%% Generated by lilypond-book.py %% Options: [indent=0\mm,verbatim,lilyquote,ragged-right,alt=[image of music],texidoc] \include "lilypond-book-preamble.ly" % **************************************************************** % Start cut-&-pastable-section % **************************************************************** \paper { #(define dump-extents #t) indent = 0\mm line-width = 160\mm - 2.0 * 0.4\in ragged-right = ##t force-assignment = #"" line-width = #(- line-width (* mm 3.000000)) } \layout { } % **************************************************************** % ly snippet: % **************************************************************** \sourcefilename "ancient-notation-template----modern-transcription-of-mensural-music.ly" \sourcefileline 0 %% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it %% This file is in the public domain. \version "2.12.3" \header { lsrtags = "ancient-notation, template" texidoces = " Al transcribir música mensural, es útil un «incipit» al compienzo de la pieza para indicar la tonalidad y el tempo originales. Aunque los músicos actuales están acostumbrados a las barras de compás para reconocer con más facilidad los patrones rítmicos, durante el período de la música mensural aún no se habíen inventado las líneas divisorias; de hecho, la medida solía cambiar a cada pocas notas. Como compromiso, a menudo las líneas divisorias se imprimen entre los pentagramas en vez de hacerlo encima de ellos. " doctitlees = "Plantilla de notación de música antigua (transcripción moderna de música mensural)" texidocde = " Bei der Transkription von Mensuralmusik ist es oft erwünscht, ein Incipit an den Anfang des Stückes zu stellen, damit klar ist, wie Tempo und Schlüssel in der Originalnotation gesetzt waren. Während heutzutage Musiker an Taktlinien gewöhnt sind, um Rhythmen schneller zu erkennen, wurden diese in der Mensuralmusik nicht verwendet. Tatsächlich ändern sich die Rhythmen auch oft alle paar Noten. Als ein Kompromiss werden die Notenlinien nicht auf dem System, sondern zwischen den Systemen geschrieben. " texidocfr = " Lorsque l'on transcrit de la musique mensurale, il est d'usage d'indiquer en début de partition, par un « incipit », les tonalité et tempo originaux. De nos jours, les musiciens ont l'habitude de voir des barres de mesure qui les aide à appréhender la structure rythmique. Ces barres n'existaient pas du temps où ces œuvres ont été écrites ; en fait, la métrique évoluait au fil de la pièce. Un compromis consiste à imprimer des barres de mesure entre les portées plutôt que sur la portée elle-même. " doctitle = "Exemples de notation ancienne -- transcription moderne de musique mensurale" texidoc = " 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. " doctitle = "Ancient notation template -- modern transcription of mensural music" } % begin verbatim global = { \set Score.skipBars = ##t % incipit \once \override Score.SystemStartBracket #'transparent = ##t \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing \key f \major \time 2/2 \once \override Staff.TimeSignature #'style = #'neomensural \override Voice.NoteHead #'style = #'neomensural \override Voice.Rest #'style = #'neomensural \set Staff.printKeyCancellation = ##f \cadenzaOn % turn off bar lines \skip 1*10 \once \override Staff.BarLine #'transparent = ##f \bar "||" \skip 1*1 % need this extra \skip such that clef change comes % after bar line \bar "" % main \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect? \cadenzaOff % turn bar lines on again \once \override Staff.Clef #'full-size-change = ##t \set Staff.forceClef = ##t \key g \major \time 4/4 \override Voice.NoteHead #'style = #'default \override Voice.Rest #'style = #'default % FIXME: setting printKeyCancellation back to #t must not % occur in the first bar after the incipit. Dto. for forceClef. % Therefore, we need an extra \skip. \skip 1*1 \set Staff.printKeyCancellation = ##t \set Staff.forceClef = ##f \skip 1*7 % the actual music % let finis bar go through all staves \override Staff.BarLine #'transparent = ##f % finis bar \bar "|." } discantusNotes = { \transpose c' c'' { \set Staff.instrumentName = #"Discantus " % incipit \clef "neomensural-c1" c'1. s2 % two bars \skip 1*8 % eight bars \skip 1*1 % one bar % main \clef "treble" d'2. d'4 | b e' d'2 | c'4 e'4.( d'8 c' b | a4) b a2 | b4.( c'8 d'4) c'4 | \once \override NoteHead #'transparent = ##t c'1 | b\breve | } } discantusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- | la -- te De -- | o, om -- nis ter -- | ra, __ om- | "..." | -us. | } altusNotes = { \transpose c' c'' { \set Staff.instrumentName = #"Altus " % incipit \clef "neomensural-c3" r1 % one bar f1. s2 % two bars \skip 1*7 % seven bars \skip 1*1 % one bar % main \clef "treble" r2 g2. e4 fis g | % two bars a2 g4 e | fis g4.( fis16 e fis4) | g1 | \once \override NoteHead #'transparent = ##t g1 | g\breve | } } altusLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars De -- o, om -- | nis ter -- ra, | "..." | -us. | } tenorNotes = { \transpose c' c' { \set Staff.instrumentName = #"Tenor " % incipit \clef "neomensural-c4" r\longa % four bars r\breve % two bars r1 % one bar c'1. s2 % two bars \skip 1*1 % one bar \skip 1*1 % one bar % main \clef "treble_8" R1 | R1 | R1 | r2 d'2. d'4 b e' | % two bars \once \override NoteHead #'transparent = ##t e'1 | d'\breve | } } tenorLyrics = \lyricmode { % incipit IV- % main Ju -- bi -- la -- te | % two bars "..." | -us. | } bassusNotes = { \transpose c' c' { \set Staff.instrumentName = #"Bassus " % incipit \clef "bass" r\maxima % eight bars f1. s2 % two bars \skip 1*1 % one bar % main \clef "bass" R1 | R1 | R1 | R1 | g2. e4 | \once \override NoteHead #'transparent = ##t e1 | g\breve | } } bassusLyrics = \lyricmode { % incipit IV- % main Ju -- bi- | "..." | -us. | } \score { \new StaffGroup = choirStaff << \new Voice = "discantusNotes" << \global \discantusNotes >> \new Lyrics = "discantusLyrics" \lyricsto discantusNotes { \discantusLyrics } \new Voice = "altusNotes" << \global \altusNotes >> \new Lyrics = "altusLyrics" \lyricsto altusNotes { \altusLyrics } \new Voice = "tenorNotes" << \global \tenorNotes >> \new Lyrics = "tenorLyrics" \lyricsto tenorNotes { \tenorLyrics } \new Voice = "bassusNotes" << \global \bassusNotes >> \new Lyrics = "bassusLyrics" \lyricsto bassusNotes { \bassusLyrics } >> \layout { \context { \Score % no bars in staves \override BarLine #'transparent = ##t % incipit should not start with a start delimiter \remove "System_start_delimiter_engraver" } \context { \Voice % no slurs \override Slur #'transparent = ##t % Comment in the below "\remove" command to allow line % breaking also at those barlines where a note overlaps % into the next bar. 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" } } } % **************************************************************** % end ly snippet % ****************************************************************