+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@c vim: foldmethod=marker
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.12.0"
-
-@node Ancient notation
-@section Ancient notation
-
-@lilypondfile[quote]{ancient-headword.ly}
-
-@cindex Vaticana, Editio
-@cindex Medicaea, Editio
-@cindex hufnagel
-@cindex Petrucci
-@cindex mensural
-
-
-@menu
-* Overview of the supported styles::
-* Ancient notation---common features::
-* Typesetting mensural music::
-* Typesetting Gregorian chant::
-* Working with ancient music---scenarios and solutions::
-@end menu
-
-
-Support for ancient notation includes features for mensural
-notation and Gregorian chant notation. These features can be
-accessed either by modifying style properties of graphical objects
-such as note heads and rests, or by using one of the pre-defined
-contexts for mensural or Gregorian notation.
-
-Many graphical objects, such as note heads and flags, accidentals,
-time signatures, and rests, provide a @code{style} property, which
-can be changed to emulate several different styles of ancient
-notation. See
-
-@itemize
-@item @ref{Mensural note heads},
-@item @ref{Mensural accidentals and key signatures},
-@item @ref{Mensural rests},
-@item @ref{Mensural clefs},
-@item @ref{Gregorian clefs},
-@item @ref{Mensural flags},
-@item @ref{Mensural time signatures}.
-@end itemize
-
-Some notational concepts are introduced specifically for ancient
-notation,
-
-@itemize
-@item @ref{Custodes},
-@item @ref{Divisiones},
-@item @ref{Ligatures}.
-@end itemize
-
-@c {{{1 Overview of the supported styles
-@node Overview of the supported styles
-@subsection Overview of the supported styles
-
-
-Three styles are available for typesetting Gregorian chant:
-
-@itemize
-@item @emph{Editio Vaticana} is a complete style for
-Gregorian chant, following the appearance of the Solesmes
-editions, the official chant books of the Vatican since 1904.
-Lilypond has support for all the notational signs used in this
-style, including ligatures, @emph{custodes}, and special signs
-such as the quilisma and the oriscus.
-
-@cindex Solesmes
-@cindex Vaticana, Editio
-
-@item The @emph{Editio Medicaea} style offers certain features
-used in the Medicaea (or Ratisbona) editions which were used prior
-to the Solesmes editions. The most significant differences from
-the @emph{Vaticana} style are the clefs, which have
-downward-slanted strokes, and the noteheads, which are square and
-regular.
-
-@cindex Ratisbona, Editio
-@cindex Medicaea, Editio
-
-@item The @emph{Hufnagel} (@qq{horseshoe nail}) or @emph{Gothic}
-style mimics the writing style in chant manuscripts from Germany
-and Central Europe during the middle ages. It is named after the
-basic note shape (the @emph{virga}), which looks like a small
-nail.
-@cindex hufnagel
-@end itemize
-
-Three styles emulate the appearance of late-medieval and
-renaissance manuscripts and prints of mensural music:
-
-@itemize
-@item The @emph{Mensural} style most closely resembles the
-writing style used in late-medieval and early renaissance
-manuscripts, with its small and narrow, diamond-shaped noteheads
-and its rests which approach a hand-drawn style.
-
-@cindex mensural
-
-@item The @emph{Neomensural} style is a modernized and
-stylized version of the former: the noteheads are broader and the
-rests are made up of straight lines. This style is particularly
-suited, e.g., for incipits of transcribed pieces of mensural
-music.
-
-@cindex neomensural
-
-@item The @emph{Petrucci} style is named after Ottaviano Petrucci
-(1466-1539), the first printer to use movable type for music (in
-his @emph{Harmonice musices odhecaton}, 1501). The style uses
-larger note heads than the other mensural styles.
-
-@cindex Petrucci
-
-@end itemize
-
-@emph{Baroque} and @emph{Classical} are not complete styles
-but differ from the default style only in some details: certain
-noteheads (Baroque) and the quarter rest (Classical).
-
-Only the mensural style has alternatives for all aspects of the
-notation. Thus, there are no rests or flags in the Gregorian
-styles, since these signs are not used in plainchant notation, and
-the Petrucci style has no flags or accidentals of its own.
-
-Each element of the notation can be changed independently of the
-others, so that one can use mensural flags, petrucci noteheads,
-classical rests and vaticana clefs in the same piece, if one
-wishes.
-
-@c {{{1 Ancient notation, general
-@node Ancient notation---common features
-@subsection Ancient notation---common features
-
-@menu
-* Pre-defined contexts::
-* Ligatures::
-* Custodes::
-* Figured bass support::
-@end menu
-
-@c {{{2 Pre-defined contexts
-@node Pre-defined contexts
-@unnumberedsubsubsec Pre-defined contexts
-
-For Gregorian chant and mensural notation, there are pre-defined
-voice and staff contexts available, which set all the various
-notation signs to values suitable for these styles. If one is
-satisfied with these defaults, one can proceed directly with note
-entry without worrying about the details on how to customize a
-context. See one of the pre-defined contexts
-@code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice},
-and @code{MensuralStaff}. See further
-
-@itemize
-@item @ref{Gregorian chant contexts},
-@item @ref{Mensural contexts}.
-@end itemize
-
-
-@c {{{2 Ligatures
-@node Ligatures
-@unnumberedsubsubsec Ligatures
-
-@cindex Ligatures
-
-@c TODO: Should double check if I recalled things correctly when I wrote
-@c down the following paragraph by heart.
-
-A ligature is a graphical symbol that represents at least two
-distinct notes. Ligatures originally appeared in the manuscripts
-of Gregorian chant notation to denote ascending or descending
-sequences of notes on the same syllable. They are also used in
-mensural notation.
-
-Ligatures are entered by @emph{enclosing} them in @code{\[} and
-@code{\]}. Some ligature styles may need additional input syntax
-specific for this particular type of ligature. By default, the
-@rinternals{LigatureBracket} engraver just puts a square bracket
-above the ligature.
-
-@lilypond[quote,ragged-right,verbatim]
-\transpose c c' {
- \[ g c a f d' \]
- a g f
- \[ e f a g \]
-}
-@end lilypond
-
-Two other ligature styles are available: the Vaticana for
-Gregorian chant, and the Mensural for mensural music (only white
-mensural ligatures are supported for mensural music, and with
-certain limitations). To use any of these styles, the default
-@code{Ligature_bracket_engraver} has to be replaced with one of the
-specialized ligature engravers in the @rinternals{Voice} context,
-as explained in @ref{White mensural ligatures} and @ref{Gregorian
-square neume ligatures}.
-
-
-@seealso
-@c TODO: nothing here yet ...
-
-
-@knownissues
-
-Ligatures need special spacing that has not yet been implemented. As
-a result, there is too much space between ligatures most of the time,
-and line breaking often is unsatisfactory. Also, lyrics do not
-correctly align with ligatures.
-
-Accidentals must not be printed within a ligature, but instead need to
-be collected and printed in front of it.
-
-The syntax still uses the deprecated infix style @code{\[ music expr
-\]}. For consistency reasons, it will eventually be changed to
-postfix style @code{note\[ ... note\]}.
-
-@c Alternatively, the file
-@c @file{gregorian@/-init@/.ly} can be included; it provides a scheme
-@c function
-@c @example
-@c \ligature @var{music expr}
-@c @end example
-@c with the same effect and is believed to be stable.
-
-@c TODO: this does not seem to work at the moment.
-@c -- eo
-
-
-
-@c {{{2 Custodes
-@node Custodes
-@unnumberedsubsubsec Custodes
-
-@cindex custos
-@cindex custodes
-
-A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
-symbol that appears at the end of a staff. It anticipates the pitch
-of the first note of the following line, thus helping the performer
-to manage line breaks during performance.
-
-Custodes were frequently used in music notation until the
-seventeenth century. Nowadays, they have survived only in a few
-particular forms of musical notation such as contemporary editions
-of Gregorian chant like the @emph{Editio Vaticana}. There are
-different custos glyphs used in different flavors of notational
-style.
-
-For typesetting custodes, just put a @rinternals{Custos_engraver} into the
-@rinternals{Staff} context when declaring the @code{\layout} block,
-and change the style of the custos with an @code{\override} if
-desired, as shown in the following example:
-
-@lilypond[quote,ragged-right]
-\score {
- \relative c'' {
- a1
- \break
- g
- }
- \layout {
- \context {
- \Staff
- \consists Custos_engraver
- \override Custos #'style = #'mensural
- }
- }
-}
-@end lilypond
-
-The custos glyph is selected by the @code{style} property. The styles
-supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
-@code{mensural}. They are demonstrated in the following fragment
-
-@lilypond[quote,ragged-right,fragment]
-\new Lyrics \lyricmode {
- \markup { \column {
- \typewriter "vaticana"
- \line { " " \musicglyph #"custodes.vaticana.u0" }
- } }
- \markup { \column {
- \typewriter "medicaea"
- \line { " " \musicglyph #"custodes.medicaea.u0" }
- }}
- \markup { \column {
- \typewriter "hufnagel"
- \line { " " \musicglyph #"custodes.hufnagel.u0" }
- }}
- \markup { \column {
- \typewriter "mensural"
- \line { " " \musicglyph #"custodes.mensural.u0" }
- }}
-}
-@end lilypond
-
-
-@seealso
-Internals Reference: @rinternals{Custos}.
-
-Examples:
-@rlsr{Ancient notation}.
-
-
-@c {{{2 Figured bass support
-@node Figured bass support
-@unnumberedsubsubsec Figured bass support
-
-There is limited support for figured bass notation from the
-Baroque period; see @ref{Figured bass}.
-
-
-@c {{{1 Typesetting mensural music
-@node Typesetting mensural music
-@subsection Typesetting mensural music
-
-@menu
-* Mensural contexts::
-* Mensural clefs::
-* Mensural time signatures::
-* Mensural note heads::
-* Mensural flags::
-* Mensural rests::
-* Mensural accidentals and key signatures::
-* Annotational accidentals (musica ficta)::
-* White mensural ligatures::
-@end menu
-
-
-
-@c {{{2Mensural contexts
-@node Mensural contexts
-@unnumberedsubsubsec Mensural contexts
-
-@cindex MensuralVoiceContext
-@cindex MensuralStaffContext
-
-The predefined @code{MensuralVoice} and @code{MensuralStaff}
-contexts can be used to engrave a piece in mensural style. These
-contexts initialize all relevant context properties and grob
-properties to proper values, so you can immediately go ahead
-entering the chant, as the following excerpt demonstrates:
-
-@lilypond[quote,ragged-right,verbatim]
-\score {
- <<
- \new MensuralVoice = "discantus" \transpose c c' {
- \override Score.BarNumber #'transparent = ##t {
- c'1\melisma bes a g\melismaEnd
- f\breve
- \[ f1\melisma a c'\breve d'\melismaEnd \]
- c'\longa
- c'\breve\melisma a1 g1\melismaEnd
- fis\longa^\signumcongruentiae
- }
- }
- \new Lyrics \lyricsto "discantus" {
- San -- ctus, San -- ctus, San -- ctus
- }
- >>
-}
-@end lilypond
-
-
-@seealso
-TODO: nothing here yet ...
-
-
-@c {{{2 Mensural clefs
-@node Mensural clefs
-@unnumberedsubsubsec Mensural clefs
-
-@cindex clefs
-
-The following table shows all mensural clefs that are supported via
-the @code{\clef} command. Some of the clefs use the same glyph,
-but differ only with respect to the line they are printed on. In
-such cases, a trailing number in the name is used to enumerate
-these clefs, numbered from the lowest to the highest line. Still,
-you can manually force a clef glyph to be typeset on an arbitrary
-line, as described in @ref{Clef}. The note printed to the right
-side of each clef in the example column denotes the @code{c'} with
-respect to that clef.
-
-Petrucci used C clefs with differently balanced left-side vertical
-beams, depending on which staff line it is printed.
-
-@multitable @columnfractions .4 .4 .2
-@item
-@b{Description}
-@tab
-@b{Supported Clefs}
-@tab
-@b{Example}
-
-@item
-mensural C clef
-@tab
-@code{mensural-c1}, @code{mensural-c2},@*
-@code{mensural-c3}, @code{mensural-c4}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "mensural-c2"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-mensural F clef
-@tab
-@code{mensural-f}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "mensural-f"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-mensural G clef
-@tab
-@code{mensural-g}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "mensural-g"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-neomensural C clef
-@tab
-@code{neomensural-c1}, @code{neomensural-c2},@*
-@code{neomensural-c3}, @code{neomensural-c4}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "neomensural-c2" c
-@end lilypond
-
-@item
-petrucci style C clefs, for use on different staff lines
-(the example shows the 2nd staff line C clef)
-@tab
-@code{petrucci-c1}, @code{petrucci-c2},@*
-@code{petrucci-c3}, @code{petrucci-c4},@*
-@code{petrucci-c5}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-c2"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-petrucci style F clef
-@tab
-@code{petrucci-f}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-f"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-
-@item
-petrucci style G clef
-@tab
-@code{petrucci-g}
-@tab
-@lilypond[fragment,relative=1,notime]
- \clef "petrucci-g"
- \override NoteHead #'style = #'mensural
- c
-@end lilypond
-@end multitable
-
-
-@seealso
-Notation Reference: see @ref{Clef}.
-
-
-@knownissues
-
-The mensural g clef is mapped to the Petrucci g clef.
-
-
-@c {{{2Mensural time signatures
-@node Mensural time signatures
-@unnumberedsubsubsec Mensural time signatures
-
-@cindex mensuration sign
-@cindex time signatures
-
-There is limited support for mensuration signs (which are similar to, but
-not exactly the same as time signatures). The glyphs are hard-wired to
-particular time fractions. In other words, to get a particular mensuration
-sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
-chosen according to the following table
-
-@lilypond[quote,ragged-right]
-\layout {
- indent = 0.0
- \context {
- \Staff
- \remove Staff_symbol_engraver
- \remove Clef_engraver
- \remove Time_signature_engraver
- }
-}
-{
- \set Score.timing = ##f
- \set Score.barAlways = ##t
- s_\markup { "\\time 4/4" }^\markup { " " \musicglyph
-#"timesig.neomensural44" }
- s
- s_\markup { "\\time 2/2" }^\markup { " " \musicglyph
-#"timesig.neomensural22" }
- s
- s_\markup { "\\time 6/4" }^\markup { " " \musicglyph
-#"timesig.neomensural64" }
- s
- s_\markup { "\\time 6/8" }^\markup { " " \musicglyph
-#"timesig.neomensural68" }
- \break
- s_\markup { "\\time 3/2" }^\markup { " " \musicglyph
-#"timesig.neomensural32" }
- s
- s_\markup { "\\time 3/4" }^\markup { " " \musicglyph
-#"timesig.neomensural34" }
- s
- s_\markup { "\\time 9/4" }^\markup { " " \musicglyph
-#"timesig.neomensural94" }
- s
- s_\markup { "\\time 9/8" }^\markup { " " \musicglyph
-#"timesig.neomensural98" }
- \break
- s_\markup { "\\time 4/8" }^\markup { " " \musicglyph
-#"timesig.neomensural48" }
- s
- s_\markup { "\\time 2/4" }^\markup { " " \musicglyph
-#"timesig.neomensural24" }
-}
-@end lilypond
-
-Use the @code{style} property of grob @rinternals{TimeSignature}
-to select ancient time signatures. Supported styles are
-@code{neomensural} and @code{mensural}. The above table uses the
-@code{neomensural} style. The following examples show the
-differences in style:
-
-@lilypond[ragged-right,fragment,relative=1,quote]
-{
- \textLengthOn
-
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter default }
-
- \override Staff.TimeSignature #'style = #'numbered
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter numbered }
-
- \override Staff.TimeSignature #'style = #'mensural
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter mensural }
-
- \override Staff.TimeSignature #'style = #'neomensural
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter neomensural }
- \override Staff.TimeSignature #'style = #'single-digit
- \time 2/2
- c1^\markup { \hspace #-2.0 \typewriter single-digit }
-}
-@end lilypond
-
-
-@seealso
-Notation Reference: @ref{Time signature}, gives a general introduction to
-the use of time signatures.
-
-
-@knownissues
-
-Ratios of note durations do not change with the time signature. For
-example, the ratio of 1 breve = 3 semibreves (@emph{tempus perfectum}) must
-be made by hand, by setting
-
-@example
-breveTP = #(ly:make-duration -1 0 3 2)
-@dots{}
-@{ c\breveTP f1 @}
-@end example
-
-@noindent
-This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
-
-The @code{mensural68alt} and @code{neomensural68alt} symbols
-(alternate symbols for 6/8) are not addressable with @code{\time}.
-Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
-
-
-@c {{{2Mensural note heads
-@node Mensural note heads
-@unnumberedsubsubsec Mensural note heads
-
-@cindex note heads, ancient
-
-For ancient notation, a note head style other than the @code{default} style
-may be chosen. This is accomplished by setting the @code{style} property of
-the @rinternals{NoteHead} object to @code{baroque}, @code{neomensural},
-@code{mensural} or @code{petrucci}.
-
-The @code{baroque} style differs from the @code{default} style by:
-
-@itemize
-@item Providing a @code{maxima} notehead, and
-@item Using a square shape for @code{\breve} note heads.
-@end itemize
-
-The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
-the @code{baroque} style by:
-
-@itemize
-@item Using rhomboidal heads for semibreves and all smaller durations, and
-@item Centering the stems on the note heads.
-@end itemize
-
-
-The following example demonstrates the @code{petrucci} style:
-
-@c Renaissance music doesn't use bar lines ... but they do help to
-@c separate the notes for easier identification.
-
-@lilypond[quote,fragment,ragged-right,verbatim]
-\set Score.skipBars = ##t
-\autoBeamOff
-\override NoteHead #'style = #'petrucci
-a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
-
-@end lilypond
-
-
-@seealso
-@ref{Note head styles} gives an overview of all available note head styles.
-
-
-@c {{{2Mensural flags
-@node Mensural flags
-@unnumberedsubsubsec Mensural flags
-
-@cindex flags
-
-Use the @code{flag-style} property of grob @rinternals{Stem} to
-select ancient flags. Besides the @code{default} flag style,
-only the @code{mensural} style is supported.
-
-@lilypond[quote,fragment,ragged-right,verbatim]
-\override Stem #'flag-style = #'mensural
-\override Stem #'thickness = #1.0
-\override NoteHead #'style = #'mensural
-\autoBeamOff
-c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
-c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
-@end lilypond
-
-Note that the innermost flare of each mensural flag always is
-vertically aligned with a staff line.
-
-There is no particular flag style for neo-mensural or Petrucci notation.
-@c Hence,
-@c when typesetting the incipit of a transcribed piece of mensural
-@c music, the default flag style should be used.
-There are no flags in Gregorian chant notation.
-
-
-@seealso
-TODO: nothing here yet ...
-
-
-@knownissues
-
-The attachment of ancient flags to stems is slightly off.
-@c due to a change in early 2.3.x.
-
-Vertically aligning each flag with a staff line assumes that stems
-always end either exactly on or exactly in the middle between two
-staff lines. This may not always be true when using advanced layout
-features of classical notation (which however are typically out of
-scope for mensural notation).
-
-@c {{{2Mensural rests
-@node Mensural rests
-@unnumberedsubsubsec Mensural rests
-
-@cindex rests, ancient
-
-Use the @code{style} property of grob @rinternals{Rest} to select
-ancient rests. Supported styles are @code{classical},
-@code{neomensural}, and @code{mensural}. @code{classical} differs
-from the @code{default} style only in that the quarter rest looks
-like a horizontally mirrored 8th rest. The @code{mensural} and
-the @code{neomensural} styles mimic the appearance of rests in
-manuscripts and prints up to the 16th century.
-
-The following example demonstrates the @code{mensural} and
-@code{neomensural} styles:
-
-@lilypond[quote,fragment,ragged-right,verbatim]
-\set Score.skipBars = ##t
-\override Rest #'style = #'classical
-r\longa^"classical" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'mensural
-r\longa^"mensural" r\breve r1 r2 r4 r8 r16 s \break
-\override Rest #'style = #'neomensural
-r\longa^"neomensural" r\breve r1 r2 r4 r8 r16
-@end lilypond
-
-There are no 32th and 64th rests specifically for the mensural or
-neo-mensural style. Instead, the rests from the default style will be
-taken.
-
-See @rlsr{Ancient notation} for a chart of all rests.
-
-@seealso
-Notation Reference: @ref{Rests}, gives a general introduction into the use of
-rests.
-
-
-@c {{{2Mensural accidentals and key signatures
-@node Mensural accidentals and key signatures
-@unnumberedsubsubsec Mensural accidentals and key signatures
-
-@cindex accidentals
-@cindex key signature
-
-The @code{mensural} style provides a sharp and a flat sign
-different from the default style. If called for, the natural sign
-will be taken from the @code{vaticana} style.
-
-@lilypond[quote,ragged-right,staffsize=26]
-\score {
-{
- \textLengthOn
- s^\markup {
- \column {
- "mensural"
- \line { " " \musicglyph #"accidentals.mensural-1"
- " " \musicglyph #"accidentals.mensural1" }
- }
- }
-}
-\layout {
- interscoreline = 1
- \context { \Score \remove "Bar_number_engraver" }
- \context { \Staff
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- \override VerticalAxisGroup #'minimum-Y-extent = ##f
- }
- }
-}
-@end lilypond
-
-The style for accidentals and key signatures is controlled by the
-@code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
-@rinternals{KeySignature}, respectively; e.g.:
-
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
-
-
-@seealso
-Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
-@ref{Automatic accidentals} give a general introduction of the use of
-accidentals. @ref{Key signature} gives a general introduction of
-the use of key signatures.
-
-Internals Reference: @rinternals{KeySignature}.
-
-
-@c {{{2 Annotational accidentals (musica ficta)
-@node Annotational accidentals (musica ficta)
-@unnumberedsubsubsec Annotational accidentals (@emph{musica ficta})
-
-In European music from before about 1600, singers were expected to
-chromatically alter notes at their own initiative according to
-certain rules. This is called @notation{musica ficta}. In modern
-transcriptions, these accidentals are usually printed over the
-note.
-
-@cindex Accidental, musica ficta
-@cindex Musica ficta
-
-Support for such suggested accidentals is included, and can be
-switched on by setting @code{suggestAccidentals} to true.
-
-@funindex suggestAccidentals
-
-@lilypond[verbatim,fragment,relative=1]
-fis gis
-\set suggestAccidentals = ##t
-ais bis
-@end lilypond
-
-This will treat @emph{every} subsequent accidental as @emph{musica
-ficta} until it is unset with @code{\set suggestAccidentals =
-##f}. A more practical way is to use @code{\once \set
-suggestAccidentals = ##t}, which can even be defined as a
-convenient shorthand:
-
-@lilypond[quote,verbatim]
-ficta = { \once \set suggestAccidentals = ##t }
-\score { \relative c''
- \new MensuralVoice {
- \once \set suggestAccidentals = ##t
- bes4 a2 g2 \ficta fis8 \ficta e! fis2 g1
- }
-}
-@end lilypond
-
-
-@seealso
-Internals Reference: @rinternals{Accidental_engraver} engraver and
-the @rinternals{AccidentalSuggestion} object.
-
-
-@c {{{2White mensural ligatures
-@node White mensural ligatures
-@unnumberedsubsubsec White mensural ligatures
-
-@cindex Mensural ligatures
-@cindex White mensural ligatures
-
-There is limited support for white mensural ligatures.
-
-To engrave white mensural ligatures, in the layout block, replace
-the @rinternals{Ligature_bracket_engraver} with the
-@rinternals{Mensural_ligature_engraver} in the @rinternals{Voice}
-context:
-
-@example
-\layout @{
- \context @{
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- @}
-@}
-@end example
-
-There is no additional input language to describe the shape of a
-white mensural ligature. The shape is rather determined solely from
-the pitch and duration of the enclosed notes. While this approach may
-take a new user a while to get accustomed to, it has the great advantage
-that the full musical information of the ligature is known internally.
-This is not only required for correct MIDI output, but also allows for
-automatic transcription of the ligatures.
-
-For example,
-
-@c @example
-@c \set Score.timing = ##f
-@c \set Score.defaultBarType = "empty"
-@c \override NoteHead #'style = #'neomensural
-@c \override Staff.TimeSignature #'style = #'neomensural
-@c \clef "petrucci-g"
-@c \[ c'\maxima g \]
-@c \[ d\longa c\breve f e d \]
-@c \[ c'\maxima d'\longa \]
-@c \[ e'1 a g\breve \]
-@c @end example
-@lilypond[quote,ragged-right,verbatim]
-\score {
- \transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
- }
- \layout {
- \context {
- \Voice
- \remove Ligature_bracket_engraver
- \consists Mensural_ligature_engraver
- }
- }
-}
-@end lilypond
-
-Without replacing @rinternals{Ligature_bracket_engraver} with
-@rinternals{Mensural_ligature_engraver}, the same music transcribes
-to the following
-
-@lilypond[quote,ragged-right]
-\transpose c c' {
- \set Score.timing = ##f
- \set Score.defaultBarType = "empty"
- \override NoteHead #'style = #'neomensural
- \override Staff.TimeSignature #'style = #'neomensural
- \clef "petrucci-g"
- \[ c'\maxima g \]
- \[ d\longa c\breve f e d \]
- \[ c'\maxima d'\longa \]
- \[ e'1 a g\breve \]
-}
-@end lilypond
-
-
-@seealso
-TODO: nothing here yet ...
-
-
-@knownissues
-
-Horizontal spacing of ligatures is poor.
-
-
-@c {{{1 Typesetting Gregorian chant
-@node Typesetting Gregorian chant
-@subsection Typesetting Gregorian chant
-
-@menu
-* Gregorian chant contexts::
-* Gregorian clefs::
-* Gregorian accidentals and key signatures::
-* Divisiones::
-* Gregorian articulation signs::
-* Augmentum dots (@emph{morae})::
-* Gregorian square neume ligatures::
-@end menu
-
-When typesetting a piece in Gregorian chant notation, the
-@rinternals{Vaticana_ligature_engraver} automatically selects the
-proper note heads, so there is no need to explicitly set the note
-head style. Still, the note head style can be set, e.g., to
-@code{vaticana_punctum} to produce punctum neumes. Similarly, the
-@rinternals{Mensural_ligature_engraver} automatically assembles
-mensural ligatures. See @ref{Ligatures}, for how ligature
-engravers work.
-
-
-@c {{{2Gregorian chant contexts
-@node Gregorian chant contexts
-@unnumberedsubsubsec Gregorian chant contexts
-
-@cindex VaticanaVoiceContext
-@cindex VaticanaStaffContext
-
-The predefined @code{VaticanaVoiceContext} and
-@code{VaticanaStaffContext} can be used to engrave a piece of
-Gregorian chant in the style of the Editio Vaticana. These contexts
-initialize all relevant context properties and grob properties to
-proper values, so you can immediately go ahead entering the chant, as
-the following excerpt demonstrates:
-
-@lilypond[quote,ragged-right,verbatim]
-\include "gregorian.ly"
-\score {
- <<
- \new VaticanaVoice = "cantus" {
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \]
- f \divisioMinima
- \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
- c' \divisioMinima \break
- \[ c'\melisma c' \flexa a \]
- \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
- }
- \new Lyrics \lyricsto "cantus" {
- San- ctus, San- ctus, San- ctus
- }
- >>
-}
-@end lilypond
-
-
-@seealso
-TODO: nothing here yet ...
-
-
-@c {{{2 Gregorian clefs
-@node Gregorian clefs
-@unnumberedsubsubsec Gregorian clefs
-
-@cindex clefs
-
-The following table shows all Gregorian clefs that are supported via
-the @code{\clef} command. Some of the clefs use the same glyph,
-but differ only with respect to the line they are printed on. In
-such cases, a trailing number in the name is used to enumerate
-these clefs, numbered from the lowest to the highest line. Still,
-you can manually force a clef glyph to be typeset on an arbitrary
-line, as described in @ref{Clef}. The note printed to the right
-side of each clef in the example column denotes the @code{c'} with
-respect to that clef.
-
-@multitable @columnfractions .4 .4 .2
-@item
-@b{Description}
-@tab
-@b{Supported Clefs}
-@tab
-@b{Example}
-
-@item
-Editio Vaticana style do clef
-@tab
-@code{vaticana-do1}, @code{vaticana-do2},@*
-@code{vaticana-do3}
-@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
- \clef "vaticana-do2"
- c
-@end lilypond
-
-@item
-Editio Vaticana style fa clef
-@tab
-@code{vaticana-fa1}, @code{vaticana-fa2}
-@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'vaticana.punctum
- \clef "vaticana-fa2"
- c
-@end lilypond
-
-@item
-Editio Medicaea style do clef
-@tab
-@code{medicaea-do1}, @code{medicaea-do2},@*
-@code{medicaea-do3}
-@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
- \clef "medicaea-do2"
- c
-@end lilypond
-
-@item
-Editio Medicaea style fa clef
-@tab
-@code{medicaea-fa1}, @code{medicaea-fa2}
-@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'medicaea.punctum
- \clef "medicaea-fa2"
- c
-@end lilypond
-
-@item
-hufnagel style do clef
-@tab
-@code{hufnagel-do1}, @code{hufnagel-do2},@*
-@code{hufnagel-do3}
-@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
- \clef "hufnagel-do2"
- c
-@end lilypond
-
-@item
-hufnagel style fa clef
-@tab
-@code{hufnagel-fa1}, @code{hufnagel-fa2}
-@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'line-count = #4
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
- \clef "hufnagel-fa2"
- c
-@end lilypond
-
-@item
-hufnagel style combined do/fa clef
-@tab
-@code{hufnagel-do-fa}
-@tab
-@lilypond[fragment,relative=1,notime]
- \override Staff.StaffSymbol #'color = #red
- \override Staff.LedgerLineSpanner #'color = #red
- \override Voice.Stem #'transparent = ##t
- \override NoteHead #'style = #'hufnagel.punctum
- \clef "hufnagel-do-fa"
- c
-@end lilypond
-@end multitable
-
-
-@seealso
-Notation Reference: see @ref{Clef}.
-
-
-@c {{{2 Gregorian accidentals and key signatures
-@node Gregorian accidentals and key signatures
-@unnumberedsubsubsec Gregorian accidentals and key signatures
-
-@cindex accidentals
-@cindex key signature
-
-Accidentals for the three different Gregorian styles are available:
-
-@lilypond[quote,ragged-right,staffsize=26]
-\score {
-{
- \textLengthOn
- s^\markup {
- \column {
- "vaticana"
- \line { " " \musicglyph #"accidentals.vaticana-1"
- " " \musicglyph #"accidentals.vaticana0" }
- }
- \column {
- "medicaea"
- \line { " " \musicglyph #"accidentals.medicaea-1" }
- }
- \column {
- "hufnagel"
- \line { " " \musicglyph #"accidentals.hufnagel-1" }
- }
- }
-}
-\layout {
- interscoreline = 1
- \context { \Score \remove "Bar_number_engraver" }
- \context { \Staff
- \remove "Clef_engraver"
- \remove "Key_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- \override VerticalAxisGroup #'minimum-Y-extent = ##f
- }
- }
-}
-@end lilypond
-
-As shown, not all accidentals are supported by each style. When
-trying to access an unsupported accidental, LilyPond will switch to a
-different style.
-
-@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-@c {ancient-accidentals.ly}
-
-The style for accidentals and key signatures is controlled by the
-@code{glyph-name-alist} property of the grobs @rinternals{Accidental} and
-@rinternals{KeySignature}, respectively; e.g.:
-
-@code{\override Staff.Accidental #'glyph-name-alist =
-#alteration-mensural-glyph-name-alist}
-
-
-@seealso
-Notation Reference: @ref{Pitches}, @ref{Accidentals}, and
-@ref{Automatic accidentals} give a general introduction of the use of
-accidentals. @ref{Key signature} gives a general introduction of
-the use of key signatures.
-
-Internals Reference: @rinternals{KeySignature}.
-
-
-@c {{{2Divisiones
-@node Divisiones
-@unnumberedsubsubsec Divisiones
-
-@cindex divisio
-@cindex divisiones
-@cindex finalis
-
-There are no rests in Gregorian chant notation; instead, it uses
-@ref{Divisiones}.
-
-A @emph{divisio} (plural: @emph{divisiones}; Latin word for
-@q{division}) is a staff context symbol that is used to indicate
-the phrase and section structure of Gregorian music. The musical meaning of
-@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
-can be characterized as short, medium, and long pause, somewhat like
-the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
-only marks the end of a chant, but is also frequently used within a
-single antiphonal/responsorial chant to mark the end of each section.
-
-To use divisiones, include the file @file{gregorian@/.ly}. It
-contains definitions that you can apply by just inserting
-@code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
-and @code{\finalis} at proper places in the input. Some editions use
-@emph{virgula} or @emph{caesura} instead of divisio minima.
-Therefore, @file{gregorian@/.ly} also defines @code{\virgula} and
-@code{\caesura}
-
-@lilypondfile[quote,ragged-right]{divisiones.ly}
-
-
-@predefined
-@funindex \virgula
-@code{\virgula},
-@funindex \caesura
-@code{\caesura},
-@funindex \divisioMinima
-@code{\divisioMinima},
-@funindex \divisioMaior
-@code{\divisioMaior},
-@funindex \divisioMaxima
-@code{\divisioMaxima},
-@funindex \finalis
-@code{\finalis}.
-@endpredefined
-
-
-@c {{{2Gregorian articulations
-@node Gregorian articulation signs
-@unnumberedsubsubsec Gregorian articulation signs
-
-@cindex articulations
-
-In addition to the standard articulation signs described in
-section @ref{Articulations and ornamentations}, articulation signs
-specifically designed for use with notation in @emph{Editio
-Vaticana} style are provided.
-
-@lilypond[quote,ragged-right,verbatim]
-\include "gregorian.ly"
-\score {
- \new VaticanaVoice {
- \override TextScript #'font-family = #'typewriter
- \override TextScript #'font-shape = #'upright
- \override Script #'padding = #-0.1
- a\ictus_"ictus " \break
- a\circulus_"circulus " \break
- a\semicirculus_"semicirculus " \break
- a\accentus_"accentus " \break
- \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
- }
-}
-@end lilypond
-
-
-@seealso
-TODO: nothing here yet ...
-
-
-@knownissues
-
-Some articulations are vertically placed too closely to the
-corresponding note heads.
-
-The episema line is not displayed in many cases. If it is displayed,
-the right end of the episema line is often too far to the right.
-
-
-@c {{{2Augmentum dots (@emph{morae})
-@node Augmentum dots (@emph{morae})
-@unnumberedsubsubsec Augmentum dots (@emph{morae})
-
-Augmentum dots, also called @emph{morae}, are added with the music
-function @code{\augmentum}. Note that @code{\augmentum} is
-implemented as a unary music function rather than as head prefix. It
-applies to the immediately following music expression only. That is,
-@code{\augmentum \virga c} will have no visible effect. Instead, say
-@code{\virga \augmentum c} or @code{\augmentum @{\virga c@}}. Also
-note that you can say @code{\augmentum @{a g@}} as a shortcut for
-@code{\augmentum a \augmentum g}.
-
-@lilypond[quote,ragged-right,verbatim]
-\include "gregorian.ly"
-\score {
- \new VaticanaVoice {
- \[ \augmentum a \flexa \augmentum g \]
- \augmentum g
- }
-}
-@end lilypond
-
-
-@seealso
-Notation Reference: @ref{Breath marks}.
-
-Internals Reference: @rinternals{BreathingSign}.
-
-Examples: @rlsr{Ancient notation}.
-
-
-@c {{{2Gregorian square neumes ligatures
-@node Gregorian square neume ligatures
-@unnumberedsubsubsec Gregorian square neume ligatures
-
-@cindex Square neumes ligatures
-@cindex Gregorian square neumes ligatures
-
-There is limited support for Gregorian square neumes notation
-(following the style of the Editio Vaticana). Core ligatures can
-already be typeset, but essential issues for serious typesetting are
-still lacking, such as (among others) horizontal alignment of multiple
-ligatures, lyrics alignment, and proper handling of accidentals.
-
-The support for Gregorian neumes is enabled by @code{\include}ing
-"gregorian.ly" at the beginning of the file. This makes available
-a number of extra commands to produce the neume symbols used in
-plainchant notation.
-
-
-
-Note heads can be @emph{modified} and/or @emph{joined}.
-
-@itemize
-@item The shape of
-the note head can be modified by @emph{prefixing} the note name
-with any of the following commands:
-@funindex \virga
-@code{\virga},
-@funindex \stropha
-@code{\stropha},
-@funindex \inclinatum
-@code{\inclinatum},
-@funindex \auctum
-@code{\auctum},
-@funindex \descendens
-@code{\descendens},
-@funindex \ascendens
-@code{\ascendens},
-@funindex \oriscus
-@code{\oriscus},
-@funindex \quilisma
-@code{\quilisma},
-@funindex \deminutum
-@code{\deminutum},
-@funindex \cavum
-@code{\cavum},
-@funindex \linea
-@code{\linea}.
-
-@item Ligatures, properly speaking (i.e. notes joined together), are
-produced by placing one of the joining commands @code{\pes} or
-@code{\flexa}, for upwards and downwards movement, respectively,
-@emph{between} the notes to be joined.
-@end itemize
-
-A note name without any qualifiers will produce a @emph{punctum}.
-All other neumes, including the single-note neumes with a
-different shape such as the @emph{virga}, are in principle
-considered as ligatures and should therefore be placed
-between @code{\[...\]}.
-@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are
-@c equivalent.
-
-@noindent
-Single-note neumes:
-
-@itemize
-@item The @emph{punctum} is the basic note shape (in the
-@emph{Vaticana} style: a square with some curvation for
-typographical finesse). In addition to the regular
-@emph{punctum}, there is also the oblique @emph{punctum
-inclinatum}, produced with the prefix @code{\inclinatum}. The
-regular @emph{punctum} can be modified with @code{\cavum}, which
-produces a hollow note, and @code{\linea}, which draws vertical
-lines on either side of the note.
-
-@item The @emph{virga} has a descending stem on the right side. It is
-produced by the modifier @code{\virga}.
-@end itemize
-
-@noindent
-Ligatures
-
-Unlike most other neumes notation systems, the typographical
-appearance of ligatures is not directly dictated by the input
-commands, but follows certain conventions dependent on musical
-meaning. For example, a three-note ligature with the musical shape
-low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a
-Torculus consisting of three Punctum heads, while the shape
-high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a
-Porrectus with a curved flexa shape and only a single Punctum
-head. There is no command to explicitly typeset the curved flexa
-shape; the decision of when to typeset a curved flexa shape is
-based on the musical input. The idea of this approach is to
-separate the musical aspects of the input from the notation style
-of the output. This way, the same input can be reused to typeset
-the same music in a different style of Gregorian chant notation.
-
-@noindent
-Liquescent neumes
-
-Another main category of notes in Gregorian chant is the so-called
-liquescent neumes. They are used under certain circumstances at
-the end of a syllable which ends in a @q{liquescent} letter, i.e.
-the sounding consonants that can hold a tone (the nasals, l, r, v,
-j, and their diphtong equivalents). Thus, the liquescent neumes
-are never used alone (although some of them can be produced), and
-they always fall at the end of a ligature.
-
-Liquescent neumes are represented graphically in two different,
-more or less interchangeable ways: with a smaller note or by
-@q{twisting} the main note upwards or downwards. The first is
-produced by making a regular @code{pes} or @code{flexa} and
-modifying the shape of the second note: @code{\[ a \pes \deminutum
-b \] }, the second by modifying the shape of a single-note neume
-with @code{\auctum} and one of the direction markers
-@code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctum
-\descendens a \] }.
-
-@noindent
-Special signs
-
-A third category of signs is made up of a small number of signs
-with a special meaning (which, incidentally, in most cases is only
-vaguely known): the @emph{quilisma}, the @emph{oriscus}, and the
-@emph{strophicus}. These are all produced by prefixing a note name
-with the corresponding modifier, @code{\quilisma},
-@code{\oriscus}, or @code{\stropha}.
-
-Virtually, within the ligature delimiters @code{\[} and @code{\]},
-any number of heads may be accumulated to form a single ligature,
-and head prefixes like @code{\pes}, @code{\flexa}, @code{\virga},
-@code{\inclinatum}, etc. may be mixed in as desired. The use of
-the set of rules that underlies the construction of the ligatures
-in the above table is accordingly extrapolated. This way,
-infinitely many different ligatures can be created.
-
-Note that the use of these signs in the music itself follows
-certain rules, which are not checked by Lilypond. E.g., the
-@emph{quilisma} is always the middle note of an ascending
-ligature, and usually falls on a half-tone step, but it is
-perfectly possible, although incorrect, to make a single-note
-quilisma.
-
-In addition to the note signs, gregorian.ly also defines the
-commands @code{\versus}, @code{\responsum}, @code{\ij},
-@code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
-corresponding characters, e.g. for use in lyrics, as section
-markers, etc. These commands use special unicode characters and
-will only work if a font is used which supports them.
-
-
-@c neume table
-
-The following table shows a limited, but still representative pool
-of Gregorian ligatures, together with the code fragments that
-produce the ligatures. The table is based on the extended neumes
-table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
-Hymnarius}), published 1983 by the monks of Solesmes. The first
-column gives the name of the ligature, with the main form in
-boldface and the liquescent forms in italics. The third column
-shows the code fragment that produces this ligature, using
-@code{g}, @code{a}, and @code{b} as example pitches.
-
-
-@b{Single-note neums}
-
-@multitable @columnfractions .4 .2 .4
-
-@item
-@b{Basic} and @emph{Liquescent} forms
-@tab
-@b{Output}
-@tab
-@b{Lilypond@*
-code}
-
-@c TODO: \layout block is identical in all of the below examples.
-@c Therefore, it should somehow be included rather than duplicated all
-@c the time. --jr
-
-@c why not make variables in ly/engraver-init.ly? --hwn
-
-@c Because it's just used to typeset plain notes without
-@c a staff for demonstration purposes rather than something
-@c special of Gregorian chant notation. --jr
-
-
-@item
-@b{Punctum}
-@tab
-@lilypond[staffsize=26,line-width=1.5\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum
- \[ b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ b \]}
-
-@item
-@tab
-@lilypond[staffsize=26,line-width=1.5\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum
- \[ \cavum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \cavum b \]}
-
-@item
-@tab
-@lilypond[staffsize=26,line-width=1.5\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum
- \[ \linea b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \linea b \]}
-
-@item
-@emph{Punctum Auctum Ascendens}
-@tab
-@lilypond[staffsize=26,line-width=2.5\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum Auctum Ascendens
- \[ \auctum \ascendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \auctum \ascendens b \]}
-
-@item
-@emph{Punctum Auctum Descendens}
-@tab
-@lilypond[staffsize=26,line-width=2.5\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum Auctum Descendens
- \[ \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \auctum \descendens b \]}
-
-@item
-@b{Punctum inclinatum}
-@tab
-@lilypond[staffsize=26,line-width=1.5\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum Inclinatum
- \[ \inclinatum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \inclinatum b \]}
-
-@item
-@emph{Punctum Inclinatum Auctum}
-@tab
-@lilypond[staffsize=26,line-width=2.5\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum Inclinatum Auctum
- \[ \inclinatum \auctum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \inclinatum \auctum b \]}
-
-@item
-@emph{Punctum Inclinatum Parvum}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Punctum Inclinatum Parvum
- \[ \inclinatum \deminutum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \inclinatum \deminutum b \]}
-
-@item
-@b{Virga}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Virga
- \[ \virga b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-
-@end multitable
-
-@noindent
-@b{Two-note ligatures}
-
-@multitable @columnfractions .4 .2 .4
-
-@item
-@b{Clivis vel Flexa}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Clivis vel Flexa
- \[ b \flexa g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ b \flexa g \]}
-
-
-@item
-@emph{Clivis Aucta Descendens}
-@tab
-@lilypond[staffsize=26,line-width=2.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Clivis Aucta Descendens
- \[ b \flexa \auctum \descendens g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ b \flexa \auctum \descendens g \]}
-
-@item
-@emph{Clivis Aucta Ascendens}
-@tab
-@lilypond[staffsize=26,line-width=2.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Clivis Aucta Ascendens
- \[ b \flexa \auctum \ascendens g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ b \flexa \auctum \ascendens g \]}
-
-@item
-@emph{Cephalicus}
-@tab
-@lilypond[staffsize=26,line-width=2.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Cephalicus
- \[ b \flexa \deminutum g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ b \flexa \deminutum g \]}
-
-@item
-@b{Podatus/Pes}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Podatus vel Pes
- \[ g \pes b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes b \]}
-
-@item
-@emph{Pes Auctus Descendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Pes Auctus Descendens
- \[ g \pes \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes \auctum \descendens b \]}
-
-@item
-@emph{Pes Auctus Ascendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Pes Auctus Ascendens
- \[ g \pes \auctum \ascendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes \auctum \ascendens b \]}
-
-@item
-@emph{Epiphonus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Epiphonus
- \[ g \pes \deminutum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes \deminutum b \]}
-
-@item
-@emph{Pes Initio Debilis}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Pes Initio Debilis
- \[ \deminutum g \pes b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \deminutum g \pes b \]}
-
-@item
-@emph{Pes Auctus Descendens Initio Debilis}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Pes Auctus Descendens Initio Debilis
- \[ \deminutum g \pes \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \deminutum g \pes \auctum \descendens b \]}
-
-@end multitable
-
-@noindent
-@b{Multi-note ligatures}
-
-@multitable @columnfractions .4 .2 .4
-
-@item
-@b{Torculus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Torculus
- \[ a \pes b \flexa g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ a \pes b \flexa g \]}
-
-@item
-@emph{Torculus Auctus Descendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Torculus Auctus Descendens
- \[ a \pes b \flexa \auctum \descendens g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ a \pes b \flexa \auctum \descendens g \]}
-
-@item
-@emph{Torculus Deminutus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Torculus Deminutus
- \[ a \pes b \flexa \deminutum g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ a \pes b \flexa \deminutum g \]}
-
-@item
-@emph{Torculus Initio Debilis}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Torculus Initio Debilis
- \[ \deminutum a \pes b \flexa g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \deminutum a \pes b \flexa g \]}
-
-@item
-@emph{Torculus Auctus Descendens Initio Debilis}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Torculus Auctus Descendens Initio Debilis
- \[ \deminutum a \pes b \flexa \auctum \descendens g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
-
-@item
-@emph{Torculus Deminutus Initio Debilis}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Torculus Deminutus Initio Debilis
- \[ \deminutum a \pes b \flexa \deminutum g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \deminutum a \pes b \flexa \deminutum g \]}
-
-@item
-@b{Porrectus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Porrectus
- \[ a \flexa g \pes b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ a \flexa g \pes b \]}
-
-@item
-@emph{Porrectus Auctus Descendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Porrectus Auctus Descendens
- \[ a \flexa g \pes \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ a \flexa g \pes \auctum \descendens b \]}
-
-@item
-@emph{Porrectus Deminutus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Porrectus Deminutus
- \[ a \flexa g \pes \deminutum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ a \flexa g \pes \deminutum b \]}
-
-@item
-@b{Climacus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Climacus
- \[ \virga b \inclinatum a \inclinatum g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \virga b \inclinatum a \inclinatum g \]}
-
-@item
-@emph{Climacus Auctus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Climacus Auctus
- \[ \virga b \inclinatum a \inclinatum \auctum g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
-
-@item
-@emph{Climacus Deminutus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Climacus Deminutus
- \[ \virga b \inclinatum a \inclinatum \deminutum g \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
-
-@item
-@b{Scandicus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Scandicus
- \[ g \pes a \virga b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes a \virga b \]}
-
-@item
-@emph{Scandicus Auctus Descendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Scandicus Auctus Descendens
- \[ g \pes a \pes \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes a \pes \auctum \descendens b \]}
-
-@item
-@emph{Scandicus Deminutus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Scandicus Deminutus
- \[ g \pes a \pes \deminutum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes a \pes \deminutum b \]}
-
-@end multitable
-
-@noindent
-@b{Special Signs}
-
-@multitable @columnfractions .4 .2 .4
-
-@item
-@b{Quilisma}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Quilisma
- \[ g \pes \quilisma a \pes b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \pes \quilisma a \pes b \]}
-
-@item
-@emph{Quilisma Pes Auctus Descendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Quilisma Pes Auctus Descendens
- \[ g \quilisma a \pes \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \quilisma g \pes \auctum \descendens b \]}
-
-@item
-@b{Oriscus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Oriscus
- \[ \oriscus b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \oriscus b \]}
-
-@item
-@emph{Pes Quassus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Pes Quassus
- \[ \oriscus g \pes \virga b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \oriscus g \pes \virga b \]}
-
-@item
-@emph{Pes Quassus Auctus Descendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Pes Quassus Auctus Descendens
- \[ \oriscus g \pes \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \oriscus g \pes \auctum \descendens b \]}
-
-@item
-@b{Salicus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Salicus
- \[ g \oriscus a \pes \virga b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \oriscus a \pes \virga b \]}
-
-@item
-@emph{Salicus Auctus Descendens}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Salicus Auctus Descendens
- \[ g \oriscus a \pes \auctum \descendens b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ g \oriscus a \pes \auctum \descendens b \]}
-
-@item
-@b{(Apo)stropha}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Stropha
- \[ \stropha b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \stropha b \]}
-
-@item
-@emph{Stropha Aucta}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Stropha Aucta
- \[ \stropha \auctum b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \stropha \auctum b \]}
-
-@item
-@b{Bistropha}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Bistropha
- \[ \stropha b \stropha b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \stropha b \stropha b \]}
-
-@item
-@b{Tristropha}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Tristropha
- \[ \stropha b \stropha b \stropha b \]
- }
-\layout { \neumeDemoLayout }}
-@end lilypond
-@tab
-@code{\[ \stropha b \stropha b \stropha b \]}
-
-@item
-@emph{Trigonus}
-@tab
-@lilypond[staffsize=26,line-width=1.0\cm]
-\include "gregorian.ly"
-\score {
- \transpose c c' {
- % Trigonus
- \[ \stropha b \stropha b \stropha a \]
- }
- \layout { \neumeDemoLayout }
-}
-@end lilypond
-@tab
-@code{\[ \stropha b \stropha b \stropha a \]}
-
-@end multitable
-
-
-@predefined
-The following head prefixes are supported:
-@funindex \virga
-@code{\virga},
-@funindex \stropha
-@code{\stropha},
-@funindex \inclinatum
-@code{\inclinatum},
-@funindex \auctum
-@code{\auctum},
-@funindex \descendens
-@code{\descendens},
-@funindex \ascendens
-@code{\ascendens},
-@funindex \oriscus
-@code{\oriscus},
-@funindex \quilisma
-@code{\quilisma},
-@funindex \deminutum
-@code{\deminutum},
-@funindex \cavum
-@code{\cavum},
-@funindex \linea
-@code{\linea}.
-@endpredefined
-
-Head prefixes can be accumulated, though restrictions apply. For
-example, either @code{\descendens} or @code{\ascendens} can be applied
-to a head, but not both to the same head.
-
-@funindex \pes
-@funindex \flexa
-Two adjacent heads can be tied together with the @code{\pes} and
-@code{\flexa} infix commands for a rising and falling line of melody,
-respectively.
-
-@funindex \augmentum
-Use the unary music function @code{\augmentum} to add augmentum dots.
-
-
-@seealso
-TODO: nothing here yet ...
-
-
-@knownissues
-
-When an @code{\augmentum} dot appears at the end of the last staff
-within a ligature, it is sometimes vertically placed wrong. As a
-workaround, add an additional skip note (e.g. @code{s8}) as last note
-of the staff.
-
-@code{\augmentum} should be implemented as a head prefix rather than a
-unary music function, such that @code{\augmentum} can be intermixed
-with head prefixes in arbitrary order.
-
-
-
-@c Working with ancient music: scenarios and solutions:: {{{1
-@node Working with ancient music---scenarios and solutions
-@subsection Working with ancient music---scenarios and solutions
-
-@menu
-* Incipits::
-* Mensurstriche layout::
-* Transcribing Gregorian chant::
-* Ancient and modern from one source::
-* Editorial markings::
-@end menu
-
-Working with ancient music frequently involves particular tasks
-which differ considerably from the modern notation for which
-Lilypond is designed. In the rest of this section, a number of
-typical scenarios are outlined, with suggestions of solutions.
-These involve:
-
-@itemize
-@item how to make incipits (i.e. prefatory material to indicate
-what the original has looked like) to modern transcriptions of
-mensural music;
-@item how to achieve the @emph{Mensurstriche} layout frequently
-used for modern transcriptions of polyphonic music;
-@item how to transcribe Gregorian chant in modern notation;
-@item how to generate both ancient and modern notation from the
-same source.
-@end itemize
-
-@c {{{2Incipits
-@node Incipits
-@unnumberedsubsubsec Incipits
-
-@c TODO Add text
-@c clefs, mensuration signs etc from lsr and -user
-@c use snippet Transcription-of-ancient-music-with-incipit
-TBC
-
-
-@seealso
-@c ... and reference to other sections ...
-
-
-@c {{{2Mensurstriche layout
-@node Mensurstriche layout
-@unnumberedsubsubsec Mensurstriche layout
-
-@emph{Mensurstriche} (@q{mensuration lines}) is the accepted term
-for bar lines that are drawn between the staves of a system but
-not through the staves themselves. It is a common way to preserve
-the rhythmic appearance of the original, i.e. not having to break
-syncopated notes at bar lines, while still providing the
-orientation aids that bar lines give.
-
-
-@lilypondfile[verbatim,lilyquote,texidoc]
-{mensurstriche-layout-bar-lines-between-the-staves.ly}
-
-@c This simple setup will take care of the
-@c TODO Add text about lyrics to the lowest line, to be placed
-@c outside the StaffGroup.
-@c from lsr and -user
-@c TBC
-
-
-@seealso
-@c ... and reference to other sections ...
-
-
-@c {{{2Transcribing Gregorian chant
-@node Transcribing Gregorian chant
-@unnumberedsubsubsec Transcribing Gregorian chant
-
-Gregorian chant can be transcribed into modern notation with a
-number of simple tweaks.
-
-@b{Stems}. Stems can be left out altogether by @code{\remove}-ing
-the @code{Stem_engraver} from the Voice context:
-
-@example
-\layout @{
- ...
- \context @{
- \Voice
- \remove "Stem_engraver"
- @}
-@}
-@end example
-
-However, in some transcription styles, stems are used
-occasionally, for example to indicate the transition from a
-single-tone recitative to a fixed melodic gesture. In these cases,
-one can use either @code{\override Stem #'transparent = ##t} or
-@code{\override Stem #'length = #0} instead, and restore the stem
-when needed with the corresponding @code{\once \override Stem
-#'transparent = ##f} (see example below).
-
-@b{Timing.} For unmetered chant, there are several alternatives.
-
-The Time_signature_engraver can be removed from the Staff context
-without any negative side effects. The alternative, to make it
-transparent, will leave an empty space in the score, since the
-invisible signature will still take up space.
-
-In many cases, @code{\set Score.timing = ##f} will give good
-results. Another alternative is to use \@code{\CadenzaOn} and
-@code{\CadenzaOff}.
-
-To remove the barlines, the radical approach is to @code{\remove}
-the Bar_engraver from the Staff context. Again, one may want to
-use @code{\override BarLine #'transparent = ##t} instead, if an
-occasional barline is wanted.
-
-A common type of transcription is recitativic chant where the
-repeated notes are indicated with a single breve. The text to
-the recitation tone can be dealt with in two different ways:
-either set as a single, left-aligned syllable:
-
-@lilypond[verbatim,ragged-right]
-\include "gregorian.ly"
-chant = \relative c' {
- \clef "G_8"
- c\breve c4 b4 a c2 c4 \divisioMaior
- c\breve c4 c f, f \finalis
-}
-
-verba = \lyricmode {
- \once \override LyricText #'self-alignment-X = #-1
- "Noctem quietam et" fi -- nem per -- fec -- tum
- \once \override LyricText #'self-alignment-X = #-1
- "concedat nobis Dominus" om -- ni -- po -- tens.
-}
-\score {
- \new Staff <<
- \new Voice = "melody" \chant
- \new Lyrics = "one" \lyricsto melody \verba
- >>
- \layout {
- \context {
- \Staff
- \remove "Time_signature_engraver"
- \remove "Bar_engraver"
- \override Stem #'transparent = ##t
- }
- }
-}
-@end lilypond
-
-This works fine, as long as the text doesn't span a line break. If
-that is the case, an alternative is to add hidden notes to the
-score, here in combination with changing stem visibility:
-
-
-@lilypond[verbatim,ragged-right]
-\include "gregorian.ly"
-chant = \relative c' {
- \clef "G_8"
- \set Score.timing = ##f
- c\breve \override NoteHead #'transparent = ##t c c c c c
- \revert NoteHead #'transparent
- \override Stem #'transparent = ##f \stemUp c4 b4 a
- \override Stem #'transparent = ##t c2 c4 \divisioMaior
- c\breve \override NoteHead #'transparent = ##t c c c c c c c
- \revert NoteHead #'transparent c4 c f, f \finalis
-}
-
-verba = \lyricmode {
- No -- ctem qui -- e -- tam et fi -- nem per -- fec -- tum
- con -- ce -- dat no -- bis Do -- mi -- nus om -- ni -- po -- tens.
-}
-
-\score {
- \new Staff <<
- \new Voice = "melody" \chant
- \new Lyrics \lyricsto "melody" \verba
- >>
- \layout {
- \context {
- \Staff
- \remove "Time_signature_engraver"
- \override BarLine #'transparent = ##t
- \override Stem #'transparent = ##t
- }
- }
-}
-@end lilypond
-
-Another common situation is transcription of neumatic or
-melismatic chants, i.e. chants with a varying number of notes
-to each syllable. In this case, one would want to set the
-syllable groups clearly apart, usually also the subdivisions of a
-longer melisma. One way to achieve this is to use a fixed
-@code{\time}, e.g. 1/4, and let each syllable or note group fill
-one of these measures, with the help of tuplets or shorter
-durations. If the barlines and all other rhythmical indications
-are made transparent, and the space around the barlines is
-increased, this will give a fairly good representation in modern
-notation of the original.
-
-To avoid that syllables of different width (such as @qq{-ri} and
-@qq{-rum}) spread the syllable note groups unevenly apart, the
-@code{#'X-extent} property of the @code{LyricText} object may be
-set to a fixed value. Another, more cumbersome way would be to
-add the syllables as @code{\markup} elements. If further
-adjustments are necessary, this can be easily done with
-@code{s} @q{notes}.
-
-@lilypond[verbatim,quote]
-spiritus = \relative c' {
- \time 1/4
- \override Lyrics.LyricText #'X-extent = #'(0 . 3)
- d4 \times 2/3 { f8 a g } g a a4 g f8 e
- d4 f8 g g8 d f g a g f4 g8 a a4 s
- \times 2/3 { g8 f d } e f g a g4
-}
-
-spirLyr = \lyricmode {
- Spi -- ri -- _ _ tus _ Do -- mi -- ni _ re -- ple -- _ vit _
- or -- _ bem _ ter -- ra -- _ rum, al -- _ _ le -- _ lu
- -- _ ia.
-}
-\score {
- \new Staff <<
- \new Voice = "chant" \spiritus
- \new Lyrics = "one" \lyricsto "chant" \spirLyr
- >>
- \layout {
- \context {
- \Staff
- \remove "Time_signature_engraver"
- \override BarLine #'X-extent = #'(-1 . 1)
- \override Stem #'transparent = ##t
- \override Beam #'transparent = ##t
- \override BarLine #'transparent = ##t
- \override TupletNumber #'transparent = ##t
- }
- }
-}
-@end lilypond
-
-@c extract from 1.6.1.1
-
-@seealso
-@c ... and reference to other sections ...
-
-@c {{{2Ancient and modern from one source
-@node Ancient and modern from one source
-@unnumberedsubsubsec Ancient and modern from one source
-
-@c TODO Add text
-@c Here among others the snippets about reducing note length
-TBC
-
-@seealso
-@c ... and reference to other sections ...
-
-@c {{{2Editorial markings
-@node Editorial markings
-@unnumberedsubsubsec Editorial markings
-
-@c {{{2Baroque rhythmic notation
-@c @node Baroque rhythmic notation
-@c @unnumberedsubsubsec Baroque rhythmic notation
-
-@c TODO Add text
-@c try Till Rettig
-@c Add example of white noteheads:
-@c In the french baroque some composers used white noteheads in slow pieces,
-@c mainly in 3/2-time. A quarter looks there like a eighth with a white
-@c notehead. (Franz-Rudolf Kuhnen)
-
-@c TODO Add example of this:
-@c I was referring to e.g. notated a8. a16, which should, if I
-@c remember correctly, be interpreted more like a8.. a32 (in the french
-@c style). The editor might want to show that rythmic figure above the
-@c staff as an hint to performers. (Karl Hammer)
-
-
-TBC
-
-
-@seealso
-@c ... and reference to other sections ...
-
projects / lilypond.git / blobdiff