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author | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
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committer | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
commit | e0c6872cf40896c7be36b11dcc744620f10adf1d (patch) | |
tree | 60335e10d2f4354b0674ec22d7b53f0f8abee672 /support/snote/snreadme.txt |
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diff --git a/support/snote/snreadme.txt b/support/snote/snreadme.txt new file mode 100644 index 0000000000..7b19822893 --- /dev/null +++ b/support/snote/snreadme.txt @@ -0,0 +1,154 @@ +These files contain the sNote (v. 1.01) additions to MusicTeX. + +PURPOSE: + +* I wished to be able to use the MusicTeX macros to print the traditional + American polyphonic music, which (unlike European art music since Monteverdi) + did not depend on continually forcing effective key changes and therefore + was particularly suited to a notation developed in 1804 that used differently + shaped note heads to indicate the scale position of each note. + +* The four-shape "fasola" system actually indicates a note's position in a + _tetrachord_: fa (with a triangular note head) is the note one semitone + above the next lower degree; sol (oval or conventional note head) is one + tone above fa; la (rectangular note head) is one tone above sol; and mi + (diamond-shaped note head) is one tone above la. + +* In the latter half of the 19th century several competing seven-shape + systems were developed. All retained the mi, fa, sol, and la shapes, but + they differed in the additional shapes used for ti, do, and re. This + code uses the shapes developed by Joseph Funk for his _Harmonia Sacra_, + even though the Aiken system is more widely employed, because the Funk + shapes are easier to program: the note heads in the other systems do not + all attach to their stems at the same point. + +* The shape note feature is accommodated by modified versions of several + of MusicTeX's macros, to be read in after MusicTeX is loaded so that they + will overwrite the originals. These macros are stored in snoteadd.tex. + +* When snoteadd.tex is loaded on top of MusicTeX, the software will handle + round notes as well as the four- and seven-note systems. The four-note + system is selected by the macro call \fasola. The Funk seven-note system + is selected by the macro call \doremi. If neither of these macros is called, + round notes will be produced. + +* Unlike round notes, not all shape notes are rotationally symmetrical. When + placing the triangle for fa, it is necessary to know the direction of the + stem. The modified versions of the routines \qu, etc., provide that + information. However, the user must supply that information when there are + additional notes on the stem (in a shape note context these represent + alternatives for the voice): + \stemuptrue\zq{h}\qu{e} + \stemupfalse\zh{e}\hl{l} + +* Whole notes, too, can now appear differently depending on whether they + occur at the top or at the bottom of the staff. Therefore, I have provided + macros \wu, \wup, etc., and \wl, \wlp, etc., analogous to the stemmed notes. + +* The shapes themselves are stored in an additional font (shapen??), in a + convenient order for the shape selection routines. + +* Repeats look different in shape note tunebooks. There is only one heavy bar, + and there is a dot in each of the four staff spaces, not just in the two + middle ones. In addition, where a repeat begins in the middle of a measure, + the four dots are printed without any bars. This format for repeats is + selected when shape notes are selected. + +* While I was at it, I also fixed a bug in MusicTeX 5.18, which prevented + compilation if a \zsong (etc.) was used on an instrument other than the + bottom one if \interinstrument* had not been specifically defined for + the previous instrument. + +CONTENTS and INSTALLATION: + +It is assumed that the user already has MusicTeX, TeX, and Metafont installed. + +* Instructions: + + This file, snreadme.txt + +* Sources: + + snote1.zip, containing: + + * In /mf/mfinputs/music, the shape note Metafont sources: + shapegen.mf, shapen11.mf, shapen13.mf, shapen16.mf, shapen20.mf + + * In /tex/inputs/musictex, the modified macros: + snoteadd.tex + + * In /tex/inputs/etc/tunebook/fasola, + * A document header file, tunebook.tex + * A song template, songbase.tex + * A few test files: + test2up.tex produces one page with two songs on it, one of them being + the best-known of all shape note hymns; it uses newbritn.tex and + triblatn.tex + nrthport.tex sets a hymn with two different, selectable sets of words; + compiling sh324.tex reproduces the hymn in the _Sacred Harp_, whereas + compiling hhqueen1.tex produces a Roman Catholic application of the + music + + Note that the .dvi's must be viewed and printed in landscape + orientation. + + Unzip this archive (on an MS-DOS/Windows system, PKUNZIP -d) in the parent + directory of tex/ and mf/. + +* Ready-generated fonts (not PostScript) for some popular printer resolutions: + + snote2.zip, containing: + + * In \pkfonts\300, 360, 600, and 720, .pk versions of the shape fonts for + those resolutions in dpi. + * In \tex\fonttfms, .tfm (TeX font metrics) files for the shape fonts. + + Unzip this archive (on an MS-DOS/Windows system, PKUNZIP -d) in the parent + directory of tex/ and pkfonts/. + +USE of sNoteadd: + +* \input snoteadd.tex after musicnft.tex and musictex.tex have been input. + +* The default is to print conventional round notes, so this system can be + used along with MusicTeX on any input. + +* To print music in four-shape notation, use the macro call + \fasola + +* To print music in Funk seven-shape notation, use the macro call + \doremi + +* To revert to round notes, use the macro call + \roundnotes + +* To set the symbol for a repeat that starts in the interior of a measure, + use the macro call + \barerepeatsymbol + +* To print multiple notes on one stem (which indicate alternatives for a + voice in a shape note score), it is necessary to specify the direction + of the stem first: + \stemuptrue + \stemupfalse + +* Various helpful additional macros are defined in tunebook.tex and used + in the example files. For example, + \ttb sets up treble, tenor, and bass voices as instruments. + \tatb sets up treble, alto, tenor, and bass. + \syll underlays a note with a centered syllable using the new \csong. + \ulay underlays a note, or group of notes, with a flush-left text. + \dblcu0{}{}, \dblcl1{}{}, ... set beams of two eighth notes. The numbers + count up the staves. Note that if octaviation is used at all within + that staff within that \notes ... \enotes pair, the exclamation point + must be set in front of both letters; e.g., \dblcu1{!g}{!'a} + +* Explore and experiment! + +Jerome Colburn +Champaign, IL USA +March 17, 1997 +jscolbur@prairienet.org + +Soli Deo Gloria + |