@menu
* References for choral::
* Score layouts for choral::
+* Divided voices::
@end menu
@node References for choral
@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}.
+
+
@node Opera and stage musicals
@subsection Opera and stage musicals
@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}
-@c TODO add this snippet when available
-@c @l ilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-@c {Ancient notation template -- modern transcription of gregorian music.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
-TBC
+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
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