--- /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. For details, see the Contributors'
+ Guide, node Updating translation committishes..
+@end ignore
+
+@c \version "2.14.0"
+
+
+@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
+
+@seealso
+Music Glossary:
+@rglos{custos},
+@rglos{ligature},
+@rglos{mensural notation}.
+
+Notation Reference:
+@ref{Mensural note heads},
+@ref{Mensural accidentals and key signatures},
+@ref{Mensural rests},
+@ref{Gregorian clefs},
+@ref{Mensural flags},
+@ref{Mensural time signatures},
+@ref{Custodes},
+@ref{Divisiones},
+@ref{Ligatures}.
+
+
+@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 note heads, 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 note heads
+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 note heads 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
+note heads (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 note heads,
+classical rests and vaticana clefs in the same piece, if one
+wishes.
+
+@seealso
+Music Glossary:
+@rglos{mensural notation},
+@rglos{flag}.
+
+
+@node Ancient notation---common features
+@subsection Ancient notation---common features
+
+@menu
+* Pre-defined contexts::
+* Ligatures::
+* Custodes::
+* Figured bass support::
+@end menu
+
+
+@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
+
+@seealso
+Music Glossary:
+@rglos{mensural notation}.
+
+Notation Reference:
+@ref{Gregorian chant contexts},
+@ref{Mensural contexts}.
+
+
+@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
+@code{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 @code{Voice} context,
+as explained in @ref{White mensural ligatures} and
+@ref{Gregorian square neume ligatures}.
+
+@seealso
+Music Glossary:
+@rglos{ligature}.
+
+Notation Reference:
+@ref{White mensural ligatures},
+@ref{Gregorian square neume ligatures}.
+
+@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
+
+
+@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 @code{Custos_engraver} into the
+@code{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
+Music Glossary:
+@rglos{custos}.
+
+Internals Reference:
+@rinternals{Custos}.
+
+Snippets:
+@rlsr{Ancient notation}.
+
+
+@node Figured bass support
+@unnumberedsubsubsec Figured bass support
+
+There is limited support for figured bass notation from the
+Baroque period; see @ref{Figured bass}.
+
+@seealso
+Music Glossary:
+@rglos{figured bass}.
+
+Notation Reference:
+@ref{Figured bass}.
+
+
+@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
+
+
+@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
+Music Glossary:
+@rglos{mensural notation}.
+
+
+@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 clefs, for use on different staff lines
+(the example shows the 3rd staff line F clef)
+@tab
+@code{petrucci-f3}, @code{petrucci-f4},@*
+@code{petrucci-f5}
+@tab
+@lilypond[fragment,relative=1,notime]
+ \clef "petrucci-f3"
+ \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
+Music Glossary:
+@rglos{mensural notation},
+@rglos{clef}.
+
+Notation Reference:
+@ref{Clef}.
+
+
+@knownissues
+The mensural g clef is mapped to the Petrucci g clef.
+
+
+@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 @code{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
+
+@ref{Time signature}, gives a general introduction to
+the use of time signatures.
+
+@seealso
+Music Glossary:
+@rglos{mensural notation}.
+
+Notation Reference:
+@ref{Time signature}.
+
+@knownissues
+Ratios of note durations cannot change with the time signature,
+as those are not constant. For
+example, the ratio of 1@tie{}breve = 3@tie{}semibreves
+(@emph{tempus perfectum}) can 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.
+
+
+@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 @code{NoteHead} object to
+@code{baroque}, @code{neomensural}, @code{mensural},
+@code{petrucci}, @code{blackpetrucci} or @code{semipetrucci}.
+
+The @code{baroque} style differs from the @code{default} style by:
+
+@itemize
+@item Providing a @code{maxima} note head, 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 @code{blackpetrucci} style produces note heads usable in black
+mensural notation or coloratio sections in white mensural notation.
+Because note head style does not influence flag count, in
+this style a semiminima should be notated as @code{a8*2}, not
+@code{a4}, otherwise it will look like a minima.
+The multiplyer can be different if coloratio is used e.g. to notate
+triplets.
+
+Use @code{semipetrucci} style to draw half-colored
+note heads (breves, longas and maximas).
+
+
+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'
+\override NoteHead #'style = #'semipetrucci
+a'\breve*5/6
+\override NoteHead #'style = #'blackpetrucci
+a'8*4/3 a'
+\override NoteHead #'style = #'petrucci
+a'\longa
+@end lilypond
+
+
+@ref{Note head styles}, gives an overview of all available note head
+styles.
+
+@seealso
+Music Glossary:
+@rglos{mensural notation},
+@rglos{note head}.
+
+Notation Reference:
+@ref{Note head styles}.
+
+
+@node Mensural flags
+@unnumberedsubsubsec Mensural flags
+
+@cindex flags
+
+Use the @code{flag-style} property of grob @code{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
+Music Glossary:
+@rglos{mensural notation},
+@rglos{flag}.
+
+
+@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).
+
+
+@node Mensural rests
+@unnumberedsubsubsec Mensural rests
+
+@cindex rests, ancient
+
+Use the @code{style} property of grob @code{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.
+
+@seealso
+Music Glossary:
+@rglos{mensural notation}.
+
+Notation Reference:
+@ref{Rests}.
+
+Snippets:
+@rlsr{Ancient notation}.
+
+
+@knownissues
+The glyph for the maxima rest in mensural style is actually a perfect
+longa rest; use two (or three) longa rests to print a maxima rest.
+Longa rests are not grouped automatically, so have to be done manually by
+using pitched rests.
+
+
+@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]
+\markup {
+ \column {
+ "mensural"
+ \line { " " \musicglyph #"accidentals.mensural-1"
+ " " \musicglyph #"accidentals.mensural1" }
+ }
+}
+@end lilypond
+
+The style for accidentals and key signatures is controlled by the
+@code{glyph-name-alist} property of the grobs @code{Accidental} and
+@code{KeySignature}, respectively; e.g.:
+
+@code{\override Staff.Accidental #'glyph-name-alist =
+#alteration-mensural-glyph-name-alist}
+
+@seealso
+Music Glossary:
+@rglos{mensural notation},
+@rglos{Pitch names},
+@rglos{accidental},
+@rglos{key signature}.
+
+Notation Reference:
+@ref{Pitches},
+@ref{Accidentals},
+@ref{Automatic accidentals},
+@ref{Key signature}.
+
+Internals Reference:
+@rinternals{KeySignature}.
+
+
+@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},
+@rinternals{AccidentalSuggestion}.
+
+
+@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 @code{Ligature_bracket_engraver} with the
+@code{Mensural_ligature_engraver} in the @code{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.
+
+At certain places two consecutive notes can be represented either as
+two squares or as an oblique parallelogram (flexa shape). In such
+cases the default is the two squares, but a flexa can be required by
+setting the @code{ligature-flexa} property of the @emph{second} note
+head. The length of a flexa can be set by the note head property
+@code{flexa-width}.
+
+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 = #'petrucci
+ \override Staff.TimeSignature #'style = #'mensural
+ \clef "petrucci-g"
+ \[ c'\maxima g \]
+ \[ d\longa
+ \override NoteHead #'ligature-flexa = ##t
+ \once \override NoteHead #'flexa-width = #3.2
+ c\breve f e d \]
+ \[ c'\maxima d'\longa \]
+ \[ e'1 a g\breve \]
+ }
+ \layout {
+ \context {
+ \Voice
+ \remove Ligature_bracket_engraver
+ \consists Mensural_ligature_engraver
+ }
+ }
+}
+@end lilypond
+
+Without replacing @code{Ligature_bracket_engraver} with
+@code{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 = #'petrucci
+ \override Staff.TimeSignature #'style = #'mensural
+ \clef "petrucci-g"
+ \[ c'\maxima g \]
+ \[ d\longa
+ \override NoteHead #'ligature-flexa = ##t
+ \once \override NoteHead #'flexa-width = #3.2
+ c\breve f e d \]
+ \[ c'\maxima d'\longa \]
+ \[ e'1 a g\breve \]
+}
+@end lilypond
+
+@seealso
+Music Glossary:
+@rglos{ligature}.
+
+Notation Reference:
+@ref{Gregorian square neume ligatures},
+@ref{Ligatures}.
+
+@knownissues
+Horizontal spacing of ligatures is poor.
+Accidentals may collide with previous notes.
+
+@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 (morae)::
+* Gregorian square neume ligatures::
+@end menu
+
+When typesetting a piece in Gregorian chant notation, the
+@code{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
+@code{Mensural_ligature_engraver} automatically assembles
+mensural ligatures.
+
+@seealso
+Music Glossary:
+@rglos{ligature}.
+
+Notation Reference:
+@ref{White mensural ligatures},
+@ref{Ligatures}.
+
+@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
+
+
+@c @seealso
+@c TODO: nothing here yet ...
+
+
+@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
+Music Glossary:
+@rglos{clef}.
+
+Notation Reference:
+@ref{Clef}.
+
+
+@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]
+\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" }
+ }
+}
+@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 @code{Accidental} and
+@code{KeySignature}, respectively; e.g.:
+
+@code{\override Staff.Accidental #'glyph-name-alist =
+#alteration-mensural-glyph-name-alist}
+
+
+@seealso
+Music Glossary:
+@rglos{accidental},
+@rglos{key signature}.
+
+Notation Reference:
+@ref{Pitches},
+@ref{Accidentals},
+@ref{Automatic accidentals},
+@ref{Key signature}.
+
+Internals Reference:
+@rinternals{KeySignature}.
+
+
+@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 breath marks 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}
+
+@lilypond[quote,ragged-right]
+\include "gregorian.ly"
+\score {
+ <<
+ \context VaticanaVoice {
+ \override TextScript #'padding = #3
+ g a g
+ s^\markup { "divisio minima" }
+ \divisioMinima
+ g a g
+ s^\markup { "divisio maior" }
+ \divisioMaior
+ g a g
+ s^\markup { "divisio maxima" }
+ \divisioMaxima
+ \break
+ g a g
+ s^\markup { "finalis" }
+ \finalis
+ g a g
+ s^\markup { "virgula" }
+ \virgula
+ g a g
+ s^\markup { "caesura" }
+ \caesura
+ g a g
+ }
+ >>
+}
+@end lilypond
+
+
+@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
+
+@seealso
+Music Glossary:
+@rglos{caesura},
+@rglos{divisio}.
+
+Notation Reference:
+@ref{Breath marks}.
+
+Installed Files:
+@file{gregorian.ly}.
+
+
+@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 " \bar "" \break
+ a\circulus_"circulus " \bar "" \break
+ a\semicirculus_"semicirculus " \bar "" \break
+ a\accentus_"accentus " \bar "" \break
+ \[ a_"episema" \episemInitium \pes b \flexa a b \episemFinis \flexa a \]
+ }
+}
+@end lilypond
+
+
+@seealso
+Notation Reference:
+@ref{Articulations and ornamentations}.
+
+Snippets:
+@rlsr{Ancient notation}.
+
+Internals Reference:
+@rinternals{Episema},
+@rinternals{EpisemaEvent},
+@rinternals{Episema_engraver},
+@rinternals{Script},
+@rinternals{ScriptEvent},
+@rinternals{Script_engraver}.
+
+
+@knownissues
+Some articulations are vertically placed too closely to the
+corresponding note heads.
+
+
+@node Augmentum dots (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}.
+
+Snippets:
+@rlsr{Ancient notation}.
+
+
+@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
+@file{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 diphthong 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, @file{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
+Music Glossary:
+@rglos{ligature}.
+
+Notation Reference:
+@ref{Gregorian square neume ligatures},
+@ref{White mensural ligatures},
+@ref{Ligatures}.
+
+
+@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.
+
+
+@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
+
+
+@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
+
+
+@c @seealso
+@c ... and reference to other sections ...
+
+
+@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
+
+
+@c @seealso
+@c ... and reference to other sections ...
+
+
+@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 bar lines, 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 bar lines and all other rhythmical indications
+are made transparent, and the space around the bar lines 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
+
+@c @seealso
+@c ... and reference to other sections ...
+
+
+@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
+
+@c @seealso
+@c ... and reference to other sections ...
+
+
+@node Editorial markings
+@unnumberedsubsubsec Editorial markings
+
+
+@c @node Baroque rhythmic notation
+@c @unnumberedsubsubsec Baroque rhythmic notation
+
+@c TODO Add text
+@c try Till Rettig
+@c Add example of white note heads:
+@c In the french baroque some composers used white note heads in slow pieces,
+@c mainly in 3/2-time. A quarter looks there like a eighth with a white
+@c note head. (Franz-Rudolf Kuhnen)
+
+@c TODO Add example of this:
+@c I was referring to e.g. notated a8. a16, which should, if I
+@c remember correctly, be interpreted more like a8.. a32 (in the french
+@c style). The editor might want to show that rythmic figure above the
+@c staff as an hint to performers. (Karl Hammer)
+
+
+@c TBC
+
+
+@c @seealso
+@c ... and reference to other sections ...
+
projects / lilypond.git / blobdiff