Gregorian Chant Vst Free

Antiphonarium officii (Gregorian Chant) Antiphonarium tonale missarum (Gregorian Chant) Antiphoner, E-L Ms. 8 (Gregorian Chant) C. Cantatorium, CH-SGs Cod. 359 (Gregorian Chant) Chants of the Church (Gregorian Chant) Compendium Antiphonarii et Breviarii Romani (Gregorian Chant) G. Gradual, CH-Es Codex 121(1151) (Gregorian Chant) G cont. Gregorian Chant first came to exist in the 9th and 10th centuries in Western and Central Europe, and were named after the Pope St. Gregory the Great (540-604 A.D). These chants are performed A Capella, without musical support, and sung in Latin.

Introduction

Summary

Header

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Notation fundamentals

Pitch

One-note neumes

Complex neumes

Virga

Separation bars

The clef

Text

Text centering

Chant

Initial determination

Special characters

Text style

Introduction

gabc is a simple notation based exclusively on ASCII characters that enables the user to describe Gregorian chant scores. The name gabc was given in reference to the ABC notation for modern music.

The gabc notation was developed by a monk of the Abbey of Sainte Madeleine du Barroux and has been improved by Élie Roux and by other monks of the same abbey to produce the best possible notation.

Summary

A small summary has been created, you can download it here. You must have basics of gabc to understand it, but it can help you remember some notations. /prophet-08-vst-free.html. It is made to be printed on A5 paper.

There is also a 'cheat sheet' available at gregoriochant.org.

Header

Files written in gabc have the extension .gabc and have the following structure:

In each case, replace whatever is between the colon and semi-colon(:..;) with the appropriate character string. Of theseattributes, only name is mandatory. Descriptions of howthese header fields are intended to be used are below. If you wish towrite a value over several lines, omit the semicolon at the end of thefirst line, and end the attribute value with ;; (twosemicolons).

Some headers have special meaning to Gregorio:

name
This is the name of the piece, in almost all cases the incipit, thefirst few words. In the case of the mass ordinary, the form as KyrieX Alme Pater or Sanctus XI is recommended where appropriate.
gabc-copyright
This license is the copyright notice (in English) of the gabc file, as chosen by the person named in the transcriber field. As well as the notice itself, it may include a brief description of the license, such as public domain, CC-by-sa; for a list of commonly found open source licenses and exceptions, please see this page. A separate text file will be necessary for the complete legal license. For the legal issues about Gregorian chant scores, please see the legal issues page. An example of this field would be:
gabc-copyright: CC0-1.0 by Elie Roux, 2009 <http://creativecommons.org/publicdomain/zero/1.0/>;
score-copyright
This license is the copyright notice (in english) of the score itself from whichthe gabc was transcribed. Like the gabc-license, there may be a briefdescription of the license too. In unclear or complex cases it may beomitted; it is most suitable for use when the transcriber is thecopyright holder and licensor of the score as well. One again, reading the page on legal issues is recommended. An example of this field would be:
score-copyright: (C) Abbaye de Solesmes, 1934
author
The author of the piece, if known; of course, the author of mosttraditional chant is not known.
language
The language of the lyrics.
oriscus-orientation
If legacy, the orientation of an unconnected oriscus must be set manually.
mode
The mode of the piece. This should normally be an Arabic number between 1 and 8, but may be any text required for unusual cases. The mode number will be converted to Roman numerals and placed above the initial unless one of the following conditions are met:
  • There is a greannotation defined immediately prior to gregorioscore.
  • The annotation header field is defined.
mode-modifier
The mode 'modifier' of the piece. This may be any TeX code to typeset after the mode, if the mode is typeset. If the mode is not typeset, the mode-modifier will also not be typeset.
mode-differentia
The mode or tone differentia of the piece. Typically, this expresses the variant of the psalm tone to use for the piece. This may be any TeX code to typeset after the mode-modifier, if the mode is typeset. If the mode is not typeset, the mode-differentia will also not be typeset.
annotation
The annotation is the text to appear above the initial letter.Usually this is an abbreviation of the office-part in the upper line,and an indication of the mode (and differentia for antiphons) in thelower. Either one or two annotation fields may be used; if two areused, the first is the upper line, the second the lower. Example:
annotation:Ad Magnif.;
annotation:VIII G;
Full TeX markup is accepted:
annotation:{color{red}Ad Magnif.};
annotation:{color{red}VIII G};
If the user already defined annotation(s) in the main TeX file via greannotation then the annotation header field will not overwrite that definition.
staff-lines
The number of lines on the staff. You can have as few as 2 lines and as many as 5. If this header is left out, then the default will be the classic 4 line staff.

Although Gregorio ascribes no special meaning to them, other suggested headers are:

office-part
The office-part is the category of chant (in latin), according to its liturgicalrôle. Examples are: antiphona, hymnus, responsorium brevium,responsorium prolixum, introitus, graduale, tractus, offertorium,communio, kyrie, gloria, credo, sanctus, benedictus, agnus dei.
occasion
The occasion is the liturgical occasion, in latin. For example, Dominica IIAdventus, Commune doctorum, Feria secunda.
meter
For hymns and anything else with repetitive stanzas, the meter, thenumbers of syllables in each line of a stanza. For example, 8.8.8.8for typical Ambrosian-style hymns: 4 lines each of 8 syllables.
commentary
This is intended for notes about the source of the text, such asreferences to the Bible.
arranger
The name of a modern arranger, when a traditional chant melody hasbeen adapted for new words, or when a manuscript is transcribed into square notation.This may be a corporate name, likeSolesmes.
date
The date of composition, or the date of earliest attestation. Withmost traditional chant, this will only be approximate; e.g. XI. s.for eleventh century. The convention is to put it with the latin style, like the previous examples (capital letters, roman numerals, s for seculum and the dots).
manuscript
For transcriptions direct from a manuscript, the text normally used toidentify the manuscript, for example Montpellier H.159.
manuscript-reference
A unique reference for the piece, according to some well-known system.For example, the reference beginning cao in the Cantus database ofoffice chants. If the reference is unclear as to which system ituses, it should be prefixed by the name of the system. Note that thisshould be a reference identifying the piece, not themanuscript as a whole; anything identifying the manuscript as a wholeshould be put in the manuscript field.
manuscript-storage-place
For transcriptions direct from a manuscript, where the manuscript isheld; e.g. Bibliothèque Nationale, Paris.
book
For transcriptions from a modern book(such as Solesmes editions; modern goes back at least to the19th century revival), the name of the book; e.g. LiberUsualis.
transcriber
The name of the transcriber into gabc.
transcription-date
The date the gabc was written, with the following convention yyyymmdd, like 20090129 for january the 29th 2009.
user-notes
This may contain anytext in addition to the other headers -- any notes the transcriber maywish. However, it is recommended to use the specific header fieldswhere they are suitable, so that it is easier to find particularinformation.

After the %% separator, (clef) text(notes) represents the description ofthe score. In the following sections, we will only talk about thissection, which is the heart of the notation.

Notation fundamentals

Pitches

We have chosen to represent pitch using a single character. One character corresponds to one written pitch: whatever the clef may be, a position on the staff will still be represented by the same character. With this system, anyone will be able to type scores, even people who are unfamiliar with solfege or do not know much about music theory.

There are 13 possible pitches in Gregorian chant scores, which are represented by letters from a to m that is, 13 characters. For the rare pieces with a broader range, the clef changes.

The inconvenience of this choice is that it only corresponds to English notation (notes A through G) when the do-clef is on the top line of the staff, and even then only for the low notes on the staff.


Correspondence between letter and staff position

One-note neumes

In the notation adopted, a lower-case letter from a to m, represents a punctum quadratum, a square note, and an upper-case letter (A through M), a punctum inclinatum, a diamond-shaped note, which are less frequently used.

For the oriscus pointing in the direction of the next non-unison note add an o or use o0 for an oriscus pointing down, o1 for an oriscus pointing up. A stropha is coded by adding a s, etc.

Nota Bene: There are actually two puncta inclinata glyphs, one shaped for an ascending series of such notes and one for a descending series. While there are algorithms which should automatically select between these two glyphs based on the surrounding notes, you can force the selection of a particular shape with G0 (for descending) and G1 (for ascending).

Complex neumes

To compose a neume with more than one note, you simply type the letters corresponding to the notes, without worrying about the connections between them. These will be calculated automatically. In the following examples, the caption to each image shows the letters in gabc notation which correspond to the image.


Example of complex neume

When there is a quilisma within a neume, you type a w after the corresponding pitch.

Of course there are cases in which a sequence of notes can be written in more than one way. These cases are described in the section Determination of the neume according to the sequence of notes.

Virga

Gregorio will automatically add virgae (the thin vertical stems) to most note groups which require them. If you require a virga which does not normally appear it can be added to the note with v (virga on the right) or V (virga on the left). If an unwanted virga appears, it can be suppressed by prepending the note group with a @.

Separation bars

Separation bars indicate a pause in the chant, so punctuation signs have been chosen to represent them.


The separation bars

When a bar is located between two syllables, you must put it in as a separate syllable, as for example, jus(g) (::) Di(g) .

When a colon ( : ) in the text is immediately followed by a bar, you must type the colon with the preceding word, and not after the note: for example, jus :(g) (:) instead of jus(g) :(:) .

The clef

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The way to notate the clef is using two or three characters:

  • a letter corresponding to the clef symbol: c for the do clef or f for the fa clef
  • an optional b to indicate if there is a flat on the clef
  • a number between corresponding to the line on which the clef is written. For this purpose, the lines are numbered from the bottom (1) to the top. The number must not be greater than the number of lines specified in the staff-lines header (usually 4, but could be as high as 5 or as low as 2).

Starting in v4.1 it is possible to print two clefs at the same time. The clefs are linked by a @ and will be printed one over the other if there is room, otherwise the second clef (after the @) will be pushed to the right to prevent a collision. When determining the position of a custos automatically, GregorioTeX will always use the first clef.


Sample double clefs

Text

It is very simple to write text and neumes: the letters corresponding to the notes are typed in parentheses after the syllable to which they correspond.

To delineate words, you simply put a space between them. We can now give an example of the final notation:

The text here is Populus Sion and each syllable is followed by the corresponding neume between brackets. /free-vocal-pre-amp-vst.html.

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Here we have to consider the case of text characters located under a separation bar. These characters are principally asterisks indicating repeated sections and other signs indicating the structure of the piece. In those cases, we choose to treat such a character as if it were a syllable: for example,

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Si(hi)on,(hgh) *(;) ec(hihi)ce(e).

When there is no character under a separation bar, we proceed the same way, but with a space instead of text:

Text centering

In Gregorian chant, aligning the neumes with the text is important so that the singer can match them up appropriately. By default, Gregorio automates this using the rules described on the page about the writing of chant. However, these rules, which are traditional to Latin text, may not give the desirable result in all cases. As a result GregorioTeX provides two alternate rule sets: centering the whole syllable under the first neume and centering the first letter of the syllable under the first neume. To use these rules you will need to use the gresetlyriccentering{syllable} or gresetlyriccentering{firstletter} command, respectively, in your TeX file. gresetlyriccentering{vowel} will change things back to the default rules.

Additionally, if it is necessary, it is possible to control the portion of a particular syllable which is used for alignment. To do this, put the part of the text to be aligned between braces (in the gabc). For instance, in the following example the neumes will align with the center of 've' instead of the first 'e':

e{ve}r(e)

Initial determination

The initial is automatically recognized by gregorio as the first letter. You can use the gabc attribute initial-style in the header to set its size. The values corespond to number of lines the intial takes up: 0 (there is no initial), 1 (the default), or 2 (the initial takes up two lines).

Note that in the case of a syllable composed of one letter only, GregorioTeX automatically adds a hyphen under the first notes. To disable this feature, use the command gresetemptyfirstsyllablehyphen{auto}.

Special characters

It can happen that the texts of Gregorian chants contain unicode characters which are not easily accesible from the keyboard. Examples of this sort of character are ý, ǽ, œ́, the barred R (℟ for Response), and the barred V (℣ for Versicle). There is also the possibility of a non-unicode character such as the barred A (for Antiphon).

Gregorio will allow the use of any unicode character directly entered via your platform's character picker or a keyboard shortcut. In the case where it is not possible to insert special characters in either of these ways, you can be use <sp> markup tags, for example <sp>R/</sp> for the barred R, <sp>'ae</sp> for ǽ. This also works for the barred A, even though it is not in the unicode table: <sp>A/</sp>

Finally, you can make use of the <v> markup tags to enter a character using it's

Gregorian Chant Vst Free Plugin

TeX code: <v>{ae}</v> for æ.

Text style

Even though text is rarely styled in a chant score, gabc allows for some markup to apply styles to the text: they are <i> for italic, <b> for bold, <u> for underline (does not work in Plain TeX), <c> for colored (specifically in gregoriocolor), and <sc> for small capitals.

For example: <i>Ps.</i>(::)

You have now read the basics of the gabc notation, you can go on the details page if you want to know more!