157 @lilypond[staffsize=26,line-width=1.0\cm]
2158 \include "gregorian.ly"
2164 \layout { \neumeDemoLayout }}
2167 @code{\[ \oriscus b \]}
2172 @lilypond[staffsize=26,line-width=1.0\cm]
2173 \include "gregorian.ly"
2177 \[ \oriscus g \pes \virga b \]
2179 \layout { \neumeDemoLayout }}
2182 @code{\[ \oriscus g \pes \virga b \]}
2185 @emph{Pes Quassus Auctus Descendens}
2187 @lilypond[staffsize=26,line-width=1.0\cm]
2188 \include "gregorian.ly"
2191 % Pes Quassus Auctus Descendens
2192 \[ \oriscus g \pes \auctum \descendens b \]
2194 \layout { \neumeDemoLayout }}
2197 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2202 @lilypond[staffsize=26,line-width=1.0\cm]
2203 \include "gregorian.ly"
2207 \[ g \oriscus a \pes \virga b \]
2209 \layout { \neumeDemoLayout }}
2212 @code{\[ g \oriscus a \pes \virga b \]}
2215 @emph{Salicus Auctus Descendens}
2217 @lilypond[staffsize=26,line-width=1.0\cm]
2218 \include "gregorian.ly"
2221 % Salicus Auctus Descendens
2222 \[ g \oriscus a \pes \auctum \descendens b \]
2224 \layout { \neumeDemoLayout }}
2227 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2232 @lilypond[staffsize=26,line-width=1.0\cm]
2233 \include "gregorian.ly"
2239 \layout { \neumeDemoLayout }}
2242 @code{\[ \stropha b \]}
2245 @emph{Stropha Aucta}
2247 @lilypond[staffsize=26,line-width=1.0\cm]
2248 \include "gregorian.ly"
2252 \[ \stropha \auctum b \]
2254 \layout { \neumeDemoLayout }}
2257 @code{\[ \stropha \auctum b \]}
2262 @lilypond[staffsize=26,line-width=1.0\cm]
2263 \include "gregorian.ly"
2267 \[ \stropha b \stropha b \]
2269 \layout { \neumeDemoLayout }}
2272 @code{\[ \stropha b \stropha b \]}
2277 @lilypond[staffsize=26,line-width=1.0\cm]
2278 \include "gregorian.ly"
2282 \[ \stropha b \stropha b \stropha b \]
2284 \layout { \neumeDemoLayout }}
2287 @code{\[ \stropha b \stropha b \stropha b \]}
2292 @lilypond[staffsize=26,line-width=1.0\cm]
2293 \include "gregorian.ly"
2297 \[ \stropha b \stropha b \stropha a \]
2299 \layout { \neumeDemoLayout }
2303 @code{\[ \stropha b \stropha b \stropha a \]}
2309 The following head prefixes are supported:
2314 @funindex \inclinatum
2318 @funindex \descendens
2320 @funindex \ascendens
2326 @funindex \deminutum
2334 Head prefixes can be accumulated, though restrictions apply. For
2335 example, either @code{\descendens} or @code{\ascendens} can be applied
2336 to a head, but not both to the same head.
2341 Two adjacent heads can be tied together with the @code{\pes} and
2342 @code{\flexa} infix commands for a rising and falling line of melody,
2345 @funindex \augmentum
2347 Use the unary music function @code{\augmentum} to add augmentum dots.
2354 @ref{Gregorian square neume ligatures},
2355 @ref{White mensural ligatures},
2360 When an @code{\augmentum} dot appears at the end of the last staff
2361 within a ligature, it is sometimes vertically placed wrong. As a
2362 workaround, add an additional skip note (e.g., @code{s8}) as last note
2365 @code{\augmentum} should be implemented as a head prefix rather than a
2366 unary music function, such that @code{\augmentum} can be intermixed
2367 with head prefixes in arbitrary order.
2370 @node Working with ancient music---scenarios and solutions
2371 @subsection Working with ancient music---scenarios and solutions
2375 * Mensurstriche layout::
2376 * Transcribing Gregorian chant::
2377 * Ancient and modern from one source::
2378 * Editorial markings::
2381 Working with ancient music frequently involves particular tasks
2382 which differ considerably from the modern notation for which
2383 LilyPond is designed. In the rest of this section, a number of
2384 typical scenarios are outlined, with suggestions of solutions.
2388 @item how to make incipits (i.e. prefatory material to indicate
2389 what the original has looked like) to modern transcriptions of
2391 @item how to achieve the @emph{Mensurstriche} layout frequently
2392 used for modern transcriptions of polyphonic music;
2393 @item how to transcribe Gregorian chant in modern notation;
2394 @item how to generate both ancient and modern notation from the
2400 @unnumberedsubsubsec Incipits
2403 @c clefs, mensuration signs etc from lsr and -user
2404 @c use snippet Transcription-of-ancient-music-with-incipit
2409 @c ... and reference to other sections ...
2412 @node Mensurstriche layout
2413 @unnumberedsubsubsec Mensurstriche layout
2415 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2416 for bar lines that are drawn between the staves of a system but
2417 not through the staves themselves. It is a common way to preserve
2418 the rhythmic appearance of the original, i.e. not having to break
2419 syncopated notes at bar lines, while still providing the
2420 orientation aids that bar lines give.
2423 @lilypondfile[verbatim,lilyquote,texidoc]
2424 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2426 @c This simple setup will take care of the
2427 @c TODO Add text about lyrics to the lowest line, to be placed
2428 @c outside the StaffGroup.
2429 @c from lsr and -user
2434 @c ... and reference to other sections ...
2437 @node Transcribing Gregorian chant
2438 @unnumberedsubsubsec Transcribing Gregorian chant
2440 Gregorian chant can be transcribed into modern notation with a
2441 number of simple tweaks.
2443 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2444 the @code{Stem_engraver} from the Voice context:
2451 \remove "Stem_engraver"
2456 However, in some transcription styles, stems are used
2457 occasionally, for example to indicate the transition from a
2458 single-tone recitative to a fixed melodic gesture. In these cases,
2459 one can use either @code{\override Stem #'transparent = ##t} or
2460 @code{\override Stem #'length = #0} instead, and restore the stem
2461 when needed with the corresponding @code{\once \override Stem
2462 #'transparent = ##f} (see example below).
2464 @b{Timing.} For unmetered chant, there are several alternatives.
2466 The Time_signature_engraver can be removed from the Staff context
2467 without any negative side effects. The alternative, to make it
2468 transparent, will leave an empty space in the score, since the
2469 invisible signature will still take up space.
2471 In many cases, @code{\set Score.timing = ##f} will give good
2472 results. Another alternative is to use @code{\CadenzaOn} and
2475 To remove the barlines, the radical approach is to @code{\remove}
2476 the Bar_engraver from the Staff context. Again, one may want to
2477 use @code{\override BarLine #'transparent = ##t} instead, if an
2478 occasional barline is wanted.
2480 A common type of transcription is recitativic chant where the
2481 repeated notes are indicated with a single breve. The text to
2482 the recitation tone can be dealt with in two different ways:
2483 either set as a single, left-aligned syllable:
2485 @lilypond[verbatim,ragged-right]
2486 \include "gregorian.ly"
2487 chant = \relative c' {
2489 c\breve c4 b4 a c2 c4 \divisioMaior
2490 c\breve c4 c f, f \finalis
2493 verba = \lyricmode {
2494 \once \override LyricText #'self-alignment-X = #-1
2495 "Noctem quietam et" fi -- nem per -- fec -- tum
2496 \once \override LyricText #'self-alignment-X = #-1
2497 "concedat nobis Dominus" om -- ni -- po -- tens.
2501 \new Voice = "melody" \chant
2502 \new Lyrics = "one" \lyricsto melody \verba
2507 \remove "Time_signature_engraver"
2508 \remove "Bar_engraver"
2509 \override Stem #'transparent = ##t
2515 This works fine, as long as the text doesn't span a line break. If
2516 that is the case, an alternative is to add hidden notes to the
2517 score, here in combination with changing stem visibility:
2520 @lilypond[verbatim,ragged-right]
2521 \include "gregorian.ly"
2522 chant = \relative c' {
2524 \set Score.timing = ##f
2525 c\breve \override NoteHead #'transparent = ##t c c c c c
2526 \revert NoteHead #'transparent
2527 \override Stem #'transparent = ##f \stemUp c4 b4 a
2528 \override Stem #'transparent = ##t c2 c4 \divisioMaior
2529 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2530 \revert NoteHead #'transparent c4 c f, f \finalis
2533 verba = \lyricmode {
2534 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2535 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2540 \new Voice = "melody" \chant
2541 \new Lyrics \lyricsto "melody" \verba
2546 \remove "Time_signature_engraver"
2547 \override BarLine #'transparent = ##t
2548 \override Stem #'transparent = ##t
2554 Another common situation is transcription of neumatic or
2555 melismatic chants, i.e. chants with a varying number of notes
2556 to each syllable. In this case, one would want to set the
2557 syllable groups clearly apart, usually also the subdivisions of a
2558 longer melisma. One way to achieve this is to use a fixed
2559 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2560 one of these measures, with the help of tuplets or shorter
2561 durations. If the barlines and all other rhythmical indications
2562 are made transparent, and the space around the barlines is
2563 increased, this will give a fairly good representation in modern
2564 notation of the original.
2566 To avoid that syllables of different width (such as @qq{-ri} and
2567 @qq{-rum}) spread the syllable note groups unevenly apart, the
2568 @code{#'X-extent} property of the @code{LyricText} object may be
2569 set to a fixed value. Another, more cumbersome way would be to
2570 add the syllables as @code{\markup} elements. If further
2571 adjustments are necessary, this can be easily done with
2574 @lilypond[verbatim,quote]
2575 spiritus = \relative c' {
2577 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2578 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2579 d4 f8 g g8 d f g a g f4 g8 a a4 s
2580 \times 2/3 { g8 f d } e f g a g4
2583 spirLyr = \lyricmode {
2584 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2585 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2590 \new Voice = "chant" \spiritus
2591 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2596 \remove "Time_signature_engraver"
2597 \override BarLine #'X-extent = #'(-1 . 1)
2598 \override Stem #'transparent = ##t
2599 \override Beam #'transparent = ##t
2600 \override BarLine #'transparent = ##t
2601 \override TupletNumber #'transparent = ##t
2607 @c extract from 1.6.1.1
2610 @c ... and reference to other sections ...
2613 @node Ancient and modern from one source
2614 @unnumberedsubsubsec Ancient and modern from one source
2617 @c Here among others the snippets about reducing note length
2621 @c ... and reference to other sections ...
2624 @node Editorial markings
2625 @unnumberedsubsubsec Editorial markings
2628 @c @node Baroque rhythmic notation
2629 @c @unnumberedsubsubsec Baroque rhythmic notation
2633 @c Add example of white noteheads:
2634 @c In the french baroque some composers used white noteheads in slow pieces,
2635 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2636 @c notehead. (Franz-Rudolf Kuhnen)
2638 @c TODO Add example of this:
2639 @c I was referring to e.g. notated a8. a16, which should, if I
2640 @c remember correctly, be interpreted more like a8.. a32 (in the french
2641 @c style). The editor might want to show that rythmic figure above the
2642 @c staff as an hint to performers. (Karl Hammer)
2649 @c ... and reference to other sections ...