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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 note heads, 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 note heads
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 note heads 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 note heads (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 note heads,
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
238 @ref{Gregorian 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
258 @code{\[ music expr \]}. For consistency reasons, it will eventually
259 be changed to 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})
280 is a symbol that appears at the end of a staff. It anticipates the
281 pitch 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 clefs, for use on different staff lines
503 (the example shows the 3rd staff line F clef)
505 @code{petrucci-f3}, @code{petrucci-f4},@*
508 @lilypond[fragment,relative=1,notime]
510 \override NoteHead #'style = #'mensural
515 petrucci style G clef
519 @lilypond[fragment,relative=1,notime]
521 \override NoteHead #'style = #'mensural
528 @rglos{mensural notation},
536 The mensural g clef is mapped to the Petrucci g clef.
539 @node Mensural time signatures
540 @unnumberedsubsubsec Mensural time signatures
542 @cindex mensuration sign
543 @cindex time signatures
545 There is limited support for mensuration signs (which are similar to,
546 but not exactly the same as time signatures). The glyphs are hard-wired
547 to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
548 @code{m} have to be chosen according to the following table
550 @lilypond[quote,ragged-right]
555 \remove Staff_symbol_engraver
556 \remove Clef_engraver
557 \remove Time_signature_engraver
561 \set Score.timing = ##f
562 \set Score.barAlways = ##t
563 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
564 #"timesig.neomensural44" }
566 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
567 #"timesig.neomensural22" }
569 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
570 #"timesig.neomensural64" }
572 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
573 #"timesig.neomensural68" }
575 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
576 #"timesig.neomensural32" }
578 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
579 #"timesig.neomensural34" }
581 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
582 #"timesig.neomensural94" }
584 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
585 #"timesig.neomensural98" }
587 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
588 #"timesig.neomensural48" }
590 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
591 #"timesig.neomensural24" }
595 Use the @code{style} property of grob @code{TimeSignature}
596 to select ancient time signatures. Supported styles are
597 @code{neomensural} and @code{mensural}. The above table uses the
598 @code{neomensural} style. The following examples show the
599 differences in style:
601 @lilypond[ragged-right,fragment,relative=1,quote]
606 c1^\markup { \hspace #-2.0 \typewriter default }
608 \override Staff.TimeSignature #'style = #'numbered
610 c1^\markup { \hspace #-2.0 \typewriter numbered }
612 \override Staff.TimeSignature #'style = #'mensural
614 c1^\markup { \hspace #-2.0 \typewriter mensural }
616 \override Staff.TimeSignature #'style = #'neomensural
618 c1^\markup { \hspace #-2.0 \typewriter neomensural }
619 \override Staff.TimeSignature #'style = #'single-digit
621 c1^\markup { \hspace #-2.0 \typewriter single-digit }
625 @ref{Time signature}, gives a general introduction to
626 the use of time signatures.
630 @rglos{mensural notation}.
633 @ref{Time signature}.
636 Ratios of note durations cannot change with the time signature,
637 as those are not constant. For
638 example, the ratio of 1@tie{}breve = 3@tie{}semibreves
639 (@emph{tempus perfectum}) can be made by hand, by setting
642 breveTP = #(ly:make-duration -1 0 3 2)
648 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
650 The @code{mensural68alt} and @code{neomensural68alt} symbols
651 (alternate symbols for 6/8) are not addressable with @code{\time}.
652 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
655 @node Mensural note heads
656 @unnumberedsubsubsec Mensural note heads
658 @cindex note heads, ancient
660 For ancient notation, a note head style other than the
661 @code{default} style may be chosen. This is accomplished by setting
662 the @code{style} property of the @code{NoteHead} object to
663 @code{baroque}, @code{neomensural}, @code{mensural},
664 @code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
666 The @code{baroque} style differs from the @code{default} style by:
669 @item Providing a @code{maxima} note head, and
670 @item Using a square shape for @code{\breve} note heads.
673 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
674 differ from the @code{baroque} style by:
677 @item Using rhomboidal heads for semibreves and all smaller durations,
679 @item Centering the stems on the note heads.
682 The @code{blackpetrucci} style produces note heads usable in black
683 mensural notation or coloratio sections in white mensural notation.
684 Because note head style does not influence flag count, in
685 this style a semiminima should be notated as @code{a8*2}, not
686 @code{a4}, otherwise it will look like a minima.
687 The multiplyer can be different if coloratio is used e.g. to notate
690 Use @code{semipetrucci} style to draw half-colored
691 note heads (breves, longas and maximas).
694 The following example demonstrates the @code{petrucci} style:
696 @c Renaissance music doesn't use bar lines ... but they do help to
697 @c separate the notes for easier identification.
699 @lilypond[quote,fragment,ragged-right,verbatim]
700 \set Score.skipBars = ##t
702 \override NoteHead #'style = #'petrucci
703 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
704 \override NoteHead #'style = #'semipetrucci
706 \override NoteHead #'style = #'blackpetrucci
708 \override NoteHead #'style = #'petrucci
713 @ref{Note head styles}, gives an overview of all available note head
718 @rglos{mensural notation},
722 @ref{Note head styles}.
726 @unnumberedsubsubsec Mensural flags
730 Use the @code{flag-style} property of grob @code{Stem} to
731 select ancient flags. Besides the @code{default} flag style,
732 only the @code{mensural} style is supported.
734 @lilypond[quote,fragment,ragged-right,verbatim]
735 \override Flag #'style = #'mensural
736 \override Stem #'thickness = #1.0
737 \override NoteHead #'style = #'mensural
739 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
740 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
743 Note that the innermost flare of each mensural flag always is
744 vertically aligned with a staff line.
746 There is no particular flag style for neo-mensural or Petrucci notation.
748 @c when typesetting the incipit of a transcribed piece of mensural
749 @c music, the default flag style should be used.
750 There are no flags in Gregorian chant notation.
755 @rglos{mensural notation},
760 The attachment of ancient flags to stems is slightly off.
761 @c due to a change in early 2.3.x.
763 Vertically aligning each flag with a staff line assumes that stems
764 always end either exactly on or exactly in the middle between two
765 staff lines. This may not always be true when using advanced layout
766 features of classical notation (which however are typically out of
767 scope for mensural notation).
771 @unnumberedsubsubsec Mensural rests
773 @cindex rests, ancient
775 Use the @code{style} property of grob @code{Rest} to select
776 ancient rests. Supported styles are @code{classical},
777 @code{neomensural}, and @code{mensural}. @code{classical} differs
778 from the @code{default} style only in that the quarter rest looks
779 like a horizontally mirrored 8th rest. The @code{mensural} and
780 the @code{neomensural} styles mimic the appearance of rests in
781 manuscripts and prints up to the 16th century.
783 The following example demonstrates the @code{mensural} and
784 @code{neomensural} styles:
786 @lilypond[quote,fragment,ragged-right,verbatim]
787 \set Score.skipBars = ##t
788 \override Rest #'style = #'classical
789 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
790 \override Rest #'style = #'mensural
791 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
792 \override Rest #'style = #'neomensural
793 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
796 There are no 32th and 64th rests specifically for the mensural or
797 neo-mensural style. Instead, the rests from the default style will be
802 @rglos{mensural notation}.
808 @rlsr{Ancient notation}.
812 The glyph for the maxima rest in mensural style is actually a perfect
813 longa rest; use two (or three) longa rests to print a maxima rest.
814 Longa rests are not grouped automatically, so have to be done manually by
818 @node Mensural accidentals and key signatures
819 @unnumberedsubsubsec Mensural accidentals and key signatures
822 @cindex key signature
824 The @code{mensural} style provides a sharp and a flat sign
825 different from the default style. If called for, the natural sign
826 will be taken from the @code{vaticana} style.
828 @lilypond[quote,ragged-right,staffsize=26]
832 \line { " " \musicglyph #"accidentals.mensural-1"
833 " " \musicglyph #"accidentals.mensural1" }
838 The style for accidentals and key signatures is controlled by the
839 @code{glyph-name-alist} property of the grobs @code{Accidental} and
840 @code{KeySignature}, respectively; e.g.:
842 @code{\override Staff.Accidental #'glyph-name-alist =
843 #alteration-mensural-glyph-name-alist}
847 @rglos{mensural notation},
850 @rglos{key signature}.
855 @ref{Automatic accidentals},
859 @rinternals{KeySignature}.
862 @node Annotational accidentals (musica ficta)
863 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
865 In European music from before about 1600, singers were expected to
866 chromatically alter notes at their own initiative according to
867 certain rules. This is called @notation{musica ficta}. In modern
868 transcriptions, these accidentals are usually printed over the
871 @cindex Accidental, musica ficta
874 Support for such suggested accidentals is included, and can be
875 switched on by setting @code{suggestAccidentals} to true.
877 @funindex suggestAccidentals
879 @lilypond[verbatim,fragment,relative=1]
881 \set suggestAccidentals = ##t
885 This will treat @emph{every} subsequent accidental as
886 @emph{musica ficta} until it is unset with
887 @code{\set suggestAccidentals = ##f}. A more practical way is to
888 use @code{\once \set suggestAccidentals = ##t}, which can even be
889 defined as a convenient shorthand:
891 @lilypond[quote,verbatim]
892 ficta = { \once \set suggestAccidentals = ##t }
893 \score { \relative c''
895 \once \set suggestAccidentals = ##t
896 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
904 @rinternals{Accidental_engraver},
905 @rinternals{AccidentalSuggestion}.
908 @node White mensural ligatures
909 @unnumberedsubsubsec White mensural ligatures
911 @cindex Mensural ligatures
912 @cindex White mensural ligatures
914 There is limited support for white mensural ligatures.
916 To engrave white mensural ligatures, in the layout block, replace
917 the @code{Ligature_bracket_engraver} with the
918 @code{Mensural_ligature_engraver} in the @code{Voice}
925 \remove Ligature_bracket_engraver
926 \consists Mensural_ligature_engraver
931 There is no additional input language to describe the shape of a
932 white mensural ligature. The shape is rather determined solely from
933 the pitch and duration of the enclosed notes. While this approach may
934 take a new user a while to get accustomed to, it has the great advantage
935 that the full musical information of the ligature is known internally.
936 This is not only required for correct MIDI output, but also allows for
937 automatic transcription of the ligatures.
939 At certain places two consecutive notes can be represented either as
940 two squares or as an oblique parallelogram (flexa shape). In such
941 cases the default is the two squares, but a flexa can be required by
942 setting the @code{ligature-flexa} property of the @emph{second} note
943 head. The length of a flexa can be set by the note head property
949 @c \set Score.timing = ##f
950 @c \set Score.defaultBarType = "empty"
951 @c \override NoteHead #'style = #'neomensural
952 @c \override Staff.TimeSignature #'style = #'neomensural
953 @c \clef "petrucci-g"
955 @c \[ d\longa c\breve f e d \]
956 @c \[ c'\maxima d'\longa \]
957 @c \[ e'1 a g\breve \]
959 @lilypond[quote,ragged-right,verbatim]
962 \set Score.timing = ##f
963 \set Score.defaultBarType = "empty"
964 \override NoteHead #'style = #'petrucci
965 \override Staff.TimeSignature #'style = #'mensural
969 \override NoteHead #'ligature-flexa = ##t
970 \once \override NoteHead #'flexa-width = #3.2
972 \[ c'\maxima d'\longa \]
978 \remove Ligature_bracket_engraver
979 \consists Mensural_ligature_engraver
985 Without replacing @code{Ligature_bracket_engraver} with
986 @code{Mensural_ligature_engraver}, the same music transcribes
989 @lilypond[quote,ragged-right]
991 \set Score.timing = ##f
992 \set Score.defaultBarType = "empty"
993 \override NoteHead #'style = #'petrucci
994 \override Staff.TimeSignature #'style = #'mensural
998 \override NoteHead #'ligature-flexa = ##t
999 \once \override NoteHead #'flexa-width = #3.2
1001 \[ c'\maxima d'\longa \]
1011 @ref{Gregorian square neume ligatures},
1015 Horizontal spacing of ligatures is poor.
1016 Accidentals may collide with previous notes.
1018 @node Typesetting Gregorian chant
1019 @subsection Typesetting Gregorian chant
1022 * Gregorian chant contexts::
1024 * Gregorian accidentals and key signatures::
1026 * Gregorian articulation signs::
1027 * Augmentum dots (morae)::
1028 * Gregorian square neume ligatures::
1031 When typesetting a piece in Gregorian chant notation, the
1032 @code{Vaticana_ligature_engraver} automatically selects the
1033 proper note heads, so there is no need to explicitly set the note
1034 head style. Still, the note head style can be set, e.g., to
1035 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
1036 @code{Mensural_ligature_engraver} automatically assembles
1044 @ref{White mensural ligatures},
1047 @node Gregorian chant contexts
1048 @unnumberedsubsubsec Gregorian chant contexts
1050 @cindex VaticanaVoiceContext
1051 @cindex VaticanaStaffContext
1053 The predefined @code{VaticanaVoiceContext} and
1054 @code{VaticanaStaffContext} can be used to engrave a piece of
1055 Gregorian chant in the style of the Editio Vaticana. These contexts
1056 initialize all relevant context properties and grob properties to
1057 proper values, so you can immediately go ahead entering the chant, as
1058 the following excerpt demonstrates:
1060 @lilypond[quote,ragged-right,verbatim]
1061 \include "gregorian.ly"
1064 \new VaticanaVoice = "cantus" {
1065 \[ c'\melisma c' \flexa a \]
1066 \[ a \flexa \deminutum g\melismaEnd \]
1068 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
1069 c' \divisioMinima \break
1070 \[ c'\melisma c' \flexa a \]
1071 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
1073 \new Lyrics \lyricsto "cantus" {
1074 San- ctus, San- ctus, San- ctus
1082 @c TODO: nothing here yet ...
1085 @node Gregorian clefs
1086 @unnumberedsubsubsec Gregorian clefs
1090 The following table shows all Gregorian clefs that are supported via
1091 the @code{\clef} command. Some of the clefs use the same glyph,
1092 but differ only with respect to the line they are printed on. In
1093 such cases, a trailing number in the name is used to enumerate
1094 these clefs, numbered from the lowest to the highest line. Still,
1095 you can manually force a clef glyph to be typeset on an arbitrary
1096 line, as described in @ref{Clef}. The note printed to the right
1097 side of each clef in the example column denotes the @code{c'} with
1098 respect to that clef.
1100 @multitable @columnfractions .4 .4 .2
1109 Editio Vaticana style do clef
1111 @code{vaticana-do1}, @code{vaticana-do2},@*
1114 @lilypond[fragment,relative=1,notime]
1115 \override Staff.StaffSymbol #'line-count = #4
1116 \override Staff.StaffSymbol #'color = #red
1117 \override Staff.LedgerLineSpanner #'color = #red
1118 \override Voice.Stem #'transparent = ##t
1119 \override Voice.Flag #'transparent = ##t
1120 \override NoteHead #'style = #'vaticana.punctum
1121 \clef "vaticana-do2"
1126 Editio Vaticana style fa clef
1128 @code{vaticana-fa1}, @code{vaticana-fa2}
1130 @lilypond[fragment,relative=1,notime]
1131 \override Staff.StaffSymbol #'line-count = #4
1132 \override Staff.StaffSymbol #'color = #red
1133 \override Staff.LedgerLineSpanner #'color = #red
1134 \override Voice.Stem #'transparent = ##t
1135 \override Voice.Flag #'transparent = ##t
1136 \override NoteHead #'style = #'vaticana.punctum
1137 \clef "vaticana-fa2"
1142 Editio Medicaea style do clef
1144 @code{medicaea-do1}, @code{medicaea-do2},@*
1147 @lilypond[fragment,relative=1,notime]
1148 \override Staff.StaffSymbol #'line-count = #4
1149 \override Staff.StaffSymbol #'color = #red
1150 \override Staff.LedgerLineSpanner #'color = #red
1151 \override Voice.Stem #'transparent = ##t
1152 \override Voice.Flag #'transparent = ##t
1153 \override NoteHead #'style = #'medicaea.punctum
1154 \clef "medicaea-do2"
1159 Editio Medicaea style fa clef
1161 @code{medicaea-fa1}, @code{medicaea-fa2}
1163 @lilypond[fragment,relative=1,notime]
1164 \override Staff.StaffSymbol #'line-count = #4
1165 \override Staff.StaffSymbol #'color = #red
1166 \override Staff.LedgerLineSpanner #'color = #red
1167 \override Voice.Stem #'transparent = ##t
1168 \override Voice.Flag #'transparent = ##t
1169 \override NoteHead #'style = #'medicaea.punctum
1170 \clef "medicaea-fa2"
1175 hufnagel style do clef
1177 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1180 @lilypond[fragment,relative=1,notime]
1181 \override Staff.StaffSymbol #'line-count = #4
1182 \override Staff.StaffSymbol #'color = #red
1183 \override Staff.LedgerLineSpanner #'color = #red
1184 \override Voice.Stem #'transparent = ##t
1185 \override Voice.Flag #'transparent = ##t
1186 \override NoteHead #'style = #'hufnagel.punctum
1187 \clef "hufnagel-do2"
1192 hufnagel style fa clef
1194 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1196 @lilypond[fragment,relative=1,notime]
1197 \override Staff.StaffSymbol #'line-count = #4
1198 \override Staff.StaffSymbol #'color = #red
1199 \override Staff.LedgerLineSpanner #'color = #red
1200 \override Voice.Stem #'transparent = ##t
1201 \override Voice.Flag #'transparent = ##t
1202 \override NoteHead #'style = #'hufnagel.punctum
1203 \clef "hufnagel-fa2"
1208 hufnagel style combined do/fa clef
1210 @code{hufnagel-do-fa}
1212 @lilypond[fragment,relative=1,notime]
1213 \override Staff.StaffSymbol #'color = #red
1214 \override Staff.LedgerLineSpanner #'color = #red
1215 \override Voice.Stem #'transparent = ##t
1216 \override Voice.Flag #'transparent = ##t
1217 \override NoteHead #'style = #'hufnagel.punctum
1218 \clef "hufnagel-do-fa"
1232 @node Gregorian accidentals and key signatures
1233 @unnumberedsubsubsec Gregorian accidentals and key signatures
1236 @cindex key signature
1238 Accidentals for the three different Gregorian styles are available:
1240 @lilypond[quote,ragged-right,staffsize=26]
1244 \line { " " \musicglyph #"accidentals.vaticana-1"
1245 " " \musicglyph #"accidentals.vaticana0" }
1249 \line { " " \musicglyph #"accidentals.medicaea-1" }
1253 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1258 As shown, not all accidentals are supported by each style. When
1259 trying to access an unsupported accidental, LilyPond will switch to a
1262 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
1263 @c {ancient-accidentals.ly}
1265 The style for accidentals and key signatures is controlled by the
1266 @code{glyph-name-alist} property of the grobs @code{Accidental} and
1267 @code{KeySignature}, respectively; e.g.:
1269 @code{\override Staff.Accidental #'glyph-name-alist =
1270 #alteration-mensural-glyph-name-alist}
1276 @rglos{key signature}.
1281 @ref{Automatic accidentals},
1282 @ref{Key signature}.
1284 Internals Reference:
1285 @rinternals{KeySignature}.
1289 @unnumberedsubsubsec Divisiones
1295 There are no rests in Gregorian chant notation; instead, it uses
1298 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1299 @q{division}) is a staff context symbol that is used to indicate
1300 the phrase and section structure of Gregorian music. The musical
1301 meaning of @emph{divisio minima}, @emph{divisio maior}, and
1302 @emph{divisio maxima} can be characterized as short, medium, and
1303 long pause, somewhat like the breath marks from @ref{Breath marks}.
1304 The @emph{finalis} sign not only marks the end of a chant, but is
1305 also frequently used within a single antiphonal/responsorial chant
1306 to mark the end of each section.
1308 To use divisiones, include the file @file{gregorian.ly}. It
1309 contains definitions that you can apply by just inserting
1310 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1311 and @code{\finalis} at proper places in the input. Some editions use
1312 @emph{virgula} or @emph{caesura} instead of divisio minima.
1313 Therefore, @file{gregorian.ly} also defines @code{\virgula} and
1316 @lilypond[quote,ragged-right]
1317 \include "gregorian.ly"
1320 \context VaticanaVoice {
1321 \override TextScript #'padding = #3
1323 s^\markup { "divisio minima" }
1326 s^\markup { "divisio maior" }
1329 s^\markup { "divisio maxima" }
1333 s^\markup { "finalis" }
1336 s^\markup { "virgula" }
1339 s^\markup { "caesura" }
1353 @funindex \divisioMinima
1354 @code{\divisioMinima},
1355 @funindex \divisioMaior
1356 @code{\divisioMaior},
1357 @funindex \divisioMaxima
1358 @code{\divisioMaxima},
1372 @file{gregorian.ly}.
1375 @node Gregorian articulation signs
1376 @unnumberedsubsubsec Gregorian articulation signs
1378 @cindex articulations
1380 In addition to the standard articulation signs described in
1381 section @ref{Articulations and ornamentations}, articulation signs
1382 specifically designed for use with notation in
1383 @emph{Editio Vaticana} style are provided.
1385 @lilypond[quote,ragged-right,verbatim]
1386 \include "gregorian.ly"
1388 \new VaticanaVoice {
1389 \override TextScript #'font-family = #'typewriter
1390 \override TextScript #'font-shape = #'upright
1391 \override Script #'padding = #-0.1
1392 a\ictus_"ictus " \bar "" \break
1393 a\circulus_"circulus " \bar "" \break
1394 a\semicirculus_"semicirculus " \bar "" \break
1395 a\accentus_"accentus " \bar "" \break
1396 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1404 @ref{Articulations and ornamentations}.
1407 @rlsr{Ancient notation}.
1409 Internals Reference:
1410 @rinternals{Episema},
1411 @rinternals{EpisemaEvent},
1412 @rinternals{Episema_engraver},
1413 @rinternals{Script},
1414 @rinternals{ScriptEvent},
1415 @rinternals{Script_engraver}.
1419 Some articulations are vertically placed too closely to the
1420 corresponding note heads.
1423 @node Augmentum dots (morae)
1424 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1426 Augmentum dots, also called @emph{morae}, are added with the music
1427 function @code{\augmentum}. Note that @code{\augmentum} is
1428 implemented as a unary music function rather than as head prefix. It
1429 applies to the immediately following music expression only. That is,
1430 @code{\augmentum \virga c} will have no visible effect. Instead, say
1431 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1432 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1433 @code{\augmentum a \augmentum g}.
1435 @lilypond[quote,ragged-right,verbatim]
1436 \include "gregorian.ly"
1438 \new VaticanaVoice {
1439 \[ \augmentum a \flexa \augmentum g \]
1450 Internals Reference:
1451 @rinternals{BreathingSign}.
1454 @rlsr{Ancient notation}.
1457 @node Gregorian square neume ligatures
1458 @unnumberedsubsubsec Gregorian square neume ligatures
1460 @cindex Square neumes ligatures
1461 @cindex Gregorian square neumes ligatures
1463 There is limited support for Gregorian square neumes notation
1464 (following the style of the Editio Vaticana). Core ligatures can
1465 already be typeset, but essential issues for serious typesetting are
1466 still lacking, such as (among others) horizontal alignment of multiple
1467 ligatures, lyrics alignment, and proper handling of accidentals.
1469 The support for Gregorian neumes is enabled by @code{\include}ing
1470 @file{gregorian.ly} at the beginning of the file. This makes available
1471 a number of extra commands to produce the neume symbols used in
1472 plainchant notation.
1476 Note heads can be @emph{modified} and/or @emph{joined}.
1480 the note head can be modified by @emph{prefixing} the note name
1481 with any of the following commands:
1486 @funindex \inclinatum
1490 @funindex \descendens
1492 @funindex \ascendens
1498 @funindex \deminutum
1505 @item Ligatures, properly speaking (i.e. notes joined together), are
1506 produced by placing one of the joining commands @code{\pes} or
1507 @code{\flexa}, for upwards and downwards movement, respectively,
1508 @emph{between} the notes to be joined.
1511 A note name without any qualifiers will produce a @emph{punctum}.
1512 All other neumes, including the single-note neumes with a
1513 different shape such as the @emph{virga}, are in principle
1514 considered as ligatures and should therefore be placed
1515 between @code{\[...\]}.
1516 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1523 @item The @emph{punctum} is the basic note shape (in the
1524 @emph{Vaticana} style: a square with some curvation for
1525 typographical finesse). In addition to the regular
1526 @emph{punctum}, there is also the oblique @emph{punctum
1527 inclinatum}, produced with the prefix @code{\inclinatum}. The
1528 regular @emph{punctum} can be modified with @code{\cavum}, which
1529 produces a hollow note, and @code{\linea}, which draws vertical
1530 lines on either side of the note.
1532 @item The @emph{virga} has a descending stem on the right side. It is
1533 produced by the modifier @code{\virga}.
1539 Unlike most other neumes notation systems, the typographical
1540 appearance of ligatures is not directly dictated by the input
1541 commands, but follows certain conventions dependent on musical
1542 meaning. For example, a three-note ligature with the musical shape
1543 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1544 Torculus consisting of three Punctum heads, while the shape
1545 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1546 Porrectus with a curved flexa shape and only a single Punctum
1547 head. There is no command to explicitly typeset the curved flexa
1548 shape; the decision of when to typeset a curved flexa shape is
1549 based on the musical input. The idea of this approach is to
1550 separate the musical aspects of the input from the notation style
1551 of the output. This way, the same input can be reused to typeset
1552 the same music in a different style of Gregorian chant notation.
1557 Another main category of notes in Gregorian chant is the so-called
1558 liquescent neumes. They are used under certain circumstances at
1559 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1560 the sounding consonants that can hold a tone (the nasals, l, r, v,
1561 j, and their diphthong equivalents). Thus, the liquescent neumes
1562 are never used alone (although some of them can be produced), and
1563 they always fall at the end of a ligature.
1565 Liquescent neumes are represented graphically in two different,
1566 more or less interchangeable ways: with a smaller note or by
1567 @q{twisting} the main note upwards or downwards. The first is
1568 produced by making a regular @code{pes} or @code{flexa} and
1569 modifying the shape of the second note:
1570 @code{\[ a \pes \deminutum b \] }, the second by modifying the shape
1571 of a single-note neume with @code{\auctum} and one of the direction
1572 markers @code{\descendens} or @code{\ascendens}, e.g.,
1573 @code{ \[ \auctum \descendens a \] }.
1578 A third category of signs is made up of a small number of signs
1579 with a special meaning (which, incidentally, in most cases is only
1580 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1581 @emph{strophicus}. These are all produced by prefixing a note name
1582 with the corresponding modifier, @code{\quilisma},
1583 @code{\oriscus}, or @code{\stropha}.
1585 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1586 any number of heads may be accumulated to form a single ligature,
1587 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1588 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1589 the set of rules that underlies the construction of the ligatures
1590 in the above table is accordingly extrapolated. This way,
1591 infinitely many different ligatures can be created.
1593 Note that the use of these signs in the music itself follows
1594 certain rules, which are not checked by LilyPond. E.g., the
1595 @emph{quilisma} is always the middle note of an ascending
1596 ligature, and usually falls on a half-tone step, but it is
1597 perfectly possible, although incorrect, to make a single-note
1600 In addition to the note signs, @file{gregorian.ly} also defines the
1601 commands @code{\versus}, @code{\responsum}, @code{\ij},
1602 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
1603 corresponding characters, e.g., for use in lyrics, as section
1604 markers, etc. These commands use special Unicode characters and
1605 will only work if a font is used which supports them.
1610 The following table shows a limited, but still representative pool
1611 of Gregorian ligatures, together with the code fragments that
1612 produce the ligatures. The table is based on the extended neumes
1613 table of the 2nd volume of the Antiphonale Romanum
1614 (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
1615 The first column gives the name of the ligature, with the main form in
1616 boldface and the liquescent forms in italics. The third column
1617 shows the code fragment that produces this ligature, using
1618 @code{g}, @code{a}, and @code{b} as example pitches.
1621 @b{Single-note neums}
1623 @multitable @columnfractions .4 .2 .4
1626 @b{Basic} and @emph{Liquescent} forms
1633 @c TODO: \layout block is identical in all of the below examples.
1634 @c Therefore, it should somehow be included rather than duplicated all
1637 @c why not make variables in ly/engraver-init.ly? --hwn
1639 @c Because it's just used to typeset plain notes without
1640 @c a staff for demonstration purposes rather than something
1641 @c special of Gregorian chant notation. --jr
1647 @lilypond[staffsize=26,line-width=1.5\cm]
1648 \include "gregorian.ly"
1654 \layout { \neumeDemoLayout }}
1661 @lilypond[staffsize=26,line-width=1.5\cm]
1662 \include "gregorian.ly"
1668 \layout { \neumeDemoLayout }}
1671 @code{\[ \cavum b \]}
1675 @lilypond[staffsize=26,line-width=1.5\cm]
1676 \include "gregorian.ly"
1682 \layout { \neumeDemoLayout }}
1685 @code{\[ \linea b \]}
1688 @emph{Punctum Auctum Ascendens}
1690 @lilypond[staffsize=26,line-width=2.5\cm]
1691 \include "gregorian.ly"
1694 % Punctum Auctum Ascendens
1695 \[ \auctum \ascendens b \]
1697 \layout { \neumeDemoLayout }}
1700 @code{\[ \auctum \ascendens b \]}
1703 @emph{Punctum Auctum Descendens}
1705 @lilypond[staffsize=26,line-width=2.5\cm]
1706 \include "gregorian.ly"
1709 % Punctum Auctum Descendens
1710 \[ \auctum \descendens b \]
1712 \layout { \neumeDemoLayout }}
1715 @code{\[ \auctum \descendens b \]}
1718 @b{Punctum inclinatum}
1720 @lilypond[staffsize=26,line-width=1.5\cm]
1721 \include "gregorian.ly"
1724 % Punctum Inclinatum
1727 \layout { \neumeDemoLayout }}
1730 @code{\[ \inclinatum b \]}
1733 @emph{Punctum Inclinatum Auctum}
1735 @lilypond[staffsize=26,line-width=2.5\cm]
1736 \include "gregorian.ly"
1739 % Punctum Inclinatum Auctum
1740 \[ \inclinatum \auctum b \]
1742 \layout { \neumeDemoLayout }}
1745 @code{\[ \inclinatum \auctum b \]}
1748 @emph{Punctum Inclinatum Parvum}
1750 @lilypond[staffsize=26,line-width=1.0\cm]
1751 \include "gregorian.ly"
1754 % Punctum Inclinatum Parvum
1755 \[ \inclinatum \deminutum b \]
1757 \layout { \neumeDemoLayout }}
1760 @code{\[ \inclinatum \deminutum b \]}
1765 @lilypond[staffsize=26,line-width=1.0\cm]
1766 \include "gregorian.ly"
1772 \layout { \neumeDemoLayout }}
1779 @b{Two-note ligatures}
1781 @multitable @columnfractions .4 .2 .4
1784 @b{Clivis vel Flexa}
1786 @lilypond[staffsize=26,line-width=1.0\cm]
1787 \include "gregorian.ly"
1793 \layout { \neumeDemoLayout }}
1796 @code{\[ b \flexa g \]}
1800 @emph{Clivis Aucta Descendens}
1802 @lilypond[staffsize=26,line-width=2.0\cm]
1803 \include "gregorian.ly"
1806 % Clivis Aucta Descendens
1807 \[ b \flexa \auctum \descendens g \]
1809 \layout { \neumeDemoLayout }}
1812 @code{\[ b \flexa \auctum \descendens g \]}
1815 @emph{Clivis Aucta Ascendens}
1817 @lilypond[staffsize=26,line-width=2.0\cm]
1818 \include "gregorian.ly"
1821 % Clivis Aucta Ascendens
1822 \[ b \flexa \auctum \ascendens g \]
1824 \layout { \neumeDemoLayout }}
1827 @code{\[ b \flexa \auctum \ascendens g \]}
1832 @lilypond[staffsize=26,line-width=2.0\cm]
1833 \include "gregorian.ly"
1837 \[ b \flexa \deminutum g \]
1839 \layout { \neumeDemoLayout }}
1842 @code{\[ b \flexa \deminutum g \]}
1847 @lilypond[staffsize=26,line-width=1.0\cm]
1848 \include "gregorian.ly"
1854 \layout { \neumeDemoLayout }}
1857 @code{\[ g \pes b \]}
1860 @emph{Pes Auctus Descendens}
1862 @lilypond[staffsize=26,line-width=1.0\cm]
1863 \include "gregorian.ly"
1866 % Pes Auctus Descendens
1867 \[ g \pes \auctum \descendens b \]
1869 \layout { \neumeDemoLayout }}
1872 @code{\[ g \pes \auctum \descendens b \]}
1875 @emph{Pes Auctus Ascendens}
1877 @lilypond[staffsize=26,line-width=1.0\cm]
1878 \include "gregorian.ly"
1881 % Pes Auctus Ascendens
1882 \[ g \pes \auctum \ascendens b \]
1884 \layout { \neumeDemoLayout }}
1887 @code{\[ g \pes \auctum \ascendens b \]}
1892 @lilypond[staffsize=26,line-width=1.0\cm]
1893 \include "gregorian.ly"
1897 \[ g \pes \deminutum b \]
1899 \layout { \neumeDemoLayout }}
1902 @code{\[ g \pes \deminutum b \]}
1905 @emph{Pes Initio Debilis}
1907 @lilypond[staffsize=26,line-width=1.0\cm]
1908 \include "gregorian.ly"
1911 % Pes Initio Debilis
1912 \[ \deminutum g \pes b \]
1914 \layout { \neumeDemoLayout }}
1917 @code{\[ \deminutum g \pes b \]}
1920 @emph{Pes Auctus Descendens Initio Debilis}
1922 @lilypond[staffsize=26,line-width=1.0\cm]
1923 \include "gregorian.ly"
1926 % Pes Auctus Descendens Initio Debilis
1927 \[ \deminutum g \pes \auctum \descendens b \]
1929 \layout { \neumeDemoLayout }}
1932 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1937 @b{Multi-note ligatures}
1939 @multitable @columnfractions .4 .2 .4
1944 @lilypond[staffsize=26,line-width=1.0\cm]
1945 \include "gregorian.ly"
1949 \[ a \pes b \flexa g \]
1951 \layout { \neumeDemoLayout }}
1954 @code{\[ a \pes b \flexa g \]}
1957 @emph{Torculus Auctus Descendens}
1959 @lilypond[staffsize=26,line-width=1.0\cm]
1960 \include "gregorian.ly"
1963 % Torculus Auctus Descendens
1964 \[ a \pes b \flexa \auctum \descendens g \]
1966 \layout { \neumeDemoLayout }}
1969 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1972 @emph{Torculus Deminutus}
1974 @lilypond[staffsize=26,line-width=1.0\cm]
1975 \include "gregorian.ly"
1978 % Torculus Deminutus
1979 \[ a \pes b \flexa \deminutum g \]
1981 \layout { \neumeDemoLayout }}
1984 @code{\[ a \pes b \flexa \deminutum g \]}
1987 @emph{Torculus Initio Debilis}
1989 @lilypond[staffsize=26,line-width=1.0\cm]
1990 \include "gregorian.ly"
1993 % Torculus Initio Debilis
1994 \[ \deminutum a \pes b \flexa g \]
1996 \layout { \neumeDemoLayout }}
1999 @code{\[ \deminutum a \pes b \flexa g \]}
2002 @emph{Torculus Auctus Descendens Initio Debilis}
2004 @lilypond[staffsize=26,line-width=1.0\cm]
2005 \include "gregorian.ly"
2008 % Torculus Auctus Descendens Initio Debilis
2009 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
2011 \layout { \neumeDemoLayout }}
2014 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
2017 @emph{Torculus Deminutus Initio Debilis}
2019 @lilypond[staffsize=26,line-width=1.0\cm]
2020 \include "gregorian.ly"
2023 % Torculus Deminutus Initio Debilis
2024 \[ \deminutum a \pes b \flexa \deminutum g \]
2026 \layout { \neumeDemoLayout }}
2029 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
2034 @lilypond[staffsize=26,line-width=1.0\cm]
2035 \include "gregorian.ly"
2039 \[ a \flexa g \pes b \]
2041 \layout { \neumeDemoLayout }}
2044 @code{\[ a \flexa g \pes b \]}
2047 @emph{Porrectus Auctus Descendens}
2049 @lilypond[staffsize=26,line-width=1.0\cm]
2050 \include "gregorian.ly"
2053 % Porrectus Auctus Descendens
2054 \[ a \flexa g \pes \auctum \descendens b \]
2056 \layout { \neumeDemoLayout }}
2059 @code{\[ a \flexa g \pes \auctum \descendens b \]}
2062 @emph{Porrectus Deminutus}
2064 @lilypond[staffsize=26,line-width=1.0\cm]
2065 \include "gregorian.ly"
2068 % Porrectus Deminutus
2069 \[ a \flexa g \pes \deminutum b \]
2071 \layout { \neumeDemoLayout }}
2074 @code{\[ a \flexa g \pes \deminutum b \]}
2079 @lilypond[staffsize=26,line-width=1.0\cm]
2080 \include "gregorian.ly"
2084 \[ \virga b \inclinatum a \inclinatum g \]
2086 \layout { \neumeDemoLayout }}
2089 @code{\[ \virga b \inclinatum a \inclinatum g \]}
2092 @emph{Climacus Auctus}
2094 @lilypond[staffsize=26,line-width=1.0\cm]
2095 \include "gregorian.ly"
2099 \[ \virga b \inclinatum a \inclinatum \auctum g \]
2101 \layout { \neumeDemoLayout }}
2104 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
2107 @emph{Climacus Deminutus}
2109 @lilypond[staffsize=26,line-width=1.0\cm]
2110 \include "gregorian.ly"
2113 % Climacus Deminutus
2114 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
2116 \layout { \neumeDemoLayout }}
2119 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
2124 @lilypond[staffsize=26,line-width=1.0\cm]
2125 \include "gregorian.ly"
2129 \[ g \pes a \virga b \]
2131 \layout { \neumeDemoLayout }}
2134 @code{\[ g \pes a \virga b \]}
2137 @emph{Scandicus Auctus Descendens}
2139 @lilypond[staffsize=26,line-width=1.0\cm]
2140 \include "gregorian.ly"
2143 % Scandicus Auctus Descendens
2144 \[ g \pes a \pes \auctum \descendens b \]
2146 \layout { \neumeDemoLayout }}
2149 @code{\[ g \pes a \pes \auctum \descendens b \]}
2152 @emph{Scandicus Deminutus}
2154 @lilypond[staffsize=26,line-width=1.0\cm]
2155 \include "gregorian.ly"
2158 % Scandicus Deminutus
2159 \[ g \pes a \pes \deminutum b \]
2161 \layout { \neumeDemoLayout }}
2164 @code{\[ g \pes a \pes \deminutum b \]}
2171 @multitable @columnfractions .4 .2 .4
2176 @lilypond[staffsize=26,line-width=1.0\cm]
2177 \include "gregorian.ly"
2181 \[ g \pes \quilisma a \pes b \]
2183 \layout { \neumeDemoLayout }}
2186 @code{\[ g \pes \quilisma a \pes b \]}
2189 @emph{Quilisma Pes Auctus Descendens}
2191 @lilypond[staffsize=26,line-width=1.0\cm]
2192 \include "gregorian.ly"
2195 % Quilisma Pes Auctus Descendens
2196 \[ g \quilisma a \pes \auctum \descendens b \]
2198 \layout { \neumeDemoLayout }}
2201 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2206 @lilypond[staffsize=26,line-width=1.0\cm]
2207 \include "gregorian.ly"
2213 \layout { \neumeDemoLayout }}
2216 @code{\[ \oriscus b \]}
2221 @lilypond[staffsize=26,line-width=1.0\cm]
2222 \include "gregorian.ly"
2226 \[ \oriscus g \pes \virga b \]
2228 \layout { \neumeDemoLayout }}
2231 @code{\[ \oriscus g \pes \virga b \]}
2234 @emph{Pes Quassus Auctus Descendens}
2236 @lilypond[staffsize=26,line-width=1.0\cm]
2237 \include "gregorian.ly"
2240 % Pes Quassus Auctus Descendens
2241 \[ \oriscus g \pes \auctum \descendens b \]
2243 \layout { \neumeDemoLayout }}
2246 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2251 @lilypond[staffsize=26,line-width=1.0\cm]
2252 \include "gregorian.ly"
2256 \[ g \oriscus a \pes \virga b \]
2258 \layout { \neumeDemoLayout }}
2261 @code{\[ g \oriscus a \pes \virga b \]}
2264 @emph{Salicus Auctus Descendens}
2266 @lilypond[staffsize=26,line-width=1.0\cm]
2267 \include "gregorian.ly"
2270 % Salicus Auctus Descendens
2271 \[ g \oriscus a \pes \auctum \descendens b \]
2273 \layout { \neumeDemoLayout }}
2276 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2281 @lilypond[staffsize=26,line-width=1.0\cm]
2282 \include "gregorian.ly"
2288 \layout { \neumeDemoLayout }}
2291 @code{\[ \stropha b \]}
2294 @emph{Stropha Aucta}
2296 @lilypond[staffsize=26,line-width=1.0\cm]
2297 \include "gregorian.ly"
2301 \[ \stropha \auctum b \]
2303 \layout { \neumeDemoLayout }}
2306 @code{\[ \stropha \auctum b \]}
2311 @lilypond[staffsize=26,line-width=1.0\cm]
2312 \include "gregorian.ly"
2316 \[ \stropha b \stropha b \]
2318 \layout { \neumeDemoLayout }}
2321 @code{\[ \stropha b \stropha b \]}
2326 @lilypond[staffsize=26,line-width=1.0\cm]
2327 \include "gregorian.ly"
2331 \[ \stropha b \stropha b \stropha b \]
2333 \layout { \neumeDemoLayout }}
2336 @code{\[ \stropha b \stropha b \stropha b \]}
2341 @lilypond[staffsize=26,line-width=1.0\cm]
2342 \include "gregorian.ly"
2346 \[ \stropha b \stropha b \stropha a \]
2348 \layout { \neumeDemoLayout }
2352 @code{\[ \stropha b \stropha b \stropha a \]}
2358 The following head prefixes are supported:
2363 @funindex \inclinatum
2367 @funindex \descendens
2369 @funindex \ascendens
2375 @funindex \deminutum
2383 Head prefixes can be accumulated, though restrictions apply. For
2384 example, either @code{\descendens} or @code{\ascendens} can be applied
2385 to a head, but not both to the same head.
2390 Two adjacent heads can be tied together with the @code{\pes} and
2391 @code{\flexa} infix commands for a rising and falling line of melody,
2394 @funindex \augmentum
2396 Use the unary music function @code{\augmentum} to add augmentum dots.
2403 @ref{Gregorian square neume ligatures},
2404 @ref{White mensural ligatures},
2409 When an @code{\augmentum} dot appears at the end of the last staff
2410 within a ligature, it is sometimes vertically placed wrong. As a
2411 workaround, add an additional skip note (e.g., @code{s8}) as last note
2414 @code{\augmentum} should be implemented as a head prefix rather than a
2415 unary music function, such that @code{\augmentum} can be intermixed
2416 with head prefixes in arbitrary order.
2419 @node Working with ancient music---scenarios and solutions
2420 @subsection Working with ancient music---scenarios and solutions
2424 * Mensurstriche layout::
2425 * Transcribing Gregorian chant::
2426 * Ancient and modern from one source::
2427 * Editorial markings::
2430 Working with ancient music frequently involves particular tasks
2431 which differ considerably from the modern notation for which
2432 LilyPond is designed. In the rest of this section, a number of
2433 typical scenarios are outlined, with suggestions of solutions.
2437 @item how to make incipits (i.e. prefatory material to indicate
2438 what the original has looked like) to modern transcriptions of
2440 @item how to achieve the @emph{Mensurstriche} layout frequently
2441 used for modern transcriptions of polyphonic music;
2442 @item how to transcribe Gregorian chant in modern notation;
2443 @item how to generate both ancient and modern notation from the
2449 @unnumberedsubsubsec Incipits
2452 @c clefs, mensuration signs etc from lsr and -user
2453 @c use snippet Transcription-of-ancient-music-with-incipit
2458 @c ... and reference to other sections ...
2461 @node Mensurstriche layout
2462 @unnumberedsubsubsec Mensurstriche layout
2464 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2465 for bar lines that are drawn between the staves of a system but
2466 not through the staves themselves. It is a common way to preserve
2467 the rhythmic appearance of the original, i.e. not having to break
2468 syncopated notes at bar lines, while still providing the
2469 orientation aids that bar lines give.
2472 @lilypondfile[verbatim,quote,texidoc]
2473 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2475 @c This simple setup will take care of the
2476 @c TODO Add text about lyrics to the lowest line, to be placed
2477 @c outside the StaffGroup.
2478 @c from lsr and -user
2483 @c ... and reference to other sections ...
2486 @node Transcribing Gregorian chant
2487 @unnumberedsubsubsec Transcribing Gregorian chant
2489 Gregorian chant can be transcribed into modern notation with a
2490 number of simple tweaks.
2492 @b{Stems}. Stems can be left out altogether by @code{\remove}-ing
2493 the @code{Stem_engraver} from the Voice context:
2500 \remove "Stem_engraver"
2505 However, in some transcription styles, stems are used
2506 occasionally, for example to indicate the transition from a
2507 single-tone recitative to a fixed melodic gesture. In these cases,
2508 one can use either @code{\override Stem #'transparent = ##t} or
2509 @code{\override Stem #'length = #0} instead, and restore the stem
2510 when needed with the corresponding @code{\once \override Stem
2511 #'transparent = ##f} (see example below). When using stems that
2512 carry flags, make sure to set @code{\override Flag #'transparent
2515 @b{Timing.} For unmetered chant, there are several alternatives.
2517 The Time_signature_engraver can be removed from the Staff context
2518 without any negative side effects. The alternative, to make it
2519 transparent, will leave an empty space in the score, since the
2520 invisible signature will still take up space.
2522 In many cases, @code{\set Score.timing = ##f} will give good
2523 results. Another alternative is to use @code{\CadenzaOn} and
2526 To remove the bar lines, the radical approach is to @code{\remove}
2527 the Bar_engraver from the Staff context. Again, one may want to
2528 use @code{\override BarLine #'transparent = ##t} instead, if an
2529 occasional barline is wanted.
2531 A common type of transcription is recitativic chant where the
2532 repeated notes are indicated with a single breve. The text to
2533 the recitation tone can be dealt with in two different ways:
2534 either set as a single, left-aligned syllable:
2536 @lilypond[verbatim,ragged-right]
2537 \include "gregorian.ly"
2538 chant = \relative c' {
2540 c\breve c4 b4 a c2 c4 \divisioMaior
2541 c\breve c4 c f, f \finalis
2544 verba = \lyricmode {
2545 \once \override LyricText #'self-alignment-X = #-1
2546 "Noctem quietam et" fi -- nem per -- fec -- tum
2547 \once \override LyricText #'self-alignment-X = #-1
2548 "concedat nobis Dominus" om -- ni -- po -- tens.
2552 \new Voice = "melody" \chant
2553 \new Lyrics = "one" \lyricsto melody \verba
2558 \remove "Time_signature_engraver"
2559 \remove "Bar_engraver"
2560 \override Stem #'transparent = ##t
2561 \override Flag #'transparent = ##t
2567 This works fine, as long as the text doesn't span a line break. If
2568 that is the case, an alternative is to add hidden notes to the
2569 score, here in combination with changing stem visibility:
2572 @lilypond[verbatim,ragged-right]
2573 \include "gregorian.ly"
2574 chant = \relative c' {
2576 \set Score.timing = ##f
2577 c\breve \override NoteHead #'transparent = ##t c c c c c
2578 \revert NoteHead #'transparent
2579 \override Stem #'transparent = ##f \stemUp c4 b4 a
2580 \override Stem #'transparent = ##t
2581 \override Flag #'transparent = ##t c2 c4 \divisioMaior
2582 c\breve \override NoteHead #'transparent = ##t c c c c c c c
2583 \revert NoteHead #'transparent c4 c f, f \finalis
2586 verba = \lyricmode {
2587 No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
2588 con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
2593 \new Voice = "melody" \chant
2594 \new Lyrics \lyricsto "melody" \verba
2599 \remove "Time_signature_engraver"
2600 \override BarLine #'transparent = ##t
2601 \override Stem #'transparent = ##t
2602 \override Flag #'transparent = ##t
2608 Another common situation is transcription of neumatic or
2609 melismatic chants, i.e. chants with a varying number of notes
2610 to each syllable. In this case, one would want to set the
2611 syllable groups clearly apart, usually also the subdivisions of a
2612 longer melisma. One way to achieve this is to use a fixed
2613 @code{\time}, e.g., 1/4, and let each syllable or note group fill
2614 one of these measures, with the help of tuplets or shorter
2615 durations. If the bar lines and all other rhythmical indications
2616 are made transparent, and the space around the bar lines is
2617 increased, this will give a fairly good representation in modern
2618 notation of the original.
2620 To avoid that syllables of different width (such as @qq{-ri} and
2621 @qq{-rum}) spread the syllable note groups unevenly apart, the
2622 @code{'X-extent} property of the @code{LyricText} object may be
2623 set to a fixed value. Another, more cumbersome way would be to
2624 add the syllables as @code{\markup} elements. If further
2625 adjustments are necessary, this can be easily done with
2628 @lilypond[verbatim,quote]
2629 spiritus = \relative c' {
2631 \override Lyrics.LyricText #'X-extent = #'(0 . 3)
2632 d4 \times 2/3 { f8 a g } g a a4 g f8 e
2633 d4 f8 g g8 d f g a g f4 g8 a a4 s
2634 \times 2/3 { g8 f d } e f g a g4
2637 spirLyr = \lyricmode {
2638 Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
2639 or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
2644 \new Voice = "chant" \spiritus
2645 \new Lyrics = "one" \lyricsto "chant" \spirLyr
2650 \remove "Time_signature_engraver"
2651 \override BarLine #'X-extent = #'(-1 . 1)
2652 \override Stem #'transparent = ##t
2653 \override Flag #'transparent = ##t
2654 \override Beam #'transparent = ##t
2655 \override BarLine #'transparent = ##t
2656 \override TupletNumber #'transparent = ##t
2662 @c extract from 1.6.1.1
2665 @c ... and reference to other sections ...
2668 @node Ancient and modern from one source
2669 @unnumberedsubsubsec Ancient and modern from one source
2672 @c Here among others the snippets about reducing note length
2676 @c ... and reference to other sections ...
2679 @node Editorial markings
2680 @unnumberedsubsubsec Editorial markings
2683 @c @node Baroque rhythmic notation
2684 @c @unnumberedsubsubsec Baroque rhythmic notation
2688 @c Add example of white note heads:
2689 @c In the french baroque some composers used white note heads in slow pieces,
2690 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2691 @c note head. (Franz-Rudolf Kuhnen)
2693 @c TODO Add example of this:
2694 @c I was referring to e.g. notated a8. a16, which should, if I
2695 @c remember correctly, be interpreted more like a8.. a32 (in the french
2696 @c style). The editor might want to show that rythmic figure above the
2697 @c staff as an hint to performers. (Karl Hammer)
2704 @c ... and reference to other sections ...