Ancient notation

Ancient notation

---

Adding a figured bass above or below the notes

When writing a figured bass, you can place the figures above or below the bass notes, by defining the BassFigureAlignmentPositioning.direction property (exclusively in a Staff context). Choices are #UP (or #1), #CENTER (or #0) and #DOWN (or #-1).

This property can be changed as many times as you wish. Use \once \override if you don’t want the override to apply to the whole score.

bass={
\clefbass
g4b,cd
ed8cd2
}
continuo=\figuremode{
<_>4<6>4<5/>4
\overrideStaff.BassFigureAlignmentPositioning.direction=#UP
%\bassFigureStaffAlignmentUp
<_+>4<6>
\setStaff.useBassFigureExtenders=##t
\overrideStaff.BassFigureAlignmentPositioning.direction=#DOWN
%\bassFigureStaffAlignmentDown
<4>4.<4>8<_+>4
}
\score{
<<
\newStaff=bassStaff\bass
\contextStaff=bassStaff\continuo
>>
}

[image of music]

---

Ancient fonts

Shown here are many of the symbols that are included in LilyPond’s ancient notation.

upperStaff=\newVaticanaStaff="upperStaff"<<
\contextVaticanaVoice<<
\transposecc{
\overrideNoteHead.style=#'vaticana.punctum
\keyes\major
\clef"vaticana-fa2"
c1desefges
\overrideNoteHead.style=#'vaticana.inclinatum
a!bces'
\bar"|"
\overrideNoteHead.style=#'vaticana.quilisma
b!des'!ges!fes!
\breathe
\clef"vaticana-fa1"
\overrideNoteHead.style=#'vaticana.plica
esd
\overrideNoteHead.style=#'vaticana.reverse.plica
cd
\bar"|"
\overrideNoteHead.style=#'vaticana.punctum.cavum
esf
\overrideNoteHead.style=#'vaticana.lpes
gas
\overrideNoteHead.style=#'vaticana.upes
besas
\overrideNoteHead.style=#'vaticana.vupes
gf
\overrideNoteHead.style=#'vaticana.linea.punctum
\once\overrideStaff.BarLine.bar-extent=#'(-1.1)\bar"|"
esd
\overrideNoteHead.style=#'vaticana.epiphonus
cd
\overrideNoteHead.style=#'vaticana.cephalicus
esf
\setStaff.alterationGlyphs=
#alteration-medicaea-glyph-name-alist
\overrideStaff.Custos.style=#'medicaea
\overrideNoteHead.style=#'medicaea.punctum
\clef"medicaea-fa2"
cesdes
\bar"|"
e!f!ges
\clef"medicaea-do2"
\overrideNoteHead.style=#'medicaea.inclinatum
a!b!ces'
\overrideNoteHead.style=#'medicaea.virga
b!a!
\bar"|"
gesfes
\clef"medicaea-fa1"
\overrideNoteHead.style=#'medicaea.rvirga
edesces
\setStaff.alterationGlyphs=
#alteration-hufnagel-glyph-name-alist
\overrideStaff.Custos.style=#'hufnagel
\overrideNoteHead.style=#'hufnagel.punctum
\clef"hufnagel-fa2"
cesdeses
\bar"|"
fesges
\clef"hufnagel-do2"
\overrideNoteHead.style=#'hufnagel.lpes
as!bes!ces'
\overrideNoteHead.style=#'hufnagel.virga
bes!as!
\bar"|"
ges!fes!
\clef"hufnagel-do-fa"
\overrideNoteHead.style=#'hufnagel.punctum
es!descesdes!es!fes!
\bar"||"
s32*1
}
>>
>>
lowerStaff=\newMensuralStaff="lowerStaff"<<
\contextMensuralVoice<<
\transposecc{
\keya\major
cis'1d'\brevegis'\brevee'\breve\[e'\longafis'\longa\]
\setStaff.forceClef=##t
\clef"neomensural-c2"
cis1
\bar"|"
\[g\brevedis''\longa\]
b\breve\[a\longad\longa\]
\clef"petrucci-c2"
fis1ces1
\clef"petrucci-c2"
r\longa
\setStaff.forceClef=##t
\clef"mensural-c2"
r\breve
\bar"|"
r2
\clef"mensural-g"
r4r8r16r16
\overrideNoteHead.style=#'mensural
\overrideRest.style=#'mensural
\clef"petrucci-f"
c8b,c16b,c32b,c64b,c64b,
d8ed16ed32ed64ed64e
r\longa
\setStaff.forceClef=##t
\clef"petrucci-f"
r\breve
\bar"|"
r\breve
\clef"mensural-f"
r2r4r8r16r16
\setStaff.forceClef=##t
\clef"mensural-f"
e\brevefga1
\clef"mensural-g"
\[bes'!\longaa'!\longac''!\longa\]
e'1d'c'd'\bar"|"
\bar"|"
bes'!\longafis'!1as'!1ges'!\longa% lig
\setStaff.forceClef=##t
\clef"mensural-g"
e'2d'c'\bar"|"
\setStaff.forceClef=##t
\clef"petrucci-g"
c'2d'e'f'
\clef"petrucci-g"
g'as'!bes'!cis''!
bes'!as'!gis'!fis'!
\setStaff.forceClef=##t
\clef"mensural-g"
es'!des'!cis'!1\bar"||"
}
>>
>>
\paper{
line-thickness=#(/staff-space5.0)
}
\score{
<<
\upperStaff
\lowerStaff
>>
\layout{
indent=0.0
\context{
\Score
timing=##f
}
\context{
\MensuralVoice
\overrideNoteHead.style=#'neomensural
\overrideRest.style=#'neomensural
\overrideFlag.style=#'mensural
\overrideStem.thickness=#1.0
}
\context{
\MensuralStaff
\revertBarLine.transparent
alterationGlyphs=
#alteration-mensural-glyph-name-alist
clefGlyph=#"clefs.petrucci.c2"
}
\context{
\VaticanaStaff
\revertBarLine.transparent
\overrideStaffSymbol.thickness=#2.0
alterationGlyphs=
#alteration-vaticana-glyph-name-alist
\overrideCustos.neutral-position=#4
}
}
}

[image of music]

---

Ancient notation template – modern transcription of gregorian music

This example demonstrates how to do modern transcription of Gregorian music. Gregorian music has no measure, no stems; it uses only half and quarter note heads, and special marks, indicating rests of different length.

\include"gregorian.ly"
chant=\relativec'{
\setScore.timing=##f
f4a2\divisioMinima
g4ba2f2\divisioMaior
g4(f)f(g)a2\finalis
}
verba=\lyricmode{
Lo--remip--sumdo--lorsita--met
}
\score{
\newGregorianTranscriptionStaff<<
\newGregorianTranscriptionVoice="melody"\chant
\newGregorianTranscriptionLyrics="one"\lyricstomelody\verba
>>
}

[image of music]

---

Ancient time signatures

Time signatures may also be engraved in an old style.

{
\overrideStaff.TimeSignature.style=#'neomensural
s1
}

[image of music]

---

Chant or psalms notation

This form of notation is used for Psalm chant, where verses aren’t always the same length.

stemOff=\hideStaff.Stem
stemOn=\undo\stemOff
\score{
\newStaff\with{\remove"Time_signature_engraver"}
{
\keyg\minor
\cadenzaOn
\stemOffa'\brevebes'4g'4
\stemOna'2\section
\stemOffa'\breveg'4a'4
\stemOnf'2\section
\stemOffa'\breve^\markup{\italicflexe}
\stemOng'2\fine
}
}

[image of music]

---

Custodes

Custodes may be engraved in various styles.

\layout{ragged-right=##t}
\newStaff\with{\consists"Custos_engraver"}\relativec'{
\overrideStaff.Custos.neutral-position=#4
\overrideStaff.Custos.style=#'hufnagel
c1^"hufnagel"\break
<da'f'>1
\overrideStaff.Custos.style=#'medicaea
c1^"medicaea"\break
<da'f'>1
\overrideStaff.Custos.style=#'vaticana
c1^"vaticana"\break
<da'f'>1
\overrideStaff.Custos.style=#'mensural
c1^"mensural"\break
<da'f'>1
}

[image of music]

---

Incipit

When transcribing mensural music, an incipit at the beginning of the piece is useful to indicate the original key and tempo. While today musicians are used to bar lines in order to faster recognize rhythmic patterns, bar lines were not yet invented during the period of mensural music; in fact, the meter often changed after every few notes. As a compromise, bar lines are often printed between the staves rather than on the staves.

%% With 2.23. this throws:
%% programming error: Loose column does not have right side to attach to.
%% Likely "Hidden BarLine during note yields programming error"
%% https://gitlab.com/lilypond/lilypond/-/issues/4084
%% --Harm
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% A short excerpt from the Jubilate Deo by Orlande de Lassus
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
global={
\setScore.skipBars=##t
\keyg\major
\time4/4
% the actual music
\skip1*8
% let finis bar go through all staves
\overrideStaff.BarLine.transparent=##f
% finis bar
\bar"|."
}
discantusIncipit={
\clef"neomensural-c1"
\keyf\major
\time2/2
c''1.
}
discantusNotes={
\transposec'c''{
\clef"treble"
d'2.d'4|
be'd'2|
c'4e'4.(d'8c'b|
a4)ba2|
b4.(c'8d'4)c'4|
\once\hideNoteHead
c'1|
b\breve|
}
}
discantusLyrics=\lyricmode{
Ju--bi--la--teDe--o,
om--nister--ra,__om-
"..."
-us.
}
altusIncipit={
\clef"neomensural-c3"
\keyf\major
\time2/2
r1f'1.
}
altusNotes={
\transposec'c''{
\clef"treble"
r2g2.e4fisg|
a2g4e|
fisg4.(fis16efis4)|
g1|
\once\hideNoteHead
g1|
g\breve|
}
}
altusLyrics=\lyricmode{
Ju--bi--la--te
De--o,om--nister--ra,
"..."
-us.
}
tenorIncipit={
\clef"neomensural-c4"
\keyf\major
\time2/2
r\longa
r\breve
r1c'1.
}
tenorNotes={
\transposec'c'{
\clef"treble_8"
R1|
R1|
R1|
% two measures
r2d'2.d'4be'|
\once\hideNoteHead
e'1|
d'\breve|
}
}
tenorLyrics=\lyricmode{
Ju--bi--la--te
"..."
-us.
}
bassusIncipit={
\clef"mensural-f"
\keyf\major
\time2/2
r\maxima
f1.
}
bassusNotes={
\transposec'c'{
\clef"bass"
R1|
R1|
R1|
R1|
g2.e4|
\once\hideNoteHead
e1|
g\breve|
}
}
bassusLyrics=\lyricmode{
Ju--bi-
"..."
-us.
}
\score{
<<
\newStaffGroup=choirStaff<<
\newVoice="discantusNotes"<<
\setStaff.instrumentName="Discantus"
\incipit\discantusIncipit
\global
\discantusNotes
>>
\newLyrics\lyricstodiscantusNotes{\discantusLyrics}
\newVoice="altusNotes"<<
\setStaff.instrumentName="Altus"
\global
\incipit\altusIncipit
\altusNotes
>>
\newLyrics\lyricstoaltusNotes{\altusLyrics}
\newVoice="tenorNotes"<<
\setStaff.instrumentName="Tenor"
\global
\incipit\tenorIncipit
\tenorNotes
>>
\newLyrics\lyricstotenorNotes{\tenorLyrics}
\newVoice="bassusNotes"<<
\setStaff.instrumentName="Bassus"
\global
\incipit\bassusIncipit
\bassusNotes
>>
\newLyrics\lyricstobassusNotes{\bassusLyrics}
>>
>>
\layout{
\context{
\Score
%% no bar lines in staves or lyrics
\hideBarLine
}
%% the next two instructions keep the lyrics between the bar lines
\context{
\Lyrics
\consists"Bar_engraver"
\consists"Separating_line_group_engraver"
}
\context{
\Voice
%% no slurs
\hideSlur
%% Comment in the below "\remove" command to allow line
%% breaking also at those bar lines where a note overlaps
%% into the next measure. The command is commented out in this
%% short example score, but especially for large scores, you
%% will typically yield better line breaking and thus improve
%% overall spacing if you comment in the following command.
%%\remove "Forbid_line_break_engraver"
}
indent=6\cm
incipit-width=4\cm
}
}

[image of music]

---

Mensurstriche layout (bar lines between the staves)

Mensurstriche, bar lines between but not through staves, can be printed by setting measureBarType to "-span|" and using a grouping context that allows span bars, such as StaffGroup.

\layout{
\context{
\Staff
measureBarType="-span|"
}
}
music=\fixedc''{
c1
d2\sectione2
f1\fine
}
\newStaffGroup<<
\newStaff\music
\newStaff\music
>>

[image of music]

---

Rest styles

Rests may be used in various styles.

\newStaff\relativec{
\omitScore.TimeSignature
\cadenzaOn
\overrideStaff.Rest.style=#'mensural
r\maxima^\markup\typewriter{mensural}
r\longar\brever1r2r4r8r16s32s64s128s128
\bar""
\break
\overrideStaff.Rest.style=#'neomensural
r\maxima^\markup\typewriter{neomensural}
r\longar\brever1r2r4r8r16s32s64s128s128
\bar""
\break
\overrideStaff.Rest.style=#'classical
r\maxima^\markup\typewriter{classical}
r\longar\brever1r2r4r8r16r32r64r128s128
\bar""
\break
\overrideStaff.Rest.style=#'z
r\maxima^\markup\typewriter{z-style}
r\longar\brever1r2r4r8r16r32r64r128s128
\bar""
\break
\overrideStaff.Rest.style=#'default
r\maxima^\markup\typewriter{default}
r\longar\brever1r2r4r8r16r32r64r128s128
}

[image of music]

---

Using tags to produce mensural and modern music from the same source

Using tags, it is possible to produce both mensural and modern notation from the same music. In this snippet, a function menrest is introduced, allowing mensural rests to be pitched as in the original, but with modern rests in the standard staff position. Tags can also be used where other differences are needed: for example using “whole measure rests” (R1, R\breve, etc.) in modern music, but normal rests (r1, r\breve, etc.) in the mensural version. Converting mensural music to its modern equivalent is usually referred to as “transcription”.

menrest=#(define-music-function(note)
(ly:music?)
#{
\tag#'mens$(make-music'RestEventnote)
\tag#'mod$(make-music'RestEventnote'pitch'())
#})
MenStyle={
\autoBeamOff
\overrideNoteHead.style=#'petrucci
\overrideScore.BarNumber.transparent=##t
\overrideStem.neutral-direction=#up
}
finalis=\section
Music=\relativec''{
\setScore.tempoHideNote=##t
\keyf\major
\time4/4
g1d'2\menrestbes4bes2a2r4g4fis2.
\finalis
}
MenLyr=\lyricmode{Sofarre,deerelife,dearelife}
ModLyr=\lyricmode{Sofar,dearlife,dearlife}
\score{
\keepWithTag#'mens{
<<
\newMensuralStaff
{
\newMensuralVoice=Cantus
\clef"mensural-c1"\MenStyle\Music
}
\newLyrics\lyricstoCantus\MenLyr
>>
}
}
\score{
\keepWithTag#'mod{
\newChoirStaff<<
\newStaff
{
\newVoice=Sop\with{
\remove"Note_heads_engraver"
\consists"Completion_heads_engraver"
\remove"Rest_engraver"
\consists"Completion_rest_engraver"}
{
\shiftDurations#1#0{\autoBeamOff\Music}
}
}
\newLyrics\lyricstoSop\ModLyr
>>
}
}

[image of music]

---

Vertical line as a baroque articulation mark

This short vertical line placed above the note is commonly used in baroque music. Its meaning can vary, but generally indicates notes that should be played with more “weight”. The following example demonstrates how to achieve such a notation.

upline=
\tweakstencil
#(lambda(grob)
(grob-interpret-markupgrob#{\markup\draw-line#'(0.1)#}))
\stopped
\relativec'{
a'4^\uplinea(cd')_\upline
}

[image of music]

---

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