* Songs::
* Choral::
* Opera and stage musicals::
-* Chants hymns and psalms::
+* Chants psalms and hymns::
* Ancient vocal music::
@end menu
@menu
* References for choral::
-* Score layouts::
+* Score layouts for choral::
+* Divided voices::
@end menu
@node References for choral
@rinternals{Lyrics},
@rinternals{PianoStaff}.
-@node Score layouts
-@unnumberedsubsubsec Score layouts
+@node Score layouts for choral
+@unnumberedsubsubsec Score layouts for choral
-@c TODO 2-stave and 4-stave, accompaniment, SATB, different lyrics
-@c fitting 2 systems on a page
+Choral music containing four staves, with or without piano
+accompaniment, is usually laid out with two systems per page.
+Depending on the page size, achieving this may require changes
+to several default settings. The following settings should be
+considered:
+
+@itemize
+
+@item
+The global staff size can be modified to change the overall size
+of the elements of the score. See @ref{Setting the staff size}.
+
+@item
+The distances between the systems, the staves and the lyrics can
+all be adjusted independently. See @ref{Vertical spacing}.
+
+@item
+Setting @code{annotate-spacing = ##t} in the layout block will
+display the dimensions of the vertical layout variables. This
+may help in adjusting them. For details, see
+@ref{Displaying spacing}.
+
+@item
+Other possibilities for fitting the music onto fewer pages are
+described in @ref{Changing spacing}.
+
+@end itemize
+
+If the number of systems per page changes from one to two it is
+customary to indicate this with a system separator mark between
+the two systems. By default the system separator is blank. It
+may be activated with
+
+@example
+\paper @{
+ system-separator-markup = \slashSeparator
+@}
+@end example
+
+@noindent
+For details of this and other page formatting properties, see
+@ref{Page formatting}.
+
+Dynamic markings by default are placed below the staff, but in
+choral music they are often placed above the staff in order to
+avoid the lyrics. The predefined command @code{\dynamicUp} does
+this for the dynamic markings in a single @code{Voice} context.
+To place all dynamic markings in the score above their respective
+staves use the following in a @code{\layout} block within the
+@code{\score} block:
+
+@example
+\layout @{
+ \context @{
+ \Score
+ \override DynamicText #'direction = #UP
+ \override DynamicLineSpanner #'direction = #UP
+ @}
+@}
+@end example
+
+@predefined
+@code{\dynamicUp}.
+
+@seealso
+Notation Reference:
+@ref{Setting the staff size},
+@ref{Vertical spacing},
+@ref{Displaying spacing},
+@ref{Changing spacing},
+@ref{Score layout},
+@ref{Using an extra voice for breaks},
+@ref{Page formatting}.
+
+Internals Reference:
+@rinternals{VerticalAxisGroup},
+@rinternals{StaffGrouper}.
+
+
+@node Divided voices
+@unnumberedsubsubsec Divided voices
+
+@cindex voices, divided
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-arpeggiobracket-to-make-divisi-more-visible.ly}
+
+@seealso
+Notation Reference:
+@ref{Lines}.
-TBC
@node Opera and stage musicals
@subsection Opera and stage musicals
TBC
-@node Chants hymns and psalms
-@subsection Chants hymns and psalms
+@node Chants psalms and hymns
+@subsection Chants psalms and hymns
+
+@cindex chants
+@cindex psalms
+@cindex hymns
+@cindex religious music
+
+The music and words for chants, psalms and hymns usually follow a
+well-established format in any particular church. Although the
+formats may differ from church to church the type-setting problems
+which arise are broadly similar, and are covered in this section.
@menu
-* References for chants hymns and psalms::
-* Partial measures::
-* Multiple syllables to a note::
-* Pointing::
+* References for chants and psalms::
+* Setting a chant::
+* Pointing a psalm::
+* Partial measures in hymn tunes::
@end menu
-@node References for chants hymns and psalms
-@unnumberedsubsubsec References for chants hymns and psalms
+@node References for chants and psalms
+@unnumberedsubsubsec References for chants and psalms
-@c TODO Add text from lsr and -user
-TBC
+Typesetting Gregorian chant in various styles of ancient notation
+is described in @ref{Ancient notation}.
+
+Modern chant settings use modern notation with varying numbers of
+elements taken from ancient notation. Some of the elements and
+methods to consider are these:
-@node Partial measures
-@unnumberedsubsubsec Partial measures
+@itemize
+
+@item
+Chants often use quarter notes without stems to indicate the pitch,
+with the rhythm being taken from the spoken rhythm of the words. To
+remove the stem set the @code{transparent} property of the
+@code{Stem} grob to @code{#t}. See
+@rlearning{Visibility and color of objects} and
+@ref{Visibility of objects}. An alternative is set the
+@code{length} property to @code{0}.
+
+@item
+Chants usually omit the bar lines or use shortened or dotted bar
+lines to indicate pauses in the music. To omit bar lines
+completely use @code{\cadenzaOn} or remove the @code{Bar_engraver}.
+See @ref{Unmetered music} and @ref{Modifying context plug-ins}.
+
+@item
+To use modified bar lines see the @emph{Bar lines} section in
+@ref{Bars}. Alternatively, the correct Gregorian chant notation
+for pauses or rests in the music are described in @emph{Divisiones}
+in @ref{Typesetting Gregorian chant}.
+
+@item
+Chants usually omit the time signature and often omit the clef too.
+To omit these remove the @code{Time_signature_engraver} and
+@code{Clef_engraver} from the @code{Staff} context respectively.
+For details, see @ref{Modifying context plug-ins}.
+
+@end itemize
+
+@seealso
+Learning Manual:
+@rlearning{Visibility and color of objects}.
+
+Notation reference:
+@ref{Ancient notation},
+@ref{Visibility of objects},
+@ref{Bars},
+@ref{Unmetered music},
+@ref{Modifying context plug-ins},
+@ref{Typesetting Gregorian chant}.
+
+@node Setting a chant
+@unnumberedsubsubsec Setting a chant
+
+Chants in the Anglican tradition are usually either single, with 7
+bars of music, or double, with two lots of 7 bars. Each group of 7
+bars is divided into two halves, corresponding to the two halves of
+each verse, usually separated by a double bar line. Only whole and
+half notes are used. The 1st bar in each half always contains a
+single chord of whole notes. This is the @qq{reciting note}.
+
+Some approaches to setting a chant are shown in the following
+snippets.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{chant-or-psalms-notation.ly}
+
+Canticles and other liturgical texts may be set more freely, and
+may use notational elements from ancient music. Often the words
+are shown underneath and aligned with the notes.
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{ancient-notation-template----modern-transcription-of-gregorian-music.ly}
+
+@seealso
+Notation Reference:
+@ref{Typesetting Gregorian chant}.
+
+
+@node Pointing a psalm
+@unnumberedsubsubsec Pointing a psalm
+
+The words to a Anglican psalm are usually printed in separate
+verses underneath the chant. See the Anglican psalm template in
+the Learning Manual to see how to use mark-up to center the chant
+and place the verses centered underneath. Marks are inserted
+in the words to show how they should be fitted to the chant.
+Single chants (with 7 bars) are repeated for every verse. Double
+chants (with 14 bars) are repeated for every pair of verses.
+
+Each verse is divided into two halves. An asterisk or a colon
+is frequently used to indicate this division. This corresponds
+to the double bar line in the music. The words before the colon
+are sung to the first 3 bars of music; the words after the colon
+are sung to the last four bars.
+
+Single bar lines (or in some psalters an inverted comma or similar
+symbol) are inserted between words to indicate where the bar lines
+in the music fall. In markup mode a single bar line can be entered
+with the bar check symbol, @code{|}. Other symbols may require
+glyphs from the @code{fetaMusic} fonts. For details, see
+@ref{Fonts}.
+
+Where there is one whole note in a bar all the words corresponding
+to that bar are recited on that one note in speech rhythm. Where
+there are two notes in a bar there will usually be only one or two
+corresponding syllables. If there are more that two syllables a
+dot is usually inserted to indicate where the change in note occurs.
+
+In some psalters an asterisk is used to indicate a break in a
+recited section instead of a comma, and stressed or slightly
+lengthened syllables are indicated in bold text. Others use an
+accent over the syllable to indicate stress.
+
+The use of markup to center text, and arrange lines in columns is
+described in @ref{Formatting text}.
+
+Most of these elements are shown in one or other of the two verses
+in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
+
+@seealso
+Learning Manual:
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Fonts},
+@ref{Formatting text}.
+
+
+@node Partial measures in hymn tunes
+@unnumberedsubsubsec Partial measures in hymn tunes
Hymn tunes frequently start and end every line of music with
partial measures so that each line of music corresponds exactly
{hymn-template.ly}
-@node Multiple syllables to a note
-@unnumberedsubsubsec Multiple syllables to a note
-
-TBC
-
-@node Pointing
-@unnumberedsubsubsec Pointing
-
-TBC
-
@node Ancient vocal music
@subsection Ancient vocal music
projects / lilypond.git / blobdiff