1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c vim: foldmethod=marker
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 @node Ancient notation
13 @section Ancient notation
15 @lilypondfile[quote]{ancient-headword.ly}
17 @cindex Vaticana, Editio
18 @cindex Medicaea, Editio
25 * Overview of the supported styles::
26 * Ancient notation---common features::
27 * Typesetting mensural music::
28 * Typesetting Gregorian chant::
29 * Working with ancient music---scenarios and solutions::
33 Support for ancient notation includes features for mensural
34 notation and Gregorian chant notation. These features can be
35 accessed either by modifying style properties of graphical objects
36 such as note heads and rests, or by using one of the pre-defined
37 contexts for mensural or Gregorian notation.
39 Many graphical objects, such as note heads and flags, accidentals,
40 time signatures, and rests, provide a @code{style} property, which
41 can be changed to emulate several different styles of ancient
45 @item @ref{Mensural note heads},
46 @item @ref{Mensural accidentals and key signatures},
47 @item @ref{Mensural rests},
48 @item @ref{Mensural clefs},
49 @item @ref{Gregorian clefs},
50 @item @ref{Mensural flags},
51 @item @ref{Mensural time signatures}.
54 Some notational concepts are introduced specifically for ancient
59 @item @ref{Divisiones},
60 @item @ref{Ligatures}.
63 @c {{{1 Overview of the supported styles
64 @node Overview of the supported styles
65 @subsection Overview of the supported styles
68 Three styles are available for typesetting Gregorian chant:
71 @item @emph{Editio Vaticana} is a complete style for
72 Gregorian chant, following the appearance of the Solesmes
73 editions, the official chant books of the Vatican since 1904.
74 Lilypond has support for all the notational signs used in this
75 style, including ligatures, @emph{custodes}, and special signs
76 such as the quilisma and the oriscus.
79 @cindex Vaticana, Editio
81 @item The @emph{Editio Medicaea} style offers certain features
82 used in the Medicaea (or Ratisbona) editions which were used prior
83 to the Solesmes editions. The most significant differences from
84 the @emph{Vaticana} style are the clefs, which have
85 downward-slanted strokes, and the noteheads, which are square and
88 @cindex Ratisbona, Editio
89 @cindex Medicaea, Editio
91 @item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
92 style mimics the writing style in chant manuscripts from Germany
93 and Central Europe during the middle ages. It is named after the
94 basic note shape (the @emph{virga}), which looks like a small
99 Three styles emulate the appearance of late-medieval and
100 renaissance manuscripts and prints of mensural music:
103 @item The @emph{Mensural} style most closely resembles the
104 writing style used in late-medieval and early renaissance
105 manuscripts, with its small and narrow, diamond-shaped noteheads
106 and its rests which approach a hand-drawn style.
110 @item The @emph{Neomensural} style is a modernized and
111 stylized version of the former: the noteheads are broader and the
112 rests are made up of straight lines. This style is particularly
113 suited, e.g., for incipits of transcribed pieces of mensural
118 @item The @emph{Petrucci} style is named after Ottaviano Petrucci
119 (1466-1539), the first printer to use movable type for music (in
120 his @emph{Harmonice musices odhecaton}, 1501). The style uses
121 larger note heads than the other mensural styles.
127 @emph{Baroque} and @emph{Classical} are not complete styles
128 but differ from the default style only in some details: certain
129 noteheads (Baroque) and the quarter rest (Classical).
131 Only the mensural style has alternatives for all aspects of the
132 notation. Thus, there are no rests or flags in the Gregorian
133 styles, since these signs are not used in plainchant notation, and
134 the Petrucci style has no flags or accidentals of its own.
136 Each element of the notation can be changed independently of the
137 others, so that one can use mensural flags, petrucci noteheads,
138 classical rests and vaticana clefs in the same piece, if one
141 @c {{{1 Ancient notation, general
142 @node Ancient notation---common features
143 @subsection Ancient notation---common features
146 * Pre-defined contexts::
149 * Figured bass support::
152 @c {{{2 Pre-defined contexts
153 @node Pre-defined contexts
154 @unnumberedsubsubsec Pre-defined contexts
156 For Gregorian chant and mensural notation, there are pre-defined
157 voice and staff contexts available, which set all the various
158 notation signs to values suitable for these styles. If one is
159 satisfied with these defaults, one can proceed directly with note
160 entry without worrying about the details on how to customize a
161 context. See one of the pre-defined contexts
162 @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
163 and @code{MensuralStaff}. See further
166 @item @ref{Gregorian chant contexts},
167 @item @ref{Mensural contexts}.
173 @unnumberedsubsubsec Ligatures
177 @c TODO: Should double check if I recalled things correctly when I wrote
178 @c down the following paragraph by heart.
180 A ligature is a graphical symbol that represents at least two
181 distinct notes. Ligatures originally appeared in the manuscripts
182 of Gregorian chant notation to denote ascending or descending
183 sequences of notes on the same syllable. They are also used in
186 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
187 Some ligature styles may need additional input syntax specific for
188 this particular type of ligature. By default, the
189 @rinternals{LigatureBracket} engraver just puts a square bracket
192 @lilypond[quote,ragged-right,verbatim]
200 Two other ligature styles are available: the Vaticana for
201 Gregorian chant, and the Mensural for mensural music (only white
202 mensural ligatures are supported for mensural music, and with
203 certain limitations). To use any of these styles, the default
204 @code{Ligature_bracket_engraver} has to be replaced with one of the
205 specialized ligature engravers in the @rinternals{Voice} context,
206 as explained in @ref{White mensural ligatures} and @ref{Gregorian
207 square neume ligatures}.
211 @c TODO: nothing here yet ...
216 Ligatures need special spacing that has not yet been implemented. As
217 a result, there is too much space between ligatures most of the time,
218 and line breaking often is unsatisfactory. Also, lyrics do not
219 correctly align with ligatures.
221 Accidentals must not be printed within a ligature, but instead need to
222 be collected and printed in front of it.
224 The syntax still uses the deprecated infix style @code{\[ music expr
225 \]}. For consistency reasons, it will eventually be changed to
226 postfix style @code{note\[ ... note\]}.
228 @c Alternatively, the file
229 @c @file{gregorian@/-init@/.ly} can be included; it provides a scheme
232 @c \ligature @var{music expr}
234 @c with the same effect and is believed to be stable.
236 @c TODO: this does not seem to work at the moment.
243 @unnumberedsubsubsec Custodes
248 A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
249 symbol that appears at the end of a staff. It anticipates the pitch
250 of the first note of the following line, thus helping the performer
251 to manage line breaks during performance.
253 Custodes were frequently used in music notation until the
254 seventeenth century. Nowadays, they have survived only in a few
255 particular forms of musical notation such as contemporary editions
256 of Gregorian chant like the @emph{Editio Vaticana}. There are
257 different custos glyphs used in different flavors of notational
260 For typesetting custodes, just put a @rinternals{Custos_engraver} into the
261 @rinternals{Staff} context when declaring the @code{\layout} block,
262 and change the style of the custos with an @code{\override} if
263 desired, as shown in the following example:
265 @lilypond[quote,ragged-right]
275 \consists Custos_engraver
276 \override Custos #'style = #'mensural
282 The custos glyph is selected by the @code{style} property. The styles
283 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
284 @code{mensural}. They are demonstrated in the following fragment
286 @lilypond[quote,ragged-right,fragment]
287 \new Lyrics \lyricmode {
289 \typewriter "vaticana"
290 \line { " " \musicglyph #"custodes.vaticana.u0" }
293 \typewriter "medicaea"
294 \line { " " \musicglyph #"custodes.medicaea.u0" }
297 \typewriter "hufnagel"
298 \line { " " \musicglyph #"custodes.hufnagel.u0" }
301 \typewriter "mensural"
302 \line { " " \musicglyph #"custodes.mensural.u0" }
309 Internals Reference: @rinternals{Custos}.
312 @rlsr{Ancient notation}.
315 @c {{{2 Figured bass support
316 @node Figured bass support
317 @unnumberedsubsubsec Figured bass support
319 There is limited support for figured bass notation from the
320 Baroque period; see @ref{Figured bass}.
323 @c {{{1 Typesetting mensural music
324 @node Typesetting mensural music
325 @subsection Typesetting mensural music
328 * Mensural contexts::
330 * Mensural time signatures::
331 * Mensural note heads::
334 * Mensural accidentals and key signatures::
335 * Annotational accidentals (musica ficta)::
336 * White mensural ligatures::
341 @c {{{2Mensural contexts
342 @node Mensural contexts
343 @unnumberedsubsubsec Mensural contexts
345 @cindex MensuralVoiceContext
346 @cindex MensuralStaffContext
348 The predefined @code{MensuralVoice} and @code{MensuralStaff}
349 contexts can be used to engrave a piece in mensural style. These
350 contexts initialize all relevant context properties and grob
351 properties to proper values, so you can immediately go ahead
352 entering the chant, as the following excerpt demonstrates:
354 @lilypond[quote,ragged-right,verbatim]
357 \new MensuralVoice = "discantus" \transpose c c' {
358 \override Score.BarNumber #'transparent = ##t {
359 c'1\melisma bes a g\melismaEnd
361 \[ f1\melisma a c'\breve d'\melismaEnd \]
363 c'\breve\melisma a1 g1\melismaEnd
364 fis\longa^\signumcongruentiae
367 \new Lyrics \lyricsto "discantus" {
368 San -- ctus, San -- ctus, San -- ctus
376 TODO: nothing here yet ...
379 @c {{{2 Mensural clefs
381 @unnumberedsubsubsec Mensural clefs
385 The following table shows all mensural clefs that are supported via
386 the @code{\clef} command. Some of the clefs use the same glyph,
387 but differ only with respect to the line they are printed on. In
388 such cases, a trailing number in the name is used to enumerate
389 these clefs, numbered from the lowest to the highest line. Still,
390 you can manually force a clef glyph to be typeset on an arbitrary
391 line, as described in @ref{Clef}. The note printed to the right
392 side of each clef in the example column denotes the @code{c'} with
393 respect to that clef.
395 Petrucci used C clefs with differently balanced left-side vertical
396 beams, depending on which staff line it is printed.
398 @multitable @columnfractions .4 .4 .2
409 @code{mensural-c1}, @code{mensural-c2},@*
410 @code{mensural-c3}, @code{mensural-c4}
412 @lilypond[fragment,relative=1,notime]
414 \override NoteHead #'style = #'mensural
423 @lilypond[fragment,relative=1,notime]
425 \override NoteHead #'style = #'mensural
434 @lilypond[fragment,relative=1,notime]
436 \override NoteHead #'style = #'mensural
443 @code{neomensural-c1}, @code{neomensural-c2},@*
444 @code{neomensural-c3}, @code{neomensural-c4}
446 @lilypond[fragment,relative=1,notime]
447 \clef "neomensural-c2" c
451 petrucci style C clefs, for use on different staff lines
452 (the example shows the 2nd staff line C clef)
454 @code{petrucci-c1}, @code{petrucci-c2},@*
455 @code{petrucci-c3}, @code{petrucci-c4},@*
458 @lilypond[fragment,relative=1,notime]
460 \override NoteHead #'style = #'mensural
465 petrucci style F clef
469 @lilypond[fragment,relative=1,notime]
471 \override NoteHead #'style = #'mensural
476 petrucci style G clef
480 @lilypond[fragment,relative=1,notime]
482 \override NoteHead #'style = #'mensural
489 Notation Reference: see @ref{Clef}.
494 The mensural g clef is mapped to the Petrucci g clef.
497 @c {{{2Mensural time signatures
498 @node Mensural time signatures
499 @unnumberedsubsubsec Mensural time signatures
501 @cindex mensuration sign
502 @cindex time signatures
504 There is limited support for mensuration signs (which are similar to, but
505 not exactly the same as time signatures). The glyphs are hard-wired to
506 particular time fractions. In other words, to get a particular mensuration
507 sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
508 chosen according to the following table
510 @lilypond[quote,ragged-right]
515 \remove Staff_symbol_engraver
516 \remove Clef_engraver
517 \remove Time_signature_engraver
521 \set Score.timing = ##f
522 \set Score.barAlways = ##t
523 s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
524 #"timesig.neomensural44" }
526 s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
527 #"timesig.neomensural22" }
529 s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
530 #"timesig.neomensural64" }
532 s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
533 #"timesig.neomensural68" }
535 s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
536 #"timesig.neomensural32" }
538 s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
539 #"timesig.neomensural34" }
541 s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
542 #"timesig.neomensural94" }
544 s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
545 #"timesig.neomensural98" }
547 s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
548 #"timesig.neomensural48" }
550 s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
551 #"timesig.neomensural24" }
555 Use the @code{style} property of grob @rinternals{TimeSignature}
556 to select ancient time signatures. Supported styles are
557 @code{neomensural} and @code{mensural}. The above table uses the
558 @code{neomensural} style. The following examples show the
559 differences in style:
561 @lilypond[ragged-right,fragment,relative=1,quote]
566 c1^\markup { \hspace #-2.0 \typewriter default }
568 \override Staff.TimeSignature #'style = #'numbered
570 c1^\markup { \hspace #-2.0 \typewriter numbered }
572 \override Staff.TimeSignature #'style = #'mensural
574 c1^\markup { \hspace #-2.0 \typewriter mensural }
576 \override Staff.TimeSignature #'style = #'neomensural
578 c1^\markup { \hspace #-2.0 \typewriter neomensural }
579 \override Staff.TimeSignature #'style = #'single-digit
581 c1^\markup { \hspace #-2.0 \typewriter single-digit }
587 Notation Reference: @ref{Time signature}, gives a general introduction to
588 the use of time signatures.
593 Ratios of note durations do not change with the time signature. For
594 example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
595 be made by hand, by setting
598 breveTP = #(ly:make-duration -1 0 3 2)
604 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
606 The @code{mensural68alt} and @code{neomensural68alt} symbols
607 (alternate symbols for 6/8) are not addressable with @code{\time}.
608 Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
611 @c {{{2Mensural note heads
612 @node Mensural note heads
613 @unnumberedsubsubsec Mensural note heads
615 @cindex note heads, ancient
617 For ancient notation, a note head style other than the @code{default} style
618 may be chosen. This is accomplished by setting the @code{style} property of
619 the @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
620 @code{mensural} or @code{petrucci}.
622 The @code{baroque} style differs from the @code{default} style by:
625 @item Providing a @code{maxima} notehead, and
626 @item Using a square shape for @code{\breve} note heads.
629 The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
630 the @code{baroque} style by:
633 @item Using rhomboidal heads for semibreves and all smaller durations, and
634 @item Centering the stems on the note heads.
638 The following example demonstrates the @code{petrucci} style:
640 @c Renaissance music doesn't use bar lines ... but they do help to
641 @c separate the notes for easier identification.
643 @lilypond[quote,fragment,ragged-right,verbatim]
644 \set Score.skipBars = ##t
646 \override NoteHead #'style = #'petrucci
647 a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
653 @ref{Note head styles} gives an overview of all available note head styles.
656 @c {{{2Mensural flags
658 @unnumberedsubsubsec Mensural flags
662 Use the @code{flag-style} property of grob @rinternals{Stem} to
663 select ancient flags. Besides the @code{default} flag style,
664 only the @code{mensural} style is supported.
666 @lilypond[quote,fragment,ragged-right,verbatim]
667 \override Stem #'flag-style = #'mensural
668 \override Stem #'thickness = #1.0
669 \override NoteHead #'style = #'mensural
671 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
672 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
675 Note that the innermost flare of each mensural flag always is
676 vertically aligned with a staff line.
678 There is no particular flag style for neo-mensural or Petrucci notation.
680 @c when typesetting the incipit of a transcribed piece of mensural
681 @c music, the default flag style should be used.
682 There are no flags in Gregorian chant notation.
686 TODO: nothing here yet ...
691 The attachment of ancient flags to stems is slightly off.
692 @c due to a change in early 2.3.x.
694 Vertically aligning each flag with a staff line assumes that stems
695 always end either exactly on or exactly in the middle between two
696 staff lines. This may not always be true when using advanced layout
697 features of classical notation (which however are typically out of
698 scope for mensural notation).
700 @c {{{2Mensural rests
702 @unnumberedsubsubsec Mensural rests
704 @cindex rests, ancient
706 Use the @code{style} property of grob @rinternals{Rest} to select
707 ancient rests. Supported styles are @code{classical},
708 @code{neomensural}, and @code{mensural}. @code{classical} differs
709 from the @code{default} style only in that the quarter rest looks
710 like a horizontally mirrored 8th rest. The @code{mensural} and
711 the @code{neomensural} styles mimic the appearance of rests in
712 manuscripts and prints up to the 16th century.
714 The following example demonstrates the @code{mensural} and
715 @code{neomensural} styles:
717 @lilypond[quote,fragment,ragged-right,verbatim]
718 \set Score.skipBars = ##t
719 \override Rest #'style = #'classical
720 r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
721 \override Rest #'style = #'mensural
722 r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
723 \override Rest #'style = #'neomensural
724 r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
727 There are no 32th and 64th rests specifically for the mensural or
728 neo-mensural style. Instead, the rests from the default style will be
731 See @rlsr{Pitches,rests} for a chart of all rests.
733 There are no rests in Gregorian chant notation; instead, it uses
738 Notation Reference: @ref{Rests}, gives a general introduction into the use of
742 @c {{{2Mensural accidentals and key signatures
743 @node Mensural accidentals and key signatures
744 @unnumberedsubsubsec Mensural accidentals and key signatures
747 @cindex key signature
749 The @code{mensural} style provides a sharp and a flat sign
750 different from the default style. If called for, the natural sign
751 will be taken from the @code{vaticana} style.
753 @lilypond[quote,ragged-right,staffsize=26]
760 \line { " " \musicglyph #"accidentals.mensural-1"
761 " " \musicglyph #"accidentals.mensural1" }
767 \context { \Score \remove "Bar_number_engraver" }
769 \remove "Clef_engraver"
770 \remove "Key_engraver"
771 \remove "Time_signature_engraver"
772 \remove "Staff_symbol_engraver"
773 \override VerticalAxisGroup #'minimum-Y-extent = ##f
779 The style for accidentals and key signatures is controlled by the
780 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
781 @rinternals{KeySignature}, respectively; e.g.:
783 @code{\override Staff.Accidental #'glyph-name-alist =
784 #alteration-mensural-glyph-name-alist}
788 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
789 @ref{Automatic accidentals} give a general introduction of the use of
790 accidentals. @ref{Key signature} gives a general introduction of
791 the use of key signatures.
793 Internals Reference: @rinternals{KeySignature}.
796 @c {{{2 Annotational accidentals (musica ficta)
797 @node Annotational accidentals (musica ficta)
798 @unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
800 In European music from before about 1600, singers were expected to
801 chromatically alter notes at their own initiative according to
802 certain rules. This is called @notation{musica ficta}. In modern
803 transcriptions, these accidentals are usually printed over the
806 @cindex Accidental, musica ficta
809 Support for such suggested accidentals is included, and can be
810 switched on by setting @code{suggestAccidentals} to true.
812 @funindex suggestAccidentals
814 @lilypond[verbatim,fragment,relative=1]
816 \set suggestAccidentals = ##t
820 This will treat @emph{every} subsequent accidental as @emph{musica
821 ficta} until it is unset with @code{\set suggestAccidentals =
822 ##f}. A more practical way is to use @code{\once \set
823 suggestAccidentals = ##t}, which can even be defined as a
824 convenient shorthand:
826 @lilypond[quote,verbatim]
827 ficta = { \once \set suggestAccidentals = ##t }
828 \score { \relative c''
830 \once \set suggestAccidentals = ##t
831 bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
838 Internals Reference: @rinternals{Accidental_engraver} engraver and
839 the @rinternals{AccidentalSuggestion} object.
842 @c {{{2White mensural ligatures
843 @node White mensural ligatures
844 @unnumberedsubsubsec White mensural ligatures
846 @cindex Mensural ligatures
847 @cindex White mensural ligatures
849 There is limited support for white mensural ligatures.
851 To engrave white mensural ligatures, in the layout block, replace
852 the @rinternals{Ligature_bracket_engraver} with the
853 @rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
860 \remove Ligature_bracket_engraver
861 \consists Mensural_ligature_engraver
866 There is no additional input language to describe the shape of a
867 white mensural ligature. The shape is rather determined solely from
868 the pitch and duration of the enclosed notes. While this approach may
869 take a new user a while to get accustomed to, it has the great advantage
870 that the full musical information of the ligature is known internally.
871 This is not only required for correct MIDI output, but also allows for
872 automatic transcription of the ligatures.
877 @c \set Score.timing = ##f
878 @c \set Score.defaultBarType = "empty"
879 @c \override NoteHead #'style = #'neomensural
880 @c \override Staff.TimeSignature #'style = #'neomensural
881 @c \clef "petrucci-g"
883 @c \[ d\longa c\breve f e d \]
884 @c \[ c'\maxima d'\longa \]
885 @c \[ e'1 a g\breve \]
887 @lilypond[quote,ragged-right,verbatim]
890 \set Score.timing = ##f
891 \set Score.defaultBarType = "empty"
892 \override NoteHead #'style = #'neomensural
893 \override Staff.TimeSignature #'style = #'neomensural
896 \[ d\longa c\breve f e d \]
897 \[ c'\maxima d'\longa \]
903 \remove Ligature_bracket_engraver
904 \consists Mensural_ligature_engraver
910 Without replacing @rinternals{Ligature_bracket_engraver} with
911 @rinternals{Mensural_ligature_engraver}, the same music transcribes
914 @lilypond[quote,ragged-right]
916 \set Score.timing = ##f
917 \set Score.defaultBarType = "empty"
918 \override NoteHead #'style = #'neomensural
919 \override Staff.TimeSignature #'style = #'neomensural
922 \[ d\longa c\breve f e d \]
923 \[ c'\maxima d'\longa \]
930 TODO: nothing here yet ...
935 Horizontal spacing is poor.
938 @c {{{1 Typesetting Gregorian chant
939 @node Typesetting Gregorian chant
940 @subsection Typesetting Gregorian chant
943 * Gregorian chant contexts::
945 * Gregorian accidentals and key signatures::
947 * Gregorian articulation signs::
948 * Augmentum dots (@emph{morae})::
949 * Gregorian square neume ligatures::
952 When typesetting a piece in Gregorian chant notation, the
953 @rinternals{Vaticana_ligature_engraver} automatically selects the
954 proper note heads, so there is no need to explicitly set the note
955 head style. Still, the note head style can be set, e.g., to
956 @code{vaticana_punctum} to produce punctum neumes. Similarly, the
957 @rinternals{Mensural_ligature_engraver} automatically assembles
958 mensural ligatures. See @ref{Ligatures}, for how ligature
962 @c {{{2Gregorian chant contexts
963 @node Gregorian chant contexts
964 @unnumberedsubsubsec Gregorian chant contexts
966 @cindex VaticanaVoiceContext
967 @cindex VaticanaStaffContext
969 The predefined @code{VaticanaVoiceContext} and
970 @code{VaticanaStaffContext} can be used to engrave a piece of
971 Gregorian chant in the style of the Editio Vaticana. These contexts
972 initialize all relevant context properties and grob properties to
973 proper values, so you can immediately go ahead entering the chant, as
974 the following excerpt demonstrates:
976 @lilypond[quote,ragged-right,packed,verbatim]
977 \include "gregorian.ly"
980 \new VaticanaVoice = "cantus" {
981 \[ c'\melisma c' \flexa a \]
982 \[ a \flexa \deminutum g\melismaEnd \]
984 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
985 c' \divisioMinima \break
986 \[ c'\melisma c' \flexa a \]
987 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
989 \new Lyrics \lyricsto "cantus" {
990 San- ctus, San- ctus, San- ctus
998 TODO: nothing here yet ...
1001 @c {{{2 Gregorian clefs
1002 @node Gregorian clefs
1003 @unnumberedsubsubsec Gregorian clefs
1007 The following table shows all Gregorian clefs that are supported via
1008 the @code{\clef} command. Some of the clefs use the same glyph,
1009 but differ only with respect to the line they are printed on. In
1010 such cases, a trailing number in the name is used to enumerate
1011 these clefs, numbered from the lowest to the highest line. Still,
1012 you can manually force a clef glyph to be typeset on an arbitrary
1013 line, as described in @ref{Clef}. The note printed to the right
1014 side of each clef in the example column denotes the @code{c'} with
1015 respect to that clef.
1017 @multitable @columnfractions .4 .4 .2
1026 Editio Vaticana style do clef
1028 @code{vaticana-do1}, @code{vaticana-do2},@*
1031 @lilypond[fragment,relative=1,notime]
1032 \override Staff.StaffSymbol #'line-count = #4
1033 \override Staff.StaffSymbol #'color = #red
1034 \override Staff.LedgerLineSpanner #'color = #red
1035 \override Voice.Stem #'transparent = ##t
1036 \override NoteHead #'style = #'vaticana.punctum
1037 \clef "vaticana-do2"
1042 Editio Vaticana style fa clef
1044 @code{vaticana-fa1}, @code{vaticana-fa2}
1046 @lilypond[fragment,relative=1,notime]
1047 \override Staff.StaffSymbol #'line-count = #4
1048 \override Staff.StaffSymbol #'color = #red
1049 \override Staff.LedgerLineSpanner #'color = #red
1050 \override Voice.Stem #'transparent = ##t
1051 \override NoteHead #'style = #'vaticana.punctum
1052 \clef "vaticana-fa2"
1057 Editio Medicaea style do clef
1059 @code{medicaea-do1}, @code{medicaea-do2},@*
1062 @lilypond[fragment,relative=1,notime]
1063 \override Staff.StaffSymbol #'line-count = #4
1064 \override Staff.StaffSymbol #'color = #red
1065 \override Staff.LedgerLineSpanner #'color = #red
1066 \override Voice.Stem #'transparent = ##t
1067 \override NoteHead #'style = #'medicaea.punctum
1068 \clef "medicaea-do2"
1073 Editio Medicaea style fa clef
1075 @code{medicaea-fa1}, @code{medicaea-fa2}
1077 @lilypond[fragment,relative=1,notime]
1078 \override Staff.StaffSymbol #'line-count = #4
1079 \override Staff.StaffSymbol #'color = #red
1080 \override Staff.LedgerLineSpanner #'color = #red
1081 \override Voice.Stem #'transparent = ##t
1082 \override NoteHead #'style = #'medicaea.punctum
1083 \clef "medicaea-fa2"
1088 hufnagel style do clef
1090 @code{hufnagel-do1}, @code{hufnagel-do2},@*
1093 @lilypond[fragment,relative=1,notime]
1094 \override Staff.StaffSymbol #'line-count = #4
1095 \override Staff.StaffSymbol #'color = #red
1096 \override Staff.LedgerLineSpanner #'color = #red
1097 \override Voice.Stem #'transparent = ##t
1098 \override NoteHead #'style = #'hufnagel.punctum
1099 \clef "hufnagel-do2"
1104 hufnagel style fa clef
1106 @code{hufnagel-fa1}, @code{hufnagel-fa2}
1108 @lilypond[fragment,relative=1,notime]
1109 \override Staff.StaffSymbol #'line-count = #4
1110 \override Staff.StaffSymbol #'color = #red
1111 \override Staff.LedgerLineSpanner #'color = #red
1112 \override Voice.Stem #'transparent = ##t
1113 \override NoteHead #'style = #'hufnagel.punctum
1114 \clef "hufnagel-fa2"
1119 hufnagel style combined do/fa clef
1121 @code{hufnagel-do-fa}
1123 @lilypond[fragment,relative=1,notime]
1124 \override Staff.StaffSymbol #'color = #red
1125 \override Staff.LedgerLineSpanner #'color = #red
1126 \override Voice.Stem #'transparent = ##t
1127 \override NoteHead #'style = #'hufnagel.punctum
1128 \clef "hufnagel-do-fa"
1135 Notation Reference: see @ref{Clef}.
1138 @c {{{2 Gregorian accidentals and key signatures
1139 @node Gregorian accidentals and key signatures
1140 @unnumberedsubsubsec Gregorian accidentals and key signatures
1143 @cindex key signature
1145 Accidentals for the three different Gregorian styles are available:
1147 @lilypond[quote,ragged-right,staffsize=26]
1154 \line { " " \musicglyph #"accidentals.vaticana-1"
1155 " " \musicglyph #"accidentals.vaticana0" }
1159 \line { " " \musicglyph #"accidentals.medicaea-1" }
1163 \line { " " \musicglyph #"accidentals.hufnagel-1" }
1169 \context { \Score \remove "Bar_number_engraver" }
1171 \remove "Clef_engraver"
1172 \remove "Key_engraver"
1173 \remove "Time_signature_engraver"
1174 \remove "Staff_symbol_engraver"
1175 \override VerticalAxisGroup #'minimum-Y-extent = ##f
1181 As shown, not all accidentals are supported by each style. When
1182 trying to access an unsupported accidental, LilyPond will switch to a
1185 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1186 @c {ancient-accidentals.ly}
1188 The style for accidentals and key signatures is controlled by the
1189 @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
1190 @rinternals{KeySignature}, respectively; e.g.:
1192 @code{\override Staff.Accidental #'glyph-name-alist =
1193 #alteration-mensural-glyph-name-alist}
1197 Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
1198 @ref{Automatic accidentals} give a general introduction of the use of
1199 accidentals. @ref{Key signature} gives a general introduction of
1200 the use of key signatures.
1202 Internals Reference: @rinternals{KeySignature}.
1207 @unnumberedsubsubsec Divisiones
1213 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
1214 @q{division}) is a staff context symbol that is used to indicate
1215 the phrase and section structure of Gregorian music. The musical meaning of
1216 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
1217 can be characterized as short, medium, and long pause, somewhat like
1218 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
1219 only marks the end of a chant, but is also frequently used within a
1220 single antiphonal/responsorial chant to mark the end of each section.
1222 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
1223 contains definitions that you can apply by just inserting
1224 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
1225 and @code{\finalis} at proper places in the input. Some editions use
1226 @emph{virgula} or @emph{caesura} instead of divisio minima.
1227 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
1230 @lilypondfile[quote,ragged-right]{divisiones.ly}
1238 @funindex \divisioMinima
1239 @code{\divisioMinima},
1240 @funindex \divisioMaior
1241 @code{\divisioMaior},
1242 @funindex \divisioMaxima
1243 @code{\divisioMaxima},
1249 @c {{{2Gregorian articulations
1250 @node Gregorian articulation signs
1251 @unnumberedsubsubsec Gregorian articulation signs
1253 @cindex articulations
1255 In addition to the standard articulation signs described in
1256 section @ref{Articulations and ornamentations}, articulation signs
1257 specifically designed for use with notation in @emph{Editio
1258 Vaticana} style are provided.
1260 @lilypond[quote,ragged-right,verbatim]
1261 \include "gregorian.ly"
1263 \new VaticanaVoice {
1264 \override TextScript #'font-family = #'typewriter
1265 \override TextScript #'font-shape = #'upright
1266 \override Script #'padding = #-0.1
1267 a\ictus_"ictus " \break
1268 a\circulus_"circulus " \break
1269 a\semicirculus_"semicirculus " \break
1270 a\accentus_"accentus " \break
1271 \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
1278 TODO: nothing here yet ...
1283 Some articulations are vertically placed too closely to the
1284 corresponding note heads.
1286 The episema line is not displayed in many cases. If it is displayed,
1287 the right end of the episema line is often too far to the right.
1290 @c {{{2Augmentum dots (@emph{morae})
1291 @node Augmentum dots (@emph{morae})
1292 @unnumberedsubsubsec Augmentum dots (@emph{morae})
1294 Augmentum dots, also called @emph{morae}, are added with the music
1295 function @code{\augmentum}. Note that @code{\augmentum} is
1296 implemented as a unary music function rather than as head prefix. It
1297 applies to the immediately following music expression only. That is,
1298 @code{\augmentum \virga c} will have no visible effect. Instead, say
1299 @code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
1300 note that you can say @code{\augmentum @{a g@}} as a shortcut for
1301 @code{\augmentum a \augmentum g}.
1303 @lilypond[quote,ragged-right,verbatim]
1304 \include "gregorian.ly"
1306 \new VaticanaVoice {
1307 \[ \augmentum a \flexa \augmentum g \]
1315 Notation Reference: @ref{Breath marks}.
1317 Internals Reference: @rinternals{BreathingSign}.
1319 Examples: @rlsr{Ancient notation}.
1322 @c {{{2Gregorian square neumes ligatures
1323 @node Gregorian square neume ligatures
1324 @unnumberedsubsubsec Gregorian square neume ligatures
1326 @cindex Square neumes ligatures
1327 @cindex Gregorian square neumes ligatures
1329 There is limited support for Gregorian square neumes notation
1330 (following the style of the Editio Vaticana). Core ligatures can
1331 already be typeset, but essential issues for serious typesetting are
1332 still lacking, such as (among others) horizontal alignment of multiple
1333 ligatures, lyrics alignment, and proper handling of accidentals.
1335 The support for Gregorian neumes is enabled by @code{\include}ing
1336 "gregorian.ly" at the beginning of the file. This makes available
1337 a number of extra commands to produce the neume symbols used in
1338 plainchant notation.
1342 Note heads can be @emph{modified} and/or @emph{joined}.
1346 the note head can be modified by @emph{prefixing} the note name
1347 with any of the following commands:
1352 @funindex \inclinatum
1356 @funindex \descendens
1358 @funindex \ascendens
1364 @funindex \deminutum
1371 @item Ligatures, properly speaking (i.e. notes joined together), are
1372 produced by placing one of the joining commands @code{pes} or
1373 @code{flexa}, for upwards and downwards movement, respectively,
1374 @emph{between} the notes to be joined.
1377 A note name without any qualifiers will produce a @emph{punctum}.
1378 All other neumes, including the single-note neumes with a
1379 different shape such as the @emph{virga}, are in principle
1380 considered as ligatures and should therefore be placed
1381 between @code{\[...\]}.
1382 @c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
1389 @item The @emph{punctum} is the basic note shape (in the
1390 @emph{Vaticana} style: a square with some curvation for
1391 typographical finesse). In addition to the regular
1392 @emph{punctum}, there is also the oblique @emph{punctum
1393 inclinatum}, produced with the prefix @code{\inclinatum}. The
1394 regular @emph{punctum} can be modified with @code{\cavum}, which
1395 produces a hollow note, and @code{\linea}, which draws vertical
1396 lines on either side of the note.
1398 @item The @emph{virga} has a descending stem on the right side. It is
1399 produced by the modifier @code{\virga}.
1405 Unlike most other neumes notation systems, the typographical
1406 appearance of ligatures is not directly dictated by the input
1407 commands, but follows certain conventions dependent on musical
1408 meaning. For example, a three-note ligature with the musical shape
1409 low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
1410 Torculus consisting of three Punctum heads, while the shape
1411 high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
1412 Porrectus with a curved flexa shape and only a single Punctum
1413 head. There is no command to explicitly typeset the curved flexa
1414 shape; the decision of when to typeset a curved flexa shape is
1415 based on the musical input. The idea of this approach is to
1416 separate the musical aspects of the input from the notation style
1417 of the output. This way, the same input can be reused to typeset
1418 the same music in a different style of Gregorian chant notation.
1423 Another main category of notes in Gregorian chant is the so-called
1424 liquescent neumes. They are used under certain circumstances at
1425 the end of a syllable which ends in a @q{liquescent} letter, i.e.
1426 the sounding consonants that can hold a tone (the nasals, l, r, v,
1427 j, and their diphtong equivalents). Thus, the liquescent neumes
1428 are never used alone (although some of them can be produced), and
1429 they always fall at the end of a ligature.
1431 Liquescent neumes are represented graphically in two different,
1432 more or less interchangeable ways: with a smaller note or by
1433 @q{twisting} the main note upwards or downwards. The first is
1434 produced by making a regular @code{pes} or @code{flexa} and
1435 modifying the shape of the second note: @code{\[ a \pes \deminutum
1436 b \] }, the second by modifying the shape of a single-note neume
1437 with @code{\auctus} and one of the direction markers
1438 @code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus
1444 A third category of signs is made up of a small number of signs
1445 with a special meaning (which, incidentally, in most cases is only
1446 vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
1447 @emph{strophicus}. These are all produced by prefixing a note name
1448 with the corresponding modifier, @code{\quilisma},
1449 @code{\oriscus}, or @code{\stropha}.
1451 Virtually, within the ligature delimiters @code{\[} and @code{\]},
1452 any number of heads may be accumulated to form a single ligature,
1453 and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
1454 @code{\inclinatum}, etc. may be mixed in as desired. The use of
1455 the set of rules that underlies the construction of the ligatures
1456 in the above table is accordingly extrapolated. This way,
1457 infinitely many different ligatures can be created.
1459 Note that the use of these signs in the music itself follows
1460 certain rules, which are not checked by Lilypond. E.g., the
1461 @emph{quilisma} is always the middle note of an ascending
1462 ligature, and usually falls on a half-tone step, but it is
1463 perfectly possible to make a single-note quilisma.
1468 The following table shows a limited, but still representative pool
1469 of Gregorian ligatures, together with the code fragments that
1470 produce the ligatures. The table is based on the extended neumes
1471 table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
1472 Hymnarius}), published 1983 by the monks of Solesmes. The first
1473 column gives the name of the ligature, with the main form in
1474 boldface and the liquescent forms in italics. The third column
1475 shows the code fragment that produces this ligature, using
1476 @code{g}, @code{a}, and @code{b} as example pitches.
1479 @b{Single-note neums}
1481 @multitable @columnfractions .4 .2 .4
1484 @b{Basic} and @emph{Liquescent} forms
1491 @c TODO: \layout block is identical in all of the below examples.
1492 @c Therefore, it should somehow be included rather than duplicated all
1495 @c why not make variables in ly/engraver-init.ly? --hwn
1497 @c Because it's just used to typeset plain notes without
1498 @c a staff for demonstration purposes rather than something
1499 @c special of Gregorian chant notation. --jr
1505 @lilypond[staffsize=26,line-width=1.5\cm]
1506 \include "gregorian.ly"
1512 \layout { \neumeDemoLayout }}
1519 @lilypond[staffsize=26,line-width=1.5\cm]
1520 \include "gregorian.ly"
1526 \layout { \neumeDemoLayout }}
1529 @code{\[ \cavum b \]}
1533 @lilypond[staffsize=26,line-width=1.5\cm]
1534 \include "gregorian.ly"
1540 \layout { \neumeDemoLayout }}
1543 @code{\[ \linea b \]}
1546 @emph{Punctum Auctum Ascendens}
1548 @lilypond[staffsize=26,line-width=2.5\cm]
1549 \include "gregorian.ly"
1552 % Punctum Auctum Ascendens
1553 \[ \auctum \ascendens b \]
1555 \layout { \neumeDemoLayout }}
1558 @code{\[ \auctum \ascendens b \]}
1561 @emph{Punctum Auctum Descendens}
1563 @lilypond[staffsize=26,line-width=2.5\cm]
1564 \include "gregorian.ly"
1567 % Punctum Auctum Descendens
1568 \[ \auctum \descendens b \]
1570 \layout { \neumeDemoLayout }}
1573 @code{\[ \auctum \descendens b \]}
1576 @b{Punctum inclinatum}
1578 @lilypond[staffsize=26,line-width=1.5\cm]
1579 \include "gregorian.ly"
1582 % Punctum Inclinatum
1585 \layout { \neumeDemoLayout }}
1588 @code{\[ \inclinatum b \]}
1591 @emph{Punctum Inclinatum Auctum}
1593 @lilypond[staffsize=26,line-width=2.5\cm]
1594 \include "gregorian.ly"
1597 % Punctum Inclinatum Auctum
1598 \[ \inclinatum \auctum b \]
1600 \layout { \neumeDemoLayout }}
1603 @code{\[ \inclinatum \auctum b \]}
1606 @emph{Punctum Inclinatum Parvum}
1608 @lilypond[staffsize=26,line-width=1.0\cm]
1609 \include "gregorian.ly"
1612 % Punctum Inclinatum Parvum
1613 \[ \inclinatum \deminutum b \]
1615 \layout { \neumeDemoLayout }}
1618 @code{\[ \inclinatum \deminutum b \]}
1623 @lilypond[staffsize=26,line-width=1.0\cm]
1624 \include "gregorian.ly"
1630 \layout { \neumeDemoLayout }}
1637 @b{Two-note ligatures}
1639 @multitable @columnfractions .4 .2 .4
1642 @b{Clivis vel Flexa}
1644 @lilypond[staffsize=26,line-width=1.0\cm]
1645 \include "gregorian.ly"
1651 \layout { \neumeDemoLayout }}
1654 @code{\[ b \flexa g \]}
1658 @emph{Clivis Aucta Descendens}
1660 @lilypond[staffsize=26,line-width=2.0\cm]
1661 \include "gregorian.ly"
1664 % Clivis Aucta Descendens
1665 \[ b \flexa \auctum \descendens g \]
1667 \layout { \neumeDemoLayout }}
1670 @code{\[ b \flexa \auctum \descendens g \]}
1673 @emph{Clivis Aucta Ascendens}
1675 @lilypond[staffsize=26,line-width=2.0\cm]
1676 \include "gregorian.ly"
1679 % Clivis Aucta Ascendens
1680 \[ b \flexa \auctum \ascendens g \]
1682 \layout { \neumeDemoLayout }}
1685 @code{\[ b \flexa \auctum \ascendens g \]}
1690 @lilypond[staffsize=26,line-width=2.0\cm]
1691 \include "gregorian.ly"
1695 \[ b \flexa \deminutum g \]
1697 \layout { \neumeDemoLayout }}
1700 @code{\[ b \flexa \deminutum g \]}
1705 @lilypond[staffsize=26,line-width=1.0\cm]
1706 \include "gregorian.ly"
1712 \layout { \neumeDemoLayout }}
1715 @code{\[ g \pes b \]}
1718 @emph{Pes Auctus Descendens}
1720 @lilypond[staffsize=26,line-width=1.0\cm]
1721 \include "gregorian.ly"
1724 % Pes Auctus Descendens
1725 \[ g \pes \auctum \descendens b \]
1727 \layout { \neumeDemoLayout }}
1730 @code{\[ g \pes \auctum \descendens b \]}
1733 @emph{Pes Auctus Ascendens}
1735 @lilypond[staffsize=26,line-width=1.0\cm]
1736 \include "gregorian.ly"
1739 % Pes Auctus Ascendens
1740 \[ g \pes \auctum \ascendens b \]
1742 \layout { \neumeDemoLayout }}
1745 @code{\[ g \pes \auctum \ascendens b \]}
1750 @lilypond[staffsize=26,line-width=1.0\cm]
1751 \include "gregorian.ly"
1755 \[ g \pes \deminutum b \]
1757 \layout { \neumeDemoLayout }}
1760 @code{\[ g \pes \deminutum b \]}
1763 @emph{Pes Initio Debilis}
1765 @lilypond[staffsize=26,line-width=1.0\cm]
1766 \include "gregorian.ly"
1769 % Pes Initio Debilis
1770 \[ \deminutum g \pes b \]
1772 \layout { \neumeDemoLayout }}
1775 @code{\[ \deminutum g \pes b \]}
1778 @emph{Pes Auctus Descendens Initio Debilis}
1780 @lilypond[staffsize=26,line-width=1.0\cm]
1781 \include "gregorian.ly"
1784 % Pes Auctus Descendens Initio Debilis
1785 \[ \deminutum g \pes \auctum \descendens b \]
1787 \layout { \neumeDemoLayout }}
1790 @code{\[ \deminutum g \pes \auctum \descendens b \]}
1795 @b{Multi-note ligatures}
1797 @multitable @columnfractions .4 .2 .4
1802 @lilypond[staffsize=26,line-width=1.0\cm]
1803 \include "gregorian.ly"
1807 \[ a \pes b \flexa g \]
1809 \layout { \neumeDemoLayout }}
1812 @code{\[ a \pes b \flexa g \]}
1815 @emph{Torculus Auctus Descendens}
1817 @lilypond[staffsize=26,line-width=1.0\cm]
1818 \include "gregorian.ly"
1821 % Torculus Auctus Descendens
1822 \[ a \pes b \flexa \auctum \descendens g \]
1824 \layout { \neumeDemoLayout }}
1827 @code{\[ a \pes b \flexa \auctum \descendens g \]}
1830 @emph{Torculus Deminutus}
1832 @lilypond[staffsize=26,line-width=1.0\cm]
1833 \include "gregorian.ly"
1836 % Torculus Deminutus
1837 \[ a \pes b \flexa \deminutum g \]
1839 \layout { \neumeDemoLayout }}
1842 @code{\[ a \pes b \flexa \deminutum g \]}
1845 @emph{Torculus Initio Debilis}
1847 @lilypond[staffsize=26,line-width=1.0\cm]
1848 \include "gregorian.ly"
1851 % Torculus Initio Debilis
1852 \[ \deminutum a \pes b \flexa g \]
1854 \layout { \neumeDemoLayout }}
1857 @code{\[ \deminutum a \pes b \flexa g \]}
1860 @emph{Torculus Auctus Descendens Initio Debilis}
1862 @lilypond[staffsize=26,line-width=1.0\cm]
1863 \include "gregorian.ly"
1866 % Torculus Auctus Descendens Initio Debilis
1867 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
1869 \layout { \neumeDemoLayout }}
1872 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
1875 @emph{Torculus Deminutus Initio Debilis}
1877 @lilypond[staffsize=26,line-width=1.0\cm]
1878 \include "gregorian.ly"
1881 % Torculus Deminutus Initio Debilis
1882 \[ \deminutum a \pes b \flexa \deminutum g \]
1884 \layout { \neumeDemoLayout }}
1887 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
1892 @lilypond[staffsize=26,line-width=1.0\cm]
1893 \include "gregorian.ly"
1897 \[ a \flexa g \pes b \]
1899 \layout { \neumeDemoLayout }}
1902 @code{\[ a \flexa g \pes b \]}
1905 @emph{Porrectus Auctus Descendens}
1907 @lilypond[staffsize=26,line-width=1.0\cm]
1908 \include "gregorian.ly"
1911 % Porrectus Auctus Descendens
1912 \[ a \flexa g \pes \auctum \descendens b \]
1914 \layout { \neumeDemoLayout }}
1917 @code{\[ a \flexa g \pes \auctum \descendens b \]}
1920 @emph{Porrectus Deminutus}
1922 @lilypond[staffsize=26,line-width=1.0\cm]
1923 \include "gregorian.ly"
1926 % Porrectus Deminutus
1927 \[ a \flexa g \pes \deminutum b \]
1929 \layout { \neumeDemoLayout }}
1932 @code{\[ a \flexa g \pes \deminutum b \]}
1937 @lilypond[staffsize=26,line-width=1.0\cm]
1938 \include "gregorian.ly"
1942 \[ \virga b \inclinatum a \inclinatum g \]
1944 \layout { \neumeDemoLayout }}
1947 @code{\[ \virga b \inclinatum a \inclinatum g \]}
1950 @emph{Climacus Auctus}
1952 @lilypond[staffsize=26,line-width=1.0\cm]
1953 \include "gregorian.ly"
1957 \[ \virga b \inclinatum a \inclinatum \auctum g \]
1959 \layout { \neumeDemoLayout }}
1962 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
1965 @emph{Climacus Deminutus}
1967 @lilypond[staffsize=26,line-width=1.0\cm]
1968 \include "gregorian.ly"
1971 % Climacus Deminutus
1972 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
1974 \layout { \neumeDemoLayout }}
1977 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
1982 @lilypond[staffsize=26,line-width=1.0\cm]
1983 \include "gregorian.ly"
1987 \[ g \pes a \virga b \]
1989 \layout { \neumeDemoLayout }}
1992 @code{\[ g \pes a \virga b \]}
1995 @emph{Scandicus Auctus Descendens}
1997 @lilypond[staffsize=26,line-width=1.0\cm]
1998 \include "gregorian.ly"
2001 % Scandicus Auctus Descendens
2002 \[ g \pes a \pes \auctum \descendens b \]
2004 \layout { \neumeDemoLayout }}
2007 @code{\[ g \pes a \pes \auctum \descendens b \]}
2010 @emph{Scandicus Deminutus}
2012 @lilypond[staffsize=26,line-width=1.0\cm]
2013 \include "gregorian.ly"
2016 % Scandicus Deminutus
2017 \[ g \pes a \pes \deminutum b \]
2019 \layout { \neumeDemoLayout }}
2022 @code{\[ g \pes a \pes \deminutum b \]}
2029 @multitable @columnfractions .4 .2 .4
2034 @lilypond[staffsize=26,line-width=1.0\cm]
2035 \include "gregorian.ly"
2039 \[ g \pes \quilisma a \pes b \]
2041 \layout { \neumeDemoLayout }}
2044 @code{\[ g \pes \quilisma a \pes b \]}
2047 @emph{Quilisma Pes Auctus Descendens}
2049 @lilypond[staffsize=26,line-width=1.0\cm]
2050 \include "gregorian.ly"
2053 % Quilisma Pes Auctus Descendens
2054 \[ g \quilisma a \pes \auctum \descendens b \]
2056 \layout { \neumeDemoLayout }}
2059 @code{\[ \quilisma g \pes \auctum \descendens b \]}
2064 @lilypond[staffsize=26,line-width=1.0\cm]
2065 \include "gregorian.ly"
2071 \layout { \neumeDemoLayout }}
2074 @code{\[ \oriscus b \]}
2079 @lilypond[staffsize=26,line-width=1.0\cm]
2080 \include "gregorian.ly"
2084 \[ \oriscus g \pes \virga b \]
2086 \layout { \neumeDemoLayout }}
2089 @code{\[ \oriscus g \pes \virga b \]}
2092 @emph{Pes Quassus Auctus Descendens}
2094 @lilypond[staffsize=26,line-width=1.0\cm]
2095 \include "gregorian.ly"
2098 % Pes Quassus Auctus Descendens
2099 \[ \oriscus g \pes \auctum \descendens b \]
2101 \layout { \neumeDemoLayout }}
2104 @code{\[ \oriscus g \pes \auctum \descendens b \]}
2109 @lilypond[staffsize=26,line-width=1.0\cm]
2110 \include "gregorian.ly"
2114 \[ g \oriscus a \pes \virga b \]
2116 \layout { \neumeDemoLayout }}
2119 @code{\[ g \oriscus a \pes \virga b \]}
2122 @emph{Salicus Auctus Descendens}
2124 @lilypond[staffsize=26,line-width=1.0\cm]
2125 \include "gregorian.ly"
2128 % Salicus Auctus Descendens
2129 \[ g \oriscus a \pes \auctum \descendens b \]
2131 \layout { \neumeDemoLayout }}
2134 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
2139 @lilypond[staffsize=26,line-width=1.0\cm]
2140 \include "gregorian.ly"
2146 \layout { \neumeDemoLayout }}
2149 @code{\[ \stropha b \]}
2152 @emph{Stropha Aucta}
2154 @lilypond[staffsize=26,line-width=1.0\cm]
2155 \include "gregorian.ly"
2159 \[ \stropha \auctum b \]
2161 \layout { \neumeDemoLayout }}
2164 @code{\[ \stropha \auctum b \]}
2169 @lilypond[staffsize=26,line-width=1.0\cm]
2170 \include "gregorian.ly"
2174 \[ \stropha b \stropha b \]
2176 \layout { \neumeDemoLayout }}
2179 @code{\[ \stropha b \stropha b \]}
2184 @lilypond[staffsize=26,line-width=1.0\cm]
2185 \include "gregorian.ly"
2189 \[ \stropha b \stropha b \stropha b \]
2191 \layout { \neumeDemoLayout }}
2194 @code{\[ \stropha b \stropha b \stropha b \]}
2199 @lilypond[staffsize=26,line-width=1.0\cm]
2200 \include "gregorian.ly"
2204 \[ \stropha b \stropha b \stropha a \]
2206 \layout { \neumeDemoLayout }
2210 @code{\[ \stropha b \stropha b \stropha a \]}
2216 The following head prefixes are supported:
2221 @funindex \inclinatum
2225 @funindex \descendens
2227 @funindex \ascendens
2233 @funindex \deminutum
2241 Head prefixes can be accumulated, though restrictions apply. For
2242 example, either @code{\descendens} or @code{\ascendens} can be applied
2243 to a head, but not both to the same head.
2247 Two adjacent heads can be tied together with the @code{\pes} and
2248 @code{\flexa} infix commands for a rising and falling line of melody,
2251 @funindex \augmentum
2252 Use the unary music function @code{\augmentum} to add augmentum dots.
2256 TODO: nothing here yet ...
2261 When an @code{\augmentum} dot appears at the end of the last staff
2262 within a ligature, it is sometimes vertically placed wrong. As a
2263 workaround, add an additional skip note (e.g. @code{s8}) as last note
2266 @code{\augmentum} should be implemented as a head prefix rather than a
2267 unary music function, such that @code{\augmentum} can be intermixed
2268 with head prefixes in arbitrary order.
2272 @c Working with ancient music: scenarios and solutions:: {{{1
2273 @node Working with ancient music---scenarios and solutions
2274 @subsection Working with ancient music---scenarios and solutions
2278 * Mensurstriche layout::
2279 * Transcribing Gregorian chant::
2280 * Ancient and modern from one source::
2281 * Editorial markings::
2284 Working with ancient music frequently involves particular tasks
2285 which differ considerably from the modern notation for which
2286 Lilypond is designed. In the rest of this section, a number of
2287 typical scenarios are outlined, with suggestions of solutions.
2291 @item how to make incipits (i.e. prefatory material to indicate
2292 what the original has looked like) to modern transcriptions of
2294 @item how to achieve the @emph{Mensurstriche} layout frequently
2295 used for modern transcriptions of polyphonic music;
2296 @item how to transcribe Gregorian chant in modern notation;
2297 @item how to generate both ancient and modern notation from the
2303 @unnumberedsubsubsec Incipits
2306 @c clefs, mensuration signs etc from lsr and -user
2307 @c use snippet Transcription-of-ancient-music-with-incipit
2312 @c ... and reference to other sections ...
2315 @c {{{2Mensurstriche layout
2316 @node Mensurstriche layout
2317 @unnumberedsubsubsec Mensurstriche layout
2319 @emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
2320 for bar lines that are drawn between the staves of a system but
2321 not through the staves themselves. It is a common way to preserve
2322 the rhythmic appearance of the original, i.e. not having to break
2323 syncopated notes at bar lines, while still providing the
2324 orientation aids that bar lines give.
2327 @lilypondfile[verbatim,lilyquote,texidoc]
2328 {mensurstriche-layout-bar-lines-between-the-staves.ly}
2330 @c This simple setup will take care of the
2331 @c TODO Add text about lyrics to the lowest line, to be placed
2332 @c outside the StaffGroup.
2333 @c from lsr and -user
2338 @c ... and reference to other sections ...
2341 @c {{{2Transcribing Gregorian chant
2342 @node Transcribing Gregorian chant
2343 @unnumberedsubsubsec Transcribing Gregorian chant
2346 @c extract from 1.6.1.1
2351 @c ... and reference to other sections ...
2354 @c {{{2Ancient and modern from one source
2355 @node Ancient and modern from one source
2356 @unnumberedsubsubsec Ancient and modern from one source
2359 @c Here among others the snippets about reducing note length
2364 @c ... and reference to other sections ...
2367 @c {{{2Editorial markings
2368 @node Editorial markings
2369 @unnumberedsubsubsec Editorial markings
2371 @c {{{2Baroque rhythmic notation
2372 @c @node Baroque rhythmic notation
2373 @c @unnumberedsubsubsec Baroque rhythmic notation
2377 @c Add example of white noteheads:
2378 @c In the french baroque some composers used white noteheads in slow pieces,
2379 @c mainly in 3/2-time. A quarter looks there like a eighth with a white
2380 @c notehead. (Franz-Rudolf Kuhnen)
2382 @c TODO Add example of this:
2383 @c I was referring to e.g. notated a8. a16, which should, if I
2384 @c remember correctly, be interpreted more like a8.. a32 (in the french
2385 @c style). The editor might want to show that rythmic figure above the
2386 @c staff as an hint to performers. (Karl Hammer)
2393 @c ... and reference to other sections ...