From e0c6872cf40896c7be36b11dcc744620f10adf1d Mon Sep 17 00:00:00 2001 From: Norbert Preining Date: Mon, 2 Sep 2019 13:46:59 +0900 Subject: Initial commit --- macros/latex/contrib/songs/Makefile | 23 + macros/latex/contrib/songs/README | 109 + macros/latex/contrib/songs/history.txt | 415 + macros/latex/contrib/songs/license.txt | 340 + macros/latex/contrib/songs/sample/Makefile | 31 + macros/latex/contrib/songs/sample/chordbook.tex | 54 + macros/latex/contrib/songs/sample/lyricbook.tex | 54 + macros/latex/contrib/songs/sample/slidebook.tex | 85 + macros/latex/contrib/songs/sample/songs.sbd | 1098 + .../latex/contrib/songs/sample/transparencies.tex | 66 + macros/latex/contrib/songs/songidx/bible.can | 200 + macros/latex/contrib/songs/songidx/catholic.can | 174 + macros/latex/contrib/songs/songidx/greek.can | 187 + macros/latex/contrib/songs/songidx/protestant.can | 160 + macros/latex/contrib/songs/songidx/songidx.lua | 1073 + macros/latex/contrib/songs/songidx/tanakh.can | 100 + macros/latex/contrib/songs/songs.dtx | 12455 ++++++++ macros/latex/contrib/songs/songs.ins | 61 + macros/latex/contrib/songs/songs.pdf | 28725 +++++++++++++++++++ 19 files changed, 45410 insertions(+) create mode 100644 macros/latex/contrib/songs/Makefile create mode 100644 macros/latex/contrib/songs/README create mode 100644 macros/latex/contrib/songs/history.txt create mode 100644 macros/latex/contrib/songs/license.txt create mode 100644 macros/latex/contrib/songs/sample/Makefile create mode 100644 macros/latex/contrib/songs/sample/chordbook.tex create mode 100644 macros/latex/contrib/songs/sample/lyricbook.tex create mode 100644 macros/latex/contrib/songs/sample/slidebook.tex create mode 100644 macros/latex/contrib/songs/sample/songs.sbd create mode 100644 macros/latex/contrib/songs/sample/transparencies.tex create mode 100644 macros/latex/contrib/songs/songidx/bible.can create mode 100644 macros/latex/contrib/songs/songidx/catholic.can create mode 100644 macros/latex/contrib/songs/songidx/greek.can create mode 100644 macros/latex/contrib/songs/songidx/protestant.can create mode 100644 macros/latex/contrib/songs/songidx/songidx.lua create mode 100644 macros/latex/contrib/songs/songidx/tanakh.can create mode 100644 macros/latex/contrib/songs/songs.dtx create mode 100644 macros/latex/contrib/songs/songs.ins create mode 100644 macros/latex/contrib/songs/songs.pdf (limited to 'macros/latex/contrib/songs') diff --git a/macros/latex/contrib/songs/Makefile b/macros/latex/contrib/songs/Makefile new file mode 100644 index 0000000000..73feef03fd --- /dev/null +++ b/macros/latex/contrib/songs/Makefile @@ -0,0 +1,23 @@ +LATEX = pdflatex +TEXOUT = pdf +MAKEINDEX = makeindex + +all: songs.sty songs.$(TEXOUT) + +songs.sty: songs.ins songs.dtx + $(LATEX) $< + +songs.$(TEXOUT): songs.dtx songs.sty + $(LATEX) $< + $(MAKEINDEX) -s gind.ist -o $(join $(basename $@ $@),.ind .idx) + $(MAKEINDEX) -s gglo.ist -o $(join $(basename $@ $@),.gls .glo) + $(LATEX) $< + $(MAKEINDEX) -s gind.ist -o $(join $(basename $@ $@),.ind .idx) + $(MAKEINDEX) -s gglo.ist -o $(join $(basename $@ $@),.gls .glo) + $(LATEX) $< + +clean: + -rm songs.$(TEXOUT) songs.sty + -rm *.aux *.log *.out + -rm *.ind *.idx *.gls *.glo *.ilg + diff --git a/macros/latex/contrib/songs/README b/macros/latex/contrib/songs/README new file mode 100644 index 0000000000..a9116c19a7 --- /dev/null +++ b/macros/latex/contrib/songs/README @@ -0,0 +1,109 @@ +------------------------------------------------------------------------------ + Songs LaTeX Package Documentation +------------------------------------------------------------------------------ + +Table Of Contents: + I. Overview + II. Copyright Notice + III. Manifest + IV. Installation Instructions + V. Help & Support + + +I. Overview + +The Songs package is for producing songbooks containing lyrics and chords +(but not sheet music). Each songs document can produce a lyric-only songbook +for singers, a chorded songbook for musicians, a set of overhead +transparencies, or a set of digital projector slides, all from a single master +document. It can also automatically generate partial songbooks consisting of +only some songs from the master document in a specified order. Facilities for +automatic transposition and creation of guitar tablature diagrams are also +included. + + +II. Copyright Notice + +The Songs LaTeX Package is copyright (C) 2018 Kevin W. Hamlen. + +It is free software; you can redistribute it and/or modify it under the terms +of the GNU General Public License as published by the Free Software Foundation; +either version 2 of the License, or (at your option) any later version. + +This program is distributed in the hope that it will be useful, but WITHOUT +ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS +FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details. + +You should have received a copy of the GNU General Public License along with +this program; if not, write to the Free Software Foundation, Inc., 51 Franklin +Street, Fifth Floor, Boston, MA 02110-1301, USA. + + +III. Manifest + +This software consists of three main components: + +1. The LaTeX2e "Songs" style package for creating songbooks, with source +consisting of: + songs.dtx (self-documenting source code) + songs.ins (installer script for docstrip) + Makefile (makefile for generating songs.sty and songs.pdf) + +2. The songidx index-generation script: + songidx/songidx.lua (Lua source file) + songidx/*.can (text data files used by songidx at runtime) + +(Please note that the "makeindex" program that comes standard with LaTeX +is NOT a suitable replacement for songidx.) + +3. A sample chord book, lyric book, slide book, and transparency book: + sample/songs.sbd (song data for all four books) + sample/chordbook.tex (chord book LaTeX source) + sample/lyricbook.tex (lyric book LaTeX source) + sample/slidebook.tex (slide book LaTeX source) + sample/transparencies.tex (transparencies LaTeX source) + sample/Makefile (GNU makefile for generating all four books) + + +IV. Installation Instructions + +1. The songs/Makefile file generates the songs package (songs.sty) and its +documentation (songs.pdf). If pdflatex and makeindex are both in your path, +you should be able to invoke Make to generate both: + + cd songs + gmake + +Otherwise you will need to first edit the top three lines of the Makefile +to indicate where pdflatex and makeindex are located on your system. If you +wish to use latex instead of pdflatex you must also change the "TEXOUT" +line to "TEXOUT = dvi". + +If desired, copy the resulting songs.sty file to the appropriate place in +your LaTeX tree (usually /usr/local/share/texmf/tex/latex/songs). + + mkdir /usr/local/share/texmf/tex/latex/songs + cp songs.sty /usr/local/share/texmf/tex/latex/songs + +2. The sample books can be compiled using the files in songs/sample. If +pdflatex is in your path, you should be able to invoke GNU Make to generate +all of them (note that GNU-compatible version of Make is REQUIRED): + + cd ../sample + gmake + +Otherwise you will need to first edit the top line of the Makefile to +indicate where pdflatex is located on your system. If you wish to use +latex instead of pdflatex you must also change the "TEXOUT" line to +"TEXOUT = dvi". + + +V. Help & Support + +The songs.pdf file contains documentation precompiled from the songs.dtx +source code. For more support, including example songbooks, songbook +editing tools, and self-installing executables for Windows, please refer +to the Songs package homepage at: + + http://songs.sourceforge.net + diff --git a/macros/latex/contrib/songs/history.txt b/macros/latex/contrib/songs/history.txt new file mode 100644 index 0000000000..648ba73926 --- /dev/null +++ b/macros/latex/contrib/songs/history.txt @@ -0,0 +1,415 @@ +Songs LaTeX Package Revision History: + +Version 3.1 [2018/09/12]: Sixth CTAN Release + + * Fixed a bug that broke \titleprefixword, \authsepword, \authbyword, and \authignoreword family of macros. + + * New support for drawing barre chords in \gtab + + * Macros now permitted within \gtab strings and fingering arguments. + + * PDF mode now correctly detected on XeTeX. + +Version 3.0 [2017/06/05]: Fifth CTAN Release + + * Transitioned the songidx program to LuaTeX, eliminating the need for C-compiled programs. This significant change to the install process warrants the transition to a new major version number. + + * The sbdchk program is being retired, since I don't think anyone is using it and it relies on LaTeX hyphenation algorithms that aren't well suited to the task of chord placement. If anyone wants it back, let me know and I'll consider porting it to Lua. + + * Corrected a longstanding, elusive bug in the page-builder that occasionally inserted unwanted vertical space between songs. + + * Corrected a bug in the indexer that sometimes incorrectly sorted entries that are strict prefixes of other entries (e.g., entry "Smith" now always precedes entry "Smith, John"). + + * Fixed a bug in the chord replaying logic that failed to apply transposition and note renaming to replayed chords within chord-over-ligature macros. + + * Added support for lyric fonts with no hyphen character (usually for non-hyphenated languages). + +Version 2.18 [2015/08/18]: + + * Added \echofont for customizing the font of echo parts. + + * Added \meterfont for customizing the font of meter numbers, and fixed a bug that italicized meter numbers within italicized lyric sections. Also added a tiny vertical space between meter numbers and meter bars for improved readability. + + * Bug fix: Customizing \versefont and \chorusfont no longer nullifies custom line spacing via \baselineadj. + + * \includeonlysongs may now specify repeated songs without throwing errors. (Note that this can result in duplicate index entries, however.) + + * Fixed a bug in songidx that caused an infinite loop when the system's locale (conflictingly) classifies certain characters as "digits", but doesn't recognize those same characters as constituting numbers. + + * Documentation improvements (color, reorganization, and clarifications) + + * Experimental: Index sorting now optionally uses ICU collation instead of locale to sort international texts, affording users many new sorting options. (Separate installation of the ICU library is required.) Note: ICU support does not yet include ICU-based "bucketing" (grouping of index entries into alphabetic subsections, as in title indexes). Such support is expected to appear in a future release. + + * Better support for small LaTeX environments with missing packages + + * Compliance with new 2015/01/01 LaTeX release (e-TeX extended registers available by default on newer installations without explicit loading of e-TeX style package). + + * Windows installer now installs native 64-bit songidx and sbdchk programs on 64-bit systems. + +Version 2.17 [2013/07/10]: + + * Fixed a major error in the page-builder (introduced in v2.16 by the fix to \sclearpage) which caused the last page of many songs environments to be dropped. The fix required a significant overhaul of the page-building algorithm, so is given its own release. + + * Fixed a returning bug that caused the first lines of numbered, centered verses to be slightly off-center. + +Version 2.16 [2013/07/02]: + + * \pagepreludes now sets \songpos to 0, since otherwise songs could become separated from their preludes. + + * Fixed a bug introduced in v2.15 that caused errors when a song title began with a multinational character encoded by the inputenc package. + + * Fixed a bug introduced in v2.14 that broke the \authsepword, \authbyword, and \authignoreword macros (again). + + * Fixed a bug that caused \sclearpage (and macros that call it) to sometimes output a blank page. The same bug also caused the \songpos algorithm to occasionally miss the best song placement. + + * Added extra error-checking for macro name-clashes with other packages. + +Version 2.15 [2013/02/02]: + + * New page format: In non-slides mode, activating \pagepreludes typesets each song on a fresh page with title spanning the entire page width, but with the rest of the song typeset in multiple columns below the title. + + * New \songtarget and \songlink macros elaborate the nopdfindex option with finer control over PDF bookmark indexes and hyperlinks. The \ifpdfindex conditional has been retired. + + * Some index-sorting problems related to the inputenc package have been resolved. (For even better sorting of international alphabets, use a LaTeX version with native Unicode support, such as XeTeX, instead of inputenc.) + + * The author indexer now treats everything except spaces, commas, and semicolons not enclosed in braces as parts of words. This helps to support unusual band names that contain punctuation or numbers. + + * Setting \idxheadwidth to 0pt now suppresses the letter divisions in large indexes entirely. + + * Fixed a bug that caused the author indexer to recognize only the last \authignoreword. + + * Fixed a bug in the title indexer that incorrectly indexed titles beginning with numbers. + + * Updated the Unix installer to bring it into compliance with Gnu autoconf 2.69 standards. See the README file for new (easier) install instructions. + +Version 2.14 [2012/03/17]: Fourth CTAN Release + + * Corrected a bug introduced in version 2.13 that broke \titleprefixword, \authsepword, \authbyword, and \authignoreword. (Turns out this fix contained another bug that left the last three of these macros unfixed until v2.16. See v2.16 notes above.) + + * Corrected a bug that caused misformatted multiline index entries in single-column indexes. + +Version 2.13 [2011/08/08]: + + * New \clineparams macro allows better customization of the vertical space between chords and lyrics. + + * New \afterpreludeskip and \beforepostludeskip skip registers allow customization of the vertical space above and below song bodies. + + * New \gtabtrans macro allows the user to customize what happens when a \gtab macro is supposed to be auto-transposed. (By default, the chord name is transposed and the tablature diagram is omitted.) + + * Note name conversion is now applied by default to chord names in \gtab macros (even when there is no auto-transposition). + + * New \notrans macro allows transposition to be suppressed within a chord name without suppressing note name conversion (via \notenamesin and \notenamesout). + + * New \sepindexesfalse macro disables automatic page breaks at the end of indexes, and makes every index n-column (where n is specified in the optional argument to \showindex) instead of converting short indexes to centered, single-columns. This allows the user to put many small indexes on a single page if desired. + + * Declaring a large number of song indexes no longer causes TeX to exceed the write-register limit. + + * Fixed a bug that caused errors when certain fragile macros appeared in \songmark, \versemark, or \chorusmark definitions. + + * Fixed a bug that erased numerators from meter bars that began the first lines of numbered verses. + + * Fixed a bug that inadvertently swapped the meanings of \begin{verse} and \begin{verse*}. + + * Windows installer now supports 64-bit MiKTeX installations. + +Version 2.12 [2011/01/09]: + + * The argument to \beginscripture and the sr={} key of \beginsong now support multi-byte unicode input characters. Surrounding any text in these arguments with braces suppresses any reformatting that would otherwise be applied to that text. + + * All macro pairs of the form \beginX...\endX now have an equivalent environment definition of the form \begin{X}...\end{X}. This fixes some compatibility problems with other packages. + + * Fixed a bug that caused one-word author names to be preceded by a comma in the author index. + +Version 2.11 [2010/06/09]: + + * New intersong environment typesets column-width or page-width displays between songs in a songs environment. + + * New songgroup environment allows scripture quotations or other intersong displays to be included with a nearby song when using \includeonlysongs to generate a partial book. + + * Tablature diagrams can now have any number of strings and from 1 to 9 rows of frets. + + * Colors of textual notes, song number boxes, and index section boxes are now independently configurable by redefining \notebgcolor, \snumbgcolor, and \idxbgcolor. + + * New \sclearpage and \scleardpage macros shift to the next blank page or the next even-numbered blank page, respectively. + + * Songs environments and indexes are no longer followed by a forced \cleardoublepage. Documents can use \cleardoublepage explicitly if this behavior is desired. + + * \includeonlysongs now works even when the page-builder is disabled. + + * New "--locale" option for songidx and sbdchk overrides the environment default locale setting. + + * Added extra grouping levels for verses, choruses, textual notes, and most other constructs to help users avoid color "bleeding" errors when using the color package. + +Version 2.10 [2010/01/01]: + + * The size of accidentals (sharps and flats) is now relative to the current font size instead of being relative to the document default font size. + + * New \sharpsymbol and \flatsymbol macros can be redefined to change the font symbols used for accidentals. + + * Fixed a bug that forced single column mode whenever \songcols was used within a songs environment. + + * Fixed a bug in which \songpos{1} caused empty pages to be inserted between some songs when used in one-sided documents. + + * Fixed a bug that caused lines in numbered verses to be slightly off-center in slides mode. + + * The current system locale setting is now consulted when alphabetizing song titles that contain non-English letters. Change the system locale before running songidx to alphabetize according to the conventions of another language. + + * Some missing Vim icon files were re-included into the Unix distribution. + +Version 2.9 [2009/08/02]: + + * Song numbering can now be disabled with \nosongnumbers. + + * New \nolyrics macro puts chords on the baseline instead of raised, to better typeset instrumental solos and intros. + + * \brk can be used between songs to force column breaks without introducing the extra vertical space that \nextcol puts at the bottom of the column. + + * \begin...only and \begin...never family of macros have been made obsolete. Eliminate them from existing documents by replacing \beginXonly with \ifX, replace \beginXnever with \ifX\else, and replace both \endXonly and \endXnever with \fi. + + * \colminheight (which could not be perfectly supported by LaTeX's page-breaking algorithm) has been eliminated in favor of \colbotglue and \lastcolglue. + + * An external page-making package (e.g., multicol) can now be used in place of the songs-provided one by setting the number of columns to zero (with \songcolumns{0}). + + * The song-positioning algorithm, which moves songs to fresh columns or pages to avoid column-breaks, page-breaks, and page-turns within songs, can now be tuned or disabled with \songpos. + + * \interlinepenalty now controls the penalties inserted between consecutive lines of each verse and chorus. + + * The rest of the penalty system has been recalibrated in accordance with the above changes. The \interlinepenalty now defaults to 1000 and \vvpenalty and friends now default to 200. \spenalty defaults to 100. + + * Fixed a compatibility issue with Babel that caused \gtab to malfunction when French was the active language + + * Fixed a bug that caused overthick division bars between songs when \sbarheight was set larger than 1pt + + * Fixed a bug that caused the song-positioning algorithm to underestimate the size of songs containing auto-repeated choruses. + + * Re-fixed a returning bug that caused spurious hyphenation when an \echo part ended with a chord longer than its lyric. + +Version 2.8 [2009/03/14]: + + * \songnumstyle and \versenumstyle replaced with \thesongnum and \theversenum macros (for compatibility with standard LaTeX counters) + + * \label's within a song or numbered verse can now be used to create automatic references to the song's or the verse's number. + + * Using \showindex with \includeonlysongs now yields a partial index instead of a full index. + + * New \indexsongsas macro can customize indexes to print page numbers instead of song numbers. + + * Index fonts now customizable with \idxheadfont, \idxtitlefont, \idxlyricfont, \idxscripfont, \idxauthfont, and \idxrefsfont. + + * Formatting of scripture index book names is now customizable with \idxbook. + + * \showindex now takes an optional argument to specify the number of columns. + + * Index typesetting logic improved to handle index entries whose left-hand-sides exceed the width of the column + +Version 2.7 [2009/01/08]: Third CTAN release + + * Constructions like "\[A]\[B]\[C]lyric" now typeset the same as "\[A B C]lyric", but the chords in the sequence can be replayed separately (e.g., with "^^^lyric"). + + * Added support for begin- and end-repeat signs (\lrep and \rrep). + + * Column and page breaks can now be inserted into partial song lists created with \includeonlysongs. + + * Fixed a bug that caused sharp symbols to be doubled within echo parts on eTeX. + +Version 2.6 [2008/04/02]: + + * \newchords and \replay macros added, optional argument added to \memorize + + * new "Quick Chords" mode for Vim users to make chord-entry a snap + + * Windows uninstaller reworked to avoid deleting files modified since installation + + * Last pages of multicolumn indexes are now vertically balanced. + + * Fixed a bug that occasionally produced empty pages when \topskip was non-zero + + * Fixed a bug that produced duplicate verse numbers when the first line of a verse was contained in a group + + * \echo macro no longer introduces a spurious line-break on eTeX. + + * \DeclareLyricChar and friends now perform macro-tests based on macro name rather than macro definition. + + * Extended mark register classes are now allocated safely so as to cooperate with other eTeX-aware packages. + +Version 2.5 [2008/02/08]: + + * Unix version now uses the GNU automake system to configure and build itself + + * Support for more than two columns added (use \songcolumns to set the number of columns). + + * Chord replaying system now works properly in choruses. + + * Added \stitlefont to allow users to customize the song title font without having to redefine \makeprelude. + + * Added \baselineadj to allow users to customize the \baselineskip without having to redefine \everychorus and \everyverse. + + * Superscript ("^") now works again in math mode even when chord replaying system is active. (It can therefore be used to typeset chord names if desired.) + + * hyphchk utility renamed to sbdchk + + * sbdchk utility updated to report column numbers in reports and error messages + + * sbdchk and songidx sources updated to better adhere to GNU coding standards + +Version 2.4 [2007/10/09]: Second CTAN release + + * Added \titleprefixword, \authsepword, \authbyword, \authignoreword, and \idxcont to support automatic index-generation for non-English languages. + + * songidx program now supports piping to/from stdin/stdout (specify a filename of "-" to use this feature) and will infer an output filename when none is specified on the command line. + + * Unix makefiles and Windows batch files for the sample books have been updated to allow users to add new indexes without changing any of the make/batch files. + +Version 2.3 [2007/09/23]: + + * \indexentry and \indextitleentry now accept an optional argument specifying which indexes to add the new entry to (overriding the defaults for the current songs environment) + + * \ch and \mch macros can now replay chords by using "^" as the chord name + + * Renamed the .dat and .tex intermediate files produced during index generation to .sxd (Song indeX Data) and .sbx (Song Book indeX), respectively, to avoid conflicts with other software. Unix users can now write Makefiles that recognize these unique file extensions. + +Version 2.2 [2007/08/09]: + + * The page-layout algorithm now honors \maxdepth, fixing a bug that occasionally produced overfilled vbox warnings during output. + + * Fixed compiler warnings for systems that won't implicitly cast between integer and wide-characters. + +Version 2.1 [2007/08/02]: + + * "Overheads" mode renamed to "slides" to reflect some substantial changes to that mode (see below). + + * \sepverses can now be used in slides mode to put each verse and chorus on a separate slide. This seems to be the norm in churches that use a digital projector, since it allows worship leaders to repeat previous verses or choruses without having extraneous lyrics up on the screen. + + * Choruses in slides mode are no longer surrounded by vertical rules, but are instead italicized by default. The rules looked nice, but they made it impossible to correctly break large choruses that couldn't fit on a single slide. + + * To make echo parts stand out in italicized choruses, \echo now toggles between oblique and upright shapes (like \emph) instead of forcing the former. + + * \repchoruses can now be used to repeat choruses automatically in songs that span more than one slide. This is very useful when creating foils for an overhead projector. + + * \versemark and \chorusmark added to allow page headers that match the current verse or chorus rather than just the current song. + + * \everyverse and \everychorus added so that users can make choruses begin with "Chorus:" and the like if they wish. (Personally I think that wastes too much space, but it's a common style.) + + * \ifvnumbered conditional added to allow code that checks to see if the current verse is numbered or not. + + * New \begin...only and \begin...never conditionals introduced that are just like \if... and \if...\else except that they avoid certain "runaway argument" errors raised by the latter. + + * Added \versefont, \chorusfont, \versejustify, and \chorusjustify to allow users to customize font and/or justification of verses and choruses all independently. This reduces slides mode to a set of customizations that can all be manually duplicated (or undone) by the user. + + * \baselineskip logic improved to better handle large fonts. + + * Indexes now work properly when using \includeonlysongs to generate a partial list. + + * \brk can now be used in vertical mode to suggest column- and page-breaks in verses and choruses that are too long to fit on a single slide. + + * Added \DeclareNonLyric and \DeclareNoHyphen for better support of \inputenc. + + * \tablature macro shortened to \gtab and with only two mandatory arguments instead of four. + + * Automatic transposition now recognizes alternate note names, such as solfedge note names. + +Version 2.0 [2007/06/20]: + + * Introduced keyval syntax for \beginsong. + + * Added chord-replaying system (^, \memorize, \[^...]). + + * Removed in-package code that loads hyperref. Users must now load hyperref manually. + + * \songsection and \songchapter now support optional arguments like \section and \chapter do. + + * Non-output-producing tokens (like \relax) can now appear between the last \Acolon or \Bcolon line and the \endscripture line without messing up the scripture citation that gets appended to the last line. + + * Fewer macros are declared \outer, allowing authors to embed them within their own macro definitions. + + * Lyric-scanner code is now faster. + + * songidx was not recognizing apostrophes as intra-word characters. + + * When a guitar tablature diagram with a fret number appeared above a lyric, subsequent chords that did not include tablature diagrams were being spaced incorrectly (as if they had invisible fret numbers). + + * Fixed a bug that caused songs environments to occasionally generate pages slightly larger than \textheight. + +Version 1.22 [2007/05/15]: First CTAN release + + * \chordson and \chordsoff modified to update interline spacing, so that they can now be used within a song. + + * \MultiwordChords added to allow spaces to be included under chords. + + * \DeclareLyricChar added to allow user-specified macros to be treated as lyric characters. + + * Added support for UTF-8 encoded source files. + +Version 1.21 [2006/09/17]: + + * Changed \rep so that it does not enter math mode when making the "times" symbol. (This helps quell missing font size warnings.) + + * \echo now preserves existing font selection and merely italicizes it. + +Version 1.20 [2006/03/12]: + + * Added \noversenumbers to turn off automatic verse numbering + +Version 1.19 [2005/10/24]: + + * Added book sectioning commands (\songchapter and \songsection). + + * Fixed song numbering so that it now starts at 1 by default in each song section. + +Version 1.18 [2005/09/29]: + + * Automatic verse numbering added. + +Version 1.17 [2005/09/24]: First release as a style package instead of a class + + * Code massively reorganized to function as a .sty package instead of a .cls class. + + * Added \songmark so that users can add marks to affect page headers/footers + +Version 1.16 [2005/07/23]: + + * First rollout of the new \[] syntax for producing chords. Lyrics are parsed as an implicit second argument. + +Version 1.15 [2005/05/26]: + + * Added song title iterators: \songtitle, \songtitletoks, \nexttitle, \foreachtitle, \resettitles + + * Added \makeprelude and \makepostlude to allow users to customize song headers/footers + +Version 1.14 [2005/05/15]: + + * Introduced the scripture reference parser, to prevent odd linebreaks in scripture references. + + * Choruses now stretch and shrink like verses do. + +Version 1.13 [2005/05/12]: + + * Added kerning correction for double-quote ligatures in the Zaph Chancery font. + + * Added \Acolon, \Bcolon, and \strophe for typesetting biblical poetry. + + * Chords now preserve the \spacefactor so that subsequent text is spaced appropriately. + +Version 1.12 [2005/05/10]: + + * Redid intra-song spacing and penalties to eliminate superfluous vbox items. Improved performance. + + * Improved inter-song penalties for better page- and column-breaking. + + * \parindent now controls the amount of indentation for wrapped lines within a song or scripture. + + * Multiline textnotes now work right. + + * Fixed chord macros to avoid introducing hyphenation when lyric ends in punctuation. + +Version 1.11 [2005/04/21]: Begin tracking revision history + + * Renamed various macros to avoid naming clashes with other packages. + + * Adjusted the \\ index-separator macro so that its scope is now limited to the indexes. + +Version 1.1 [2005/04/03]: First release as a .cls documentclass + + * First release as a self-documenting .dtx file + +Version 1.0 [2001/12/01]: Initial release diff --git a/macros/latex/contrib/songs/license.txt b/macros/latex/contrib/songs/license.txt new file mode 100644 index 0000000000..f90922eea3 --- /dev/null +++ b/macros/latex/contrib/songs/license.txt @@ -0,0 +1,340 @@ + GNU GENERAL PUBLIC LICENSE + Version 2, June 1991 + + Copyright (C) 1989, 1991 Free Software Foundation, Inc. + 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301 USA + Everyone is permitted to copy and distribute verbatim copies + of this license document, but changing it is not allowed. + + Preamble + + The licenses for most software are designed to take away your +freedom to share and change it. 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Of course, the commands you use may +be called something other than `show w' and `show c'; they could even be +mouse-clicks or menu items--whatever suits your program. + +You should also get your employer (if you work as a programmer) or your +school, if any, to sign a "copyright disclaimer" for the program, if +necessary. Here is a sample; alter the names: + + Yoyodyne, Inc., hereby disclaims all copyright interest in the program + `Gnomovision' (which makes passes at compilers) written by James Hacker. + + , 1 April 1989 + Ty Coon, President of Vice + +This General Public License does not permit incorporating your program into +proprietary programs. If your program is a subroutine library, you may +consider it more useful to permit linking proprietary applications with the +library. If this is what you want to do, use the GNU Lesser General +Public License instead of this License. diff --git a/macros/latex/contrib/songs/sample/Makefile b/macros/latex/contrib/songs/sample/Makefile new file mode 100644 index 0000000000..ae3d4d5e2a --- /dev/null +++ b/macros/latex/contrib/songs/sample/Makefile @@ -0,0 +1,31 @@ +LATEX = pdflatex +TEXLUA = texlua +TEXOUT = pdf +SONGIDX = ../songidx/songidx.lua +BIBLE = ../songidx/bible.can + +all: chordbook.$(TEXOUT) lyricbook.$(TEXOUT) slidebook.$(TEXOUT) transparencies.$(TEXOUT) + +.SUFFIXES: +.SUFFIXES: .$(TEXOUT) .tex .sbx .sxd + +%.$(TEXOUT): %.tex songs.sbd songs.sty + $(LATEX) $< + $(MAKE) indexes + $(LATEX) $< + +indexes: $(patsubst %.sxd,%.sbx,$(wildcard *.sxd)) + +%.sbx: %.sxd $(SONGIDX) $(BIBLE) + $(TEXLUA) $(SONGIDX) -b $(BIBLE) $< $@ + +../songs.sty: ../songs.dtx + $(MAKE) -C .. songs.sty + +songs.sty: ../songs.sty + cp ../songs.sty . + +clean: + -rm *.$(TEXOUT) *.aux *.log *.out *.sxc *.sxd *.sbx + -rm songs.sty + diff --git a/macros/latex/contrib/songs/sample/chordbook.tex b/macros/latex/contrib/songs/sample/chordbook.tex new file mode 100644 index 0000000000..9f6c47a246 --- /dev/null +++ b/macros/latex/contrib/songs/sample/chordbook.tex @@ -0,0 +1,54 @@ +% Copyright (C) 2018 Kevin W. Hamlen +% +% This program is free software; you can redistribute it and/or +% modify it under the terms of the GNU General Public License +% as published by the Free Software Foundation; either version 2 +% of the License, or (at your option) any later version. +% +% This program is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with this program; if not, write to the Free Software +% Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +% MA 02110-1301, USA. +% +% The latest version of this program can be obtained from +% http://songs.sourceforge.net. + +\documentclass[letterpaper]{article} +\usepackage[bookmarks]{hyperref} +\usepackage[chorded]{songs} +% \includeonlysongs{2} + +\setlength{\oddsidemargin}{0in} +\setlength{\evensidemargin}{0in} +\setlength{\textwidth}{6.5in} +\setlength{\topmargin}{0in} +\setlength{\topskip}{0in} +\setlength{\headheight}{0in} +\setlength{\headsep}{0in} +\setlength{\textheight}{9.1in} +\settowidth{\versenumwidth}{1.\ } +\pagestyle{empty} + +\newindex{titleidx}{cbtitle} +\newauthorindex{authidx}{cbauth} +\newscripindex{scripidx}{cbscrip} + +\begin{document} + +\showindex{Complete Index of Songs}{titleidx} + +\songsection{Worship Songs} +\begin{songs}{titleidx,authidx,scripidx} +\input{songs.sbd} +\end{songs} + +\showindex{Index of Authors and Composers}{authidx} +\showindex{Index of Scripture}{scripidx} + +\end{document} + diff --git a/macros/latex/contrib/songs/sample/lyricbook.tex b/macros/latex/contrib/songs/sample/lyricbook.tex new file mode 100644 index 0000000000..4cd38ffdc4 --- /dev/null +++ b/macros/latex/contrib/songs/sample/lyricbook.tex @@ -0,0 +1,54 @@ +% Copyright (C) 2018 Kevin W. Hamlen +% +% This program is free software; you can redistribute it and/or +% modify it under the terms of the GNU General Public License +% as published by the Free Software Foundation; either version 2 +% of the License, or (at your option) any later version. +% +% This program is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with this program; if not, write to the Free Software +% Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +% MA 02110-1301, USA. +% +% The latest version of this program can be obtained from +% http://songs.sourceforge.net. + +\documentclass[letterpaper]{article} +\usepackage[bookmarks]{hyperref} +\usepackage[lyric]{songs} +% \includeonlysongs{2} + +\setlength{\oddsidemargin}{0in} +\setlength{\evensidemargin}{0in} +\setlength{\textwidth}{6.5in} +\setlength{\topmargin}{0in} +\setlength{\topskip}{0in} +\setlength{\headheight}{0in} +\setlength{\headsep}{0in} +\setlength{\textheight}{9.1in} +\settowidth{\versenumwidth}{1.\ } +\pagestyle{empty} + +\newindex{titleidx}{lbtitle} +\newauthorindex{authidx}{lbauth} +\newscripindex{scripidx}{lbscrip} + +\begin{document} + +\showindex{Complete Index of Songs}{titleidx} + +\songsection{Worship Songs} +\begin{songs}{titleidx,authidx,scripidx} +\input{songs.sbd} +\end{songs} + +\showindex{Index of Authors and Composers}{authidx} +\showindex{Index of Scripture}{scripidx} + +\end{document} + diff --git a/macros/latex/contrib/songs/sample/slidebook.tex b/macros/latex/contrib/songs/sample/slidebook.tex new file mode 100644 index 0000000000..d191c0134e --- /dev/null +++ b/macros/latex/contrib/songs/sample/slidebook.tex @@ -0,0 +1,85 @@ +% Copyright (C) 2018 Kevin W. Hamlen +% +% This program is free software; you can redistribute it and/or +% modify it under the terms of the GNU General Public License +% as published by the Free Software Foundation; either version 2 +% of the License, or (at your option) any later version. +% +% This program is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with this program; if not, write to the Free Software +% Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +% MA 02110-1301, USA. +% +% The latest version of this program can be obtained from +% http://songs.sourceforge.net. + +\documentclass[letterpaper,oneside,landscape]{article} +\usepackage[pdfpagemode=UseThumbs]{hyperref} +\usepackage{color} +\usepackage[slides]{songs} +% \includeonlysongs{2} + +\setlength{\oddsidemargin}{-0.5in} +\setlength{\evensidemargin}{-0.5in} +\setlength{\textwidth}{10in} +\setlength{\topmargin}{-0.75in} +\setlength{\topskip}{0in} +\setlength{\headheight}{13.6pt} +\setlength{\headsep}{0.5in} +\setlength{\textheight}{6.5in} + +% Don't number the verses: +\noversenumbers + +% Put each verse and chorus on a separate slide: +\sepverses + +% Use 28pt Adobe Helvetica font for the lyrics +\renewcommand{\lyricfont}{% + \fontfamily{phv}\fontseries{b}\fontsize{28pt}{28pt}\selectfont% +} + +% If background colors are supported on this machine, then slides +% will have white lettering on a blue background. +\csname @ifundefined\endcsname{set@page@color}{}{ + \definecolor{SlideBG}{rgb}{0,0,0.43} + \pagecolor{SlideBG} + \color{white} + \definecolor{SongbookShade}{rgb}{0,0,0.2} +} + +% Define some headers for each slide to help the projector-operator +% find the correct slide. We use the fancyhdr package for this. +\IfFileExists{fancyhdr.sty}{ + \usepackage{fancyhdr} + \usepackage{extramarks} + \pagestyle{fancy} + \fancyhf{} + \lhead{\sffamily\firstleftmark} + \rhead{\sffamily\firstrightmark} + \renewcommand{\headrulewidth}{0pt} + + \renewcommand{\songmark}{\markboth{}{\thesongnum}} + \renewcommand{\versemark}{% + \ifvnumbered + \markboth{\thesongnum. \songtitle}{Verse \theversenum}% + \else + \markboth{\thesongnum. \songtitle}{}% + \fi + } + \renewcommand{\chorusmark}{\markboth{\thesongnum. \songtitle}{Chorus}} +}{} + +\begin{document} + +\begin{songs}{} +\input{songs.sbd} +\end{songs} + +\end{document} + diff --git a/macros/latex/contrib/songs/sample/songs.sbd b/macros/latex/contrib/songs/sample/songs.sbd new file mode 100644 index 0000000000..17ea8ee533 --- /dev/null +++ b/macros/latex/contrib/songs/sample/songs.sbd @@ -0,0 +1,1098 @@ +% Copyright (C) 2018 Kevin W. Hamlen +% +% This program is free software; you can redistribute it and/or +% modify it under the terms of the GNU General Public License +% as published by the Free Software Foundation; either version 2 +% of the License, or (at your option) any later version. +% +% This program is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with this program; if not, write to the Free Software +% Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +% MA 02110-1301, USA. +% +% The latest version of this program can be obtained from +% http://songs.sourceforge.net. + +\beginsong{Doxology}[ + by={Louis Bourgeois and Thomas Ken}, + sr={Revelation 5:13}, + cr={Public domain.}, + index={Praise God, from Whom all blessings flow}] +\beginverse* +\[G]Praise God, \[D]from \[Em]Whom \[Bm]all \[Em]bless\[D]ings \[G]flow; +\[G]Praise Him, all \[D]crea\[Em]tures \[C]here \[G]be\[D]low; +\[Em]Praise \[D]Him \[G]a\[D]bove, \[G]ye \[C]heav'n\[D]ly \[Em]host; +\[G]Praise Fa\[Em]ther, \[D]Son, \[Am]and \[G/B G/C]Ho\[D]ly \[G]Ghost. +\[C]A\[G]men. +\endverse +\endsong + +\beginsong{And Can It Be}[ + by={Charles Wesley and Thomas Campbell}, + sr={Romans 8:1; Philippians 2:6-8; 1 Thessalonians 5:9}, + cr={Public domain.}, + index={Amazing love! How can it be}] +\beginverse +\[F]And \[F/A]can \[(C)]it \[F]be that \[Gm/B&]I \[C7]should \[F]gain +An \[B&]in\[C]terest \[F/A]in \[C/E]the \[C/G]Sav\[G7]ior's \[C]blood? +Died He \[F/C]for me, \[C] who \[F/A]caused \[F]His \[C]pain? +For \[B&]me, who \[F/A]Him \[(Gm/B&)]to \[F/C]death \[C7]pur\[F]sued? +A\[C]mazing \[F/A]love! \[C/G]How \[B&]can \[G7/B]it \[C]be +That \[F]Thou, my \[B&]God, shouldst \[C C7]die for \[F]me? +\endverse +\beginchorus +Amazing \[C]love! How \[C7/E]can it \[F]be +That \[B&]Thou, my \[F/A]God, \[Gm/B&]shouldst \[F/C]die \[C7]for \[F]me? +\endchorus +\beginverse +^He ^left ^His ^Father's ^throne ^a^bove, +So ^free, ^so ^in^fi^nite ^His ^grace! +Emptied ^Him^self of ^all ^but ^love, +And ^bled for ^Ad^am's ^help^less ^race! +'Tis ^mercy ^all, ^im^mense ^and ^free, +For, ^O my ^God, it ^found out ^me. +\endverse +\beginverse +^'Tis ^mys^tery ^all! The Im^mor^tal ^dies: +Who ^can ^ex^plore ^His ^strange ^de^sign? +In vain ^the ^first-born ^ser^aph ^tries +To ^sound the ^depths ^of ^love ^di^vine! +'Tis ^mercy ^all, ^let ^earth ^a^dore, +Let ^angel ^minds in^quire no ^more. +\endverse +\beginverse +^Long ^my ^im^prisoned ^spir^it ^lay +Fast ^bound ^in ^sin ^and ^na^ture's ^night. +Thine eye ^di\ch{^}{f}{f}{ff}used a ^quicken^ing ^ray; +I ^woke, the ^dun^geon ^flamed ^with ^light! +My ^chains fell ^off, ^my ^heart ^was ^free, +I ^rose, went ^forth, and ^followed ^Thee. +\endverse +\beginverse +^No ^con^dem^nation ^now ^I ^dread: +Je^sus, ^and ^all ^in ^Him, ^is ^mine! +Alive ^in ^Him, my ^liv^ing ^Head, +And ^clothed in ^right^eous^ness ^di^vine, +Bold ^I ap^proach ^th' e^ter^nal ^throne, +And ^claim the ^crown, through ^Christ, my ^own. +\endverse +\endsong + +\beginscripture{Romans 8:3-4} +For what the law was powerless to do in that it was weakened by the sinful nature, God did by sending his own Son in the likeness of sinful man to be a sin offering. And so he condemned sin in sinful man, in order that the righteous requirements of the law might be fully met in us, who do not live according to the sinful nature but according to the Spirit. +\endscripture + +\beginsong{My Jesus I Love Thee}[ + by={William R. Featherstone}, + sr={1 John 4:19}, + cr={Public domain.}] +\capo{2} +\beginverse +My \[D]Je\[G]sus, I \[D]love Thee; I \[A7]know Thou art \[D]mine. +For Thee, \[G]all the \[D]follies of \[A7]sin I re\[D]sign. +My gra\[G]cious Re\[Em7]deem\[A7]er, my \[D]Sav\[Em7]ior art \[D]Thou; \[A7] +If \[D]ev\[G]er I \[D]loved Thee, my \[A7]Jesus, 'tis \[D]now. +\endverse +\beginverse +I ^love ^Thee be^cause Thou hast ^first lov\`ed ^me, +And pur^chased my ^pardon on ^Calvary's ^tree. +I love ^Thee for ^wear^ing the ^thorns ^on Thy ^brow; ^ +If ^ev^er I ^loved Thee, my ^Jesus, 'tis ^now. +\endverse +\beginverse +I'll ^love ^Thee in ^life, I will ^love Thee in ^death, +And praise ^Thee as ^long as Thou ^lendest me ^breath, +And say, ^when the ^death ^dew lies ^cold ^on my ^brow, ^ +``If ^ev^er I ^loved Thee, my ^Jesus, 'tis ^now.'' +\endverse +\beginverse +In ^man^sions of ^glory and ^endless de^light, +I'll ev^er a^dore Thee in ^heaven so ^bright; +I'll sing, ^with the ^glit^tering ^crown ^on my ^brow, ^ +``If ^ev^er I ^loved Thee, my ^Jesus, 'tis ^now.'' +\endverse +\endsong + +\beginscripture{Romans 8:1-2} +There is now no condemnation for those who are in Christ Jesus, because through Christ Jesus the law of the Spirit of life set me free from the law of sin and death. +\endscripture + +\beginsong{Amazing Grace}[ + by={John Newton}, + sr={Luke 15:4; 2 Corinthians 4:8,9; Ephesians 2:8; Revelation 14:3}, + cr={Public domain.}] +\beginverse +A\[E]mazing \[E/D#]grace! How \[A/C#]sweet the \[E/B]sound +That \[E]saved a \[E/C#]wretch like \[B7]me! +I \[E]once was \[E/D#]lost, but \[A/C#]now am \[E/B]found; +Was \[A]blind, but \[A/B]now I \[E]see. +\endverse +\beginverse +T'was ^grace that ^taught my ^heart to ^fear, +And ^grace my ^fears re^lieved; +How ^precious ^did that ^grace ap^pear +The ^hour I ^first be^lieved! +\endverse +\beginverse +The ^Lord has ^promised ^good to ^me, +His ^word my ^hope se^cures; +He ^will my ^shield and ^portion ^be +As ^long as ^life en^dures. +\endverse +\beginverse +Through ^many ^dangers, ^toils and ^snares +I ^have al^ready ^come; +'Tis ^grace hath ^brought me ^safe thus ^far, +And ^grace will ^lead me ^home. +\endverse +\beginverse +Yes, ^when this ^flesh and ^heart shall ^fail, +And ^mortal ^life shall ^cease, +I ^shall pos^sess with^in the ^veil +A ^life of ^joy and ^peace. +\endverse +\beginverse +When ^we've been ^there ten ^thousand ^years, +Bright ^shining ^as the ^sun, +We've ^no less ^days to ^sing God's ^praise +Than ^when we've ^first be^gun. +\endverse +\endsong + +\beginsong{It Is Well With My Soul}[ + by={Horatio G. Spafford and Philip Paul Bliss}, + sr={Psalm 49:15}, + cr={Public domain.}, + index={When peace, like a river, attendeth my way}] +\beginverse +When \[A]peace, like a \[E]river, at\[D]ten\[E]deth my \[A]way, +When \[F#m]sorrows like \[B]sea billows \[E]roll--- \[E7] +What\[A]ever my \[D]lot, Thou hast \[B]taught me to \[E]say, +``It is \[A/C#]well, \[D]it is \[A/E]well \[E]with my \[A]soul.'' \[D] \[A] +\endverse +\beginchorus +It is \[A]well (It is \[E]well) +With my soul, (With my \[A]soul) +It is \[D]well, it is \[A/E]well \[E]with my \[A]soul. \[D] \[A] +\endchorus +\beginverse +Though ^Satan should ^buffet, though ^tri^als should ^come, +Let ^this blest as^surance con^trol: ^ +That ^Christ hath re^garded my ^helpless es^tate +And hath ^shed ^His own ^blood ^for my ^soul! ^ ^ +\endverse +\beginverse +My ^sin---O the ^joy of this ^glo^rious ^thought--- +My ^sin, not in ^part, but the ^whole, ^ +Is ^nailed to the ^cross, and I ^bear it no ^more: +Praise the ^Lord, ^praise the ^Lord, ^O my ^soul! ^ ^ +\endverse +\beginverse +And ^Lord, haste the ^day when my ^faith ^shall be ^sight, +The ^clouds be rolled ^back as a ^scroll: ^ +The ^trump shall re^sound and the ^Lord shall de^scend! +Even ^so, ^it is ^well ^with my ^soul. ^ ^ +\endverse +\endsong + +\beginsong{What A Friend We Have In Jesus}[ + by={Charles Crozat Converse and Joseph M. Scriven}, + sr={Matthew 11:28; John 15:15; Ephesians 6:18; Philippians 4:6; 1 Peter 5:7}, + cr={Public domain.}] +\beginverse +\[D]What a \[D7/C]Friend we have in \[G/B]Jesus, \[(Gm/B&)] +\[D/A]All our \[Bm]sins and griefs to \[Em]bear! \[A7] +\[D]What a \[D7/C]privilege to \[G/B]carry \[(Gm/B&)] +\[D/A]Every\[(Gmaj7)]thing to \[A]God in \[D]prayer! +\[A]O what \[A7/C#]peace we often \[D]for\[D7/C]feit, +\[G/B]O what \[D/A]needless pain we \[Em]bear, \[A7] +\[D]All be\[D7/C]cause we do not \[G/B]carry \[(Gm/B&)] +\[D/A]Every\[(Gmaj7)]thing to \[A]God in \[D]prayer! +\endverse +\beginverse +^Have we ^trials and temp^tations? ^ +^Is there ^trouble any^where? ^ +^We should ^never be dis^couraged; ^ +^Take it ^to the ^Lord in ^prayer. +^Can we ^find a friend so ^faith^ful +^Who will, ^all our sorrows, ^share? ^ +^Jesus ^knows our every ^weakness; ^ +^Take it ^to the ^Lord in ^prayer. +\endverse +\beginverse +^Are we ^weak and heavy ^laden, ^ +^Cumbered ^with a load of ^care? ^ +^Precious ^Savior, still our ^refuge! ^ +^Take it ^to the ^Lord in ^prayer! +^Do thy ^friends despise, for^sake ^thee? +^Take it ^to the Lord in ^prayer! ^ +^In His ^arms He'll take and ^shield thee--- ^ +^Thou wilt ^find a ^solace ^there. +\endverse +\endsong + +\beginsong{O Love That Will Not Let Me Go}[ + by={Albert Lister Peace and George Matheson}, + sr={Genesis 9:16; Isaiah 60:19; Jeremiah 31:3; John 8:12; Romans 8:38,39}, + cr={Public domain.}] +\beginverse +O \[G]Love that will not \[Em]let me \[G/D]go, \[D] +I rest my weary soul in \[D/F#]Thee. \[D7/F#] +I \[G]give Thee \[B7]back the life I \[Em]owe, +That, \[A]in Thine ocean depths, its \[G/D]flow +May richer, full\[D7]er \[G]be. +\endverse +\beginverse +O ^Light that foll'west ^all my ^way, ^ +I yield my flick'ring torch to ^Thee. ^ +My ^heart re^stores its borrowed ^ray, +That, ^in Thy sunshine's blaze, its ^day +May brighter, fair^er ^be. +\endverse +\beginverse +O ^Joy that seekest ^me through ^pain, ^ +I cannot close my heart to ^Thee. ^ +I ^trace the ^rainbow through the ^rain, +And ^feel the promise is not ^vain +That morn shall tear^less ^be. +\endverse +\beginverse +O ^Cross that liftest ^up my ^head, ^ +I dare not ask to fly from ^Thee. ^ +I ^lay in ^dust life's glory ^dead, +And ^from the ground there blossoms ^red +Life that shall end^less ^be. +\endverse +\endsong + +\beginscripture{Psalm 23:6} +\Acolon Surely goodness and love +\Bcolon will follow me all the days of my life, +\Acolon and I will dwell in the house of the LORD +\Bcolon forever. +\endscripture + +\beginsong{Come Thou Fount}[ + by={John Wyeth and Robert Robinson}, + sr={Zechariah 13:1}, + cr={Public domain.}] +\beginverse +\[C]Come, \[G7]Thou \[C]Fount of every \[G]blessing, +\[C]Tune my \[F]heart \[C]to \[G7]sing Thy \[C]grace. +Streams \[G7]of \[C]mercy, never \[G]ceasing, +\[C]Call for \[F]songs \[C]of \[G7]loudest \[C]praise. +\[G7]Teach me \[C]some me\[F]lodious \[C]sonnet, +\[G7]Sung by \[C]flaming \[F]tongues a\[C]bove. +\[G7]Praise the \[C]mount! I'm fixed up\[G]on it--- +\[C]Mount of \[F]Thy \[C]re\[G7]deeming \[C]love. +\endverse +\beginverse +^Here ^I ^raise mine Eben^ezer; +^Hither ^by ^Thy ^help I'm ^come. +And ^I ^hope, by Thy good ^pleasure, +^Safely ^to ^ar^rive at ^home. +^Jesus ^sought me ^when a ^stranger +^Wandering ^from the ^fold of ^God; +^He, to ^rescue me from ^danger, +^Inter^posed ^His ^precious ^blood. +\endverse +\beginverse +^O ^to ^grace, how great a ^debtor, +^Daily, ^I'm ^con^strained to ^be! +Let ^Thy ^goodness, like a ^fetter, +^Bind my ^wand'r^ing ^heart to ^Thee. +^Prone to ^wander, ^Lord, I ^feel it, +^Prone to ^leave the ^God I ^love--- +^Here's my ^heart, O take and ^seal it; +^Seal it ^for ^Thy ^courts a^bove. +\endverse +\endsong + +\beginsong{Holy Holy Holy}[ + by={John B. Dykes and Reginald Heber}, + sr={Isaiah 6:2,3; Revelation 4:4,6,8,10}, + cr={Public domain.}] +\beginverse +\[C]Holy, \[Am]holy, \[G]ho\[C]ly: \[F]Lord God Al\[C]mighty! +\[G]Early \[C]in the \[Am]morn\[G]ing our song shall \[D]rise to \[G]Thee. \[G7] +\[C]Holy, \[Am]holy, \[G]ho\[C]ly, \[F]merciful and \[C]mighty: +\[Am]God \[C7]in three \[F]Per\[C7/E]sons, \[Dm]blessed \[G7]Trini\[C]ty! +\endverse +\beginverse +^Holy, ^holy, ^ho^ly! ^All the saints a^dore Thee, +^Casting ^down their ^golden ^crowns around the ^glassy ^sea; ^ +^Cheru^bim and ^sera^phim ^falling down be^fore Thee, +^Who ^wert, and ^art, ^and ^ever^more shalt ^be. +\endverse +\beginverse +^Holy, ^holy, ^ho^ly! ^Though the darkness ^hide Thee, +^Though the ^eye of ^sinful ^man, Thy glory, ^may not ^see, ^ +^Only ^Thou art ^ho^ly. ^There is none, be^sides Thee, +^Per^fect in ^pow'r, ^in ^love, and ^puri^ty. \[G/A] \[A7] +\endverse +\transpose{2} +\beginverse +^Holy, ^holy, ^ho^ly: ^Lord God Al^mighty! +^All Thy ^works shall ^praise Thy ^name in earth and ^sky and ^sea. ^ +^Holy, ^holy, ^ho^ly, ^merciful and ^mighty: +^God ^in three ^Per^sons, ^blessed ^Trini^ty! +\endverse +\endsong + +\beginsong{How Great Thou Art}[ + by={Stuart Hine}, + sr={Psalm 8:1,3,4; Romans 5:9; 8:32; 1 Thessalonians 4:16,17}, + cr={\copyright~1941, 1953, 1955 Stuart K. Hine. Renewed 1981 Manna Music, Inc.}, + index={O Lord my God! When I in awesome wonder}, + index={Then sings my soul, my Savior God, to Thee}] +\beginverse +O Lord my \[A]God! When I, in \[D]awesome wonder, +Con\[(D#dim7)]sider \[A]all the \[E7]worlds Thy hands have \[A]made--- +I see the stars, I hear the \[D]rolling thunder, +Thy \[(D#dim7)]power through\[A]out the \[E7]universe dis\[A]played--- +\endverse +\beginchorus +\[E7]Then sings my \[A]soul, my \[D]Savior God, to \[A]Thee: +How great Thou \[Bm]art! \[E7] How great Thou \[A]art! +\[E7]Then sings my \[A]soul, my \[D]Savior God, to \[A]Thee: +How great Thou \[Bm]art! \[E7] How great Thou \[A]art! +\endchorus +\beginverse +When, through the ^woods and forest ^glades, I wander, +And ^hear the ^birds sing ^sweetly in the ^trees--- +When I look down from lofty ^mountain grandeur +And ^hear the ^brook and ^feel the gentle ^breeze--- +\endverse +\beginverse +And when I ^think that God, His ^Son not sparing, +Sent ^Him to ^die, I ^scarce can take it ^in--- +That on the cross, my burden ^gladly bearing, +He ^bled and ^died to ^take away my ^sin--- +\endverse +\beginverse +When Christ shall ^come with shout of ^acclamation +And ^take me ^home, what ^joy shall fill my ^heart! +Then I shall bow in humble ^adoration +And ^there pro^claim, ``My ^God, how great Thou ^art!'' +\endverse +\endsong + +\beginsong{Be Thou My Vision}[ + by={Eleanor Hull and Mary E. Byrne}, + sr={1 Corinthians 1:30}, + cr={\copyright~Public Domain.}] +\beginverse +\[D]Be Thou my \[G]Vision, \[A]O \[D]Lord of \[A]my \[D]heart; +\[A]Nought be all else \[D]to me, \[G]save that \[D]Thou \[A]art--- +\[G]Thou my best \[D]thought, by \[A]day \[(Bm)]or \[(F#m)]by \[G]night, \[A] +\[D]Waking or \[Bm]sleeping, Thy \[G]presence my \[D]light. \[(G/D)] +\endverse +\beginverse +^Be Thou my ^Wisdom ^and ^Thou my ^true ^Word; +^I ever with ^Thee and ^Thou with ^me, ^Lord; +^Thou my great ^Father, ^I ^Thy ^true ^son, ^ +^Thou in me ^dwelling, and ^I with Thee ^one. ^ +\endverse +\beginverse +^Be Thou my ^shield and ^my ^sword for ^the ^fight, +^Be Thou my dig^nity, ^be Thou ^my ^might. +^Thou my soul's ^shelter and ^Thou ^my ^high ^tow^er, +^Raise, Thou, me ^heavenward, O ^Pow'r of my ^pow'r. ^ +\endverse +\beginverse +^Riches I ^heed not, ^nor ^man's emp^ty ^praise, +^Thou mine inher^itance, ^now and ^al^ways: +^Thou and Thou ^only, ^first ^in ^my ^heart, ^ +^High King of ^heaven, my ^Treasure Thou ^art. ^ +\endverse +\beginverse +^High King of ^heaven, ^my ^victo^ry ^won, +^May I reach heav^en's joys, ^O bright ^heaven's ^Sun! +^Heart of my ^own heart, what^ev^er ^be^fall, ^ +^Still be my ^Vision, O ^Ruler of ^all. +\endverse +\endsong + +\beginscripture{1 Peter 1:3-5} +Praise be to the God and Father of our Lord Jesus Christ! In his great mercy he has given us new birth into a living hope through the resurrection of Jesus Christ from the dead, and into an inheritance that can never perish, spoil or fade---kept in heaven for you, who through faith are shielded by God's power until the coming of the salvation that is ready to be revealed in the last time. +\endscripture + +\beginsong{In The Garden}[ + by={C. Austin Miles}, + cr={Public domain.}] +\beginverse +I \[G]come to the garden alone, +While the \[C]dew is still on the \[G]roses; +And the \[D]voice I hear, falling \[G]on my ear, +The \[A]Son of God dis\[D]closes. +\endverse +\beginchorus +And He \[G]walks with me, +And He \[D]talks with me, +And He \[D7]tells me I am His \[G]own; +And the joy we \[B7]share, as we \[Em]tarry \[C]there, +None \[G]other has \[D]ever \[G]known. +\endchorus +\beginverse +He ^speaks, and the sound of His voice +Is so ^sweet, the birds hush their ^singing, +And the ^melody that He ^gave to me, +With^in my heart is ^ringing. +\endverse +\beginverse +I'd ^stay in the garden with Him, +Though the ^night around me be ^falling, +But He ^bids me go; through the ^voice of woe, +His ^voice to me is ^calling. +\endverse +\endsong + +\beginsong{Great Is Thy Faithfulness}[ + by={Thomas Obediah Chisholm and William M. Runyan}, + sr={Lamentations 3:22-23}, + cr={\copyright~1923. Renewed 1951 Hope Publishing Company.}] +\beginverse +\[D]Great is \[(D+)]Thy \[Gmaj7]faithfulness, \[A7]O God my \[D]Father, +\[G]There is no \[D/F#]shadow of \[E]turning \[E7]with \[A]Thee; +\[A7]Thou changest \[D]not, Thy com\[D/F#]passions they \[Gmaj7]fail not; +\[G#dim7]As Thou hast \[D/A]been Thou for\[Gmaj7/A]ever \[A]wilt \[D]be. +\endverse +\beginchorus +\[A]Great is \[A/C#]Thy \[Dsus4]faith\[D]fulness! \[B]Great is \[B/D#]Thy \[Em4]faithful\[Em]ness! +\[A]Morning by \[D]morning \[E]new \[A]mer\[D]cies \[E]I \[A]see; +\[A7]All I have \[D]needed Thy \[D/F#]hand hath pro\[Gmaj7]vided. +\[G#dim7]Great is Thy \[D/A]faithfulness, \[Gmaj7/A]Lord, un\[A]to \[D]me! +\endchorus +\beginverse +^Summer ^and ^winter, and ^springtime and ^harvest, +^Sun, moon, and ^stars in their ^courses ^a^bove, +^Join with all ^nature in ^manifold ^witness +^To Thy great ^faithfulness, ^mercy, ^and ^love. +\endverse +\beginverse +^Pardon ^for ^sin and a ^peace that en^dureth, +^Thy own dear ^presence to ^cheer and ^to ^guide, +^Strength for to^day and bright ^hope for to^morrow: +^Blessings all ^mine, with ten ^thousand ^be^side. +\endverse +\endsong + +\beginscripture{Lamentations 3:21-22} +Yet this I call to mind and therefore I have hope: Because of the LORD's great love we are not consumed, for his compassions never fail. +\endscripture + +\beginsong{O The Deep Deep Love of Jesus}[ + by={Samuel Trevor Francis and Thomas J. Williams}, + cr={Public domain.}] +\capo{2} +\beginverse +\[Dm]O the \[A]deep, \[Dm]deep \[A7]love of \[Dm]Jesus, +\[F]Vast, \[C7]un\[F]mea\[(Dm)]sured, \[Gm]bound\[A]less, \[Dm]free! +\[Dm]Rolling \[A]as \[Dm]a \[A7]mighty \[Dm]ocean +\[F]In \[C7]its \[F]full\[(Dm)]ness \[Gm]o\[A]ver \[Dm]me! +\[F]Under\[Csus4]neath \[C]me, \[Dm]all a\[Asus4]round \[A]me, +\[Dm]Is the \[Gm]current \[F/A]of \[Gm/B&]Thy \[Asus4]love; \[A] +\[Dm]Leading \[A]on\[Dm]ward, \[A7]leading \[Dm]homeward, +\[F]To \[C7]my \[F]glori\[(Dm)]ous \[Gm]rest \[A]a\[Dm]bove! +\endverse +\beginverse +^O the ^deep, ^deep ^love of ^Jesus, +^Spread ^His ^praise ^from ^shore ^to ^shore! +^How He ^lov^eth, ^ever ^loveth, +^Chang^eth ^nev^er, ^nev^er^more! +^How He ^watch^eth ^o'er His ^loved ^ones, +^Died to ^call them ^all ^His ^own; ^ +^How for ^them ^He ^inter^cedeth, +^Watch^eth ^o'er ^them ^from ^the ^throne! +\endverse +\beginverse +^O the ^deep, ^deep ^love of ^Jesus, +^Love ^of ^eve^ry ^love ^the ^best! +^'Tis an ^o^cean ^full of ^blessing, +^'Tis ^a ^ha^ven ^giv^ing ^rest. +^O the ^deep, ^deep ^love of ^Je^sus, +^'Tis a ^heav'n of ^heav'ns ^to ^me; ^ +^And it ^lifts ^me ^up to ^glory, +^For ^it ^lifts ^me ^up ^to ^Thee! +\endverse +\endsong + +\beginsong{Jesus Lover Of My Soul}[ + by={Charles Wesley and Simeon B. Marsh}, + cr={Public domain.}] +\beginverse +\[Dm]Jesus, Lover of \[A]my \[Dm]soul, +Let \[A]me \[Dm]to \[A]Thy \[Dm]bosom \[Asus4]fly, \[A] +\[Dm]While the nearer wa\[A]ters \[Dm]roll, +\[A]While the \[F]tem\[Gdim7]pest \[Dm/A]still \[A]is \[Dm]high! +\[B&]Hide \[F]me, \[B&]O \[Gdim7]my \[F]Sav\[C7]ior, \[F]hide, +\[Dm]'Til \[A]the \[Dm]storm \[C]of \[F]life \[E]is \[Am]past. +\[B&]Safe in\[F]to the \[Dm]ha\[Gm]ven \[Asus4]guide, \[A] +\[Dm]Oh, receive my soul \[A]at \[Dm]last! +\endverse +\beginverse +^Other refuge have ^I ^none; +Hangs ^my ^help^less ^soul on ^Thee. ^ +^Leave, O leave me not ^a^lone; +^Still sup^port ^and ^com^fort ^me! +^All ^my ^trust ^on ^Thee ^is ^stayed; +^All ^my ^help ^from ^Thee ^I ^bring. +^Cover ^my de^fense^less ^head ^ +^With the shadow of ^Thy ^wing. +\endverse +\beginverse +^Thou, O Christ, art all ^I ^want; +More ^than ^all ^in ^Thee I ^find. ^ +^Raise the fallen, cheer ^the ^faint, +^Heal the ^sick, ^and ^lead ^the ^blind. +^Just ^and ^ho^ly ^is ^Thy ^name; +^I ^am ^all ^un^right^eous^ness. +^False and ^full of ^sin ^I ^am; ^ +^Thou art full of truth ^and ^grace. +\endverse +\beginverse +^Plenteous grace with Thee ^is ^found, +Grace ^to ^cov^er ^all my ^sin. ^ +^Let the healing streams ^a^bound; +^Make and ^keep ^me ^pure ^with^in. +^Thou ^of ^life ^the ^Foun^tain ^art, +^Free^ly ^let ^me ^take ^of ^Thee; +^Spring Thou ^up with^in ^my ^heart; ^ +^Rise to all eter^ni^ty. +\endverse +\endsong + +\beginsong{When I Survey The Wondrous Cross}[ + by={Isaac Watts and Lowell Mason}, + cr={Public domain.}] +\capo{2} +\beginverse +\[D]When I \[(A)]sur\[Bm]vey \[(Em/G) (B/F#)]the \[Em]won\[A6]drous \[D]cross +On which the \[G/D]Prince \[D]of \[Bm]glory \[Asus4]died, \[A] +\[D]My rich\[(A)]est \[Bm]gain \[(Em/G) (B/F#)]I \[Em]count \[A6]but \[D]loss, +\[D]And \[(D/C#)]pour con\[Em]tempt \[Bm]on \[Em/G]all \[A6]my \[D]pride. +\endverse +\beginverse +^Forbid ^it, ^Lord, ^that ^I ^should ^boast, +Save in the ^death ^of ^Christ, my ^God; ^ +^All the ^vain ^things ^that ^charm ^me ^most, +^I ^sacri^fice ^them ^to ^His ^blood. +\endverse +\beginverse +^See, from ^His ^head, ^His ^hands, ^His ^feet, +Sorrow and ^love ^flow ^mingled ^down; ^ +^Did e'er ^such ^love ^and ^sor^row ^meet, +^Or ^thorns com^pose ^so ^rich ^a ^crown? +\endverse +\beginverse +^Were the ^whole ^realm ^of ^na^ture ^mine, +That were a ^pres^ent ^far too ^small; ^ +^Love so ^a^maz^ing, ^so ^di^vine, +^De^mands my ^soul, ^my ^life, ^my ^all. +\endverse +\endsong + +\beginsong{Crown Him With Many Crowns}[ + by={George J. Elvey, Godfrey Thring and Matthew Bridges}, + sr={Revelation 4:9-11,5:13}, + cr={Public domain.}] +\beginverse +\[C]Crown Him with \[Am]many \[F]crowns, +The \[C]Lamb up\[F]on His \[Gsus4]throne. \[G] +Hark! \[C]How the \[F]heav'nly \[D]anthem \[G]drowns +All music \[D]but its \[G]own! \[G7] +A\[C]wake, my soul, and \[F]sing \[F/E] +Of \[D]Him Who died for \[G]thee \[G7/F] +And \[C/E]hail Him \[F]as thy \[G7]matchless \[C]King +Through \[F]all e\[G]terni\[C]ty. +\endverse +\beginverse +^Crown Him the ^Lord of ^love! +Be^hold His ^hands and ^side--- ^ +Rich ^wounds, yet ^visi^ble a^bove, +In beauty ^glori^fied. ^ +No ^angel in the ^sky ^ +Can ^fully bear that ^sight, ^ +But ^downward ^bends His ^wondering ^eye +At ^myster^ies so ^bright. +\endverse +\beginverse +^Crown Him the ^Lord of ^life, +Who ^triumphed ^o'er the ^grave, ^ +Who ^rose vic^tori^ous to the ^strife, +For those He ^came to ^save. ^ +His ^glories now we ^sing, ^ +Who ^died and rose on ^high, ^ +Who ^died e^ternal ^life to ^bring +And ^lives that ^death may ^die. +\endverse +\beginverse +^Crown Him the ^Lord of ^heav'n: +One ^with the ^Father ^known, ^ +One ^with the ^Spirit ^through Him ^giv'n +From yonder ^glorious ^throne. ^ +All ^hail, Redeemer, ^hail! ^ +For ^Thou hast died for ^me; ^ +Thy ^praise and ^glory ^shall not ^fail +Through^out e^terni^ty. +\endverse +\endsong + +\beginsong{Fairest Lord Jesus}[ + by={H.A. Hoffman von Fallersleben and Joseph A. Seiss}, + sr={Song of Songs 6:10}, + cr={Public domain.}] +\beginverse +\[C]Fairest Lord \[G]Je\[C]sus, \[C/E]Ruler of all \[F G]na\[C]ture, +\[C]O \[F]Thou of \[C/E]God and \[Dm]man, \[Am]the \[Gsus4]Son: \[G] +\[Em]Thee will I \[Dm]cherish, \[G7]Thee will I \[C]honor, +Thou \[C/E]my soul's glory, \[Fmaj7]joy, \[G]and \[C]crown. +\endverse +\beginverse +^Fair are the ^mead^ows, ^fairer still the ^wood^lands +^Robed ^in the ^blooming ^garb ^of ^spring. ^ +^Jesus is ^fairer, ^Jesus is ^purer, +Who ^makes the woeful ^heart ^to ^sing. +\endverse +\beginverse +^Fair is the ^sun^shine, ^fairer still the ^moon^light, +^And ^all the ^twinkling, ^star^ry ^host. ^ +^Jesus shines ^brighter; ^Jesus shines ^purer +Than ^all the angels ^heav'n ^can ^boast. +\endverse +\beginverse +^Beautiful ^Sav^ior, ^Lord of all the ^na^tions, +^Son ^of ^God, and ^Son ^of ^man: ^ +^Glory and ^honor, ^praise, ado^ration +Now ^and forever^more ^be ^Thine! +\endverse +\endsong + +\beginsong{Turn Your Eyes Upon Jesus}[ + by={Helen H. Lemmel}, + sr={Romans 8:37}, + cr={Public domain}, + index={O soul, are you weary and troubled?}] +\beginverse +O \[D]soul, are you weary and \[Gmaj7]troubled? +No \[A]light in the \[A7]darkness you \[D]see? +There's light for a look at the \[E]Savior, +And \[B7/D#]life more a\[A/E]bundant \[E]and \[A]free! \[A7] +\endverse +\beginchorus +\[D]Turn your \[A/C#]eyes upon \[Bm]Je\[Bm7/A]sus, +Look \[G]full in His \[Em7]wonderful \[Asus4]face, \[A] +And the \[D]things of \[A/C#]earth will go \[Bm]strangely \[Gm/B&]dim +In the \[D/A]light of His \[A7]glory and \[D]grace. +\endchorus +\beginverse +Through ^death into life ever^lasting +He ^passed, and we ^follow Him ^there; +O'er us sin no more hath do^minion--- +For ^more than ^conqu'rors ^we ^are! ^ +\endverse +\beginverse +His ^word shall not fail you---He ^promised; +Be^lieve Him, and ^all will be ^well: +Then go to a world that is ^dying, +His ^perfect sal^vation ^to ^tell! ^ +\endverse +\endsong + +\beginsong{Joyful Joyful We Adore Thee}[ + by={Henry van Dyke and Ludwig van Beethoven}, + cr={Public domain.}] +\capo{2} +\beginverse +\[D]Joyful, joyful, \[G]we a\[A]dore Thee, +\[D]God of glory, \[A]Lord of love! +\[D]Hearts unfold like \[G]flow'rs be\[A]fore Thee, +\[D]Op'ning to the \[A]sun a\[D]bove. +\[A]Melt the \[D/A]clouds of \[A]sin and \[D/A]sadness; +\[A]Drive the \[F#]dark of \[Bm]doubt \[(E)]a\[A]way. +\[D]Giver of im\[G]mortal \[A]gladness, +\[D]Fill us with the \[A]light of \[D]day! +\endverse +\beginverse +^All Thy works with ^joy sur^round Thee; +^Earth and heav'n re^flect Thy rays. +^Stars and angels ^sing a^round Thee, +^Center of un^broken ^praise. +^Field and ^forest, ^vale and ^mountain, +^Flowery ^meadow, ^flash^ing ^sea, +^Chanting bird, and ^flowing ^fountain, +^Call us to re^joice in ^Thee. +\endverse +\beginverse +^Thou art giving ^and for^giving, +^Ever blessing, ^ever blest, +^Wellspring of the ^joy of ^living, +^Ocean depth of ^happy ^rest! +^Thou our ^Father, ^Christ our ^Brother; +^All who ^live in ^love ^are ^Thine. +^Teach us how to ^love each ^other; +^Lift us to the ^joy di^vine. +\endverse +\beginverse +^Mortals, join the ^mighty ^chorus +^Which the morning ^stars began. +^Father love is ^reigning ^o'er us, +^Brother love binds ^man to ^man. +^Ever ^singing, ^march we ^onward, +^Victors ^in the ^midst ^of ^strife. +^Joyful music ^lifts us ^sunward +^In the triumph ^song of ^life. +\endverse +\endsong + +\beginsong{O For A Thousand Tongues To Sing}[ + by={Charles Wesley}, + sr={Revelation 5:11-14; Isaiah 35:5-6}, + cr={Public domain.}] +\beginverse +O \[G]for a \[D]thousand \[G]tongues \[D]to \[G]sing +\[D]My \[G]great Re\[C]deem\[G]er's \[D]praise, +The \[G]glories of my \[C]God and King, +The \[G]triumphs of \[D]His \[G]grace! +\endverse +\beginverse +My ^gracious ^Master ^and ^my ^God, +^As^sist me ^to ^pro^claim, +To ^spread through all the ^earth abroad +The ^honors of ^Thy ^name. +\endverse +\beginverse +Je^sus, the ^name that ^charms ^our ^fears, +^That ^bids our ^sor^rows ^cease: +'Tis ^music in the ^sinner's ears, +'Tis ^life and health ^and ^peace. +\endverse +\beginverse +He ^breaks the ^pow'r of ^can^celed ^sin, +^He ^sets the ^pris'n^er ^free. +His ^blood can make the ^foulest clean--- +His ^blood availed ^for ^me. +\endverse +\beginverse +Hear ^Him, ye ^deaf! His ^praise, ^ye ^dumb, +^Your ^loosened ^tongues ^em^ploy! +Ye ^blind, behold your ^Savior come; +And ^leap, ye lame, ^for ^joy! +\endverse +\endsong + +\beginsong{All Glory, Laud, And Honor}[ + by={Theodulph of Orleans; translated by John Mason Neale}, + sr={Matthew 21:9,15-16; Revelation 5:11-14}, + cr={Public domain.}] +\beginverse +\[^(G)]All \[D]glory, laud, and \[G]honor +To \[C]Thee, Re\[D]deemer, \[G]King, +To \[D]Whom the lips of \[G]children +Made \[C]sweet ho\[D]sannas \[G]ring: +Thou \[G/B]art the King of \[D]Israel, +Thou \[Em]David's \[A7]royal \[D]Son, +Who \[G/B]in the \[(C)]Lord's name \[D]com\[Em]est, +The \[Am]King and \[D]blessed \[G]one! +\endverse +\beginverse +The ^company of ^angels +Are ^praising ^Thee on ^high, +And ^mortal men and ^all things +Cre^ated ^make re^ply: +The ^people of the ^Hebrews +With ^palms be^fore Thee ^went; +Our ^praise and ^prayer and ^an^thems +Be^fore Thee ^we pre^sent. +\endverse +\beginverse +To ^Thee, before Thy ^passion, +They ^sang their ^hymns of ^praise; +To ^Thee, now high ex^alted, +Our ^melo^dy we ^raise: +Thou ^didst accept their ^praises--- +Ac^cept the ^praise we ^bring, +Who ^in all ^good de^light^est, +Thou ^good and ^gracious ^King! +\endverse +\endsong + +\beginsong{All Hail The Power Of Jesus Name}[ + by={Edward Perronet, John Rippon and Oliver Holden}, + sr={Exodus 29:1-9}, + cr={Public domain.}, + index={Crown Him Lord of all}] +\beginverse +All \[D]hail the pow'r of \[A]Jesus' name; +Let angels prostrate \[D]fall! +\[A]Bring \[D]forth the royal \[A]dia\[D]dem, +\[A]And \[D]crown \[A/C#]Him \[Bm]Lord \[E]of \[A]all; +Bring \[D]forth the royal \[A]diadem, +And \[D/F#]crown \[G]Him \[D/A A]Lord of \[D]all. +\endverse +\beginverse +Ye ^chosen seed of ^Israel's race, +Ye ransomed from the ^fall, +^Hail ^Him who saves you ^by His ^grace, +^And ^crown ^Him ^Lord ^of ^all; +Hail ^Him who saves you ^by His grace, +And ^crown ^Him ^Lord of ^all. +\endverse +\beginverse +Let ^every kindred, ^every tribe +On this terrestrial ^ball +^To ^Him all majes^ty as^cribe, +^And ^crown ^Him ^Lord ^of ^all; +To ^Him all majes^ty ascribe, +And ^crown ^Him ^Lord of ^all. \[B7] +\endverse +\transpose{2} +\beginverse +O ^that with yonder ^sacred throng, +We at His feet may ^fall! +^We'll ^join the ever^lasting ^song +^And ^crown ^Him ^Lord ^of ^all; +We'll ^join the ever^lasting song +And ^crown ^Him ^Lord of ^all. +\endverse +\endsong + +\beginsong{Immortal Invisible}[ + by={John Robert and Walter Chalmers Smith}, + cr={Public domain.}] +\capo{3} +\beginverse +Im\[G]mortal, in\[A]visible, \[D]God on\[A]ly \[D]wise, +In \[G]light inac\[A]cessible, \[D]hid from \[A]our \[D]eyes, +Most blessed, most glorious, the Ancient of \[A]Days, +Al\[Bm]mighty, vic\[A]torious: Thy \[Gmaj7]great name \[A]we \[D]praise. +\endverse +\beginverse +Un^resting, un^hasting, and ^silent ^as ^night, +Nor ^wanting, nor ^wasting, Thou ^rulest ^in ^might: +Thy justice, like mountains, high soaring ^above, +Thy ^clouds, which are ^fountains of ^goodness ^and ^love. +\endverse +\beginverse +To ^all life Thou ^givest, to ^both great ^and ^small. +In ^all life Thou ^livest---the ^true Life ^of ^all. +Thy wisdom so boundless, Thy mercy so ^free, +E^ternal Thy ^goodness---for ^naught chang^eth ^Thee. +\endverse +\beginverse +Great ^Father of ^glory, pure ^Father ^of ^light, +Thine ^angels a^dore Thee, all ^veiling ^their ^sight. +All praise we should render; O help us to ^see +'Tis ^only the ^splendor of ^light hid^eth ^Thee! +\endverse +\endsong + +\beginsong{Take My Life And Let It Be}[ + by={Francis Ridley Havergal and Henri A. C\'esar Malan}, + sr={1 Corinthians 6:20}, + cr={Public domain.}] +\beginverse +\[D]Take my life, and let it be +\[Bm]Conse\[Em]crated, \[A]Lord, to \[D]Thee. +Take my \[A]moments \[A7/C#]and my \[D]days; +Let them \[G]flow in \[D]ceaseless \[A]praise. +\[D]Let them \[Bm]flow \[Em]in \[A]ceaseless \[D]praise. +\endverse +\beginverse +^Take my hands, and let them move +^At the ^impulse ^of Thy ^love. +Take my ^feet, and ^let them ^be +Swift and ^beauti^ful for ^Thee, +^Swift and ^beau^ti^ful for ^Thee. +\endverse +\beginverse +^Take my voice, and let me sing +^Always, ^only, ^for my ^King. +Take my ^lips, and ^let them ^be +Filled with ^messag^es from ^Thee, +^Filled with ^mes^sag^es from ^Thee. +\endverse +\beginverse +^Take my silver and my gold; +^Not a ^mite would ^I with^hold. +Take my ^intel^lect, and ^use +Every ^pow'r as ^Thou shalt ^choose, +^Every ^pow'r ^as ^Thou shalt ^choose. \[B7] +\endverse +\transpose{2} +\beginverse +^Take my will, and make it Thine; +^It shall ^be no ^longer ^mine. +Take my ^heart, it ^is Thine ^own; +It shall ^be Thy ^royal ^throne. +^It shall ^be ^Thy ^royal ^throne. +\endverse +\beginverse +^Take my love, my Lord, I pour +^At Thy ^feet its ^treasure ^store. +Take my^self, and ^I will ^be +Ever, ^only, ^all for ^Thee, +^Ever, ^on^ly, ^all for ^Thee. +\endverse +\endsong + +\beginsong{Christ The Lord Is Risen Today}[ + by={Charles Wesley}, + sr={Matthew 28:6; Mark 16:6; Luke 24:6; John 21:14; 1 Corinthians 15:55}, + cr={Public domain.}] +\beginverse +\[A]Christ the Lord is \[D]risen to\[A]day, Al\[Bm7]le\[E7]lu\[A]ia! +\[D/F#]Sons of \[D]men and \[Bm7]angels \[E7]say: \[A]Al\[Bm7]le\[E7]lu\[A]ia! +\[E]Raise your joys and \[A]tri\[E]umphs \[A]high: \[E]Al\[F#m7]le\[B7]lu\[E]ia! +\[E7]Sing, ye \[A]heavens and \[D]earth re\[A]ply: Al\[Bm7]le\[E7]lu\[A]ia! +\endverse +\beginverse +^Lives again our ^glorious ^King: Al^le^lu^ia! +^Where, O ^death, is ^now thy ^sting? ^Al^le^lu^ia! +^Dying once, He ^all ^doth ^save: ^Al^le^lu^ia! +^Where thy ^victo^ry, O ^grave? Al^le^lu^ia! +\endverse +\beginverse +^Love's redeeming ^work is ^done: Al^le^lu^ia! +^Fought the ^fight, the ^battle ^won: ^Al^le^lu^ia! +^Death in vain for^bids ^Him ^rise: ^Al^le^lu^ia! +^Christ hath ^opened ^para^dise: Al^le^lu^ia! +\endverse +\beginverse +^Sing we to our ^God a^bove: Al^le^lu^ia! +^Praise e^ternal ^as His ^love: ^Al^le^lu^ia! +^Praise Him, all ye ^heaven^ly ^host: ^Al^le^lu^ia! +^Father, ^Son, and ^Holy ^Ghost: Al^le^lu^ia! +\endverse +\endsong + +\beginsong{I Sing The Mighty Power Of God}[ + by={Isaac Watts}, + sr={Genesis 1:31; Psalm 136:4-9,25-26; Romans 1:20}, + cr={Public domain.}] +\beginverse +I \[G]sing the mighty \[Em]pow'r \[(Am)]of \[D]God +\[(G)]That \[C]made the \[D]mountains \[G]rise, +That spread the flowing \[Em]seas \[(Am)]a\[D]broad +\[(G)]And \[C]built the \[D]lofty \[G]skies. +I \[G]sing the wis\[(C)]dom \[D]that ordained +The \[G]sun to rule \[(C)]the \[D]day; +The \[G]moon shines full at \[Em]His \[(Am)]com\[D]mand +\[(G)]And \[C]all the \[D]stars o\[G]bey. +\endverse +\beginverse +I ^sing the goodness ^of ^the ^Lord, +^That ^filled the ^earth with ^food; +He formed the creatures ^with ^His ^word +^And ^then pro^nounced them ^good. +Lord, ^how Thy won^ders ^are displayed +Wher^e'er I turn ^my ^eye, +If ^I survey the ^ground ^I ^tread, +^Or ^gaze up^on the ^sky! +\endverse +\beginverse +There's ^not a plant or ^flow'r ^be^low, +^But ^makes Thy ^glories ^known; +And clouds arise and ^tem^pests ^blow +^By ^order ^from Thy ^throne, +While ^all that bor^rows ^life from Thee +Is ^ever in ^Thy ^care, +And ^everywhere that ^man ^can ^be, +^Thou, ^God, art ^present ^there. +\endverse +\endsong + +\beginsong{All Creatures Of Our God And King}[ + by={St. Francis of Assisi; translated by William H. Draper}, + sr={Psalm 103:22}, + cr={Public domain.}] +\beginverse +\[C]All creatures \[Am]of our God and \[G]King, +\[C]Lift up your \[Am]voice and with us \[G]sing: +\[C]Alle\[F]lu\[C]ia! \[Am]Alle\[D]lu\[G]ia! +\[C]Thou burning \[Am]sun with golden \[G]beam, +\[C/E]Thou silver \[Fmaj7]moon with softer \[G]gleam: +\endverse +\beginchorus +\[F]O \[G]praise \[C/E]Him! \[Dm7]O \[Gsus4]praise \[Am]Him! +\[Am]Alle\[D]lu\[Em]ia! \[C/E]Alle\[D]lu\[G/B]ia! \[Dm]Alle\[G]lu\[C]ia! +\endchorus +\beginverse +^Thou rushing ^wind that art so ^strong, +^Ye clouds that ^sail in heav'n a^long: +^O ^praise ^Him! ^Alle^lu^ia! +^Thou rising ^morn, in praise re^joice; +\[C]Ye lights of \[Am]evening, find a \[G]voice! +\endverse +\beginverse +^Thou flowing ^water, pure and ^clear, +^Make music ^for thy Lord to ^hear: +^Alle^lu^ia! ^Alle^lu^ia! +^Thou fire so ^masterful and ^bright, +\[C]That givest \[Am]man both warmth and \[G]light: +\endverse +\beginverse +^Let all things ^their Creator ^bless, +^And worship ^Him in humble^ness. +^O ^praise ^Him! ^Alle^lu^ia! +^Praise, praise the ^Father, praise the ^Son, +\[C]And praise the \[Am]Spirit, Three in \[G]One! +\endverse +\endsong + +\beginsong{A Mighty Fortress Is Our God}[ + by={Martin Luther}, + sr={Psalm 71:3-4}, + cr={Public domain.}] +\capo{1} +\beginverse +A \[A]mighty \[C#m]Fortress \[B7]is our \[E]God, +A \[D]bulwark \[A]never \[E7]fail\[A]ing. +Our helper \[C#m]He, a\[B7]mid the \[E]flood +Of \[D]mortal \[A]ills pre\[E7]vail\[A]ing. +For still our \[B7sus4]an\[B7]cient \[E]foe +Doth \[A]seek to \[E/G#]work us \[F#m]woe; +His craft and \[B7]pow'r are \[E]great, +And \[Bm]armed with cruel \[C#]hate, +On \[D]earth is \[A]not his \[E7]e\[A]qual. +\endverse +\beginverse +Did ^we in ^our own ^strength con^fide, +Our ^striving ^would be ^los^ing. +Were not the ^right Man ^on our ^side, +The ^Man of ^God's own ^choos^ing. +Dost ask who ^that ^may ^be? +Christ ^Jesus, ^it is ^He! +Lord Saba^oth His ^name, +From ^age to age the ^same; +And ^He must ^win the ^bat^tle. +\endverse +\beginverse +And ^though this ^world, with ^devils ^filled, +Should ^threaten ^to un^do ^us, +We will not ^fear; for ^God hath ^willed +His ^truth to ^triumph ^through ^us. +The prince of ^dark^ness ^grim--- +We ^trouble ^not for ^him. +His rage we ^can en^dure, +For ^Lo! his doom is ^sure: +One ^little ^word shall ^fell ^him. +\endverse +\beginverse +That ^word a^bove all ^earthly ^pow'rs--- +No ^thanks to ^them---a^bid^eth. +The Spirit ^and the ^gifts are ^ours +Through ^Him Who ^with us ^sid^eth. +Let goods and ^kin^dred ^go, +This ^mortal ^life al^so, +The body ^they may ^kill; +God's ^truth abideth ^still. +His ^kingdom ^is for^ev^er. +\endverse +\endsong + diff --git a/macros/latex/contrib/songs/sample/transparencies.tex b/macros/latex/contrib/songs/sample/transparencies.tex new file mode 100644 index 0000000000..400a3003b4 --- /dev/null +++ b/macros/latex/contrib/songs/sample/transparencies.tex @@ -0,0 +1,66 @@ +% Copyright (C) 2018 Kevin W. Hamlen +% +% This program is free software; you can redistribute it and/or +% modify it under the terms of the GNU General Public License +% as published by the Free Software Foundation; either version 2 +% of the License, or (at your option) any later version. +% +% This program is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with this program; if not, write to the Free Software +% Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +% MA 02110-1301, USA. +% +% The latest version of this program can be obtained from +% http://songs.sourceforge.net. + +\documentclass[letterpaper,oneside]{article} +\usepackage[bookmarks]{hyperref} +\usepackage[slides]{songs} +% \includeonlysongs{2} + +\setlength{\oddsidemargin}{-0.5in} +\setlength{\evensidemargin}{-0.5in} +\setlength{\textwidth}{7.5in} +\setlength{\topmargin}{-0.75in} +\setlength{\topskip}{0in} +\setlength{\headheight}{13.6pt} +\setlength{\headsep}{0.5in} +\setlength{\textheight}{9in} + +% Repeat the chorus on subsequent pages of a song so that the projector- +% operator won't have to flip back to the first page for each chorus. +% This feature is only supported for eTeX-compatible versions of LaTeX. +\ifx\eTeXversion\undefined\else + \ifx\eTeXversion\relax\else + \repchoruses + \fi +\fi + +% Define some headers for each slide to help the projector-operator +% find the correct slide. We use the fancyhdr package for this. +\IfFileExists{fancyhdr.sty}{ + \usepackage{fancyhdr} + \usepackage{extramarks} + \pagestyle{fancy} + \fancyhf{} + \rhead{\sffamily\firstrightmark} + \renewcommand{\headrulewidth}{0pt} + + \renewcommand{\songmark}{\markboth{}{\thesongnum}} + \renewcommand{\versemark}{\markboth{}{\thesongnum. \songtitle}} + \renewcommand{\chorusmark}{\markboth{}{\thesongnum. \songtitle}} +}{} + +\begin{document} + +\begin{songs}{} +\input{songs.sbd} +\end{songs} + +\end{document} + diff --git a/macros/latex/contrib/songs/songidx/bible.can b/macros/latex/contrib/songs/songidx/bible.can new file mode 100644 index 0000000000..eda272fcd3 --- /dev/null +++ b/macros/latex/contrib/songs/songidx/bible.can @@ -0,0 +1,200 @@ +# Copyright (C) 2018 Kevin W. Hamlen +# +# This program is free software; you can redistribute it and/or +# modify it under the terms of the GNU General Public License +# as published by the Free Software Foundation; either version 2 +# of the License, or (at your option) any later version. +# +# This program is distributed in the hope that it will be useful, +# but WITHOUT ANY WARRANTY; without even the implied warranty of +# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +# GNU General Public License for more details. +# +# You should have received a copy of the GNU General Public License +# along with this program; if not, write to the Free Software +# Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +# MA 02110-1301, USA. +# +# The latest version of this program can be obtained from +# http://songs.sourceforge.net. +# +# +# Filename: bible.can +# Last modified: 2006/06/12 +# +# The following Canon data file describes a composite of the Protestant, +# Catholic, and Greek Orthodox Christian bibles. All books of all bibles +# are represented. Where two bibles have a different number of chapters +# or a different number of verses, the larger is used. The result is a +# Canon file that should be adequate to generate scripture indexes for +# songs referencing any of these biblical canons. +# +# File Format: In what follows, each book of the bible is represented by a +# pair of lines: the first line lists the book title(s), and the second lists +# the number of verses in each of the book's chapters. The first line may +# list more than one title, separated by | characters. The first title listed +# is the one used to generate the scripture index. The other titles, if any, +# are recognized as aliases when they appear in "sr=" keyvals in the +# \beginsong macro. Any of the titles may contain arbitrary LaTeX macros. +# The order that books appear in this file dictates the order that they appear +# when sorting the scripture index. +Genesis +031 025 024 026 032 022 024 022 029 032 032 020 018 024 021 016 027 033 038 018 034 024 020 067 034 035 046 022 035 043 055 032 020 031 029 043 036 030 023 023 057 038 034 034 028 034 031 022 033 026 +Exodus +022 025 022 031 023 030 025 032 035 029 010 051 022 031 027 036 016 027 025 026 036 031 033 018 040 037 021 043 046 038 018 035 023 035 035 038 029 031 043 038 +Leviticus +017 016 017 035 019 030 038 036 024 020 047 008 059 057 033 034 016 030 037 027 024 033 044 023 055 046 034 +Numbers +054 034 051 049 031 027 089 026 023 036 035 016 033 045 041 050 013 032 022 029 035 041 030 025 018 065 023 031 040 016 054 042 056 029 034 013 +Deuteronomy +046 037 029 049 033 025 026 020 029 022 032 032 018 029 023 022 020 022 021 020 023 030 025 022 019 019 026 068 029 020 030 052 029 012 +Joshua +018 024 017 024 015 027 026 035 027 043 023 024 033 015 063 010 018 028 051 009 045 034 016 033 +Judges +036 023 031 024 031 040 025 035 057 018 040 015 025 020 020 031 013 031 030 048 025 +Ruth +022 023 018 022 +1 Samuel|1 Kingdoms +028 036 021 022 012 021 017 022 027 027 015 025 023 052 035 023 058 030 024 042 015 023 029 022 044 025 012 025 011 031 013 +2 Samuel|2 Kingdoms +027 032 039 012 025 023 029 018 013 019 027 031 039 033 037 023 029 033 043 026 022 051 039 025 +1 Kings|3 Kingdoms +053 046 028 034 018 038 051 066 028 029 043 033 034 031 034 034 024 046 021 043 029 053 +2 Kings|4 Kingdoms +018 025 027 044 027 033 020 029 037 036 021 021 025 029 038 020 041 037 037 021 026 020 037 020 030 +1 Chronicles +054 055 024 043 026 081 040 040 044 014 047 040 014 017 029 043 027 017 019 008 030 019 032 031 031 032 034 021 030 +2 Chronicles +017 018 017 022 014 042 022 018 031 019 023 016 022 015 019 014 019 034 011 037 020 012 021 027 028 023 009 027 036 027 021 033 025 033 027 023 +1 Esdras +058 030 024 063 073 034 015 096 055 +2 Esdras +011 070 013 024 017 022 028 036 015 044 011 020 032 023 019 019 073 018 038 039 036 047 031 +Ezra +011 070 013 024 017 022 028 036 015 044 +Nehemiah +011 020 032 023 019 019 073 018 038 039 036 047 031 +Tobit|Tobias +025 023 025 023 028 022 020 024 012 013 021 022 023 017 +Judith +012 018 015 016 029 021 025 034 019 020 021 020 031 018 015 031 +Esther +022 023 015 017 014 014 010 017 032 013 012 006 018 019 019 024 +1 Macabees|1 Maccabees +067 070 060 061 068 063 050 032 073 089 074 054 054 049 041 024 +2 Macabees|2 Maccabees +036 033 040 050 027 031 042 036 029 038 038 046 026 046 040 +3 Macabees|3 Maccabees +029 033 030 021 051 041 023 +4 Macabees|4 Maccabees +035 024 021 026 038 035 023 028 032 021 027 019 027 020 032 025 024 024 +Job +022 013 026 021 027 030 021 022 035 022 020 025 028 022 035 022 016 021 029 029 034 030 017 025 006 014 023 028 025 031 040 022 033 037 016 033 024 041 030 024 034 017 +Psalms|Psalm +006 012 008 008 012 010 017 009 020 018 007 008 006 007 005 011 015 050 014 009 013 031 006 010 022 012 014 009 011 012 024 011 022 022 028 012 040 022 013 017 013 011 005 026 017 011 009 014 020 023 019 009 006 007 023 013 011 011 017 012 008 012 011 010 013 020 007 035 036 005 024 020 028 023 010 012 020 072 013 019 016 008 018 012 013 017 007 018 052 017 016 015 005 023 011 013 012 009 009 005 008 028 022 035 045 048 043 013 031 007 010 010 009 008 018 019 002 029 176 007 008 009 004 008 005 006 005 006 008 008 003 018 003 003 021 026 009 008 024 013 010 007 012 015 021 010 020 014 009 006 007 +Odes +019 043 010 018 012 008 020 037 034 009 010 015 004 046 +Proverbs +033 022 035 027 023 035 027 036 018 032 031 028 025 035 033 033 028 024 029 030 031 029 035 034 028 028 027 028 027 033 031 +Ecclesiastes +018 026 022 016 020 012 029 017 018 020 010 014 +Song of Songs|Song of Solomon +017 017 011 016 016 013 013 014 +Wisdom|Wisdom of Solomon +016 025 019 020 024 027 030 021 019 021 027 027 019 031 019 029 020 025 020 +Sirach|Ecclesiasticus +040 023 034 036 018 037 040 022 025 034 036 019 032 027 022 031 031 033 028 033 031 033 038 047 036 028 033 030 034 027 042 028 033 031 026 028 034 039 041 032 028 026 037 027 031 023 031 028 019 031 038 +Psalms of Solomon|Psalm of Solomon +008 037 012 025 019 006 010 034 011 008 009 006 012 010 013 015 046 012 +Isaiah +031 022 026 006 030 013 025 022 021 034 016 006 022 032 009 014 014 007 025 006 017 025 018 023 012 021 013 029 024 033 009 020 024 017 010 022 038 022 008 031 029 025 028 028 025 013 015 022 026 011 023 015 012 017 013 012 021 014 021 022 011 012 019 012 025 024 +Jeremiah +019 037 025 031 031 030 034 022 026 025 023 017 027 022 021 021 027 023 015 018 014 030 040 010 038 024 022 017 032 024 040 044 026 022 019 032 021 028 018 016 018 022 013 030 005 028 007 047 039 046 064 034 +Lamentations +022 022 066 022 022 +Baruch +022 035 038 037 009 073 +Letter of Jeremiah +073 +Ezekiel +028 010 027 017 017 014 027 018 011 022 025 028 023 023 008 063 024 032 014 049 032 031 049 027 017 021 036 026 021 026 018 032 033 031 015 038 028 023 029 049 026 020 027 031 025 024 023 035 +Daniel +021 049 100 034 031 028 028 027 027 021 045 013 065 042 +Hosea +011 023 005 019 015 011 016 014 017 015 012 014 016 009 +Joel +020 032 021 +Amos +015 016 015 013 027 014 017 014 015 +Obadiah +021 +Jonah +017 010 010 011 +Micah +016 013 012 013 015 016 020 +Nahum +015 013 019 +Habakkuk +017 020 019 +Zephaniah +018 015 020 +Haggai +015 023 +Zechariah +021 013 010 014 011 015 014 023 017 012 017 014 009 021 +Malachi +014 017 018 006 +Matthew +025 023 017 025 048 034 029 034 038 042 030 050 058 036 039 028 027 035 030 034 046 046 039 051 046 075 066 020 +Mark +045 028 035 041 043 056 037 038 050 052 033 044 037 072 047 020 +Luke +080 052 038 044 039 049 050 056 062 042 054 059 035 035 032 031 037 043 048 047 038 071 056 053 +John +051 025 036 054 047 071 053 059 041 042 057 050 038 031 027 033 026 040 042 031 025 +Acts +026 047 026 037 042 015 060 040 043 048 030 025 052 028 041 040 034 028 041 038 040 030 035 027 027 032 044 031 +Romans +032 029 031 025 021 023 025 039 033 021 036 021 014 026 033 025 +1 Corinthians +031 016 023 021 013 020 040 013 027 033 034 031 013 040 058 024 +2 Corinthians +024 017 018 018 021 018 016 024 015 018 033 021 014 +Galatians +024 021 029 031 026 018 +Ephesians +023 022 021 032 033 024 +Philippians +030 030 021 023 +Colossians +029 023 025 018 +1 Thessalonians +010 020 013 018 028 +2 Thessalonians +012 017 018 +1 Timothy +020 015 016 016 025 021 +2 Timothy +018 026 017 022 +Titus +016 015 015 +Philemon +025 +Hebrews +014 018 019 016 014 020 028 013 028 039 040 029 025 +James +027 026 018 017 020 +1 Peter +025 025 022 019 014 +2 Peter +021 022 018 +1 John +010 029 024 021 021 +2 John +013 +3 John +014 +Jude +025 +Revelation +020 029 022 011 014 017 017 013 021 011 019 017 018 020 008 021 018 024 021 015 027 021 diff --git a/macros/latex/contrib/songs/songidx/catholic.can b/macros/latex/contrib/songs/songidx/catholic.can new file mode 100644 index 0000000000..0fef3b3c8b --- /dev/null +++ b/macros/latex/contrib/songs/songidx/catholic.can @@ -0,0 +1,174 @@ +# Copyright (C) 2018 Kevin W. Hamlen +# +# This program is free software; you can redistribute it and/or +# modify it under the terms of the GNU General Public License +# as published by the Free Software Foundation; either version 2 +# of the License, or (at your option) any later version. +# +# This program is distributed in the hope that it will be useful, +# but WITHOUT ANY WARRANTY; without even the implied warranty of +# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +# GNU General Public License for more details. +# +# You should have received a copy of the GNU General Public License +# along with this program; if not, write to the Free Software +# Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +# MA 02110-1301, USA. +# +# The latest version of this program can be obtained from +# http://songs.sourceforge.net. +# +# +# Filename: catholic.can +# Last modified: 2006/06/12 +# +# The following Canon data file describes the layout of the Catholic Bible. +# The deuterocanonical books are included, along with the additional verses +# in Esther and Daniel. +# +Genesis +031 025 024 026 032 022 024 022 029 032 032 020 018 024 021 016 027 033 038 018 034 024 020 067 034 035 046 022 035 043 055 032 020 031 029 043 036 030 023 023 057 038 034 034 028 034 031 022 033 026 +Exodus +022 025 022 031 023 030 025 032 035 029 010 051 022 031 027 036 016 027 025 026 036 031 033 018 040 037 021 043 046 038 018 035 023 035 035 038 029 031 043 038 +Leviticus +017 016 017 035 019 030 038 036 024 020 047 008 059 057 033 034 016 030 037 027 024 033 044 023 055 046 034 +Numbers +054 034 051 049 031 027 089 026 023 036 035 016 033 045 041 050 013 032 022 029 035 041 030 025 018 065 023 031 040 016 054 042 056 029 034 013 +Deuteronomy +046 037 029 049 033 025 026 020 029 022 032 032 018 029 023 022 020 022 021 020 023 030 025 022 019 019 026 068 029 020 030 052 029 012 +Joshua +018 024 017 024 015 027 026 035 027 043 023 024 033 015 063 010 018 028 051 009 045 034 016 033 +Judges +036 023 031 024 031 040 025 035 057 018 040 015 025 020 020 031 013 031 030 048 025 +Ruth +022 023 018 022 +1 Samuel +028 036 021 022 012 021 017 022 027 027 015 025 023 052 035 023 058 030 024 042 015 023 029 022 044 025 012 025 011 031 013 +2 Samuel +027 032 039 012 025 023 029 018 013 019 027 031 039 033 037 023 029 033 043 026 022 051 039 025 +1 Kings +053 046 028 034 018 038 051 066 028 029 043 033 034 031 034 034 024 046 021 043 029 053 +2 Kings +018 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037 016 033 024 041 030 024 034 017 +Psalms|Psalm +006 012 008 008 012 010 017 009 020 018 007 008 006 007 005 011 015 050 014 009 013 031 006 010 022 012 014 009 011 012 024 011 022 022 028 012 040 022 013 017 013 011 005 026 017 011 009 014 020 023 019 009 006 007 023 013 011 011 017 012 008 012 011 010 013 020 007 035 036 005 024 020 028 023 010 012 020 072 013 019 016 008 018 012 013 017 007 018 052 017 016 015 005 023 011 013 012 009 009 005 008 028 022 035 045 048 043 013 031 007 010 010 009 008 018 019 002 029 176 007 008 009 004 008 005 006 005 006 008 008 003 018 003 003 021 026 009 008 024 013 010 007 012 015 021 010 020 014 009 006 +Proverbs +033 022 035 027 023 035 027 036 018 032 031 028 025 035 033 033 028 024 029 030 031 029 035 034 028 028 027 028 027 033 031 +Ecclesiastes +018 026 022 016 020 012 029 017 018 020 010 014 +Song of Songs|Song of Solomon +017 017 011 016 016 013 013 014 +Wisdom|Wisdom of Solomon +016 025 019 020 024 027 030 021 019 021 027 027 019 031 019 029 020 025 020 +Sirach|Ecclesiasticus +040 023 034 036 018 037 040 022 025 034 036 019 032 027 022 031 031 033 028 033 031 033 038 047 036 028 033 030 034 027 042 028 033 031 026 028 034 039 041 032 028 026 037 027 031 023 031 028 019 031 038 +Isaiah +031 022 026 006 030 013 025 022 021 034 016 006 022 032 009 014 014 007 025 006 017 025 018 023 012 021 013 029 024 033 009 020 024 017 010 022 038 022 008 031 029 025 028 028 025 013 015 022 026 011 023 015 012 017 013 012 021 014 021 022 011 012 019 012 025 024 +Jeremiah +019 037 025 031 031 030 034 022 026 025 023 017 027 022 021 021 027 023 015 018 014 030 040 010 038 024 022 017 032 024 040 044 026 022 019 032 021 028 018 016 018 022 013 030 005 028 007 047 039 046 064 034 +Lamentations +022 022 066 022 022 +Baruch +022 035 038 037 009 073 +Ezekiel +028 010 027 017 017 014 027 018 011 022 025 028 023 023 008 063 024 032 014 049 032 031 049 027 017 021 036 026 021 026 018 032 033 031 015 038 028 023 029 049 026 020 027 031 025 024 023 035 +Daniel +021 049 100 034 031 028 028 027 027 021 045 013 065 042 +Hosea +011 023 005 019 015 011 016 014 017 015 012 014 016 009 +Joel +020 032 021 +Amos +015 016 015 013 027 014 017 014 015 +Obadiah +021 +Jonah +017 010 010 011 +Micah +016 013 012 013 015 016 020 +Nahum +015 013 019 +Habakkuk +017 020 019 +Zephaniah +018 015 020 +Haggai +015 023 +Zechariah +021 013 010 014 011 015 014 023 017 012 017 014 009 021 +Malachi +014 017 018 006 +Matthew +025 023 017 025 048 034 029 034 038 042 030 050 058 036 039 028 027 035 030 034 046 046 039 051 046 075 066 020 +Mark +045 028 035 041 043 056 037 038 050 052 033 044 037 072 047 020 +Luke +080 052 038 044 039 049 050 056 062 042 054 059 035 035 032 031 037 043 048 047 038 071 056 053 +John +051 025 036 054 047 071 053 059 041 042 057 050 038 031 027 033 026 040 042 031 025 +Acts +026 047 026 037 042 015 060 040 043 048 030 025 052 028 041 040 034 028 041 038 040 030 035 027 027 032 044 031 +Romans +032 029 031 025 021 023 025 039 033 021 036 021 014 026 033 025 +1 Corinthians +031 016 023 021 013 020 040 013 027 033 034 031 013 040 058 024 +2 Corinthians +024 017 018 018 021 018 016 024 015 018 033 021 014 +Galatians +024 021 029 031 026 018 +Ephesians +023 022 021 032 033 024 +Philippians +030 030 021 023 +Colossians +029 023 025 018 +1 Thessalonians +010 020 013 018 028 +2 Thessalonians +012 017 018 +1 Timothy +020 015 016 016 025 021 +2 Timothy +018 026 017 022 +Titus +016 015 015 +Philemon +025 +Hebrews +014 018 019 016 014 020 028 013 028 039 040 029 025 +James +027 026 018 017 020 +1 Peter +025 025 022 019 014 +2 Peter +021 022 018 +1 John +010 029 024 021 021 +2 John +013 +3 John +014 +Jude +025 +Revelation +020 029 022 011 014 017 017 013 021 011 019 017 018 020 008 021 018 024 021 015 027 021 diff --git a/macros/latex/contrib/songs/songidx/greek.can b/macros/latex/contrib/songs/songidx/greek.can new file mode 100644 index 0000000000..a807cc6b2c --- /dev/null +++ b/macros/latex/contrib/songs/songidx/greek.can @@ -0,0 +1,187 @@ +# Copyright (C) 2018 Kevin W. Hamlen +# +# This program is free software; you can redistribute it and/or +# modify it under the terms of the GNU General Public License +# as published by the Free Software Foundation; either version 2 +# of the License, or (at your option) any later version. +# +# This program is distributed in the hope that it will be useful, +# but WITHOUT ANY WARRANTY; without even the implied warranty of +# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +# GNU General Public License for more details. +# +# You should have received a copy of the GNU General Public License +# along with this program; if not, write to the Free Software +# Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +# MA 02110-1301, USA. +# +# The latest version of this program can be obtained from +# http://songs.sourceforge.net. +# +# +# Filename: greek.can +# Last modified: 2006/06/12 +# +# The following Canon data file describes the layout of the Greek Orthodox +# Christian Bible. It includes the deuterocanonical books along with +# 1 Esdras, 3 & 4 Maccabees, and Odes. Greek Orthodox names for the books +# are used, including 1-4 Kingdoms, 2 Esdras, and Letter of Jeremiah. The +# extra verses of Esther and Daniel are also included, as well as the 151st +# Psalm. +# +Genesis +031 025 024 026 032 022 024 022 029 032 032 020 018 024 021 016 027 033 038 018 034 024 020 067 034 035 046 022 035 043 055 032 020 031 029 043 036 030 023 023 057 038 034 034 028 034 031 022 033 026 +Exodus +022 025 022 031 023 030 025 032 035 029 010 051 022 031 027 036 016 027 025 026 036 031 033 018 040 037 021 043 046 038 018 035 023 035 035 038 029 031 043 038 +Leviticus +017 016 017 035 019 030 038 036 024 020 047 008 059 057 033 034 016 030 037 027 024 033 044 023 055 046 034 +Numbers +054 034 051 049 031 027 089 026 023 036 035 016 033 045 041 050 013 032 022 029 035 041 030 025 018 065 023 031 040 016 054 042 056 029 034 013 +Deuteronomy +046 037 029 049 033 025 026 020 029 022 032 032 018 029 023 022 020 022 021 020 023 030 025 022 019 019 026 068 029 020 030 052 029 012 +Joshua +018 024 017 024 015 027 026 035 027 043 023 024 033 015 063 010 018 028 051 009 045 034 016 033 +Judges +036 023 031 024 031 040 025 035 057 018 040 015 025 020 020 031 013 031 030 048 025 +Ruth +022 023 018 022 +1 Kingdoms|1 Samuel +028 036 021 022 012 021 017 022 027 027 015 025 023 052 035 023 058 030 024 042 015 023 029 022 044 025 012 025 011 031 013 +2 Kingdoms|2 Samuel +027 032 039 012 025 023 029 018 013 019 027 031 039 033 037 023 029 033 043 026 022 051 039 025 +3 Kingdoms|1 Kings +053 046 028 034 018 038 051 066 028 029 043 033 034 031 034 034 024 046 021 043 029 053 +4 Kingdoms|2 Kings +018 025 027 044 027 033 020 029 037 036 021 021 025 029 038 020 041 037 037 021 026 020 037 020 030 +1 Chronicles +054 055 024 043 026 081 040 040 044 014 047 040 014 017 029 043 027 017 019 008 030 019 032 031 031 032 034 021 030 +2 Chronicles +017 018 017 022 014 042 022 018 031 019 023 016 022 015 019 014 019 034 011 037 020 012 021 027 028 023 009 027 036 027 021 033 025 033 027 023 +1 Esdras +058 030 024 063 073 034 015 096 055 +2 Esdras +011 070 013 024 017 022 028 036 015 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007 023 013 011 011 017 012 008 012 011 010 013 020 007 035 036 005 024 020 028 023 010 012 020 072 013 019 016 008 018 012 013 017 007 018 052 017 016 015 005 023 011 013 012 009 009 005 008 028 022 035 045 048 043 013 031 007 010 010 009 008 018 019 002 029 176 007 008 009 004 008 005 006 005 006 008 008 003 018 003 003 021 026 009 008 024 013 010 007 012 015 021 010 020 014 009 006 007 +Odes +019 043 010 018 012 008 020 037 034 009 010 015 004 046 +Proverbs +033 022 035 027 023 035 027 036 018 032 031 028 025 035 033 033 028 024 029 030 031 029 035 034 028 028 027 028 027 033 031 +Ecclesiastes +018 026 022 016 020 012 029 017 018 020 010 014 +Song of Songs|Song of Solomon +017 017 011 016 016 013 013 014 +Wisdom|Wisdom of Solomon +016 025 019 020 024 027 030 021 019 021 027 027 019 031 019 029 020 025 020 +Sirach|Ecclesiasticus +040 023 034 036 018 037 040 022 025 034 036 019 032 027 022 031 031 033 028 033 031 033 038 047 036 028 033 030 034 027 042 028 033 031 026 028 034 039 041 032 028 026 037 027 031 023 031 028 019 031 038 +Psalms of Solomon|Psalm of Solomon +008 037 012 025 019 006 010 034 011 008 009 006 012 010 013 015 046 012 +Isaiah +031 022 026 006 030 013 025 022 021 034 016 006 022 032 009 014 014 007 025 006 017 025 018 023 012 021 013 029 024 033 009 020 024 017 010 022 038 022 008 031 029 025 028 028 025 013 015 022 026 011 023 015 012 017 013 012 021 014 021 022 011 012 019 012 025 024 +Jeremiah +019 037 025 031 031 030 034 022 026 025 023 017 027 022 021 021 027 023 015 018 014 030 040 010 038 024 022 017 032 024 040 044 026 022 019 032 021 028 018 016 018 022 013 030 005 028 007 047 039 046 064 034 +Lamentations +022 022 066 022 022 +Baruch +022 035 038 037 009 +Letter of Jeremiah +073 +Ezekiel +028 010 027 017 017 014 027 018 011 022 025 028 023 023 008 063 024 032 014 049 032 031 049 027 017 021 036 026 021 026 018 032 033 031 015 038 028 023 029 049 026 020 027 031 025 024 023 035 +Daniel +021 049 100 034 031 028 028 027 027 021 045 013 065 042 +Hosea +011 023 005 019 015 011 016 014 017 015 012 014 016 009 +Joel +020 032 021 +Amos +015 016 015 013 027 014 017 014 015 +Obadiah +021 +Jonah +017 010 010 011 +Micah +016 013 012 013 015 016 020 +Nahum +015 013 019 +Habakkuk +017 020 019 +Zephaniah +018 015 020 +Haggai +015 023 +Zechariah +021 013 010 014 011 015 014 023 017 012 017 014 009 021 +Malachi +014 017 018 006 +Matthew +025 023 017 025 048 034 029 034 038 042 030 050 058 036 039 028 027 035 030 034 046 046 039 051 046 075 066 020 +Mark +045 028 035 041 043 056 037 038 050 052 033 044 037 072 047 020 +Luke +080 052 038 044 039 049 050 056 062 042 054 059 035 035 032 031 037 043 048 047 038 071 056 053 +John +051 025 036 054 047 071 053 059 041 042 057 050 038 031 027 033 026 040 042 031 025 +Acts +026 047 026 037 042 015 060 040 043 048 030 025 052 028 041 040 034 028 041 038 040 030 035 027 027 032 044 031 +Romans +032 029 031 025 021 023 025 039 033 021 036 021 014 026 033 025 +1 Corinthians +031 016 023 021 013 020 040 013 027 033 034 031 013 040 058 024 +2 Corinthians +024 017 018 018 021 018 016 024 015 018 033 021 014 +Galatians +024 021 029 031 026 018 +Ephesians +023 022 021 032 033 024 +Philippians +030 030 021 023 +Colossians +029 023 025 018 +1 Thessalonians +010 020 013 018 028 +2 Thessalonians +012 017 018 +1 Timothy +020 015 016 016 025 021 +2 Timothy +018 026 017 022 +Titus +016 015 015 +Philemon +025 +Hebrews +014 018 019 016 014 020 028 013 028 039 040 029 025 +James +027 026 018 017 020 +1 Peter +025 025 022 019 014 +2 Peter +021 022 018 +1 John +010 029 024 021 021 +2 John +013 +3 John +014 +Jude +025 +Revelation +020 029 022 011 014 017 017 013 021 011 019 017 018 020 008 021 018 024 021 015 027 021 diff --git a/macros/latex/contrib/songs/songidx/protestant.can b/macros/latex/contrib/songs/songidx/protestant.can new file mode 100644 index 0000000000..fd7da82bdd --- /dev/null +++ b/macros/latex/contrib/songs/songidx/protestant.can @@ -0,0 +1,160 @@ +# Copyright (C) 2018 Kevin W. Hamlen +# +# This program is free software; you can redistribute it and/or +# modify it under the terms of the GNU General Public License +# as published by the Free Software Foundation; either version 2 +# of the License, or (at your option) any later version. +# +# This program is distributed in the hope that it will be useful, +# but WITHOUT ANY WARRANTY; without even the implied warranty of +# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +# GNU General Public License for more details. +# +# You should have received a copy of the GNU General Public License +# along with this program; if not, write to the Free Software +# Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +# MA 02110-1301, USA. +# +# The latest version of this program can be obtained from +# http://songs.sourceforge.net. +# +# +# Filename: protestant.can +# Last modified: 2006/06/12 +# +# The following Canon data file describes the layout of the Protestant Bible. +# Books of the Apocrypha are omitted, as are the extra chapters of Esther +# and Daniel and the 151st Psalm. +# +Genesis +031 025 024 026 032 022 024 022 029 032 032 020 018 024 021 016 027 033 038 018 034 024 020 067 034 035 046 022 035 043 055 032 020 031 029 043 036 030 023 023 057 038 034 034 028 034 031 022 033 026 +Exodus +022 025 022 031 023 030 025 032 035 029 010 051 022 031 027 036 016 027 025 026 036 031 033 018 040 037 021 043 046 038 018 035 023 035 035 038 029 031 043 038 +Leviticus +017 016 017 035 019 030 038 036 024 020 047 008 059 057 033 034 016 030 037 027 024 033 044 023 055 046 034 +Numbers +054 034 051 049 031 027 089 026 023 036 035 016 033 045 041 050 013 032 022 029 035 041 030 025 018 065 023 031 040 016 054 042 056 029 034 013 +Deuteronomy +046 037 029 049 033 025 026 020 029 022 032 032 018 029 023 022 020 022 021 020 023 030 025 022 019 019 026 068 029 020 030 052 029 012 +Joshua +018 024 017 024 015 027 026 035 027 043 023 024 033 015 063 010 018 028 051 009 045 034 016 033 +Judges +036 023 031 024 031 040 025 035 057 018 040 015 025 020 020 031 013 031 030 048 025 +Ruth +022 023 018 022 +1 Samuel +028 036 021 022 012 021 017 022 027 027 015 025 023 052 035 023 058 030 024 042 015 023 029 022 044 025 012 025 011 031 013 +2 Samuel +027 032 039 012 025 023 029 018 013 019 027 031 039 033 037 023 029 033 043 026 022 051 039 025 +1 Kings +053 046 028 034 018 038 051 066 028 029 043 033 034 031 034 034 024 046 021 043 029 053 +2 Kings +018 025 027 044 027 033 020 029 037 036 021 021 025 029 038 020 041 037 037 021 026 020 037 020 030 +1 Chronicles +054 055 024 043 026 081 040 040 044 014 047 040 014 017 029 043 027 017 019 008 030 019 032 031 031 032 034 021 030 +2 Chronicles +017 018 017 022 014 042 022 018 031 019 023 016 022 015 019 014 019 034 011 037 020 012 021 027 028 023 009 027 036 027 021 033 025 033 027 023 +Ezra +011 070 013 024 017 022 028 036 015 044 +Nehemiah +011 020 032 023 019 019 073 018 038 039 036 047 031 +Esther +022 023 015 017 014 014 010 017 032 003 +Job +022 013 026 021 027 030 021 022 035 022 020 025 028 022 035 022 016 021 029 029 034 030 017 025 006 014 023 028 025 031 040 022 033 037 016 033 024 041 030 024 034 017 +Psalms|Psalm +006 012 008 008 012 010 017 009 020 018 007 008 006 007 005 011 015 050 014 009 013 031 006 010 022 012 014 009 011 012 024 011 022 022 028 012 040 022 013 017 013 011 005 026 017 011 009 014 020 023 019 009 006 007 023 013 011 011 017 012 008 012 011 010 013 020 007 035 036 005 024 020 028 023 010 012 020 072 013 019 016 008 018 012 013 017 007 018 052 017 016 015 005 023 011 013 012 009 009 005 008 028 022 035 045 048 043 013 031 007 010 010 009 008 018 019 002 029 176 007 008 009 004 008 005 006 005 006 008 008 003 018 003 003 021 026 009 008 024 013 010 007 012 015 021 010 020 014 009 006 +Proverbs +033 022 035 027 023 035 027 036 018 032 031 028 025 035 033 033 028 024 029 030 031 029 035 034 028 028 027 028 027 033 031 +Ecclesiastes +018 026 022 016 020 012 029 017 018 020 010 014 +Song of Songs|Song of Solomon +017 017 011 016 016 013 013 014 +Isaiah +031 022 026 006 030 013 025 022 021 034 016 006 022 032 009 014 014 007 025 006 017 025 018 023 012 021 013 029 024 033 009 020 024 017 010 022 038 022 008 031 029 025 028 028 025 013 015 022 026 011 023 015 012 017 013 012 021 014 021 022 011 012 019 012 025 024 +Jeremiah +019 037 025 031 031 030 034 022 026 025 023 017 027 022 021 021 027 023 015 018 014 030 040 010 038 024 022 017 032 024 040 044 026 022 019 032 021 028 018 016 018 022 013 030 005 028 007 047 039 046 064 034 +Lamentations +022 022 066 022 022 +Ezekiel +028 010 027 017 017 014 027 018 011 022 025 028 023 023 008 063 024 032 014 049 032 031 049 027 017 021 036 026 021 026 018 032 033 031 015 038 028 023 029 049 026 020 027 031 025 024 023 035 +Daniel +021 049 030 037 031 028 028 027 027 021 045 013 +Hosea +011 023 005 019 015 011 016 014 017 015 012 014 016 009 +Joel +020 032 021 +Amos +015 016 015 013 027 014 017 014 015 +Obadiah +021 +Jonah +017 010 010 011 +Micah +016 013 012 013 015 016 020 +Nahum +015 013 019 +Habakkuk +017 020 019 +Zephaniah +018 015 020 +Haggai +015 023 +Zechariah +021 013 010 014 011 015 014 023 017 012 017 014 009 021 +Malachi +014 017 018 006 +Matthew +025 023 017 025 048 034 029 034 038 042 030 050 058 036 039 028 027 035 030 034 046 046 039 051 046 075 066 020 +Mark +045 028 035 041 043 056 037 038 050 052 033 044 037 072 047 020 +Luke +080 052 038 044 039 049 050 056 062 042 054 059 035 035 032 031 037 043 048 047 038 071 056 053 +John +051 025 036 054 047 071 053 059 041 042 057 050 038 031 027 033 026 040 042 031 025 +Acts +026 047 026 037 042 015 060 040 043 048 030 025 052 028 041 040 034 028 041 038 040 030 035 027 027 032 044 031 +Romans +032 029 031 025 021 023 025 039 033 021 036 021 014 026 033 025 +1 Corinthians +031 016 023 021 013 020 040 013 027 033 034 031 013 040 058 024 +2 Corinthians +024 017 018 018 021 018 016 024 015 018 033 021 014 +Galatians +024 021 029 031 026 018 +Ephesians +023 022 021 032 033 024 +Philippians +030 030 021 023 +Colossians +029 023 025 018 +1 Thessalonians +010 020 013 018 028 +2 Thessalonians +012 017 018 +1 Timothy +020 015 016 016 025 021 +2 Timothy +018 026 017 022 +Titus +016 015 015 +Philemon +025 +Hebrews +014 018 019 016 014 020 028 013 028 039 040 029 025 +James +027 026 018 017 020 +1 Peter +025 025 022 019 014 +2 Peter +021 022 018 +1 John +010 029 024 021 021 +2 John +013 +3 John +014 +Jude +025 +Revelation +020 029 022 011 014 017 017 013 021 011 019 017 018 020 008 021 018 024 021 015 027 021 diff --git a/macros/latex/contrib/songs/songidx/songidx.lua b/macros/latex/contrib/songs/songidx/songidx.lua new file mode 100644 index 0000000000..6ac12c2411 --- /dev/null +++ b/macros/latex/contrib/songs/songidx/songidx.lua @@ -0,0 +1,1073 @@ +-- Copyright (C) 2018 Kevin W. Hamlen +-- +-- This program is free software; you can redistribute it and/or +-- modify it under the terms of the GNU General Public License +-- as published by the Free Software Foundation; either version 2 +-- of the License, or (at your option) any later version. +-- +-- This program is distributed in the hope that it will be useful, +-- but WITHOUT ANY WARRANTY; without even the implied warranty of +-- MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +-- GNU General Public License for more details. +-- +-- You should have received a copy of the GNU General Public License +-- along with this program; if not, write to the Free Software +-- Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +-- MA 02110-1301, USA. +-- +-- The latest version of this program can be obtained from +-- http://songs.sourceforge.net. + + +VERSION = "3.1" +BIBLEDEFAULT = "bible.can" + +-- fileopen() +-- Open for reading, returning a filestate table on success or +-- nil on failure. +function fileopen(fnam) + local handle + if fnam ~= "-" then + local msg,errno + handle,msg,errno = io.open(fnam, "r") + if not handle then + io.stderr:write("songidx: Unable to open ",fnam," for reading.\n", + "Error ",errno,": ",msg,"\n") + return nil + end + else + handle = io.stdin + fnam = "stdin" + end + return { f=handle, filename=fnam, lineno=0 } +end + +-- filereadln() +-- Read a line of input, returning the string or nil if at file-end. +function filereadln(fs) + fs["lineno"] = fs["lineno"] + 1 + local s = fs["f"]:read() + if not s then return nil end + return s +end + +-- closeout() +-- Close an output file . +function closeout(handle) + if handle == io.stdout then handle:flush() + else handle:close() end +end + +-- errorout() +-- Respond to a write failure to . +function errorout(handle) + closeout(handle) + io.stderr:write("songidx: Error writing to output file. Aborting.\n") + return 2 + end + +-- fileclose() +-- Close file table . +function fileclose(fs) + if (fs["f"] ~= io.stdin) then fs["f"]:close() end + fs["f"] = nil + fs["filename"] = nil + fs["lineno"] = 0 +end + +-- numprefix() +-- Find the longest prefix of that represents a number (according to +-- the current locale) and contains no whitespace. Return the number and the +-- suffix of not parsed. If there is no such prefix, return false +-- and the original . +function numprefix(s) + local _, len = unicode.utf8.find(s,"^%S*") + for i=len, 1, -1 do + local n = tonumber(s:sub(1,i)) + if n then return n, s:sub(i+1) end + end + return false, s +end + +-- cleantitle() +-- Remove macros and braces from 's title, and convert it to uppercase. +-- Macro-spaces ("\ ") are converted to regular spaces (" "). Cache the +-- result to avoid re-cleaning during sorting. +function cleantitle(s) + if not s["clean"] then + local t = s["title"]:gsub("\\[^%a%s]","") + :gsub("\\(%s)","%1") + :gsub("\\%a+%s*","") + :gsub("{%s*","") + :gsub("}","") + s["clean"] = unicode.utf8.upper(t) + end + return s["clean"] +end + +-- songcmp(,) +-- Return true if is less than , and false otherwise. The +-- ordering is first by title, then by index. This function is suitable for +-- use with table.sort(). +function songcmp(s1,s2) + local t1 = cleantitle(s1) + local t2 = cleantitle(s2) + + while true do + -- Find the next word or number in each string. + t1, t2 = unicode.utf8.match(t1,"%w.*"), unicode.utf8.match(t2,"%w.*") + + -- If there is no next word/number in both, sort by index. If there is + -- no next word/number in one but not the other, sort the shorter string + -- before the longer one. + if not t1 then + if not t2 then break end + return true + elseif not t2 then return false end + + -- If one is a number, sort the number before the word. If both are + -- numbers (and are not equal), then sort in numerical order. + local n1, n2 + n1, t1 = numprefix(t1) + n2, t2 = numprefix(t2) + if n1 then + if not n2 or n1 < n2 then return true end + if n1 > n2 then return false end + elseif n2 then return false + else + -- Otherwise, both are words. Lexicographically compare the words + -- according to the current locale's collation conventions. If the + -- locale considers them "equal" (i.e., w1) +-- Try to find canonical "start characters" for each block of songs in a +-- sorted of songs. Since Lua doesn't currently have any means of +-- imparting a locale's alphabet, we adopt the following strategy: Extract +-- the first unicode character from each title in the sorted list of titles +-- until reaching one that the locale's collation algorithm says is "bigger" +-- than the last. Find the "smallest" first character in that set using +-- NON-UNICODE lexicographic sort. This tends to be the most canonical one, +-- since unicode tends to put canonical (e.g., no-accent) glyphs at lower +-- code points than non-canonical (e.g., accented) ones. (Unfortunately, if +-- none of the titles in the block start with the desired canonical glyph, +-- there's no way to guess it; we just use the best one available.) +function setstartchars(songs) + local start = 1 + local best + + for i=1, #songs do + local c = unicode.utf8.match(cleantitle(songs[i]),"%w") + if c then + c = unicode.utf8.upper(c) + if not best then + songs[start]["newblk"], start, best = "\\#", i, c + elseif best < c then + songs[start]["newblk"], start, best = best, i, c + elseif #c < #best then best = c + elseif #c == #best then + for j=1,#c do + if c:byte(j) < best:byte(j) then best = c; break + elseif c:byte(j) > best:byte(j) then break end + end + end + elseif best then + songs[start]["newblk"], start, best = best, i, nil + end + end + + if start <= #songs then + if best then + songs[start]["newblk"] = best + else + songs[start]["newblk"] = "\\#" + end + end +end + +wt_prefix = { A=true, THE=true } +wt_and = { AND=true } +wt_by = { BY=true } +wt_unknown = { UNKNOWN=true } + +-- rotate() +-- If the first word of <title> is any word in wt_prefix, then shift that word +-- to the end of the string, preceded by a comma and a space. So for example, +-- if wt_prefix contains "The", then rotate("The title") returns "Title, The". +-- Words in wt_prefix are matched case-insensitively, and the new first word +-- becomes capitalized. If <title> begins with the marker character '*', +-- that character is ignored and left unchanged. +function rotate(s) + local t = unicode.utf8.upper(s) + local n = 0 + if s:sub(1,1) == "*" then n = 1 end + for pre in pairs(wt_prefix) do + if t:sub(1+n,n+#pre) == pre and + unicode.utf8.find(t, "^%s+%S", n+#pre+1) then + local len = unicode.utf8.len(pre) + local x, y, z = unicode.utf8.match(unicode.utf8.sub(s,n+len+1),"^%s+(%W*)(%w?)(.*)$") + return s:sub(1,n) .. x .. unicode.utf8.upper(y) .. z:gsub("\\%s","%0\1"):match("^(.-)%s*$"):gsub("\1","") .. ",~" .. unicode.utf8.sub(s,1+n,n+len) + end + end + return s +end + +-- matchany(<string>,<init>,<wordtable>) +-- If a word in <wordtable> case-insensitively matches to <string> starting +-- at index <init>, and if the match concludes with whitespace, then return +-- the index of the whitespace; otherwise return <init>. +function matchany(s,init,wt) + local t = s:sub(init) + local u = unicode.utf8.upper(t) + for w,_ in pairs(wt) do + if u:sub(1,#w) == w and + (#w == #u or unicode.utf8.find(u, "^%s", #w+1)) then + return init + #(unicode.utf8.sub(t,1,unicode.utf8.len(w))) + end + end + return init +end + +-- issuffix(<string>,<init>) +-- Return true if the abbreviation "Jr" or a roman numeral (followed by +-- nothing, space, period, comma, or semicolon) appears at position <init> +-- within <string>. Return false otherwise. +function issuffix(s,i) + return unicode.utf8.find(s, "^Jr$", i) or + unicode.utf8.find(s, "^Jr[%s,;%.]", i) or + unicode.utf8.find(s, "^[IVX]+$", i) or + unicode.utf8.find(s, "^[IVX]+[%s,;%.]", i) +end + +-- grabauthor(<string>) +-- Return a string of the form "Sirname, Restofname" denoting the full name +-- of the first author found in <string>; or return nil if no author name +-- can be found. Also return an index to the suffix of <string> that was +-- not parsed, and just the "Sirname" part as a stand-alone string. +-- +-- Precondition: Caller must first sanitize <string> as follows: +-- <string>:gsub("[\1\2\3]","") +-- :gsub("\\\\","\\\1"):gsub("\\{","\\\2"):gsub("\\}","\\\3") +-- +-- Postcondition: Caller must then unsanitize the returned <string> with: +-- <string>:gsub("\1","\\"):gsub("\2","{"):gsub("\3","}") +-- +-- This is to allow grabauthor() to safely use Lua's %b pattern to find +-- balanced brace pairs without getting confused by escaped braces. +-- +-- Heuristics: +-- * Names are separated by punctuation (other than hyphens, periods, +-- apostrophes, or backslashes) or by the word "and" (or whatever words +-- are in wt_and). +-- Special case: If a comma is followed by the abbreviation "Jr" or by a +-- roman numeral, then the comma does NOT end the author's name. +-- * If a name contains the word "by" (or anything in wt_by), then +-- everything before it is not considered part of the name. (Let's hope +-- nobody is named "By".) +-- * The author's last name is always the last capitalized word in the +-- name unless the last capitalized word is "Jr." or a roman numeral. +-- In that case the author's last name is the penultimate captialized +-- word. +-- * If an author appears to have only a first name, or if the last name +-- found according to the above heuristics is an abbreviation (ending in +-- a period), look ahead in <string> until we find someone with a last +-- name and use that one. This allows us to identify the first author in +-- a string like "Joe, Billy E., and Bob Smith" to be "Joe Smith". +-- * If the resultant name contains the word "unknown" (or any word in +-- wt_unknown), it's probably not a real name. Recursively attempt +-- to parse the next author. +function grabauthor(authline,i) + i = unicode.utf8.find(authline, "[^%s,;]", i) + if not i then return nil end + i = unicode.utf8.find(authline, "%S", matchany(authline,i,wt_and)) + if not i then return nil end + i = unicode.utf8.find(authline, "%S", matchany(authline,i,wt_by)) + if not i then return nil end + local skip = (matchany(authline,i,wt_unknown) > i) + + -- Set "first" to the index of the start of the first name, "last" to the + -- index of the start of the sirname, "suffix" to the index of any suffix + -- like "Jr." or "III" (or nil if there is none), and i to the index of the + -- first character beyond the end of this author's name. + local first,last,suffix = i,nil,nil + while i <= #authline do + while true do + local j = select(2,authline:find("^\\%A", i)) or + select(2,authline:find("^\\%a+%s*", i)) or + select(2,authline:find("^%b{}", i)) + if not j then break end + i = j + 1 + end + if i > #authline then break + elseif authline:sub(i,i) == "," then + local j = unicode.utf8.find(authline, "%S", i+1) + if j and issuffix(authline,j) then i = i + 1 + else break end + elseif authline:sub(i,i) == ";" then break + elseif unicode.utf8.find(authline, "^%s", i) then + i = unicode.utf8.find(authline, "%S", i) + if not i then i = #authline + 1; break end + if matchany(authline, i, wt_and) > i then break end + skip = skip or (matchany(authline, i, wt_unknown) > i) + local j = matchany(authline, i, wt_by) + if j > i then + j = unicode.utf8.find(authline, "%S", j) + if not j then last = i; break end -- last name of "By"? + i,first,last,suffix = j,j,nil,nil + elseif issuffix(authline,i) then + suffix = i + elseif unicode.utf8.find(authline:sub(i):gsub("\\%A",""):gsub("\\%a+%s*",""),"^[%s{}'`\"]*%u") then + last,suffix = i,nil + end + else + i = select(2, unicode.utf8.find(authline, ".", i)) + 1 + end + end + + -- If an "unknown" word appeared, skip this entry and parse the next. + if skip then return grabauthor(authline,i) end + + -- Find the sirname. + local sirname, fullname + if last then + sirname = unicode.utf8.gsub(authline:sub(last,(suffix or i)-1), + "([^%s,;\\])[%s,;]+$", "%1") + end + if not sirname or unicode.utf8.find(sirname, "%a%.$") then + -- Here's where it gets tough. We either have a single-word name, or the + -- last name ends in a "." which means maybe it's just a middle initial or + -- other abbreviation. We could be dealing with a line like, "Billy, + -- Joe E., and Bob Smith", in which case we have to go searching for the + -- real last name. To handle this case, we will try a recursive call. + local _,_,r = grabauthor(authline,i) + if r or not sirname then + fullname = unicode.utf8.gsub(authline:sub(first,i-1), + "([^%s,;\\])[%s,;]+$", "%1") + if r then return (r .. ", " .. fullname), i, r + else return fullname, i, nil end + end + end + + -- Add the first name. + fullname = sirname .. ", " .. + unicode.utf8.gsub(authline:sub(first,(last or suffix or i)-1), + "([^%s,;\\])[%s,;]+$", "%1") + + -- Add the suffix, if any. + if suffix then + fullname = fullname .. " " .. + unicode.utf8.gsub(authline:sub(suffix,i-1), "([^%s,;\\])[%s,;]+$", "%1") + end + + return fullname, i, sirname +end + +-- genindex(<fstate>,<outname>) +-- Reads a title (if <authorindex>=false) or author (if <authorindex>=true) +-- index data file from file table <fstate> and generates a new file named +-- <outfile> containing a LaTeX title/author index. +-- Return Value: 0 on success, 1 on warnings, or 2 on failure +function genindex(fs,outname,authorindex) + local songs = {} + local seen = {} + local wt = { wt_sep, wt_after, wt_prefix, wt_ignore } + local typ = authorindex and "author" or "title" + + io.stderr:write("songidx: Parsing ",typ," index data file ",fs["filename"],"...\n") + + while true do + local buf = filereadln(fs) + if not buf then break end + if buf:sub(1,1) == "%" then + local j = buf:match("^()%%sep ") or + buf:match("^%%()after ") or + buf:match("^%%p()refix ") or + buf:match("^%%ig()nore ") + if j then + if not seen[j] then + for w in pairs(wt[j]) do wt[j][w] = nil end + seen[j] = true + end + wt[j][unicode.utf8.upper(buf:sub(buf:find(" ")+1))] = true + end + else + local snum = filereadln(fs) + if not snum then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": incomplete song entry (orphan ",typ,")\n") + return 2 + end + local link = filereadln(fs) + if not link then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": incomplete song entry (missing hyperlink)\n") + return 2 + end + if authorindex then + local i,a = 1 + buf = buf:gsub("[\1\2\3]",""):gsub("\\\\","\\\1") + :gsub("\\{","\\\2"):gsub("\\}","\\\3") + while true do + a,i = grabauthor(buf, i) + if not a then break end + a = a:gsub("\1","\\"):gsub("\2","{"):gsub("\3","}") + table.insert(songs, {title=a, num=snum, linkname=link, idx=#songs}) + end + else + buf = rotate(unicode.utf8.gsub(unicode.utf8.gsub(buf,"([^%s\\])%s+$","%1"),"^(%*?)%s+","%1")) + table.insert(songs, {title=buf, num=snum, linkname=link, idx=#songs}) + end + end + end + fileclose(fs) + + -- Sort the song table. + table.sort(songs, songcmp) + -- Find the index blocks. + setstartchars(songs) + + -- Write the sorted data out to the output file. + io.stderr:write("songidx: Generating ",typ," index TeX file ",outname,"...\n") + local f,msg,errno + if outname == "-" then + f, outname = io.stdout, "stdout" + else + f,msg,errno = io.open(outname, "w") + if not f then + io.stderr:write("songidx: Unable to open ",outname," for writing.\n", + "Error ",errno,": ",msg,"\n") + return 2 + end + end + for i=1, #songs do + if i>1 and songs[i]["title"] == songs[i-1]["title"] then + if not f:write("\\\\\\songlink{",songs[i]["linkname"],"}{",songs[i]["num"],"}") then return errorout(f) end + else + if songs[i]["newblk"] then + if i>1 then + if not f:write("}\n\\end{idxblock}\n") then return errorout(f) end + end + if not f:write("\\begin{idxblock}{",songs[i]["newblk"]) then return errorout(f) end + end + if songs[i]["title"]:find("^%*") then + if not f:write("}\n\\idxaltentry{",songs[i]["title"]:sub(2)) then return errorout(f) end + else + if not f:write("}\n\\idxentry{",songs[i]["title"]) then return errorout(f) end + end + if not f:write("}{\\songlink{",songs[i]["linkname"],"}{",songs[i]["num"],"}") then return errorout(f) end + end + end + if #songs > 0 then + if not f:write("}\n\\end{idxblock}\n") then return errorout(f) end + end + + return 0 +end + +bible = {} +chapX = 0 + +-- readbible(<filename>) +-- Read bible data file <filename> into the bible table. Return nil on error +-- or true on success. +function readbible(filename) + local fs = fileopen(filename) + if not fs then return nil end + bible = {} + + while true do + local buf = filereadln(fs) + if not buf then break end + if buf:sub(1,1) ~= "#" and buf:find("%S") then + local t, vbuf = { name = buf:match("^[^|]*"), + aliases = "|" .. unicode.utf8.upper(buf) .. "|" } + repeat + vbuf = filereadln(fs) + if not vbuf then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": incomplete bible book entry (book title with no verses)\n") + fileclose(fs) + return nil + end + until vbuf:sub(1,1) ~= "#" and buf:find("%S") + if vbuf:find("[^%d%s]") then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": verse count includes a non-digit\n") + fileclose(fs) + return nil + end + for n in vbuf:gmatch("%d+") do + local i = tonumber(n) + if not i then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": invalid number ",n,"\n") + fileclose(fs) + return nil + end + i = math.floor(i) + if chapX < i+1 then chapX = i+1 end + table.insert(t, i) + end + table.insert(bible, t) + end + end + + fileclose(fs) + return true +end + +-- parseref(<string>,<init>,<book>,<chapter>) +-- Interpret the characters starting at index <init> of <string> as a +-- scripture reference, and return four values: (1) the index of the first +-- character after <init> not parsed, (2) the book number parsed, (3) the +-- chapter number parsed (or 1 if the book has only verses), and (4) the +-- verse number parsed. Arguments <book> and <chapter> are the PREVIOUS book +-- number and chapter parsed, or -1 if none. If book or chapter information +-- is missing from <string>, they will be drawn from <book> and <chapter>. +-- That way, successive calls can correctly parse a run-on string like +-- "Philippians 3:1,5; 4:3", infering that "5" refers to "Philippians 3" and +-- "4:3" refers to "Philippians". If the parser encounters an error in +-- processing the book name (e.g., a book name was specified but not +-- recognized), then #bible+1 is returned for the book. If no chapter or no +-- verse is provided (e.g., the reference is just "Philippians" or +-- "Philippians 3") then the chapter and/or verse are returned as -1. +function parseref(s,i,book,ch) + local v = -1 + i = unicode.utf8.find(s,"%S",i) + if not i then return nil end + local j = unicode.utf8.find(s,"[%d:]*%s*[,;%-]",i) or + unicode.utf8.find(s,"[%d:]*%s*$",i) + local bookname = "|" .. unicode.utf8.upper(unicode.utf8.match(s:sub(i,j-1), "(.-)%s*$")) .. "|" + i = j + if bookname ~= "||" then + book, ch = #bible+1, -1 + for b,t in pairs(bible) do + if t["aliases"]:find(bookname, 1, true) then book = b; break end + end + end + j = unicode.utf8.find(s,"%D",i) or (#s+1) + if s:sub(j,j) == ":" then + ch, i = (tonumber(s:sub(i,j-1)) or -1), j+1 + j = unicode.utf8.find(s,"%D",i) or (#s+1) + end + if ch<=0 and book>0 and #bible[book] == 1 then + -- Special case: This book has only one chapter. + ch = 1 + end + if ch <= 0 then + ch = tonumber(s:sub(i,j-1)) or -1 + else + v = tonumber(s:sub(i,j-1)) or -1 + end + i = unicode.utf8.find(s,"%S",j) + if not i then i = #s+1 + elseif not s:find("^[,;%-]",i) then return nil end + return i, book, ch, v +end + +-- vlt(<chapter1>,<verse1>,<chapter2>,<verse2>) +-- Return true if <chapter1>:<verse1> precedes <chapter2>:<verse2> and false +-- otherwise. +function vlt(ch1,v1,ch2,v2) + return ch1 < ch2 or (ch1 == ch2 and v1 < v2) +end + +-- vinc(<book>,<chapter>,<verse>) +-- Return the chapter,verse pair of the verse immediately following +-- <chapter>:<verse> in <book>. If <chapter>:<verse> is the last verse in +-- <book>, the returned chapter will not exist in <book>. +function vinc(book,ch,v) + if v < bible[book][ch] then return ch, v+1 end + return ch+1, 1 +end + +-- vdec(<book>,<chapter>,<verse>) +-- Return the chapter,verse pair of the verse immediately preceding +-- <chapter>:<verse> in <book>. If <chapter> and <verse> are both 1, +-- then 0,nil will be returned. +function vdec(book,ch,v) + if v > 1 then return ch, v-1 end + return ch-1, bible[book][ch-1] +end + +-- unpack_cv(<cv>) +-- Decompose a chapter-verse key (computed as cv*chapX+v) into the original +-- chapter and verse numbers. +function unpack_cv(cv) + local v = cv % chapX + return (cv-v)/chapX, v +end + +-- eqdom(<table1>,<table2>) +-- Return true if two tables have identical domains; false otherwise. +function eqdom(t1,t2) + for k,_ in pairs(t1) do if not t2[k] then return false end end + for k,_ in pairs(t2) do if not t1[k] then return false end end + return true +end + +-- insertref(<is_add>,<changeset>,<chapter>,<verse>,<song>,<link>,<key>) +-- Insert song <song>,<link>,<key> into the set of "adds" (if <is_add>=true) +-- or "drops" (if <is_add>=false) for verse <chapter>:<verse> in <changeset>. +-- A <changeset> is a table that maps cv's to {adds=<refset>, drops=<refset>} +-- tables, where cv's are chapter-verse pairs encoded as chapter*chapX+verse. +-- Each such entry denotes a verse where the set of songs that reference it +-- changes. The "adds" field lists the songs that refer to this verse but +-- not the previous one. The "drops" field lists the songs that refer to +-- this verse but not the next. This formulation allows us to efficiently +-- represent range-references (e.g., "Psalms 1:1-8") without creating a +-- separate table entry for each verse in the range. +-- Create a new entry for <chapter>:<verse> in <changeset> if it doesn't +-- already exist. Return the new <changeset>. +function insertref(is_add,set,ch,v,n,l,k) + if not set then set = {} end + local cv = ch*chapX+v + if not set[cv] then set[cv] = { adds={}, drops={} } end + set[cv][is_add and "adds" or "drops"][k] = { num=n, link=l } + return set +end + +-- print_vrange(<file>,<book>,<ch1>,<v1>,<ch2>,<v2>,<lastchapter>) +-- Output LaTeX material to file <file> for verse range <ch1>:<v1>--<ch2>:<v2> +-- of book number <book>. Depending on <lastchapter>, the outputted material +-- might be the start of a new index entry or the continuation of a previous +-- entry. If <lastchapter> is positive, continue the previous entry and +-- print the chapter of <ch1>:<v1> only if it differs from <lastchapter>. If +-- <lastchapter> is negative, continue the previous entry and always print +-- the chapter number of <ch1>:<v1>. +function print_vrange(f,b,ch1,v1,ch2,v2,lch) + local r = f:write(lch == 0 and "\\idxentry{" or ",") + + if v1 <= 0 then + if lch ~= 0 then r = r and f:write("\\thinspace ") end + r = r and f:write(ch1) + elseif 0 <= b and b < #bible and #bible[b] == 1 then + -- This book has only one chapter. + if lch ~= 0 then r = r and f:write("\\thinspace ") end + r = r and f:write(v1) + elseif lch <= 0 or lch ~= ch1 or ch1 ~= ch2 then + if lch ~= 0 then r = r and f:write(" ") end + r = r and f:write(ch1,":",v1) + else + if lch ~= 0 then r = r and f:write("\\thinspace ") end + r = r and f:write(v1) + end + + if vlt(ch1,v1,ch2,v2) then + if v2 <= 0 then + r = r and f:write("--",ch2) + elseif ch1 ~= ch2 then + r = r and f:write("--",ch2,":",v2) + else + r = r and f:write("--",v2) + end + end + + return r +end + +-- print_reflist(<file>,<refset>) +-- Output the list of song references given by <refset> in sorted order +-- to file <file>. +function print_reflist(f,t) + local r = true + local s = {} + for k,_ in pairs(t) do table.insert(s,k) end + table.sort(s) + + local first = true + for _,k in ipairs(s) do + if first then first = false else r = r and f:write("\\\\") end + r = r and f:write("\\songlink{",t[k]["link"],"}{",t[k]["num"],"}") + end + return r +end + +function debug_print_reflist(r) + local first = true + io.stderr:write("{") + for k,_ in pairs(r) do + if first then first=false else io.stderr:write(",") end + io.stderr:write(k) + end + io.stderr:write("}") +end + +function debug_print_changeset(x) + if not x then io.stderr:write("nil") else + for cv,r in pairs(x) do + local ch,v = unpack_cv(cv) + io.stderr:write("{",ch,":",v," --> adds=") + debug_print_reflist(r["adds"]) + io.stderr:write(", drops=") + debug_print_reflist(r["drops"]) + io.stderr:write("}") + end + end +end + +-- genscriptureindex(<fstate>,<outname>,<biblename>) +-- Generate a LaTeX file named <outname> containing material suitable to +-- typeset the scripture index data found in input file <fstate>. Input +-- bible data from an ascii file named <biblename>. Return 0 on success, +-- 1 if there were warnings, and 2 if there was a fatal error. +function genscriptureindex(fs,outname,biblename) + local hadwarnings = 0 + local idx = {} + + io.stderr:write("songidx: Parsing scripture index data file ",fs["filename"],"...\n") + + -- Read the bible data file into the bible array. + if not readbible(biblename) then return 2 end + + -- Walk through the input file and construct a <changeset> for each book + -- of the bible. Each changeset represents the set of verses in that book + -- referred to by songs in the song book. + local key = 0 + while true do + local ref = filereadln(fs) + if not ref then break end + local n = filereadln(fs) + if not n then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": incomplete song entry (orphan reference line)\n") + fileclose(fs) + return 2 + end + local l = filereadln(fs) + if not l then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": incomplete song entry (missing hyperlink)\n") + fileclose(fs) + return 2 + end + key = key + 1 + + local i = 1 + local book, ch1, v1, ch2, v2 = -1, -1, -1, -1, -1 + while i <= #ref do + i,book,ch1,v1 = parseref(ref,i,book,ch1) + ch2,v2 = ch1,v1 + if not i then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Malformed scripture reference for song ",n,". Ignoring it.\n") + hadwarnings = 1 + break + end + if book < 1 then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," doesn't include a book name. Ignoring it.\n") + hadwarnings = 1 + break + end + if book > #bible then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," references unknown book. Ignoring it.\n") + hadwarnings = 1 + break + end + if ch1 < 1 then ch1 = 1 end + if ch1 > #bible[book] then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," refers to ",bible[book]["name"]," ",ch1,", which doesn't exist. Ignoring it.\n") + hadwarnings = 1 + break + end + if v1 < 1 then v1 = 1 end + if v1 > bible[book][ch1] then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," refers to ",bible[book]["name"]," ",ch1,":",v1,", which doesn't exist. Ignoring it.\n") + hadwarnings = 1 + break + end + + if ref:sub(i,i) == "-" then + -- If the reference ends in a "-", it starts an explicit range. + -- Parse the next reference to find the range's end. + i = unicode.utf8.find(ref, "[^%s%-]", i) + if not i then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," has range with no limit. Ignoring it.\n") + hadwarnings = 1 + break + end + local book2 + i,book2,ch2,v2 = parseref(ref,i,book,ch1) + if not i then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Malformed scripture reference for song ",n,". Ignoring it.\n") + hadwarnings = 1 + break + end + if book2 ~= book then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," appears to span books! Ignoring it.\n") + hadwarnings = 1 + break + end + end + if ch2 < 1 then ch2 = #bible[book] end + if ch2 > #bible[book] then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," refers implicitly to ",bible[book]["name"]," ",ch2,", which doesn't exist. Ignoring it.\n") + hadwarnings = 1 + break + end + if v2 < 1 then v2 = bible[book][ch2] + elseif v2 > bible[book][ch2] then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," refers implicitly to chapter ",ch2," of ",bible[book]["name"],", which doesn't exist. Ignoring it.\n") + hadwarnings = 1 + break + end + if vlt(ch2,v2,ch1,v1) then + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": WARNING: Scripture reference for song ",n," contains backwards range ",bible[book]["name"]," ",ch1,":",v1,"-",ch2,":",v2,". Ignoring it.\n") + hadwarnings = 1 + break + end + if i < #ref then i = i + 1 end + + idx[book] = insertref(true, idx[book], ch1, v1, n, l, key) + idx[book] = insertref(false, idx[book], ch2, v2, n, l, key) + end + end + fileclose(fs) + + -- Now create the index .sbx file. + io.stderr:write("songidx: Generating scripture index TeX file ",outname,"...\n") + local f,msg,errno + if outname == "-" then + f, outname = io.stdout, "stdout" + else + f,msg,errno = io.open(outname, "w") + if not f then + io.stderr:write("songidx: Unable to open ",outname," for writing.\n", + "Error ",errno,": ",msg,"\n") + return 2 + end + end + + -- For each book of the bible the has songs that reference it, go through its + -- <changeset> and generate a sequence of index entries. Wherever possible, + -- compact adjacent entries that have identical <refset>'s so that we never + -- have two consecutive index entries with identical right-hand sides. + for b=1,#bible do + local x = idx[b] + if x then + -- io.stderr:write("idx[",b,"] = ") + -- debug_print_changeset(x) + local s, t = {}, {} + for cv,_ in pairs(x) do table.insert(s,cv) end + table.sort(s) + local lch = 0 -- 0=none, -1=force printing of chapter + local cv1 = s[1] + local ch1,v1 = unpack_cv(cv1) + if not f:write("\\begin{idxblock}{",bible[b]["name"],"}\n") then return errorout(f) end + for i,cv in ipairs(s) do + local this = x[cv] + local ch,v = unpack_cv(cv) + local ncv,nxt,nch,nv = s[i+1] + if ncv then + nxt,nch,nv = x[ncv], unpack_cv(ncv) + end + for k,r in pairs(this["adds"]) do t[k] = r end + local skip = false + if ncv and eqdom(this["drops"], nxt["adds"]) then + -- Set of drops here equals set of adds next time. There's at least + -- a chance that we can combine this item and the next one into a + -- single index entry. + local ch2, v2 = vinc(b,ch,v) + if not vlt(ch2,v2, nch,nv) then + -- If the next item is adjacent to this one, do nothing. Just let + -- the range in progress be extended. We'll output a single entry + -- for all of these adjacent verses when we reach the end. + skip = true + elseif eqdom(t, this["drops"]) then + -- Otherwise, if the next item is not adjacent but all refs are + -- dropped here, then print a partial entry to be continued with a + -- comma next time. + if not print_vrange(f,b,ch1,v1,ch,v,lch) then return errorout(f) end + lch = (ch1 == ch) and ch or -1 + ch1, v1 = nch, nv + skip = true + end + end + if not skip then + if next(this["drops"]) then + -- Some songs get dropped here, and either the next item is not + -- adjacent to this one, or it's adjacent and the set of adds is not + -- the same. In either case, that means the set of refs changes at + -- this point, so we need to output a full entry (or finish the one + -- in progress). + if not (print_vrange(f,b,ch1,v1,ch,v,lch) and + f:write("}{") and + print_reflist(f,t) and + f:write("}\n")) then return errorout(f) end + for k,_ in pairs(this["drops"]) do t[k] = nil end + lch = 0 + if not next(t) and ncv then + ch1, v1 = nch, nv + else + ch1, v1 = vinc(b,ch,v) + end + end + if next(t) and ncv and next(nxt["adds"]) and vlt(ch1,v1,nch,nv) then + -- There are verses between this item and the next which have refs, + -- but the refs change at the beginning of the next item. Make an + -- entry for the intermediate block of verses. + local ch2, v2 = vdec(b,nch,nv) + if not (print_vrange(f,b,ch1,v1,ch2,v2,lch) and + f:write("}{") and + print_reflist(f,t) and + f:write("}\n")) then return errorout(f) end + lch, ch1, v1 = 0, nch, nv + end + end + end + if not f:write("\\end{idxblock}\n") then return errorout(f) end + end + end + + closeout(f) + return hadwarnings +end + +-- Main program entry point +function main() + local fs, biblename, inname, outname, locale + + local i = 1 + while arg[i] do + if arg[i] == "-v" or arg[i] == "--version" then + io.write("songidx ", VERSION, "\n", + "Copyright (C) 2018 Kevin W. Hamlen\n", + "License GPLv2: GNU GPL version 2 or later", + " <http://gnu.org/licenses/gpl.html>\n", + "This is free software: you are free to change and redistribute it.\n", + "There is NO WARRANTY, to the extent permitted by law.\n") + return 0 + elseif arg[i] == "-h" or arg[i] == "--help" then + io.write("Syntax: ",arg[-1]," ",arg[0]," [options] input.sxd [output.sbx]\n", +"Available options:\n", +" -b FILE Set the bible format when generating a scripture index\n", +" --bible FILE (default: ", BIBLEDEFAULT, ")\n", +"\n", +" -l LOCALE Override the default system locale (affecting how non-\n", +" --locale LOCALE English characters are sorted). See your system help\n", +" for valid LOCALEs.\n", +"\n", +" -h Display this help file and stop.\n", +" --help\n", +"\n", +" -v Print version information and stop.\n", +" --version\n", +"\n", +"If omitted, [output.sbx] defaults to the input filename but with the file\n", +"extension renamed to '.sbx'. To read or write to stdin or stdout, use '-'\n", +"in place of input.sxd or output.sbx.\n", +"\n", +"See http://songs.sourceforge.net for support.\n") + return 0 + elseif arg[i] == "-b" or arg[i] == "--bible" then + if biblename then + io.stderr:write("songidx: multiple bible files specified\n") + return 2 + end + i = i + 1 + if arg[i] then + biblename = arg[i] + else + io.stderr:write("songidx: ",arg[i-1]," option requires an argument\n") + return 2 + end + elseif arg[i] == "-l" or arg[i] == "--locale" then + if locale then + io.stderr:write("songidx: multiple locales specified\n") + return 2 + end + i = i + 1 + if arg[i] then + locale = arg[i] + else + io.stderr:write("songidx: ",arg[i-1]," requires an argument\n") + return 2 + end + elseif arg[i] == "-o" or arg[i] == "--output" then + if outname then + io.stderr:write("songidx: multiple output files specified\n") + return 2 + end + i = i + 1 + if arg[i] then + outname = arg[i] + else + io.stderr:write("songidx: ",arg[i-1]," option requires an argument\n") + return 2 + end + elseif arg[i]:sub(1,1) == "-" and arg[i] ~= "-" then + io.stderr:write("songidx: unknown option ",arg[i],"\n") + return 2 + elseif not inname then inname = arg[i] + elseif not outname then outname = arg[i] + else + io.stderr:write("songidx: too many command line arguments\n") + return 2 + end + i = i + 1 + end + + if not locale then + os.setlocale("") + elseif not os.setlocale(locale) then + io.stderr:write("songidx: invalid locale: ",locale,"\n") + return 2 + end + + if not inname then + io.stderr:write("songidx: no input file specified\n") + return 2 + end + if not outname then + if inname == "-" then + outname = "-" + else + local n + outname,n = inname:gsub("%.[^%./\\]*$", ".sbx") + if n == 0 then outname = inname .. ".sbx" end + end + end + if not biblename then biblename = BIBLEDEFAULT end + + fs = fileopen(inname) + if not fs then return 2 end + + local retval = 2 + local buf = filereadln(fs) + if not buf then + io.stderr:write("songidx:",fs["filename"],": file is empty\n") + fileclose(fs) + elseif buf == "TITLE INDEX DATA FILE" then + retval = genindex(fs,outname,false) + elseif buf == "SCRIPTURE INDEX DATA FILE" then + retval = genscriptureindex(fs,outname,biblename) + elseif buf == "AUTHOR INDEX DATA FILE" then + retval = genindex(fs,outname,true) + else + io.stderr:write("songidx:",fs["filename"],":",fs["lineno"],": file has unrecognized format\n") + fileclose(fs) + end + + if retval == 0 then + io.stderr:write("songidx: Done!\n") + elseif retval == 1 then + io.stderr:write("songidx: COMPLETED WITH ERRORS. SEE ABOVE.\n") + else + io.stderr:write("songidx: FAILED. SEE ERROR MESSAGES ABOVE.\n") + end + + return retval +end + +os.exit(main()) + diff --git a/macros/latex/contrib/songs/songidx/tanakh.can b/macros/latex/contrib/songs/songidx/tanakh.can new file mode 100644 index 0000000000..3f67d2076e --- /dev/null +++ b/macros/latex/contrib/songs/songidx/tanakh.can @@ -0,0 +1,100 @@ +# Copyright (C) 2018 Kevin W. Hamlen +# +# This program is free software; you can redistribute it and/or +# modify it under the terms of the GNU General Public License +# as published by the Free Software Foundation; either version 2 +# of the License, or (at your option) any later version. +# +# This program is distributed in the hope that it will be useful, +# but WITHOUT ANY WARRANTY; without even the implied warranty of +# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +# GNU General Public License for more details. +# +# You should have received a copy of the GNU General Public License +# along with this program; if not, write to the Free Software +# Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +# MA 02110-1301, USA. +# +# The latest version of this program can be obtained from +# http://songs.sourceforge.net. +# +# +# Filename: tanakh.can +# Last modified: 2006/06/12 +# +# The following Canon data file describes the layout of the Jewish Tanakh. +# This includes the books of the Protestant Old Testament, but in a different +# order and with Chronicles as one book (spanning the Protestant books of +# 1 & 2 Chronicles) and Ezra as one book (spanning the Protestant books of +# Ezra and Nehemiah). +# +Genesis +031 025 024 026 032 022 024 022 029 032 032 020 018 024 021 016 027 033 038 018 034 024 020 067 034 035 046 022 035 043 055 032 020 031 029 043 036 030 023 023 057 038 034 034 028 034 031 022 033 026 +Exodus +022 025 022 031 023 030 025 032 035 029 010 051 022 031 027 036 016 027 025 026 036 031 033 018 040 037 021 043 046 038 018 035 023 035 035 038 029 031 043 038 +Leviticus +017 016 017 035 019 030 038 036 024 020 047 008 059 057 033 034 016 030 037 027 024 033 044 023 055 046 034 +Numbers +054 034 051 049 031 027 089 026 023 036 035 016 033 045 041 050 013 032 022 029 035 041 030 025 018 065 023 031 040 016 054 042 056 029 034 013 +Deuteronomy +046 037 029 049 033 025 026 020 029 022 032 032 018 029 023 022 020 022 021 020 023 030 025 022 019 019 026 068 029 020 030 052 029 012 +Joshua +018 024 017 024 015 027 026 035 027 043 023 024 033 015 063 010 018 028 051 009 045 034 016 033 +Judges +036 023 031 024 031 040 025 035 057 018 040 015 025 020 020 031 013 031 030 048 025 +Samuel +028 036 021 022 012 021 017 022 027 027 015 025 023 052 035 023 058 030 024 042 015 023 029 022 044 025 012 025 011 031 013 027 032 039 012 025 023 029 018 013 019 027 031 039 033 037 023 029 033 043 026 022 051 039 025 +Kings +053 046 028 034 018 038 051 066 028 029 043 033 034 031 034 034 024 046 021 043 029 053 018 025 027 044 027 033 020 029 037 036 021 021 025 029 038 020 041 037 037 021 026 020 037 020 030 +Isaiah +031 022 026 006 030 013 025 022 021 034 016 006 022 032 009 014 014 007 025 006 017 025 018 023 012 021 013 029 024 033 009 020 024 017 010 022 038 022 008 031 029 025 028 028 025 013 015 022 026 011 023 015 012 017 013 012 021 014 021 022 011 012 019 012 025 024 +Jeremiah +019 037 025 031 031 030 034 022 026 025 023 017 027 022 021 021 027 023 015 018 014 030 040 010 038 024 022 017 032 024 040 044 026 022 019 032 021 028 018 016 018 022 013 030 005 028 007 047 039 046 064 034 +Ezekiel +028 010 027 017 017 014 027 018 011 022 025 028 023 023 008 063 024 032 014 049 032 031 049 027 017 021 036 026 021 026 018 032 033 031 015 038 028 023 029 049 026 020 027 031 025 024 023 035 +Hosea +011 023 005 019 015 011 016 014 017 015 012 014 016 009 +Joel +020 032 021 +Amos +015 016 015 013 027 014 017 014 015 +Obadiah +021 +Jonah +017 010 010 011 +Micah +016 013 012 013 015 016 020 +Nahum +015 013 019 +Habakkuk +017 020 019 +Zephaniah +018 015 020 +Haggai +015 023 +Zechariah +021 013 010 014 011 015 014 023 017 012 017 014 009 021 +Malachi +014 017 018 006 +Psalms|Psalm +006 012 008 008 012 010 017 009 020 018 007 008 006 007 005 011 015 050 014 009 013 031 006 010 022 012 014 009 011 012 024 011 022 022 028 012 040 022 013 017 013 011 005 026 017 011 009 014 020 023 019 009 006 007 023 013 011 011 017 012 008 012 011 010 013 020 007 035 036 005 024 020 028 023 010 012 020 072 013 019 016 008 018 012 013 017 007 018 052 017 016 015 005 023 011 013 012 009 009 005 008 028 022 035 045 048 043 013 031 007 010 010 009 008 018 019 002 029 176 007 008 009 004 008 005 006 005 006 008 008 003 018 003 003 021 026 009 008 024 013 010 007 012 015 021 010 020 014 009 006 +Proverbs +033 022 035 027 023 035 027 036 018 032 031 028 025 035 033 033 028 024 029 030 031 029 035 034 028 028 027 028 027 033 031 +Job +022 013 026 021 027 030 021 022 035 022 020 025 028 022 035 022 016 021 029 029 034 030 017 025 006 014 023 028 025 031 040 022 033 037 016 033 024 041 030 024 034 017 +Song of Songs|Song of Solomon +017 017 011 016 016 013 013 014 +Ruth +022 023 018 022 +Lamentations +022 022 066 022 022 +Ecclesiastes +018 026 022 016 020 012 029 017 018 020 010 014 +Esther +022 023 015 017 014 014 010 017 032 003 +Daniel +021 049 030 037 031 028 028 027 027 021 045 013 +Ezra +011 070 013 024 017 022 028 036 015 044 011 020 032 023 019 019 073 018 038 039 036 047 031 +Chronicles +054 055 024 043 026 081 040 040 044 014 047 040 014 017 029 043 027 017 019 008 030 019 032 031 031 032 034 021 030 017 018 017 022 014 042 022 018 031 019 023 016 022 015 019 014 019 034 011 037 020 012 021 027 028 023 009 027 036 027 021 033 025 033 027 023 diff --git a/macros/latex/contrib/songs/songs.dtx b/macros/latex/contrib/songs/songs.dtx new file mode 100644 index 0000000000..3f6889fda2 --- /dev/null +++ b/macros/latex/contrib/songs/songs.dtx @@ -0,0 +1,12455 @@ +% \iffalse meta-comment +% +% Copyright (C) 2018 Kevin W. Hamlen +% +% This program is free software; you can redistribute it and/or +% modify it under the terms of the GNU General Public License +% as published by the Free Software Foundation; either version 2 +% of the License, or (at your option) any later version. +% +% This program is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with this program; if not, write to the Free Software +% Foundation, Inc., 51 Franklin Street, 5th Floor, Boston, +% MA 02110-1301, USA. +% +% The latest version of this program can be obtained from +% http://songs.sourceforge.net. +% +% \fi +% +% \iffalse +%<*driver> +\ProvidesFile{songs.dtx} +%</driver> +%<package>\NeedsTeXFormat{LaTeX2e} +%<package>\ProvidesPackage{songs} +%<*package> + [2018/09/12 v3.1 Songs package] +%</package> +% +%<*driver> +\documentclass{ltxdoc} + +% This documentation compiles as part of the Songs self-installer, so it +% needs to work even on tiny LaTeX installations with few packages. We +% therefore try to be especially robust to missing package failures. +\newcommand\trypackage[4][]{\IfFileExists{#2.sty}{\usepackage[#1]{#2}#3}{#4}} +\trypackage{microtype}{\linepenalty=20 \parfillskip=0pt plus\textwidth\relax}{} +\trypackage{lmodern}{\usepackage[T1]{fontenc}}{} +\trypackage{ifpdf}{}{\expandafter\newif\csname ifpdf\endcsname\pdffalse} +\trypackage{color}{}{} +\ifpdf + \trypackage[bookmarks,linkbordercolor={.6 0 0}]{hyperref}{}{} +\fi +\usepackage[nopdfindex]{songs} + +% Provide back-up hyperlinking and color macros that do nothing, +% in case the hyperref and/or color packages are absent. +\providecommand\href[2]{#2} +\providecommand\url[1]{#1} +\providecommand\pdfbookmark[3][]{} +\providecommand\hyperdef[3]{} +\providecommand\hyperlink[2]{#2} +\providecommand\texorpdfstring[2]{#1} +\providecommand\definecolor[3]{} +\providecommand\color[1]{} +\providecommand\textcolor[2]{#2} +\providecommand\microtypesetup[1]{} + +% Configure the document: +\let\oldSE\StopEventually +\EnableCrossrefs +\CodelineIndex +\RecordChanges +%\OnlyDescription + +% Create the \Songs logo, if the musix13 font is available: +\newcommand\Songs{\texorpdfstring{{\sffamily songs}}{songs}} +\newcount\imode +\imode=\interactionmode +\batchmode +\newfont\musicfont{musix13} +\interactionmode=\imode +\ifx\musicfont\nullfont\else + \newdimen\msize + \newcommand\wholenote{% + \msize4ex + \expandafter\ifx\csname musicfont\the\msize\endcsname\relax + \expandafter\newfont\csname musicfont\the\msize\endcsname + {musix13 at \the\msize}% + \fi + \kern.13ex + \raise.5ex\hbox{{\csname musicfont\the\msize\endcsname\symbol9}}% + \kern1.53ex + } + \renewcommand\Songs{\texorpdfstring{{\sffamily s\wholenote ngs}}{songs}} +\fi + +% Create the logo for Christopher Rath's Songbook package: +\newcommand{\Rath}{{\sffamily Song$\flat$ook}} + +% Colors +\definecolor{myred}{rgb}{0.6,0,0} +\definecolor{myblu}{rgb}{0,0,0.6} +\definecolor{mygra}{gray}{0.33} +\def\PrintDescribeMacro#1{\strut{\MacroFont\color{myred}\string#1}\ } +\let\PrintMacroName\PrintDescribeMacro +\def\PrintDescribeEnv#1{\strut{\MacroFont\color{myred}#1}\ } +\let\PrintEnvName\PrintDescribeEnv +{\makeatletter\gdef\verbatim@font{\normalfont\color{myblu}\ttfamily}} + +% For some reason, doc.sty removes the \verbatim@font customization hook +% for \verb|...|. (Why??) That's not nice, so we put it back: +{\makeatletter + \gdef\verb {\relax\ifmmode\hbox\else\leavevmode\null\fi + \bgroup \let\do\do@noligs \verbatim@nolig@list + \verbatim@font \verb@eol@error \let\do\@makeother \dospecials + \@ifstar{\@sverb}{\@vobeyspaces \frenchspacing \@sverb}} +} + +% Define some environments to simulate the interior of a verse, +% for showing samples in the documentation: +{\makeatletter + \gdef\likeverse{% + \SB@insongtrue\SB@inversetrue + \SB@loadactives + \global\SB@ctail\SB@cr@ + } + \gdef\chordheight{\SB@setbaselineskip} +} + +% Typeset a block of LaTeX code: +\newcommand\pfs{\parfillskip0pt plus1fil\relax} +\newenvironment{codeblock}{% + \medskip + \begingroup + \ifdim\parindent=0pt \parindent=20pt\fi + \indent\vbox\bgroup + \hsize\linewidth + \advance\hsize-\parindent + \rightskip=0pt plus1fil\pfs + \parindent=0pt + \color{myblu}% + \obeylines +}{% + \egroup\endgroup + \medskip +} + +% Typeset a sample song or scripture quotation: +\songcolumns{0} +\newenvironment{sample}{% + \medskip + \noindent\hfil + \vbox\bgroup + \hsize.5\hsize + \advance\hsize-.5\columnsep + \versesep=5pt + \pfs +}{% + \egroup{\pfs\par}\medskip +} + +% Typeset a sample lyric book fragment: +\newenvironment{lyrics}{% + \medskip + \noindent\hfil + \vbox\bgroup\begingroup + \hsize=.7\textwidth + \leftskip=20pt\rightskip=0pt plus1fil\pfs + \parindent=-20pt + \likeverse\obeylines +}{% + \par\endgroup\egroup + \hfil{\pfs\par} + \medskip +} + +% Typeset a sample chord book fragment: +\newenvironment{chorded}{% + \medskip + \noindent\hfil + \vbox\bgroup\begingroup + \hsize=.7\textwidth + \leftskip=20pt\rightskip=0pt plus1fil\pfs + \parindent=-20pt + \likeverse\obeylines + \versesep=5pt\chordheight +}{% + \par\endgroup\egroup + \hfil{\pfs\par} + \medskip +} + +% Typeset a "<code> produces <text>" example: +\newlength\prodlen +\setlength{\prodlen}{2.7in} +\newbox\prodbox +\newcommand{\example}{% + \medskip\setbox\prodbox\hbox\bgroup\begingroup\color{myblu}% +} +\newcommand{\produces}{% + \endgroup\egroup + \indent + \vbox{\hbox to\prodlen{\unhbox\prodbox\hfil}} + \ {\it produces}\quad + \afterassignment\prodprefix + \setbox\prodbox\hbox +} +\newcommand{\prodprefix}{% + \likeverse\chordheight + \aftergroup\prodsuffix +} +\newcommand{\prodsuffix}{\unhbox\prodbox{\pfs\par}\medskip} +\newbox\vcbox +\newdimen\vcadjust +\newcommand{\vcenterbox}[1]{% + \setbox\vcbox\vbox{\hbox{#1}}% + \vcadjust=.5\ht\vcbox + \advance\vcadjust by-6pt + \lower\vcadjust\box\vcbox +} + +% Recode \DescribeMacro and \DescribeEnv to make nice pdfbookmark entries. +% Also create some \MainImpl macros that make pdfbookmarks to help the reader +% find the "real" implementations of important macros. +\newcount\seclevel +\newcommand\mybookmark[2]{% + \ifnum\value{subsection}=0 \seclevel=2 + \else\ifnum\value{subsubsection}=0 \seclevel=3 + \else\seclevel=4 \fi\fi + \setcounter{tocdepth}{4}% + \pdfbookmark[\the\seclevel]{#1}{#2}% + \setcounter{tocdepth}{3}% +} +{\makeatletter + \xdef\bschar{\@backslashchar} + \global\let\For\@for} +\newcommand\DescMacro[1]{% + \ifhmode\unskip\fi + \mybookmark{\bschar\bschar#1}{macdef-#1}% + \expandafter\DescribeMacro\expandafter{\csname#1\endcsname}% + \hyperdef{macro}{#1}{}\unpenalty + \ignorespaces +} +\newcommand\DescMacroGroup[3]{% + \ifhmode\unskip\fi + \mybookmark{\bschar\bschar#2}{macdef-#1}% + \expandafter\DescribeMacro\expandafter{\csname#2\endcsname}% + \For\temp:=#3\do{\hyperdef{macro}{\temp}{}}\unpenalty + \ignorespaces +} +\newcommand\MainImpl[1]{% + \pdfbookmark[3]{\bschar\bschar#1}{mimpl-#1}% +} +\newcommand{\DescEnv}[1]{% + \ifhmode\unskip\fi + \mybookmark{#1}{envdef-#1}% + \DescribeEnv{#1}% + \hyperdef{env}{#1}{}\unpenalty + \ignorespaces +} +\newcommand{\MainEnvImpl}[1]{% + \mybookmark{#1}{eimpl-#1}% +} + +% Create macros to hyperlink macro and environment names to their +% documentation points. +\newcommand{\mac}[1]{{\tt\hyperlink{macro.#1}{\textcolor{myblu}{\char92 #1}}}} +\newcommand{\env}[1]{{\tt\hyperlink{env.#1}{\textcolor{myblu}{#1}}}} + +% Defining bookmarks for definitions of active characters is a little trickier +% because many of these characters have special meanings either to TeX or to +% PDF. The only reliable way is to insert an "\ooo" escape sequence into the +% bookmark text, where ooo is the ascii number of the character expressed in +% octal. To achieve this, we use `\string<symbol> to obtain the decimal +% ascii number d of the symbol, then do some math (implemented in \octal) +% to compute and tokenize each octal digit of d into the bookmark text. +\newcount\cnta +\newcount\cntb +\newcommand\ooo{} +\newcommand\octal{% + \cntb\cnta + \divide\cnta8 + \multiply\cnta-8 + \advance\cntb\cnta + \edef\ooo{\the\cntb\ooo}% + \divide\cnta-8 +} +\newcommand{\DescChar}[2]{% + \ifhmode\unskip\fi + \expandafter\let\csname string#1\expandafter\endcsname + \expandafter=\string#2% + \cnta\expandafter`\string#2% + \def\ooo{}\octal\octal\octal + \mybookmark{\bschar\ooo}{#1def}% + {\def\SpecialUsageIndex##1{}% + \expandafter\DescribeMacro\string#2}% + \hyperdef{env}{#1}{}\unpenalty + \ignorespaces +} +\newcommand{\refchar}[1]{{\tt\hyperlink{env.#1}{\csname string#1\endcsname}}} + +% At the end of the implementation section we'll have a code line index of +% macro definitions and usages. To make it look a bit less ragged than the +% default index style and to conserve some space, we'll customize a few of +% the parameters: + +\IndexPrologue{% + \subsection{Codeline Index}% + Underlined numbers refer to the code line where the corresponding entry + is defined; other numbers refer to the code lines where the entry + is used.} + +{\makeatletter + + \gdef\IndexParms{% + \sfcode`,=1750 + \parindent0pt + \columnsep15pt + \parskip0pt plus1pt + \rightskip0pt + \mathsurround0pt + \parfillskip0pt + \small + \microtypesetup{protrusion=false}% + \def\@idxitem{\par\hangindent15pt}% + \def\subitem{\@idxitem\hspace*{15pt}}% + \def\subsubitem{\@idxitem\hspace*{25pt}}% + \def\indexspace{\par\vspace{10pt plus 2pt minus 3pt}}} + + \gdef\SpecialMainOptIndex#1{% + \@bsphack + \special@index{% + #1\actualchar{\string\ttfamily\space#1} (option)\encapchar main}% + \special@index{% + options:\levelchar + #1\actualchar{\string\ttfamily\space#1}\encapchar main}% + \@esphack} +} + +% Create a conditional that typesets its first argument if we're including +% the implementation section, otherwise typesets its second argument. +\newcommand\ImplOrDesc[2]{% + \ifx\StopEventually\oldSE#1\else#2\fi +} + +% Hyphenating the word "choruses" looks weird. No "ruses" please! +\hyphenation{choruses white-space} + +% An environment for describing the implementation of a package option: +\let\oldsmei\SpecialMainEnvIndex +\newenvironment{option}[1]{% + \let\SpecialMainEnvIndex\SpecialMainOptIndex + \begin{environment}{#1}% + \let\SpecialMainEnvIndex\oldsmei +}{% + \end{environment}% + \let\SpecialMainEnvIndex\oldsmei +} + +% Describe the default setting for an option: +\newcommand\optdef[1]{\noindent{\it(Default: #1)}\hspace{.5cm}} + +% Typeset a chord name: +\newcommand{\chord}[1]{{\sffamily\slshape#1}} + +% Here are a few macros to produce nice syntax parameters: +\newcommand\Meta[1]{{\color{mygra}\meta{#1}}} +\newcommand\argp[1]{\Meta{arg#1}} +\newcommand\Metarm[1]{\textrm{\Meta{#1}}} +\newcommand\OR{\,$\mid$\,} +\newcommand\SPC{\char`\ } + +% Now let's quell those annoying "Marginpar has moved" warning messages. +{\makeatletter + \global\let\oldamp=\@addmarginpar + \global\let\oldlwnl=\@latex@warning@no@line + \gdef\@addmarginpar{% + \let\@latex@warning@no@line\@gobble + \oldamp + \let\@latex@warning@no@line\oldlwnl + } +} + +% The \eat macro just gobbles its argument. I use it to appease my syntax +% highlighter when it gets confused. +\newcommand{\eat}[1]{} + +\begin{document} + \DocInput{songs.dtx} +\end{document} +%</driver> +% \fi +% +% \CheckSum{8935} +% +% \CharacterTable +% {Upper-case \A\B\C\D\E\F\G\H\I\J\K\L\M\N\O\P\Q\R\S\T\U\V\W\X\Y\Z +% Lower-case \a\b\c\d\e\f\g\h\i\j\k\l\m\n\o\p\q\r\s\t\u\v\w\x\y\z +% Digits \0\1\2\3\4\5\6\7\8\9 +% Exclamation \! Double quote \" Hash (number) \# +% Dollar \$ Percent \% Ampersand \& +% Acute accent \' Left paren \( Right paren \) +% Asterisk \* Plus \+ Comma \, +% Minus \- Point \. Solidus \/ +% Colon \: Semicolon \; Less than \< +% Equals \= Greater than \> Question mark \? +% Commercial at \@ Left bracket \[ Backslash \\ +% Right bracket \] Circumflex \^ Underscore \_ +% Grave accent \` Left brace \{ Vertical bar \| +% Right brace \} Tilde \~} +% +% \changes{v1.0}{2001/12/01}{Initial version} +% \changes{v1.1}{2005/04/03}{Change log introduced and first release of this documentation} +% \changes{v1.17}{2005/09/24}{Transformed the source from a class to a package} +% \changes{v1.18}{2005/09/29}{Verse numbering added} +% \changes{v2.0}{2007/06/20}{Keyval syntax and chord-replay system added} +% +% \iffalse +% Here we list all the macros that should not be indexed because they are: +% (a) too common and therefore the index would be too large if we listed them, +% (b) not useful in an index because they are predefined TeX macros, or +% (c) not really macros but rather control sequence names given to \string. +% \fi +% \DoNotIndex{\@M,\@depth,\@empty,\@firstofone,\@firstoftwo,\@gobble,\@gobbletwo,\@height,\@m,\@minus,\@ne,\@plus,\@secondoftwo,\@width,\m@ne,\p@,\thr@@,\tw@,\voidb@x,\@xpt,\z@,\z@skip} +% \DoNotIndex{\advance,\char,\count,\divide,\font,\fontdimen,\maxdimen,\multiply,\setcounter,\setlength,\settoheight,\settowidth,\stepcounter} +% \DoNotIndex{\begin,\begingroup,\bgroup,\egroup,\end,\endgroup} +% \DoNotIndex{\box,\copy,\dp,\hbox,\ht,\leavevmode,\lower,\null,\prevdepth,\raise,\rlap,\setbox,\unhbox,\unhcopy,\unpenalty,\unskip,\unvbox,\unvcopy,\vbox,\vtop,\wd} +% \DoNotIndex{\csname,\def,\edef,\endcsname,\futurelet,\gdef,\global,\let,\long,\mathchardef,\newcommand,\renewcommand,\renewenvironment,\xdef} +% \DoNotIndex{\@ifundefined,\@for,\do,\else,\fi,\ifcase,\ifcat,\ifdim,\iffalse,\ifhmode,\ifmmode,\ifinner,\ifnum,\ifodd,\ifvbox,\ifvmode,\ifvoid,\ifx,\loop,\or,\repeat,\undefined} +% \DoNotIndex{\afterassignment,\aftergroup,\expandafter,\ignorespaces,\immediate,\noexpand,\protect,\relax,\space,\string,\the} +% \DoNotIndex{\hfil,\hfilneg,\hskip,\hss,\indent,\kern,\nobreak,\noindent,\nointerlineskip,\offinterlineskip,\par,\penalty,\strut,\thinspace,\vadjust,\vfil,\vfilneg,\vphantom,\vskip} +% \DoNotIndex{\@octets,\four,\three,\two,\UTFviii@,\UTFviii@zero@octets,\0,\1,\2,\3,\4,\5,\6,\7,\8,\9,\X,\O} +% +% \GetFileInfo{songs.dtx} +% +% \title{The \Songs{} package\thanks{This manual documents +% \textsf{songs}~\fileversion, dated~\filedate, +% \copyright~2018 Kevin W.~Hamlen, and +% distributed under version~2 the GNU General Public License +% as published by the Free Software Foundation.}} +% \author{Kevin W. Hamlen} +% +% \maketitle +% +% \begin{abstract} +% The \Songs{} package produces songbooks that contain lyrics and chords +% (but not full sheet music). +% It allows lyric books, chord books, overhead slides, and digital projector +% slides to all be maintained and generated from a single \LaTeX{} source +% document. +% Automatic transposition, guitar tablature diagrams, handouts, and +% a variety of specialized song indexes are supported. +% \end{abstract} +% +% \section{Introduction} +% +% The \Songs{} \LaTeX{} package produces books of songs that contain lyrics and +% (optionally) chords. +% A single source document yields a lyric book for singers, a chord book for +% musicians, and overhead or digital projector slides for corporate singing. +% +% The software is especially well suited for churches and religious +% fellowships desiring to create their own books of worship songs. +% Rather than purchasing a fixed hymnal of songs, the \Songs{} package allows +% worship coordinators to maintain a constantly evolving repertoire of music +% to which they can add and remove songs over time. +% As the book content changes, the indexes, spacing, and other formatting +% details automatically adjust to stay consistent. +% Songs can also be quickly selected and arranged for specific events or +% services through the use of scripture indexes, automatic transposition, +% and handout and slide set creation features. +% +% \section{Terms of Use} +% +% \noindent +% The \Songs{} package is free software; you can redistribute it and/or +% modify it under the terms of the GNU General Public License +% as published by the Free Software Foundation; either version~2 +% of the License, or (at your option) any later version. +% A copy of the license can be found in \S\ref{sec:license}. +% +% \medskip +% +% \noindent +% This program is distributed in the hope that it will be useful, +% but {\sc without any warranty}; without even the implied warranty of +% {\sc merchantability} or {\sc fitness for a particular purpose}. See the +% GNU General Public License in \S\ref{sec:license} for details. +% A copy of the license can also be obtained by writing to the +% Free Software Foundation, Inc., 51 Franklin Street, 5th Floor, +% Boston, MA 02110-1301, USA. +% +% \medskip +% +% \noindent +% This software is copyright \copyright~2018 Kevin W.~Hamlen. +% For contact information or the latest version, see the project webpage at: +% +% \vskip1.5ex +% \begingroup\centering\noindent +% \href{http://songs.sourceforge.net}{{\tt http://songs.sourceforge.net}}\par +% \endgroup +% +% \section{Sample Document} +% +% For those who would like to start making song books quickly, the +% following is a sample document that yields a simple song book with +% one song. +% Starting from this template, you can begin to add songs and customizations +% to create a larger book. +% Instructions for compiling this sample song book follow the listing. +% +% \begingroup\color{myblu} +% \begin{verbatim} +% \documentclass{article} +% \usepackage[chorded]{songs} +% +% \noversenumbers +% +% \begin{document} +% +% \songsection{Worship Songs} +% +% \begin{songs}{} +% \beginsong{Doxology}[by={Louis Bourgeois and Thomas Ken}, +% sr={Revelation 5:13}, +% cr={Public domain.}] +% \beginverse +% \[G]Praise God, \[D]from \[Em]Whom \[Bm]all \[Em]bless\[D]ings \[G]flow; +% \[G]Praise Him, all \[D]crea\[Em]tures \[C]here \[G]be\[D]low; +% \[Em]Praise \[D]Him \[G]a\[D]bove, \[G]ye \[C]heav'n\[D]ly \[Em]host; +% \[G]Praise Fa\[Em]ther, \[D]Son, \[Am]and \[G/B G/C]Ho\[D]ly \[G]Ghost. +% \[C]A\[G]men. +% \endverse +% \endsong +% \end{songs} +% +% \end{document} +% \end{verbatim} +% \endgroup\nointerlineskip\vskip-6pt plus0pt minus0pt +% +% To compile this book, run \LaTeX{} (|pdflatex| is recommended): +% +% \begin{codeblock} +% |pdflatex mybook.tex| +% \end{codeblock} +% +% \noindent +% (where |mybook.tex| is the name of the source document above). +% The final document is named |mybook.pdf| if you use |pdflatex| or +% |mybook.dvi| if you use regular |latex|. +% +% Note that compiling a document that includes indexes requires extra steps. +% See \S\ref{sec:compiling} for details. +% +% \begin{figure} +% \noindent\vbox{\begingroup\hsize=352pt +% \versesep=12pt\columnsep=7pt\parindent=20pt +% \def\colbotglue{0pt}\def\lastcolglue{0pt} +% \baselineadj=-1pt\relax +% \noversenumbers +% \setlength\textwidth{352pt} +% \setlength\textheight{498pt} +% \songcolumns{2} +% \vskip-3.5ex plus-1ex minus-.2ex +% \nointerlineskip\null\nointerlineskip +% \songsection*{Worship Songs} +% \begin{songs}{} +% \beginsong{Doxology}[ +% by={Louis Bourgeois and Thomas Ken}, +% sr={Revelation 5:13}, +% cr={Public domain.}] +% \beginverse +% \[G]Praise God, \[D]from \[Em]Whom \[Bm]all \[Em]bless\[D]ings \[G]flow; +% \[G]Praise Him, all \[D]crea\[Em]tures \[C]here \[G]be\[D]low; +% \[Em]Praise \[D]Him \[G]a\[D]bove, \[G]ye \[C]heav'n\[D]ly \[Em]host; +% \[G]Praise Fa\[Em]ther, \[D]Son, \[Am]and \[G/B G/C]Ho\[D]ly \[G]Ghost. +% \[C]A\[G]men. +% \endverse +% \endsong\eat\] +% \parindent=15pt +% \beginscripture{Psalm 18:2-6} +% \Acolon The LORD is my rock and my fortress and my deliverer, +% \Bcolon my God, my rock, in whom I take refuge, +% \Bcolon my shield, and the horn of my salvation, my stronghold. +% \Acolon I call upon the LORD, who is worthy to be praised, +% \Bcolon and I am saved from my enemies. +% \strophe +% \Acolon The cords of death encompassed me; +% \Bcolon the torrents of destruction assailed me; +% \Acolon the cords of Sheol entangled me; +% \Bcolon the snares of death confronted me. +% \strophe +% \Acolon In my distress I called upon the LORD; +% \Bcolon to my God I cried for help. +% \Acolon From his temple he heard my voice, +% \Bcolon and my cry to him reached his ears. +% \endscripture +% \parindent=20pt +% \beginsong{A Mighty Fortress Is Our God}[ +% by={Martin Luther}, +% cr={Public Domain.}] +% \beginverse +% A \[A]mighty \[C#m]Fortress \[B7]is our \[E]God, +% A \[D]bulwark \[A]never \[E7]fail\[A]ing. +% Our helper \[C#m]He, a\[B7]mid the \[E]flood +% Of \[D]mortal \[A]ills pre\[E7]vail\[A]ing. +% For still our \[B7sus4]an\[B7]cient \[E]foe +% Doth \[A]seek to \[E/G#]work us \[F#m]woe; +% His craft and \[B7]pow'r are \[E]great, +% And, \[Bm]armed with cruel \[C#]hate, +% On \[D]earth is \[A]not his \[E7]e\[A]qual. +% \endverse +% \beginverse +% Did ^we in ^our own ^strength con^fide, +% Our ^striving ^would be ^los^ing. +% Were not the ^right Man ^on our ^side, +% The ^Man of ^God's own ^choos^ing. +% Dost ask who ^that ^may ^be? +% Christ ^Jesus, ^it is ^He; +% Lord Saba^oth His ^Name, +% From ^age to age the ^same; +% And ^He must ^win the ^bat^tle. +% \endverse +% \endsong\eat\] +% \end{songs} +% \endgroup}\par +% \caption{Sample page from a chord book}\label{fig:sample} +% \end{figure} +% A copy of the first page of a sample song section is shown in +% Figure~\ref{fig:sample}. +% The page shown in that figure is from a chorded version of the book. +% When generating a lyric version, the chords are omitted. +% See \S\ref{sec:options} for information on how to generate different +% versions of the same book. +% +% \section{Initialization and Options}\label{sec:options} +% +% Each \LaTeX{} document that uses the \Songs{} package should contain a +% line like the following near the top of the document: +% +% \begin{codeblock} +% |\usepackage[|\Meta{options}|]{songs}| +% \end{codeblock} +% +% \noindent +% Supported \Meta{options} include the following: +% +% \paragraph{Output Type.} +% \DescEnv{lyric} +% \DescEnv{chorded} +% \DescEnv{slides} +% \DescEnv{rawtext} +% The \Songs{} package can produce four kinds of books: lyric books, chord +% books, books of overhead slides, and raw text output. +% You can specify which kind of book is to be produced by specifying one of +% |lyric|, |chorded|, |slides|, or |rawtext| as an option. +% The |slides| and |chorded| options can be used together to create chorded +% slides. +% If no output options are specified, |chorded| is the default. +% +% Lyric books omit all chords, whereas chord books include chords and +% additional information for musicians (specified using \mac{musicnote}). +% Books of overhead slides typeset one song per page in a large font, centered. +% +% Raw text output yields an ascii text file named \Meta{jobname}|.txt| +% (where \Meta{jobname} is the root filename) containing lyrics without chords. +% This can be useful for importing song books into another program, such as a +% spell-checker. +% +% \DescMacro{chordson} +% \DescMacro{chordsoff} +% Chords can be turned on or off in the middle of the document +% by using the |\chordson| or |\chordsoff| macros. +% +% \DescMacro{slides} +% Slides mode can be activated in the middle of the document by using the +% |\slides| macro. +% For best results, this should typically only be done in the document +% preamble or at the beginning of a fresh page. +% +% \paragraph{Measure Bars.} +% \DescEnv{nomeasures} +% \DescEnv{showmeasures} +% \DescMacro{measureson} +% \DescMacro{measuresoff} +% The \Songs{} package includes a facility for placing measure bars in chord +% books (see \S\ref{sec:measures}). +% To omit these measure bars, use the |nomeasures| option; +% to display them, use the |showmeasures| option (the default). +% Measure bars can also be turned on or off in the middle of the document by +% using the |\measureson| or |\measuresoff| macros. +% +% \paragraph{Transposition.} +% \DescEnv{transposecapos} +% The |transposecapos| option changes the effect of the \mac{capo} macro. +% Normally, using |\capo{|\Meta{n}|}| within a song environment produces a +% textual note in chord books that suggests the use of a guitar capo on fret +% \Meta{n}. +% However, when the |transposecapos| option is active, these textual notes +% are omitted and instead the effect of |\capo{|\Meta{n}|}| is the +% same as for \mac{transpose}|{|\Meta{n}|}|. +% That is, chords between the \mac{capo} macro and the end of the song are +% automatically transposed up by \Meta{n} half-steps. +% This can be useful for adapting a chord book for guitarists to one that can +% be used by pianists, who don't have the luxury of capos. +% See \S\ref{sec:notes} and \S\ref{sec:transpose} for more information on the +% \mac{capo} and \mac{transpose} macros. +% +% \paragraph{Indexes.} +% \DescEnv{noindexes} +% \DescMacro{indexeson} +% \DescMacro{indexesoff} +% The |noindexes| option suppresses the typesetting of any in-document indexes. +% Display of indexes can also be turned on or off using the |\indexeson| and +% |\indexesoff| macros. +% +% \DescEnv{nopdfindex} +% PDF bookmark entries and hyperlinks can be suppressed with the |nopdfindex| +% option. +% For finer control of PDF indexes, see \S\ref{sec:idxcust}. +% +% \paragraph{Scripture Quotations.} +% \DescEnv{noscripture} +% \DescMacro{scriptureon} +% \DescMacro{scriptureoff} +% The |noscripture| option omits scripture quotations (see +% \S\ref{sec:scripture}) from the output. +% You can also turn scripture quotations on or off in the middle of the +% document by using |\scriptureon| or |\scriptureoff|, respectively. +% +% \paragraph{Shaded Boxes.} +% \DescEnv{noshading} +% The |noshading| option causes all shaded boxes, such as those that surround +% song numbers and textual notes, to be omitted. +% You might want to use this option if printing such shaded boxes causes +% problems for your printer or uses too much ink. +% +% \paragraph{Partial Song Sets.} +% \DescMacro{includeonlysongs} +% Often it is useful to be able to extract a subset of songs from the master +% document---e.g.~to create a handout or set of overhead slides for a specific +% worship service. +% To do this, you can type |\includeonlysongs{|\Meta{songlist}|}| in the +% document preamble (i.e., before the |\begin{document}| line), where +% \Meta{songlist} is a comma-separated list of the song numbers to include. +% For example, +% +% \begin{codeblock} +% |\includeonlysongs{37,50,2}| +% \end{codeblock} +% +% \noindent +% creates a document consisting only of songs 37, 50, and 2, in that order. +% +% Partial books generated with |\includeonlysongs| omit all scripture +% quotations (\S\ref{sec:scripture}), and ignore uses of +% \mac{nextcol}, \mac{brk}, \mac{sclearpage}, and \mac{scleardpage} +% between songs unless they are followed by a star (e.g., \mac{nextcol}|*|). +% To force a column- or page-break at a specific point in a partial book, +% add the word |nextcol|, |brk|, |sclearpage|, or |scleardpage| at the +% corresponding point in the \Meta{songlist}. +% +% The |\includeonlysongs| macro only reorders songs within each +% \env{songs} environment (see \S\ref{sec:songs}), not between different +% \env{songs} environments. +% It also cannot be used in conjunction with the \env{rawtext} option. +% +% \section{Songs}\label{sec:songs} +% +% \subsection{Beginning a Song} +% +% \paragraph{Song Sets.} +% \DescEnv{songs} +% Songs are contained within |songs| environments. +% Each |songs| environment begins and ends with: +% +% \begin{codeblock} +% |\begin{songs}{|\Meta{indexes}|}| +% $\vdots$ +% |\end{songs}| +% \end{codeblock} +% +% \noindent +% \Meta{indexes} is a comma-separated list of index \Meta{id}'s +% (see \S\ref{sec:indexes})---one identifier for each index that is to +% include songs in this song set. +% Between the |\begin{songs}| and |\end{songs}| lines of +% a song section only songs (see below) or inter-song environments +% (see \S\ref{sec:between}) may appear. +% No text in a |songs| environment may appear outside of these environments. +% +% \paragraph{Songs.} +% \DescMacro{beginsong} +% \DescMacro{endsong} +% A song begins and ends with: +% +% \begin{codeblock} +% |\beginsong{|\Meta{titles}|}[|\Meta{otherinfo}|]| +% $\vdots$ +% |\endsong| +% \end{codeblock} +% +% \noindent +% Songs should appear only within \env{songs} environments (see above) +% unless you are supplying your own page-builder (see \S\ref{sec:layout}). +% +% In the \mac{beginsong} line, \Meta{titles} is one or more song titles +% separated by |\\|. +% If multiple titles are provided, the first is typeset normally +% atop the song and the rest are each typeset in parentheses on +% separate lines. +% +% The |[|\Meta{otherinfo}|]| part is an optional comma-separated list of +% key-value pairs (keyvals) of the form \Meta{key}|=|\Meta{value}. +% The possible keys and their values are: +% +% \medskip +% \noindent\hfil\vbox{\halign{#\hfil&\kern2em{\it#}\hfil\cr +% |by={|\Meta{authors}|}|&authors, composers, and other contributors\cr +% |cr={|\Meta{copyright}|}|©right information\cr +% |li={|\Meta{license}|}|&licensing information\cr +% |sr={|\Meta{refs}|}|&related scripture references\cr +% |index={|\Meta{lyrics}|}|&an extra index entry for a line of lyrics\cr +% |ititle={|\Meta{title}|}|&an extra index entry for a hidden title\cr}} +% {\pfs\par}\medskip +% +% \noindent +% For example, a song that begins and ends with +% +% \begin{codeblock} +% |\beginsong{Title1 \\ Title2}[by={Joe Smith}, sr={Job 3},| +% | cr={\copyright~|\unskip\expandafter|\the\year|| XYZ.}, li={Used with permission.}]| +% |\endsong| +% \end{codeblock} +% +% \noindent looks like +% +% \begin{sample} +% \setcounter{songnum}{1}% +% \vskip1pt% +% \beginsong{Title1 \\ Title2}[by={Joe Smith}, sr={Job 3}, +% cr={\copyright~\the\year{} XYZ.}, li={Used with permission.}] +% \endsong +% \end{sample} +% +% The four keyvals used in the above example are described in detail in the +% remainder of this section; +% the final two are documented in \S\ref{sec:ientry}. +% You can also create your own keyvals (see \S\ref{sec:newkey}). +% +% \paragraph{Song Authors.} +% \DescEnv{by=} +% The |by={|\Meta{authors}|}| keyval lists one or more authors, +% composers, translators, etc. +% An entry is added to each author index associated with the current +% \env{songs} environment for each contributor listed. +% Contributors are expected to be separated by commas, semicolons, or the +% word |and|. +% For example: +% +% \begin{codeblock} +% |by={Fred Smith, John Doe, and Billy Bob}| +% \end{codeblock} +% +% \noindent +% Words separated by a macro-space (\verb*@\ @\eat*) or tie (|~|) +% instead of a regular space are treated as single words by the indexer. +% For example, \verb*@The Vienna Boys' Choir@\eat* is indexed as +% ``Choir, The Vienna Boys'\thinspace'' but +% \verb*@The Vienna\ Boys'\ Choir@\eat* is indexed as +% ``Vienna Boys' Choir, The''. +% +% \paragraph{Copyright Info.} +% \DescEnv{cr=} +% The |cr={|\Meta{copyright}|}| keyval specifies the copyright-holder of the +% song, if any. +% For example: +% +% \begin{codeblock} +% |cr={\copyright~2000 ABC Songs, Inc.}| +% \end{codeblock} +% +% \noindent +% Copyright information is typeset in fine print at the bottom of the song. +% +% \paragraph{Licensing Info.} +% \DescEnv{li=} +% \DescMacro{setlicense} +% Licensing information is provided by |li={|\Meta{license}|}|, where +% \Meta{license} is any text. +% Licensing information is displayed in fine print under the song just +% after the copyright information (if any). +% Alternatively, writing |\setlicense{|\Meta{license}|}| anywhere between +% the \mac{beginsong} and \mac{endsong} lines is equivalent to using +% |li={|\Meta{license}|}| in the \mac{beginsong} line. +% +% When many songs in a book are covered by a common license, it is +% usually convenient to create a macro to abbreviate the licensing +% information. +% For example, if your organization has a music license from Christian +% Copyright Licensing International with license number 1234567, you might +% define a macro like +% +% \begin{codeblock} +% |\newcommand{\CCLI}{(CCLI \#1234567)}| +% \end{codeblock} +% +% \noindent +% Then you could write |li=\CCLI| in the \mac{beginsong} line of each song +% covered by CCLI. +% +% \paragraph{Scripture References.} +% \DescEnv{sr=} +% The \Songs{} package has extensive support for scripture citations and +% indexes of scripture citations. +% To cite scripture references for the song, use the keyval +% |sr={|\Meta{refs}|}|, where \Meta{refs} is a list of scripture +% references. +% Index entries are added to all scripture indexes associated +% with the current \env{songs} environment for each such reference. +% The |songidx| index generation script (see \S\ref{sec:compiling}) expects +% \Meta{refs} to be a list of references in which semicolons are used to +% separate references to different books, and commas are used to separate +% references to to different chapters and verses within the same book. +% For example, one valid scripture citation is +% +% \begin{codeblock} +% |sr={John 3:16,17, 4:1-5; Jude 3}| +% \end{codeblock} +% +% The full formal syntax of a valid \Meta{refs} argument is given in +% Figure~\ref{fig:srsyntax}. +% \begin{figure} +% \noindent\hfil\vbox{\advance\baselineskip2pt +% \halign{\hfil{\tt#}\,$\longrightarrow$\,&{\tt#}\hfil\cr +% \Metarm{refs}&\Metarm{nothing}\OR\Metarm{ref};\SPC\Metarm{ref};$\ldots$;\SPC\Metarm{ref}\cr +% \Metarm{ref}&\Metarm{many-chptr-book}\SPC\Metarm{chapters}\OR\Metarm{one-chptr-book}\SPC\Metarm{verses}\cr +% \Metarm{many-chptr-book}&Genesis\OR Exodus\OR Leviticus\OR Numbers\OR $\ldots$\cr +% \Metarm{one-chptr-book}&Obadiah\OR Philemon\OR 2 John\OR 3 John\OR Jude\cr +% \Metarm{chapters}&\Metarm{chref},\SPC\Metarm{chref},$\ldots$,\SPC\Metarm{chref}\cr +% \Metarm{chref}&\Metarm{chapter}\OR\Metarm{chapter}-\Metarm{chapter}\OR\Metarm{chapter}:\Metarm{verses}\OR\cr +% \omit&\quad\Metarm{chapter}:\Metarm{verse}-\Metarm{chapter}:\Metarm{verse}\cr +% \Metarm{verses}&\Metarm{vref},\Metarm{vref},$\ldots$,\Metarm{vref}\cr +% \Metarm{vref}&\Metarm{verse}\OR\Metarm{verse}-\Metarm{verse}\cr}} +% \caption{Formal syntax rules for song scripture references}\label{fig:srsyntax} +% \end{figure} +% In those syntax rules, \Meta{chapter} and \Meta{verse} stand for arabic +% numbers denoting a valid chapter number for the given book, and a valid +% verse number for the given chapter, respectively. +% Note that when referencing a book that has only one chapter, +% one should list only its verses after the book name +% (rather than |1:|\Meta{verses}). +% +% \subsection{Verses and Choruses} +% +% \paragraph{Starting A Verse Or Chorus.} +% \DescMacro{beginverse} +% \DescMacro{endverse} +% \DescMacro{beginchorus} +% \DescMacro{endchorus} +% Between the \mac{beginsong} and \mac{endsong} lines of a song can +% appear any number of verses and choruses. +% A verse begins and ends with: +% +% \begin{codeblock} +% |\beginverse| +% $\vdots$ +% |\endverse| +% \end{codeblock} +% +% \noindent and a chorus begins and ends with: +% +% \begin{codeblock} +% |\beginchorus| +% $\vdots$ +% |\endchorus| +% \end{codeblock} +% +% \noindent +% Verses are numbered (unless \mac{noversenumbers} has been used to +% suppress verse numbering) whereas choruses have a vertical line placed to +% their left. +% +% To create an unnumbered verse, begin the verse with |\beginverse*| instead. +% This can be used for things that aren't really verses but should be +% typeset like a verse (e.g.~intros, endings, and the like). +% A verse that starts with |\beginverse*| should still end with |\endverse| +% (not |\endverse*|). +% +% Within a verse or chorus you should enter one line of text for +% each line of lyrics. +% Each line of the source document produces a separate line in the resulting +% document (like \LaTeX's |\obeylines| macro). +% Lines that are too long to fit are wrapped with hanging indentation +% of width |\parindent|. +% +% \subsection{Chords}\label{sec:chords} +% +% \DescMacro{[} +% \DescChar{hash}{#} +% \DescChar{amp}{&} +% Between the \mac{beginverse} and \mac{endverse} lines, or between +% the \mac{beginchorus} and \mac{endchorus} lines, +% chords can be produced using the macro |\[|\Meta{chordname}|]|\eat\]. +% Chords only appear in chord books; they are omitted from lyric books. +% The \Meta{chordname} may consist of arbitrary text. +% To produce sharp and flat symbols, use |#| and |&| respectively. +% +% Any text that immediately follows the |\[]|\eat\] macro with no +% intervening whitespace is assumed to be the word or syllable +% that is to be sung as the chord is struck, and is therefore +% typeset directly under the chord. +% For example: +% +% \example|\[E&]peace and \[Am]joy|\produces{\[E&]peace and \[Am]joy} +% \eat\] +% +% \noindent +% If whitespace (a space or \Meta{return}) immediately follows, +% then the chord name be typeset without any lyric text +% below it, indicating that the chord is to be struck between +% any surrounding words. +% For example: +% +% \example|\[E&]peace and \[Am] joy|\produces{\[E&]peace and \[Am] joy} +% \eat\] +% +% If the lyric text that immediately follows the chord contains +% another chord, and if the width of the chord name exceeds the +% width of the lyric text, then hyphenation is added automatically. +% For example: +% +% \example|\[F#sus4]e\[A]ternal|\produces{\[F#sus4]e\[A]ternal} +% \eat\] +% +% Sequences of chords that sit above a single word can be written +% back-to-back with no intervening space, or as a single chord: +% +% \example|\[A]\[B]\[Em]joy|\produces{\[A]\[B]\[Em]joy} +% \example|\[A B Em]joy|\produces{\[A B Em]joy} +% \eat\] +% +% \noindent +% The only difference between the two examples above is that the chords +% in the first example can later be replayed separately (see +% \S\ref{sec:replay}) whereas the chords in the second example can only be +% replayed as a group. +% +% You can explicitly dictate how much of the text following a +% chord macro is to appear under the chord name by using braces. +% To exclude text that would normally be drawn under the chord, +% use a pair of braces that includes the chord macro. +% For example: +% +% \example|{\[G A]e}ternal|\produces{{\[G A]e}ternal} +% \eat\] +% +% \noindent +% (Without the braces, the syllables ``ternal'' would not be +% pushed out away from the chord.) +% This might be used to indicate that the chord transition occurs +% on the first syllable rather than as the second syllable is +% sung. +% +% Contrastingly, braces that do not include the chord itself can +% be used to include text under a chord that would otherwise be +% excluded. +% For example: +% +% \example|\[Gmaj7sus4]{th' eternal}|\produces{\[Gmaj7sus4]{th' eternal}} +% \eat\] +% +% \noindent +% Without the braces, the word ``eternal'' would be pushed out away +% from the chord so that the chord would appear only over +% the partial word ``th'\thinspace''. +% +% \paragraph{Chords Without Lyrics.} +% \DescMacro{nolyrics} +% Sometimes you may want to write a line of chords with no lyrics in it at all, +% such as for an instrumental intro or solo. +% To make the chords in such a line sit on the baseline instead of raised above +% it, use the |\nolyrics| macro. +% For example: +% +% \example|{\nolyrics Intro: \[G] \[A] \[D]}|\produces{\nolyrics Intro: \[G] \[A] \[D]} +% \eat\] +% +% \noindent +% Note the enclosing braces that determine how long the effect should last. +% Multiple lines can be included in the braces. +% Instrumental solos should typically not appear in lyric books, so such +% lines should usually also be surrounded by \mac{ifchorded} and |\fi| +% (see \S\ref{sec:conditionals}). +% +% \paragraph{Symbols Under Chords.} +% \DescMacro{DeclareLyricChar} +% If you are typesetting songs in a language whose alphabet contains symbols +% that \LaTeX{} treats as punctuation, you can use the |\DeclareLyricChar| +% macro to instruct the \Songs{} package to treat the symbol as +% non-chord-ending, so that it is included under chords by default just +% like an alphabetic character. +% +% \begin{codeblock} +% |\DeclareLyricChar{|\Meta{token}|}| +% \end{codeblock} +% +% \noindent +% Here, \Meta{token} must be a single \TeX{} macro control sequence, +% active character, letter (something \TeX{} assigns catcode 11), or +% punctuation symbol (something \TeX{} assigns catcode 12). +% For example, by default, +% +% \example|\[Fmaj7]s\dag range|\produces{\[Fmaj7]s\dag range} +% \eat\] +% +% \noindent +% because |\dag| is not recognized as an alphabetic symbol; +% but if you first type, +% +% \begin{codeblock} +% |\DeclareLyricChar{\dag}| +% \end{codeblock} +% +% \noindent +% then instead you will get: +% +% \DeclareLyricChar{\dag} +% \example|\[Fmaj7]s\dag range|\produces{\[Fmaj7]s\dag range} +% \eat\] +% +% \noindent +% \DescMacro{DeclareNonLyric} +% Likewise, you can type +% +% \begin{codeblock} +% |\DeclareNonLyric{|\Meta{token}|}| +% \end{codeblock} +% +% \noindent +% to reverse the above effect and force a token to be lyric-ending. +% Such tokens are pushed out away from long chord names so that they +% never fall under a chord, and hyphenation is added to the resulting gap. +% +% \DescMacro{DeclareNoHyphen} +% To declare a token to be lyric-ending but without the added hyphenation, +% use |\DeclareNoHyphen{|\Meta{token}|}| instead. +% Such tokens are pushed out away from long chord names so that they never +% fall under the chord, but hyphenation is not added to the resulting gap. +% +% \paragraph{Extending Chords Over Adjacent Words.} +% \DescMacro{MultiwordChords} +% The |\MultiwordChords| macro forces multiple words to be squeezed under one +% chord by default. +% Normally a long chord atop a short lyric pushes subsequent +% lyrics away to make room for the chord: +% +% \example|\[Gmaj7sus4]my life|\produces{\[Gmaj7sus4]my life} +% \eat\] +% +% \noindent +% But if you first type |\MultiwordChords|, then instead you get the more +% compact: +% +% \begingroup\MultiwordChords +% \example|\[Gmaj7sus4]my life|\produces{\[Gmaj7sus4]my life} +% \eat\] +% \endgroup +% +% \noindent +% Authors should exercise caution when using |\MultiwordChords| because +% including many words under a single chord can often produce output that +% is ambiguous or misleading to musicians. +% For example, +% +% \begingroup\MultiwordChords +% \example|\[F G Am]me free|\produces{\[F G Am]me free}\par +% \eat\] +% \endgroup +% +% \noindent +% This might be misleading to musicians if all three chords are intended +% to be played while singing the word ``me.'' +% Liberal use of braces is therefore required to make |\MultiwordChords| +% produce good results, which is why it isn't the default. +% +% \paragraph{Accidentals Outside Chords.} +% \DescMacro{shrp} +% \DescMacro{flt} +% Sharp and flat symbols can be produced with |#| and |&| when they appear +% in chord macros, but if you wish to produce those symbols in +% other parts of the document, you must use the |\shrp| and |\flt| macros. +% For example, to define a macro that produces a \chord{C\shrp} chord, use: +% +% \begin{codeblock} +% |\newcommand{\Csharp}{C\shrp}| +% \end{codeblock} +% +% \subsection{Replaying Chords and Choruses}\label{sec:replay} +% +% \DescChar{hat}{^} +% Many songs consist of multiple verses that use the same chords. +% The \Songs{} package simplifies this common case by providing a means to +% replay the chord sequence of a previous verse without having to retype +% all the chords. +% To replay a chord from a previous verse, type a hat symbol (|^|) anywhere +% you would otherwise use a chord macro (|\[]|\eat\]). +% For example, +% +% \begin{codeblock} +% \mac{beginverse} +% |\[G]This is the \[C]first \[G]verse.|\eat\] +% \mac{endverse} +% \mac{beginverse} +% |The ^second verse ^ has the same ^chords.| +% \mac{endverse} +% \end{codeblock} +% +% \noindent produces +% +% \begin{chorded}\memorize +% \[G]This is the \[C]first \[G]verse.\eat\] +% \end{chorded} +% \begin{chorded} +% The ^second verse ^ has the same ^chords. +% \end{chorded} +% +% Normal chords can appear amidst replayed chords without disrupting the +% sequence of chords being replayed. +% Thus, a third verse could say, +% +% \begin{codeblock} +% \mac{beginverse} +% |The ^third verse ^has a \[Cm]new ^chord.|\eat\] +% \mac{endverse} +% \end{codeblock} +% +% \noindent to produce +% +% \begin{chorded} +% The ^third verse ^has a \[Cm]new ^chord.\eat\] +% \end{chorded} +% +% Replaying can be used in combination with automatic transposition to produce +% modulated verses. +% See \S\ref{sec:transpose} for an example. +% +% \DescMacro{memorize} +% By default, chords are replayed from the current song's first verse, but +% you can replay the chords of a different verse or chorus by saying +% |\memorize| at the beginning of any verse or chorus whose chords you want +% to later replay. +% Subsequent verses or choruses that use \refchar{hat} replay chords +% from the most recently memorized verse or chorus. +% +% \paragraph{Selective Memorization.} +% It is also possible to inject unmemorized chords into a memorized verse +% so that they are not later replayed. +% To suppress memorization of a chord, begin the chord's name with a hat +% symbol. +% For example, +% +% \begin{codeblock} +% \mac{beginverse}\mac{memorize} +% |The \[G]third \[C]chord will \[^Cm]not be re\[G]played.|\eat\] +% \mac{endverse} +% \mac{beginverse} +% |When ^replaying, the ^unmemorized chord is ^skipped.| +% \mac{endverse} +% \end{codeblock} +% +% \noindent produces +% +% \begin{chorded}\memorize +% The \[G]third \[C]chord will \[^Cm]not be re\[G]played.\eat\] +% \vskip5pt% +% When ^replaying, the ^unmemorized chord is ^skipped. +% \end{chorded} +% +% \noindent +% This is useful when the first verse of a song has something unique, +% like an intro that won't be repeated in subsequent verses, but has +% other chords that you wish to replay. +% +% \paragraph{Memorizing Multiple Chord Sequences.} +% By default, the \Songs{} package only memorizes one sequence of chords +% at a time and \refchar{hat} replays chords from that most recently +% memorized sequence. +% However, you can memorize and replay multiple independent sequences +% using the macros described in the following paragraphs. +% +% \DescMacro{newchords} +% Memorized or replayed chord sequences are stored in chord-replay registers. +% To declare a new chord-replay register, type +% +% \begin{codeblock} +% |\newchords{|\Meta{regname}|}| +% \end{codeblock} +% +% \noindent +% where \Meta{regname} is any unique alphabetic name. +% +% Once you've declared a register, you can memorize into that register +% by providing the \Meta{regname} as an optional argument to +% \mac{memorize}: +% +% \begin{codeblock} +% \mac{memorize}|[|\Meta{regname}|]| +% \end{codeblock} +% +% \noindent +% Memorizing into a non-empty register replaces the contents of that +% register with the new chord sequence. +% +% \DescMacro{replay} +% To replay chords from a particular register, type +% +% \begin{codeblock} +% |\replay[|\Meta{regname}|]| +% \end{codeblock} +% +% \noindent +% Subsequent uses of \refchar{hat} reproduce chords from the sequence +% stored in register \Meta{regname}. +% +% Register contents are global, so you can memorize a chord sequence from one +% song and replay it in others. +% You can also use |\replay| multiple times in the same verse or chorus to +% replay a sequence more than once. +% +% \paragraph{Replaying Choruses.} +% \DescMacro{repchoruses} +% When making overhead slides, it is often convenient to repeat the song's +% chorus after the first verse on each page, so that the projector-operator +% need not flip back to the first slide each time the chorus is to be sung. +% You can say |\repchoruses| to automate this process. +% This causes the first chorus in each subsequent song to be automatically +% repeated after the first verse on each subsequent page of the song (unless +% that verse is already immediately followed by a chorus). +% If the first chorus is part of a set of two or more consecutive choruses, +% then the whole set of choruses is repeated. +% (A set of choruses is assumed to consist of things like pre-choruses that +% should always be repeated along with the chorus.) +% Choruses are not automatically inserted immediately after unnumbered +% verses (i.e., verses that begin with \mac{beginverse}|*|). +% Unnumbered verses are assumed to be bridges or endings that aren't +% followed by a chorus. +% +% \DescMacro{norepchoruses} +% Writing |\norepchoruses| turns off chorus repetition for subsequent songs. +% +% If you need finer control over where replayed choruses appear, use the +% conditional macros covered in \S\ref{sec:conditionals} instead of +% |\repchoruses|. +% For example, to manually insert a chorus into only slide books at a +% particular point (without affecting other versions of your book), +% you could write: +% +% \begin{codeblock} +% \mac{ifslides} +% \mac{beginchorus} +% $\vdots$ +% \mac{endchorus} +% |\fi| +% \end{codeblock} +% +% \noindent +% and copy and paste the desired chorus into the middle. +% +% \subsection{Line and Column Breaks} +% +% \paragraph{Line Breaking.} +% \DescMacro{brk} +% To cause a long line of lyrics to be broken in a particular place, put the +% |\brk| macro at that point in the line. +% This does not affect lines short enough to fit without breaking. +% For example, +% +% \begin{codeblock} +% |\beginverse| +% {\tt\frenchspacing This is a |\brk| short line. +% But this is a particularly long line of lyrics |\brk| that will need to be wrapped. +% } |\endverse| +% \end{codeblock} +% +% \noindent produces +% +% \begin{lyrics} +% This is a \brk short line. +% But this is a particularly long line of lyrics \brk that will need to be wrapped. +% \end{lyrics} +% +% \paragraph{Column Breaks Within Songs.} +% To suggest a column break within a verse or chorus too long to fit in a +% single column, use |\brk| on a line by itself. +% If there are no |\brk| lines in a long verse, it is broken +% somewhere that a line does not wrap. +% (A wrapped line is never divided by a column break.) +% If there are no |\brk| lines in a long chorus, it overflows the column, +% yielding an overfull vbox warning. +% +% \paragraph{Column Breaks Between Songs.} +% \DescMacro{nextcol} +% \DescMacro{sclearpage} +% \DescMacro{scleardpage} +% To force a column break between songs, use |\nextcol|, |\brk|, |\sclearpage|, +% or |\scleardpage| between songs. +% The |\nextcol| macro ends the column by leaving blank space at the bottom. +% The |\brk| macro ends the current column in lyric books by stretching +% the preceeding text so that the column ends flush with the bottom +% of the page. +% (In non-lyric books |\brk| is identical to |\nextcol|.) +% The |\sclearpage| macro is like |\nextcol| except that it shifts to the next +% blank page if the current page is nonempty. +% The |\scleardpage| macro is like |\sclearpage| except that it shifts to the +% next blank even-numbered page in two-sided documents. +% Column breaks usually need to be in different places in different book types. +% To achieve this, use a conditional block from \S\ref{sec:conditionals}. +% For example, +% +% \begin{codeblock} +% \mac{ifchorded}|\else|\mac{ifslides}|\else\brk\fi\fi| +% \end{codeblock} +% +% \noindent +% forces a column break only in lyric books but does not affect chord books +% or books of overhead slides. +% +% When a partial list of songs is being extracted with \mac{includeonlysongs}, +% |\brk|, |\nextcol|, |\clearpage|, and |\cleardpage| macros between songs +% must be followed by a star to have any effect. +% To force a column-break at a specific point in a partial book, add the +% word |nextcol|, |brk|, |clearpage|, or |cleardpage| at the corresponding +% point in the argument to \mac{includeonlysongs}. +% +% \subsection{Echoes and Repeats} +% +% \paragraph{Echo Parts.} +% \DescMacro{echo} +% To typeset an echo part, use |\echo{|\Meta{lyrics and chords}|}|. +% Echo parts are parenthesized and italicized. +% For example, +% +% \example|Alle\[G]luia! \echo{Alle\[A]luia!}|\produces{Alle\[G]luia! \echo{Alle\[A]luia!}} +% \eat\] +% +% \paragraph{Repeated Lines.} +% \DescMacro{rep} +% To indicate that a line should be sung multiple times by all singers, put +% |\rep{|\Meta{n}|}| at the end of the line. +% For example, +% +% \example|Alleluia! \rep{4}|\produces{Alleluia! \rep{4}} +% +% \DescMacro{lrep} +% \DescMacro{rrep} +% To indicate exactly where repeated parts begin and end, use |\lrep| and +% |\rrep| to create begin- and end-repeat signs. +% For example, +% +% \example|\lrep \[G]Alleluia!\rrep \rep{4}|\produces{\lrep \[G]Alleluia!\rrep \rep{4}} +% \eat\] +% +% \subsection{Measure Bars}\label{sec:measures} +% +% \DescMacro{measurebar} +% \DescChar{pipe}{|} +% Measure bars can be added to chord books in order to help musicians +% keep time when playing unfamiliar songs. +% To insert a measure bar, type either |\measurebar| or type the +% vertical pipe symbol (``\verb@|@''). +% For example, +% +% \example\verb@Alle|\[G]luia@\produces{Alle\meter{}{}\measurebar\[G]luia} +% \eat\] +% +% \noindent +% In order for measure bars to be displayed, the \env{showmeasures} +% option must be enabled. +% Measure bars are only displayed by default in chord books. +% +% \DescMacro{meter} +% The first measure bar in a song has meter numbers placed above +% it to indicate the time signature of the piece. +% By default, these numbers are 4/4, denoting four quarter notes +% per measure. +% To change the default, type |\meter{|\Meta{n}|}{|\Meta{d}|}| +% somewhere after the \mac{beginsong} line of the song but before the +% first measure bar, to declare a time signature of \Meta{n} \Meta{d}th +% notes per measure. +% +% \DescMacro{mbar} +% You can also change meters mid-song either by using |\meter| in the +% middle of the song or by typing |\mbar{|\Meta{n}|}{|\Meta{d}|}| +% to produce a measure bar with a time signature of \Meta{n}/\Meta{d}. +% For example, +% +% \begin{codeblock} +% |\meter{6}{8}| +% |\beginverse| +% \verb@|Sing to the |heavens, ye \mbar{4}{4}saints of |old!@ +% |\endverse| +% \end{codeblock} +% +% \noindent produces +% +% \begin{chorded} +% \meter{6}{8}% +% \measurebar Sing to the \measurebar heavens, ye \mbar{4}{4}saints of \measurebar old! +% \end{chorded} +% +% \subsection{Textual Notes}\label{sec:notes} +% +% \DescMacro{textnote} +% \DescMacro{musicnote} +% Aside from verses and choruses, songs can also contain textual notes +% that provide instructions to singers and musicians. +% To create a textual note that is displayed in both lyric books +% and chord books, use: +% +% \begin{codeblock} +% |\textnote{|\Meta{text}|}| +% \end{codeblock} +% +% \noindent +% To create a textual note that is displayed only in chord books, use: +% +% \begin{codeblock} +% |\musicnote{|\Meta{text}|}| +% \end{codeblock} +% +% \noindent +% Both of these create a shaded box containing \Meta{text}. +% For example, +% +% \begin{codeblock} +% |\textnote{Sing as a two-part round.}| +% \end{codeblock} +% +% \noindent produces +% +% \begin{lyrics} +% \textnote{Sing as a two-part round.} +% \end{lyrics} +% +% \noindent +% Textual notes can be placed anywhere within a song, either within +% verses and choruses or between them. +% +% \paragraph{Guitar Capos.} +% \DescMacro{capo} +% One special kind of textual note suggests to guitarists a fret on which +% they should put their capos. +% Macro |\capo{|\Meta{n}|}| should be used for this purpose. +% It normally has the same effect as \mac{musicnote}|{capo |\Meta{n}|}|; +% however, if the \env{transposecapos} option is active then it +% instead has the effect of \mac{transpose}|{|\Meta{n}|}|. +% See \S\ref{sec:transpose} for more information on automatic chord +% transposition. +% +% \subsection{Chords in Ligatures} +% +% This subsection covers an advanced topic and can probably be +% skipped by those creating song books for non-professional use. +% +% The \mac{[\eat]} macro is the normal means by which chords should be inserted +% into a song; however, a special case occurs when a chord falls within a +% ligature. +% Ligatures are combinations of letters or symbols that \TeX{} normally +% typesets as a single font character so as to produce cleaner-looking +% output. +% The only ligatures in English are: ff, fi, fl, ffi, and ffl. +% Other languages have additional ligatures like \ae{} and \oe. +% Notice that in each of these cases, the letters are ``squished'' +% together to form a single composite symbol. +% +% \DescMacro{ch} +% When a chord macro falls inside a ligature, \LaTeX{} fails to compact +% the ligature into a single font character even in non-chorded versions of +% the book. +% To avoid this minor typographical error, use the |\ch| macro to typeset +% the chord: +% +% \begin{codeblock} +% |\ch{|\Meta{chord}|}{|\Meta{pre}|}{|\Meta{post}|}{|\Meta{full}|}| +% \end{codeblock} +% +% \noindent +% where \Meta{chord} is the chord text, \Meta{pre} is the text to +% appear before the hyphen if the ligature is broken by auto-hyphenation, +% \Meta{post} is the text to appear after the hyphen if the ligature +% is broken by auto-hyphenation, and \Meta{full} is the full ligature +% if it is not broken by hyphenation. +% For example, to correctly typeset |\[Gsus4]dif\[G]ficult|\eat\], +% in which the \chord{G} chord falls in the middle of the ``ffi'' +% ligature, one should use: +% +% \example|di\ch{G}{f}{fi}{ffi}cult|\produces{di\ch{G}{f}{fi}{ffi}cult} +% +% \noindent +% This causes the ``ffi'' ligature to appear intact yet still correctly +% places the \chord{G} chord over the second f. +% To use the |\ch| macro with a replayed chord name (see \S\ref{sec:replay}), +% use |^| as the \Meta{chord}. +% +% \DescMacro{mch} +% The |\mch| macro is exactly like the \mac{ch} macro except that it +% also places a measure bar into the ligature along with the chord. +% For example, +% +% \example|di\mch{G}{f}{fi}{ffi}cult|\produces{di\mch{G}{f}{fi}{ffi}cult} +% +% \noindent +% places both a measure bar and a \chord{G} chord after the first ``f'' +% in ``difficult'', yet correctly produces an unbroken ``ffi'' ligature +% in copies of the book in which measure bars are not displayed. +% +% In the unusual case that a meter change is required within a +% ligature, this can be achieved with a construction like: +% +% \example|\meter{6}{8}di\mch{G}{f}{fi}{ffi}cult|\produces{\meter{6}{8}di\mch{G}{f}{fi}{ffi}cult} +% +% \noindent +% The \mac{meter} macro sets the new time signature, which appears +% above the next measure bar---in this case the measure bar +% produced by the |\mch| macro. +% +% Chords and measure bars produced with \refchar{hat} or +% \refchar{pipe} are safe to use in ligatures. +% Thus, |dif|\refchar{pipe}\refchar{hat}|ficult| requires +% no special treatment; it leaves the ``ffi'' ligature intact when measure +% bars are not being displayed. +% +% \section{Guitar Tablatures}\label{sec:tablatures} +% +% \DescMacro{gtab} +% Guitar tablature diagrams can be created by using the construct +% +% \begin{codeblock} +% |\gtab{|\Meta{chord}|}{|\Meta{fret}|:|\Meta{strings}|:|\Meta{fingering}|}| +% \end{codeblock} +% +% \noindent +% where the \Meta{fret} and \Meta{fingering} parts are both optional +% (and you may omit any colon that borders an omitted argument). +% +% \Meta{chord} is a chord name to be placed above the diagram. +% +% \Meta{fret} is an optional digit from 2 to 9 placed to the +% left of the diagram. +% +% \Meta{strings} should be a series of symbols, one for each string +% of the guitar from lowest pitch to highest. +% Each symbol should be one of: +% |X| if that string is not to be played, +% |0| (zero or the letter O) if that string is to be played open, or +% one of |1| through |9| if that string is to be played on the given +% numbered fret. +% +% \Meta{fingering} is an optional series of digits, one for each +% string of the guitar from lowest pitch to highest. +% Each digit should be one of: +% |0| if no fingering information is to be displayed for that string (e.g., if +% the string is not being played or is being played open), or +% one of |1| through |4| to indicate that the given numbered finger is to be +% used to hold down that string. +% +% Here are some examples to illustrate: +% +% \example|\gtab{A}{X02220:001230}|\produces{\vcenterbox{\gtab{A}{{\hphantom{4}}:X02220:001230}}} +% \example|\gtab{C#sus4}{4:XX3341}|\produces{\vcenterbox{\gtab{C\shrp sus4}{4:XX3341}}} +% \example|\gtab{B&}{X13331}|\produces{\vcenterbox{\gtab{B\flt}{{\hphantom{4}}:X13331:}}} +% +% To create a barre chord in which one finger is extended across multiple +% strings, use parentheses |()| or brackets |[]| in the \Meta{strings} +% argument to group the barred strings. +% Each such group will draw a barre on the lowest numbered fret it contains. +% For example: +% +% \example|\gtab{C7}{X(3535X):013140}|\produces{\vcenterbox{\gtab{C7}{{\hphantom{4}}:X(3535X):013140}}} +% +% \DescMacro{minfrets} +% By default, tablature diagrams always consist of at least 4 fret rows +% (more if the \Meta{strings} argument contains a number larger than 4). +% To change the minimum number of fret rows, change the value of |\minfrets|. +% For example, typing +% +% \begin{codeblock} +% |\minfrets=1| +% \end{codeblock} +% +% \noindent +% causes tablature diagrams to have only as many rows are required to +% accommodate the largest digit appearing in the \Meta{strings} argument. +% +% \paragraph{Tablatures Within Macros} +% Macros that produce tablatures must not bury the colons that separate the +% \Meta{fret}, \Meta{strings}, and \Meta{fingering} arguments within other +% macros, and it's safest to always include both colons to avoid ambiguities +% related to optional argument parsing. +% For example, +% +% \begin{codeblock} +% |\newcommand{\mystrings}{X4412X}| +% |\newcommand{\myfingers}{X3412X}| +% |\newcommand{\mychord}{|\mac{gtab}|{C|\mac{shrp}|}{:\mystrings:\myfingers}}| +% \end{codeblock} +% +% \noindent +% works as expected. +% But omitting the colon before |\mystrings| in the definition of |\mychord| +% confuses \mac{gtab} into thinking |\mystrings| is the \Meta{fret} +% argument, and writing code like |\gtab{C\shrp}{\allargs}| with |\allargs| +% defined to something with colons results in an error, because it confuses +% \mac{gtab} into thinking that |\allargs| is only the \Meta{strings} argument. +% +% \section{Automatic Transposition}\label{sec:transpose} +% +% \DescMacro{transpose} +% You can automatically transpose some or all of the chords in a song up by +% \Meta{n} half-steps by adding the line +% +% \begin{codeblock} +% |\transpose{|\Meta{n}|}| +% \end{codeblock} +% +% \noindent +% somewhere between the song's \mac{beginsong} line and the first chord to +% be transposed. +% For example, if a song's first chord is |\[D]|\eat\], and the line +% |\transpose{2}| appears before it, then the chord appears as an +% \chord{E} in the resulting document. +% Specifying a negative number for \Meta{n} transposes subsequent chords +% down instead of up. +% +% The |\transpose| macro affects all chords appearing after it until the +% \mac{endsong} line. +% If two |\transpose| macros appear in the same song, their effects are +% cumulative. +% +% When the \env{transposecapos} option is active, the \mac{capo} +% macro acts like |\transpose|. +% See \S\ref{sec:notes} for more information. +% +% \paragraph{Enharmonics.} +% \DescMacro{preferflats} +% \DescMacro{prefersharps} +% When using \mac{transpose} to automatically transpose the chords of a song, +% the \Songs{} package code chooses between enharmonically equivalent +% names for ``black key'' notes based on the first chord of the song. +% For example, if |\transpose{1}| is used, and if the first chord of the +% song is an \chord{E}, then all \chord{A} chords that appear in +% the song are transcribed as \chord{B\flt} chords rather than +% \chord{A\shrp} chords, since the key of \chord{F}-major (\chord{E} +% transposed up by one half-step) has a flatted key signature. +% Usually this guess produces correct results, but if not, you can use +% either |\preferflats| or |\prefersharps| after the \mac{transpose} line +% to force all transcription to use flatted names or sharped names +% respectively, when resolving enharmonic equivalents. +% +% \paragraph{Modulated Verses.} +% Automatic transposition can be used in conjunction with chord-replaying +% (see \S\ref{sec:chords}) to produce modulated verses. +% For example, +% +% \begin{codeblock} +% \mac{beginverse}\mac{memorize} +% |\[F#]This is a \[B/F#]memorized \[F#]verse. \[E&7]|\eat\] +% \mac{endverse} +% \mac{transpose}|{2}| +% \mac{beginverse} +% |^This verse is ^modulated up two ^half-steps.| +% \mac{endverse} +% \end{codeblock} +% +% \noindent produces +% +% \begin{chorded}\memorize +% \[F#]This is a \[B/F#]memorized \[F#]verse. \[E&7]\eat\] +% \vskip5pt\replay\transpose{2}% +% ^This verse is ^modulated up two ^half-steps. +% \transpose{-2}% +% \end{chorded} +% +% \paragraph{Both Keys.} +% \DescMacro{trchordformat} +% By default, when chords are automatically transposed using \mac{transpose}, +% only the transposed chords are printed. +% However, in some cases you may wish to print the old chords and the +% transposed chords together so that musicians playing transposing and +% non-transposing instruments can play from the same piece of music. +% This can be achieved by redefining the |\trchordformat| macro, which +% receives two arguments---the original chord name and the transposed chord +% name, respectively. +% For example, to print the old chord above the new chord above each lyric, +% define +% +% \begin{codeblock} +% |\renewcommand{\trchordformat}[2]{\vbox{\hbox{#1}\hbox{#2}}}| +% \end{codeblock} +% +% \paragraph{Changing Note Names.} +% \DescMacro{solfedge} +% \DescMacro{alphascale} +% In many countries it is common to use the solfedge names for the notes of +% the scale (\chord{LA, SI, DO, RE, MI, FA, SOL\/}) instead of the +% alphabetic names (\chord{A, B, C, D, E, F, G\/}). +% By default, the transposition logic only understands alphabetic names, but +% you can tell it to look for solfedge names by typing |\solfedge|. +% To return to alphabetic names, type |\alphascale|. +% +% \DescMacro{notenames} +% You can use other note names as well. +% To define your own note names, type +% +% \begin{codeblock} +% |\notenames{|\Meta{nameA}|}{|\Meta{nameB}|}|$\ldots$|{|\Meta{nameG}|}| +% \end{codeblock} +% +% \noindent +% where each of \Meta{nameA} through \Meta{nameG} must consist entirely of +% a sequence of one or more \emph{uppercase} letters. +% For example, some solfedge musicians use \chord{TI} instead of \chord{SI} +% for the second note of the scale. +% To automatically transpose such music, use: +% +% \begin{codeblock} +% |\notenames{LA}{TI}{DO}{RE}{MI}{FA}{SOL}| +% \end{codeblock} +% +% \DescMacro{notenamesin} +% \DescMacro{notenamesout} +% The \Songs{} package can also automatically convert one set of note names +% to another. +% For example, suppose you have a large song book in which chords have been +% typed using alphabetic note names, but you wish to produce a book that +% uses the equivalent solfedge names. +% You could achieve this by using the |\notenamesin| macro to tell the +% \Songs{} package which note names you typed in the input file, and then +% using |\notenamesout| to tell the \Songs{} package how you want it to +% typeset each note name in the output file. +% The final code looks like this: +% +% \begin{codeblock} +% |\notenamesin{A}{B}{C}{D}{E}{F}{G}| +% |\notenamesout{LA}{SI}{DO}{RE}{MI}{FA}{SOL}| +% \end{codeblock} +% +% \noindent +% The syntaxes of |\notenamesin| and |\notenamesout| are identical to that +% of \mac{notenames} (see above), except that the arguments of |\notenamesout| +% can consist of any \LaTeX{} code that is legal in horizontal mode, not just +% uppercase letters. +% +% To stop converting between note names, use \mac{alphascale}, \mac{solfedge}, +% or \mac{notenames} to reset all note names back to identical input and +% output scales. +% +% \paragraph{Transposing Chords In Macros.} +% \DescMacro{transposehere} +% The automatic transposition logic does not find chord names that are hidden +% inside macro bodies. +% For example, if you abbreviate a chord by typing, +% +% \begin{codeblock} +% |\newcommand{\mychord}{F|\mac{shrp}| sus4/C|\mac{shrp}|}| +% \mac{transpose}|{4}| +% |\[\mychord]|\eat\] +% \end{codeblock} +% +% \noindent +% then the \mac{transpose} macro fails to transpose it; the +% resulting chord is still an \chord{F\shrp sus4/C\shrp} chord. +% To fix the problem, you can use |\transposehere| in your macros to +% explicitly invoke the transposition logic on chord names embedded in +% macro bodies. +% The above example could be corrected by instead defining: +% +% \begin{codeblock} +% |\newcommand{\mychord}{\transposehere{F|\mac{shrp}| sus4/C|\mac{shrp}|}}| +% \end{codeblock} +% +% \DescMacro{notrans} +% Transposition can be suppressed within material that would otherwise be +% transposed by using the |\notrans| macro. +% For example, writing +% +% \begin{codeblock} +% \mac{transposehere}|{G = \notrans{G}}| +% \end{codeblock} +% +% \noindent +% would typeset a transposed \chord{G} followed by a non-transposed +% \chord{G} chord. +% This does not suppress note name conversion (see \mac{notenames}). +% To suppress both transposition and note name conversion, just use +% braces (e.g., |{G}| instead of |\notrans{G}|). +% +% \paragraph{Transposing Guitar Tablatures.} +% \DescMacro{gtabtrans} +% The songs package cannot automatically transpose tablature diagrams +% (see \S\ref{sec:tablatures}). +% Therefore, when automatic transposition is taking place, only the chord +% names of \mac{gtab} macros are displayed (and transposed); the diagrams +% are omitted. +% To change this default, redefine the |\gtabtrans| macro, whose two +% arguments are the two arguments to \mac{gtab}. +% For example, to display original tablatures without transposing them even +% when transposition has been turned on, write +% +% \begin{codeblock} +% |\renewcommand{\gtabtrans}[2]{|\mac{gtab}|{|\mac{notrans}|{#1}}{#2}}| +% \end{codeblock} +% +% \noindent +% To transpose the chord name but not the diagram under it, replace +% \mac{notrans}|{#1}| with simply |#1| in the above. +% To restore the default behavior, write +% +% \begin{codeblock} +% |\renewcommand{\gtabtrans}[2]{|\mac{transposehere}|{#1}}| +% \end{codeblock} +% +% \section{Between Songs}\label{sec:between} +% +% Never put any material directly into the top level of a \env{songs} +% environment. +% Doing so will disrupt the page-builder, usually producing strange page +% breaks and blank pages. +% To safely put material between songs, use one of the environments +% described in this section. +% +% \subsection{Intersong Displays}\label{sec:intersong} +% +% \DescEnv{intersong} +% To put column-width material between the songs in a \env{songs} environment, +% use an |intersong| environment: +% +% \begin{codeblock} +% |\begin{intersong}| +% $\vdots$ +% |\end{intersong}| +% \end{codeblock} +% +% \noindent +% Material contributed in an |intersong| environment is subject to the same +% column-breaking rules as songs (see \S\ref{sec:layout}), but all other +% formatting is up to you. +% By default, \LaTeX{} inserts interline glue below the last line of an +% |intersong| environment. +% To suppress this, end the |intersong| content with |\par\nointerlineskip|. +% +% \DescEnv{intersong*} +% To instead put page-width material above a song, use an |intersong*| +% environment: +% +% \begin{codeblock} +% |\begin{intersong*}| +% $\vdots$ +% |\end{intersong*}| +% \end{codeblock} +% +% \noindent +% This starts a new page if the current page already has column-width +% material in it. +% +% \DescEnv{songgroup} +% By default, all intersong displays are omitted when generating a partial +% book with \mac{includeonlysongs}. +% You can force them to be included whenever a particular song is included +% by using a |songgroup| environment: +% +% \begin{codeblock} +% |\begin{songgroup}| +% $\vdots$ +% |\end{songgroup}| +% \end{codeblock} +% +% \noindent +% Each |songgroup| environment may include any number of \env{intersong}, +% \env{intersong*}, or scripture quotations (see \S\ref{sec:scripture}), +% but must include exactly one song. +% When using \mac{includeonlysongs}, the entire group is included in the +% book if the enclosed song is included; otherwise the entire group is +% omitted. +% +% \subsection{Scripture Quotations}\label{sec:scripture} +% +% \paragraph{Starting a Scripture Quotation.} +% \DescMacro{beginscripture} +% \DescMacro{endscripture} +% A special form of intersong block typesets a scripture quotation. +% Scripture quotations begin and end with +% +% \begin{codeblock} +% |\beginscripture{|\Meta{ref}|}| +% $\vdots$ +% |\endscripture| +% \end{codeblock} +% +% \noindent +% where \Meta{ref} is a scripture reference that is +% typeset at the end of the quotation. +% The \Meta{ref} argument should conform to the same syntax +% rules as for the \Meta{ref} arguments passed to \mac{beginsong} +% macros (see \S\ref{sec:songs}). +% +% The text of the scripture quotation between the |\beginscripture| and +% |\endscripture| lines are parsed in normal paragraph mode. +% For example: +% +% \begin{codeblock} +% |\beginscripture{James 5:13}| +% {\tt\frenchspacing% +% Is any one of you in trouble? He should pray. Is anyone happy? Let him sing songs of praise. +% } |\endscripture| +% \end{codeblock} +% +% \noindent produces +% +% \begin{sample} +% \beginscripture{James 5:13} +% Is any one of you in trouble? He should pray. Is anyone happy? Let him sing songs of praise. +% \endscripture +% \end{sample} +% +% \paragraph{Tuplets.} +% \DescMacro{Acolon} +% \DescMacro{Bcolon} +% To typeset biblical poetry the way it appears in most bibles, begin each +% line with either |\Acolon| or |\Bcolon|. +% A-colons are typeset flush with the left margin, while B-colons are +% indented. +% Any lines too long to fit are wrapped with double-width hanging indentation. +% For example, +% +% \begin{codeblock} +% |\beginscripture{Psalm 1:1}| +% {\tt\frenchspacing% +% |\Acolon| Blessed is the man +% |\Bcolon| who does not walk in the counsel of the wicked +% |\Acolon| or stand in the way of sinners +% |\Bcolon| or sit in the seat of mockers. +% } |\endscripture| +% \end{codeblock} +% +% \noindent produces +% +% \begin{sample} +% \beginscripture{Psalm 1:1} +% \Acolon Blessed is the man +% \Bcolon who does not walk in the counsel of the wicked +% \Acolon or stand in the way of sinners +% \Bcolon or sit in the seat of mockers. +% \endscripture +% \end{sample} +% +% \paragraph{Stanzas.} +% \DescMacro{strophe} +% Biblical poetry is often grouped into stanzas or ``strophes'', +% each of which is separated from the next by a small vertical +% space. +% You can create that vertical space by typing |\strophe|. +% For example, +% +% \begin{codeblock} +% |\beginscripture{Psalm 88:2-3}| +% {\tt\frenchspacing% +% |\Acolon| May my prayer come before you; +% |\Bcolon| turn your ear to my cry. +% |\strophe| +% |\Acolon| For my soul is full of trouble +% |\Bcolon| and my life draws near the grave. +% } |\endscripture| +% \end{codeblock} +% +% \noindent produces +% +% \begin{sample} +% \beginscripture{Psalm 88:2-3} +% \Acolon May my prayer come before you;\par +% \Bcolon turn your ear to my cry.\par +% \strophe +% \Acolon For my soul is full of trouble\par +% \Bcolon and my life draws near the grave. +% \endscripture +% \end{sample} +% +% \paragraph{Indented Blocks.} +% \DescMacro{scripindent} +% \DescMacro{scripoutdent} +% Some bible passages, such as those that mix prose and poetry, contain +% indented blocks of text. +% You can increase the indentation level within a scripture quotation +% by using |\scripindent| and decrease it by using |\scripoutdent|. +% For example, +% +% \begin{codeblock} +% |\beginscripture{Hebrews 10:17-18}| +% {\tt\frenchspacing% +% Then he adds: +% |\scripindent| +% |\Acolon ``|Their sins and lawless acts +% |\Bcolon| I will remember no more.|''| +% |\scripoutdent| +% And where these have been forgiven, there is no longer any sacrifice for sin. +% } |\endscripture| +% \end{codeblock} +% +% \noindent produces +% +% \begin{sample} +% \beginscripture{Hebrews 10:17-18} +% Then he adds:\par +% \scripindent +% \Acolon ``Their sins and lawless acts\par +% \Bcolon I will remember no more.''\par +% \scripoutdent +% And where these have been forgiven, there is no longer any sacrifice for sin. +% \endscripture +% \end{sample} +% +% \section{Chapters and Sections}\label{sec:sectioning} +% +% \DescMacro{songsection} +% \DescMacro{songchapter} +% Song books can be divided into chapters and sections using all the usual +% macros provided by \LaTeX{} (e.g., |\chapter|, |\section|, etc.) and by +% other macro packages. +% In addition, the \Songs{} package provides two helpful built-in sectioning +% macros: +% +% \begin{codeblock} +% |\songchapter{|\Meta{title}|}| +% |\songsection{|\Meta{title}|}| +% \end{codeblock} +% +% \noindent +% which act like \LaTeX's |\chapter| and |\section| commands except that they +% center the \Meta{title} text in sans serif font and omit the chapter/section +% number. +% The |\songchapter| macro only works in document classes that support +% |\chapter| (e.g., the |book| class). +% +% \section{Indexes} +% +% \subsection{Index Creation}\label{sec:indexes} +% +% \DescMacro{newindex} +% \DescMacro{newauthorindex} +% \DescMacro{newscripindex} +% The \Songs{} package supports three kinds of indexes: indexes by title and/or +% notable lyrics, indexes by author, and indexes by scripture reference. +% To generate an index, first declare the index in the document preamble +% (i.e., before the |\begin{document}| line) with one of the following: +% +% \begin{codeblock} +% |\newindex{|\Meta{id}|}{|\Meta{filename}|}| +% |\newauthorindex{|\Meta{id}|}{|\Meta{filename}|}| +% |\newscripindex{|\Meta{id}|}{|\Meta{filename}|}| +% \end{codeblock} +% +% \noindent +% The \Meta{id} should be an alphabetic identifier that will be used to +% identify the index in other macros that reference it. +% The \Meta{filename} should be a string that, when appended with an +% extension, constitutes a valid filename on the system. +% Auxiliary files named \Meta{filename}|.sxd| and \Meta{filename}|.sbx| +% are generated during the automatic index generation process. +% For example: +% +% \begin{codeblock} +% |\newindex{mainindex}{idxfile}| +% \end{codeblock} +% +% \noindent +% creates a title index named ``|mainindex|'' whose data is +% stored in files named |idxfile.sxd| and |idxfile.sbx|. +% +% \DescMacro{showindex} +% To display the index in the document, use: +% +% \begin{codeblock} +% |\showindex[|\Meta{columns}|]{|\Meta{title}|}{|\Meta{id}|}| +% \end{codeblock} +% +% \noindent +% where \Meta{id} is the same identifier used in the \mac{newindex}, +% \mac{newauthorindex}, or \mac{newscripindex} command, and where +% the \Meta{title} is the title of the index, which should consist only of +% simple text (no font or formatting macros, since those cannot be used in +% pdf bookmark indexes). +% The |[|\Meta{columns}|]| part is optional; if specified it dictates the +% number of columns if the index can't fit in a single column. +% For example, for a 2-column title index, write: +% +% \begin{codeblock} +% |\showindex[2]{Index of Song Titles}{mainindex}| +% \end{codeblock} +% +% \subsection{Index Entries}\label{sec:ientry} +% +% Every song automatically gets entries in the current \env{songs} +% environment's list of title index(es) (see \S\ref{sec:songs}). +% However, you can also add extra index entries for a song to any index. +% +% \paragraph{Indexing Lyrics.} +% \DescEnv{index=} +% For example, title indexes often have entries for memorable lines +% of lyrics in a song in addition to the song's title. +% You can add an index entry for the current song to the section's +% title index(es) by adding |index={|\Meta{lyrics}|}| to the song's +% \mac{beginsong} line. +% For example, +% +% \begin{codeblock} +% \mac{beginsong}|{Doxology}| +% | [index={Praise God from Whom all blessings flow}]| +% \end{codeblock} +% +% \noindent +% causes the song to be indexed both as ``\textit{Doxology}'' and as +% ``Praise God from Whom all blessings flow'' in the section's title index(es). +% You can use |index=| multiple times in a \mac{beginsong} line to produce +% multiple additional index entries. +% Index entries produced with |index={|\Meta{lyrics}|}| are +% typeset in an upright font instead of in italics to distinguish +% them from song titles. +% +% \paragraph{Indexing Extra Song Titles.} +% \DescEnv{ititle=} +% To add a regular index entry typeset in italics to the title +% index(es), use: +% +% \begin{codeblock} +% |ititle={|\Meta{title}|}| +% \end{codeblock} +% +% \noindent +% in the \mac{beginsong} line instead. +% Like \env{index=} keyvals, |ititle=| can be used multiple times to produce +% multiple additional index entries. +% +% \DescMacro{indexentry} +% \DescMacro{indextitleentry} +% You can also create index entries by saying +% |\indexentry[|\Meta{indexes}|]{|\Meta{lyrics}|}| (which creates an +% entry like \env{index=}) or +% |\indextitleentry[|\Meta{indexes}|]{|\Meta{title}|}| (which +% creates an entry like \env{ititle=}). +% These two macros can be used anywhere between the song's \mac{beginsong} +% and \mac{endsong} lines, and can be used multiple times to produce +% multiple entries. +% If specified, \Meta{indexes} is a comma-separated list of the identifiers +% of indexes to which the entry should be added. +% Otherwise the new entry is added to all of the title indexes for the current +% \env{songs} environment. +% +% \subsection{Compiling}\label{sec:compiling} +% +% As with a typical \LaTeX{} document, compiling a song book document with +% indexes requires three steps. +% First, use \LaTeX{} (|pdflatex| is recommended) to generate auxiliary files +% from the |.tex| file: +% +% \begin{codeblock} +% |pdflatex mybook.tex| +% \end{codeblock} +% +% Second, use the |songidx.lua| script to generate an index for each index that +% you declared with \mac{newindex}, \mac{newauthorindex}, or +% \mac{newscripindex}. +% The script can be launched using Lua\TeX, using the following syntax: +% +% \begin{codeblock} +% |texlua songidx.lua |\textcolor{black}{[}|-b| \Meta{canon}|.can|\textcolor{black}{]} \Meta{filename}|.sxd| \Meta{filename}|.sbx| +% \end{codeblock} +% +% \noindent +% where \Meta{filename} is the same \Meta{filename} that was used in the +% \mac{newindex}, \mac{newauthorindex}, or \mac{newscripindex} macro. +% If the index was declared with \mac{newscripindex}, then the |-b| option +% is used to specify which version of the bible you wish to use as a basis +% for sorting your scripture index. +% The \Meta{canon} part can be any of the |.can| files provided with +% the |songidx| distribution. +% If you are using a Protestant, Catholic, or Greek Orthodox Christian bible +% with book names in English, then the |bible.can| canon file should work +% well. +% For other bibles, you should create your own |.can| file by copying and +% modifying one of the existing |.can| files. +% +% For example, if your song book |.tex| file contains the lines +% +% \begin{codeblock} +% \mac{newindex}|{titleidx}{titlfile}| +% \mac{newauthorindex}|{authidx}{authfile}| +% \mac{newscripindex}|{scripidx}{scrpfile}| +% \end{codeblock} +% +% \noindent +% then to generate indexes sorted according to a Christian English bible, +% execute: +% +% \begin{codeblock} +% |texlua songidx.lua titlfile.sxd titlfile.sbx| +% |texlua songidx.lua authfile.sxd authfile.sbx| +% |texlua songidx.lua -b bible.can scrpfile.sxd scrpfile.sbx| +% \end{codeblock} +% +% Once the indexes are generated, generate the final book by invoking +% \LaTeX{} one more time: +% +% \begin{codeblock} +% |pdflatex mybook.tex| +% \end{codeblock} +% +% \section{Customizing the Book} +% +% \subsection{Song and Verse Numbering}\label{sec:numbering} +% +% \paragraph{Song Numbering.} +% \DescEnv{songnum} +% The |songnum| counter defines the next song's number. +% It is set to 1 at the beginning of a \env{songs} environment and is +% increased by 1 after each \mac{endsong}. +% It can be redefined anywhere except within a song. +% For example, +% +% \begin{codeblock} +% |\setcounter{songnum}{3}| +% \end{codeblock} +% +% \noindent sets the next song's number to be 3. +% +% \DescMacro{thesongnum} +% You can change the song numbering style for a song section by redefining +% |\thesongnum|. +% For example, to cause songs to be numbered A1, A2, etc., in the current +% song section, type +% +% \begin{codeblock} +% |\renewcommand{\thesongnum}{A\arabic{songnum}}| +% \end{codeblock} +% +% \noindent +% The expansion of |\thesongnum| must always produce plain text with no +% font formatting or unexpandable macro tokens, since its text is +% exported to auxiliary index generation files where it is sorted. +% +% \DescMacro{printsongnum} +% To change the formatting of song numbers as they appear at the beginning +% of each song, redefine the |\printsongnum| macro, +% which expects the text yielded by \mac{thesongnum} as its only argument. +% For example, to typeset song numbers in italics atop each song, define +% +% \begin{codeblock} +% |\renewcommand{\printsongnum}[1]{\it\LARGE#1}| +% \end{codeblock} +% +% \DescMacro{songnumwidth} +% The |\songnumwidth| length defines the width of the shaded boxes that contain +% song numbers at the beginning of each song. +% For example, to make each such box 2 centimeters wide, you could define +% +% \begin{codeblock} +% |\setlength{\songnumwidth}{2cm}| +% \end{codeblock} +% +% \noindent +% If |\songnumwidth| is set to zero, song numbers are not shown at all. +% +% \DescMacro{nosongnumbers} +% To turn off song numbering entirely, type |\nosongnumbers|. +% This inhibits the display of the song number atop each song +% (but song numbers are still be displayed elsewhere, such as in indexes). +% The same effect can be achieved by setting \mac{songnumwidth} to zero. +% +% \paragraph{Verse Numbering.} +% \DescEnv{versenum} +% The |versenum| counter defines the next verse's number. +% It is set to 1 after each \mac{beginsong} line and is increased by 1 after +% each \mac{endverse} (except if the verse begins with \mac{beginverse}|*|). +% The |versenum| counter can be redefined anywhere within a song. +% For example, +% +% \begin{codeblock} +% |\setcounter{versenum}{3}| +% \end{codeblock} +% +% \noindent sets the next verse's number to be 3. +% +% \DescMacro{theversenum} +% You can change the verse numbering style by redefining |\theversenum|. +% For example, to cause verses to be numbered in uppercase roman numerals, +% define +% +% \begin{codeblock} +% |\renewcommand{\theversenum}{\Roman{versenum}}| +% \end{codeblock} +% +% \DescMacro{printversenum} +% To change the formatting of verse numbers as they appear at the beginning +% of each verse, redefine the |\printversenum| macro, +% which expects the text yielded by \mac{theversenum} as its only argument. +% For example, to typeset verse numbers in italics, define +% +% \begin{codeblock} +% |\renewcommand{\printversenum}[1]{\it\LARGE#1.\ }| +% \end{codeblock} +% +% \DescMacro{versenumwidth} +% The |\versenumwidth| length defines the horizontal space reserved for verse +% numbers to the left of each verse text. +% Verse text is shifted right by this amount. +% For example, to reserve half a centimeter of space for verse numbers, define +% +% \begin{codeblock} +% |\setlength{\versenumwidth}{0.5cm}| +% \end{codeblock} +% +% Verse numbers whose widths exceed |\versenumwidth| indent the first +% line of the verse an additional amount to make room, but subsequent lines +% of the verse are only indented by |\versenumwidth|. +% +% \DescMacro{noversenumbers} +% To turn off verse numbering entirely, use |\noversenumbers|. +% This is equivalent to saying +% +% \begin{codeblock} +% |\renewcommand{|\mac{printversenum}|}[1]{}| +% |\setlength{\versenumwidth}{0pt}| +% \end{codeblock} +% +% \DescMacro{placeversenum} +% The horizontal placement of verse numbers within the first line of each +% verse is controlled by the |\placeversenum| macro. +% By default, each verse number is placed flush-left. +% \ImplOrDesc +% {Authors interested in changing the placement of verse numbers should +% consult \S\ref{sec:impparams} of the implementation section for more +% information on this macro.} +% {For more information on this macro, recompile this documentation with +% the implementation section included.} +% +% \subsection{Song Appearance} +% +% \paragraph{Font Selection.} +% \DescMacro{lyricfont} +% By default, lyrics are typeset using the document-default font +% (|\normalfont|) and with the document-default point size (|\normalsize|). +% You can change these defaults by redefining |\lyricfont|. +% For example, to cause lyrics to be typeset in small sans serif font, +% you could define +% +% \begin{codeblock} +% |\renewcommand{\lyricfont}{\sffamily\small}| +% \end{codeblock} +% +% \DescMacro{stitlefont} +% Song titles are typeset in a sans-serif, slanted font by default +% (sans-serif, upright if producing slides), with minimal line spacing. +% You can change this default by redefining |\stitlefont|. +% For example, to cause titles to be typeset in a roman font with lines +% spaced 20 points apart, you could define +% +% \begin{codeblock} +% |\renewcommand{\stitlefont}{| +% | \rmfont\Large\baselineskip=20pt\lineskiplimit=0pt| +% |}| +% \end{codeblock} +% +% \DescMacro{versefont} +% \DescMacro{chorusfont} +% \DescMacro{meterfont} +% \DescMacro{echofont} +% \DescMacro{notefont} +% You can apply additional font changes to verses, choruses, meter numbers, +% echo parts produced with \mac{echo}, and textual notes produced with +% \mac{textnote} and \mac{musicnote}, by redefining |\versefont|, +% |\chorusfont|, |\meterfont|, |\echofont|, and |\notefont|, respectively. +% For example, to typeset choruses in italics, you could define +% +% \begin{codeblock} +% |\renewcommand{\chorusfont}{\it}| +% \end{codeblock} +% +% \DescMacro{notebgcolor} +% \DescMacro{snumbgcolor} +% The colors of shaded boxes containing textual notes and song numbers +% can be changed by redefining the |\notebgcolor| and |\snumbgcolor| +% macros. +% For example: +% +% \begin{codeblock} +% |\renewcommand{\notebgcolor}{red}| +% \end{codeblock} +% +% \DescMacro{printchord} +% By default, chords are typeset in sans serif oblique (slanted) font. +% You can customize chord appearance by redefining |\printchord|, which +% accepts the chord text as its argument. +% For example, to cause chords to be printed in roman boldface font, +% you could define +% +% \begin{codeblock} +% |\renewcommand{\printchord}[1]{\rmfamily\bf#1}| +% \end{codeblock} +% +% \paragraph{Accidental Symbols.} +% \DescMacro{sharpsymbol} +% \DescMacro{flatsymbol} +% By default, sharp and flat symbols are typeset using \LaTeX's +% |\#| ($\#$) and |\flat| ($\flat$) macros. +% Users can change this by redefining |\sharpsymbol| and |\flatsymbol|. +% For example, to use |\sharp| ($\sharp$) instead of $\#$, one could +% redefine |\sharpsymbol| as follows. +% +% \begin{codeblock} +% |\renewcommand{\sharpsymbol}{\ensuremath{^\sharp}}| +% \end{codeblock} +% +% \paragraph{Verse and Chorus Titles.} +% \DescMacro{everyverse} +% \DescMacro{everychorus} +% The |\everyverse| macro is executed at the beginning of each verse, and +% |\everychorus| is executed at the beginning of each chorus. +% Thus, to begin each chorus with the word ``Chorus:'' one could type, +% +% \begin{codeblock} +% |\renewcommand{\everychorus}{|\mac{textnote}|{Chorus:}}| +% \end{codeblock} +% +% \paragraph{Spacing Options.} +% \DescMacro{versesep} +% The vertical distance between song verses and song choruses is defined by +% the skip register |\versesep|. +% For example, to put 12 points of space between each pair of verses and +% choruses, with a flexibility of plus or minus 2 points, you could define +% +% \begin{codeblock} +% |\versesep=12pt plus 2pt minus 2pt| +% \end{codeblock} +% +% \DescMacro{afterpreludeskip} +% \DescMacro{beforepostludeskip} +% The vertical distance between the song's body and its prelude and postlude +% material is controlled by skips |\afterpreludeskip| and +% |\beforepostludeskip|. +% This glue can be made stretchable for centering effects. +% For example, to cause each song body to be centered on the page with one +% song per page, you could write: +% +% \begin{codeblock} +% \mac{songcolumns}|{1}| +% \mac{spenalty}|=-10000| +% |\afterpreludeskip=2pt plus 1fil| +% |\beforepostludeskip=2pt plus 1fil| +% \end{codeblock} +% +% \DescMacro{baselineadj} +% The vertical distance between the baselines of consecutive lines of +% lyrics is computed by the \Songs{} package based on several factors +% including the lyric font size, the chord font size (if in \env{chorded} +% mode), and whether \env{slides} mode is currently active. +% You can adjust the results of this computation by redefining skip +% register |\baselineadj|. +% For example, to reduce the natural distance between baselines by 1 point +% but allow an additional 1 point of stretching when attempting to balance +% columns, you could define +% +% \begin{codeblock} +% |\baselineadj=-1pt plus 1pt minus 0pt| +% \end{codeblock} +% +% \DescMacro{clineparams} +% To change the vertical distance between chords and the lyrics below them, +% redefine the |\clineparams| macro with a definition that adjusts the +% \LaTeX{} parameters |\baselineskip|, |\lineskiplimit|, and |\lineskip|. +% For example, to cause the baselines of chords and their lyrics to be +% 12 points apart with at least 1 point of space between the bottom of the +% chord and the top of the lyric, you could write: +% +% \begin{codeblock} +% |\renewcommand{\clineparams}{| +% | \baselineskip=12pt| +% | \lineskiplimit=1pt| +% | \lineskip=1pt| +% |}| +% \end{codeblock} +% +% \DescMacro{cbarwidth} +% The width of the vertical line that appears to the left of choruses is +% controlled by the |\cbarwidth| length. +% To eliminate the line entirely (and the spacing around it), you can set +% |\cbarwidth| to |0pt|: +% +% \begin{codeblock} +% |\setlength{\cbarwidth}{0pt}| +% \end{codeblock} +% +% \DescMacro{sbarheight} +% The height of the horizontal line that appears between each pair of songs +% is controlled by the |\sbarheight| length. +% To eliminate the line entirely (and the spacing around it), you can set +% |\sbarheight| to |0pt|: +% +% \begin{codeblock} +% |\setlength{\sbarheight}{0pt}| +% \end{codeblock} +% +% \paragraph{Song Top and Bottom Material.} +% You can adjust the header and footer material that precedes and concludes +% each song by redefining |\extendprelude| and |\extendpostlude|. +% +% \DescMacro{extendprelude} +% \DescMacro{showauthors} +% \DescMacro{showrefs} +% By default, |\extendprelude| displays the song's authors and scripture +% references using the macros |\showauthors| and |\showrefs|. +% The following definition changes it to also print copyright info: +% +% \begin{codeblock} +% |\renewcommand{\extendprelude}{| +% | |\mac{showrefs}\mac{showauthors} +% | {\bfseries|\mac{songcopyright}|\par}| +% |}| +% \end{codeblock} +% +% \DescMacro{extendpostlude} +% By default, |\extendpostlude| prints the song's copyright and licensing +% information as a single paragraph using \mac{songcopyright} and +% \mac{songlicense}. +% The following definition changes it to also print the words +% ``Used with permission'' at the end of every song's footer information: +% +% \begin{codeblock} +% |\renewcommand{\extendpostlude}{| +% | |\mac{songcopyright}|\ |\mac{songlicense}|\unskip| +% | \ Used with permission.| +% |}| +% \end{codeblock} +% +% In general, any macro documented in \S\ref{sec:songinfo} can be used +% in |\extendprelude| and |\extendpostlude| to print song information, such +% as \mac{songauthors}, \mac{songrefs}, \mac{songcopyright}, and +% \mac{songlicense}. +% For convenience, the \mac{showauthors} and \mac{showrefs} macros display +% author and scripture reference information as a pre-formatted paragraph +% the way it appears in the default song header blocks. +% +% See \S\ref{sec:newkey} for how to define new \mac{beginsong} keyvals and +% use them in |\extendprelude|. +% +% \DescMacro{makeprelude} +% \DescMacro{makepostlude} +% For complete control over the appearance of the header and footer material +% that precedes and concludes each song, you can redefine the macros +% |\makeprelude| and |\makepostlude|. +% When typesetting a song, the \Songs{} package code invokes both of these +% macros once (after processing all the material between the \mac{beginsong} +% and \mac{endsong} lines), placing the results within vboxes. +% The resulting vboxes are placed atop and below the song content. +% By default, |\makeprelude| displays the song's titles, authors, and scripture +% references to the right of a shaded box containing the song's number; and +% |\makepostlude| displays the song's copyright and licensing information in +% fine print. +% +% As a simple example, the following causes each song to start with its +% number and title(s), centered, in a large, boldface font, and then centers +% the rest of the prelude material (e.g., references and authors) below that +% (using \mac{extendprelude}). +% +% \begin{codeblock} +% |\renewcommand\makeprelude{%| +% | |\mac{resettitles} +% | \centering| +% | {\Large\bfseries|\mac{thesongnum}|. |\mac{songtitle}|\par| +% | |\mac{nexttitle}\mac{foreachtitle}|{(|\mac{songtitle}|)\par}}%| +% | |\mac{extendprelude} +% |}| +% \end{codeblock} +% +% \paragraph{Page- and Column-breaking.} +% \DescMacro{vvpenalty} +% \DescMacro{ccpenalty} +% \DescMacro{vcpenalty} +% \DescMacro{cvpenalty} +% \DescMacro{brkpenalty} +% Page-breaking and column-breaking within songs that are too large to fit +% in a single column/page is influenced by the values of several penalties. +% Penalties of value |\interlinepenalty| are inserted between consecutive +% lines of each verse and chorus; +% penalties of value |\vvpenalty|, |\ccpenalty|, |\vcpenalty|, and |\cvpenalty| +% are inserted into each song between consecutive verses, between consecutive +% choruses, after a verse followed by a chorus, and after a chorus followed by +% a verse, respectively; +% and penalties of value |\brkpenalty| are inserted wherever \mac{brk} is +% used on a line by itself. +% The higher the penalty, the less likely \TeX{} is to place a +% page- or column-break at that site. +% If any are set to $-10000$ or lower, breaks are forced there. +% By default, |\interlinepenalty| is set to 1000 and the rest are set to 200 +% so that breaks between verses and choruses are preferred over breaks within +% choruses and verses, but are not forced. +% +% \DescMacro{sepverses} +% Saying |\sepverses| sets all of the above penalties to $-10000$ except for +% |\ccpenalty| which is set to 100. +% This is useful in \env{slides} mode because it forces each verse and +% chorus to be typeset on a separate slide, except for consecutive choruses, +% which remain together when possible. +% (This default reflects an expectation that consecutive choruses typically +% consist of a pre-chorus and chorus that are always sung together.) +% +% These defaults can be changed by changing the relevant penalty register +% directly. +% For example, to force a page- or column-break between consecutive choruses, +% type +% +% \begin{codeblock} +% |\ccpenalty=-10000| +% \end{codeblock} +% +% \paragraph{Text Justification.} +% \DescMacro{versejustify} +% \DescMacro{chorusjustify} +% \DescMacro{justifyleft} +% \DescMacro{justifycenter} +% To left-justify or center the lines of verses or choruses, redefine +% |\versejustify| or |\chorusjustify| to |\justifyleft| or |\justifycenter|, +% respectively. +% For example, to cause choruses to be centered, one could type: +% +% \begin{codeblock} +% |\renewcommand{|\mac{chorusjustify}|}{\justifycenter}| +% \end{codeblock} +% +% \DescMacro{notejustify} +% Justification of textual notes too long to fit on a single line +% is controlled by the |\notejustify| macro. +% By default, it sets up an environment that fully justifies the note +% (i.e., all but the last line of each paragraph extends all the way from +% the left to the right margin). +% \ImplOrDesc +% {Authors interested in changing this behavior should consult +% \S\ref{sec:impparams} of the implementation section for more +% information about this macro.} +% {For more information, recompile this documentation with the +% implementation section included.} +% +% \DescMacro{placenote} +% A textual note that is shorter than a single line is placed flush-left by +% default, or is centered when in slides mode. +% This placement of textual notes is controlled by |\placenote|. +% \ImplOrDesc +% {Authors interested in changing this behavior should consult +% \S\ref{sec:impparams} of the implementation section for more +% information about this macro.} +% {For more information, recompile this documentation with the +% implementation section included.} +% +% \subsection{Scripture Appearance} +% +% \DescMacro{scripturefont} +% By default, scripture quotations are typeset in Zaph Chancery font +% with the document-default point size (|\normalsize|). +% You can change these defaults by redefining |\scripturefont|. +% For example, to cause scripture quotations to be typeset in sans serif +% italics, define: +% +% \begin{codeblock} +% |\renewcommand{\scripturefont}{\sffamily\it}| +% \end{codeblock} +% +% \DescMacro{printscrcite} +% By default, the citation at the end of a scripture quotation is +% typeset in sans serif font at the document-default point size +% (|\normalsize|). +% You can customize the appearance of the citation by redefining +% |\printscrcite|, which accepts the citation text as its argument. +% For example, to cause citations to be printed in roman italics font, define: +% +% \begin{codeblock} +% |\renewcommand{\printscrcite}[1]{\rmfamily\it#1}| +% \end{codeblock} +% +% \subsection{Conditional Blocks}\label{sec:conditionals} +% +% Conditional macros allow certain material to be included in some books but +% not others. +% For example, a musician's chord book might include extra verses with +% alternate chordings. +% +% \DescMacroGroup{if}{if...}{ifchorded,iflyric,ifslides,ifpartiallist,ifsongindexes,ifmeasures,ifrawtext,iftranscapos,ifnolyrics,ifpagepreludes,ifvnumbered} +% A conditional block begins with a macro named |\if|\Meta{type}, where +% \Meta{type} is one of the types listed in the first column of +% Table~\ref{tab:conditionals}. +% \begin{table} +% \newcommand\tablerule{\noalign{\hrule}} +% \newlength\oldbaselineskip \oldbaselineskip\baselineskip +% \newlength\oldlineskip \oldlineskip\lineskip +% \newdimen\oldlineskiplimit \oldlineskiplimit\lineskiplimit +% \newcommand\oninterlineskip{% +% \baselineskip\oldbaselineskip +% \lineskip\oldlineskip +% \lineskiplimit\oldlineskiplimit} +% \vbox{\offinterlineskip\hrule +% \halign{&\vrule#&\strut\quad#\hfil\quad&\vrule#&\quad\vtop{\oninterlineskip\hsize3.5in\leftskip0.25in\parindent-0.25in\indent\vrule height\ht\strutbox width0pt depth0pt#\vrule height0pt width0pt depth\dp\strutbox\par}\quad\cr +% height2pt&\omit&&\omit&\cr +% &\hfil{\large\strut Type}&&\hfil{\large\strut Processed only if\kern1pt$\ldots$}&\cr\tablerule +% height2pt&\omit&&\omit&\cr +% &|chorded|&&the \env{chorded} option is active&\cr\tablerule +% &|lyric|&&the \env{chorded} option is not active&\cr\tablerule +% &|slides|&&the \env{slides} option is active&\cr\tablerule +% &|partiallist|&&the \mac{includeonlysongs} macro is being used to extract +% a partial list of songs&\cr\tablerule +% &|songindexes|&&the \env{noindexes} option is not active&\cr\tablerule +% &|measures|&&the \env{nomeasures} option is not active&\cr\tablerule +% &|rawtext|&&the \env{rawtext} option is active&\cr\tablerule +% &|transcapos|&&the \env{transposecapos} option is active&\cr\tablerule +% &|nolyrics|&&the \mac{nolyrics} macro is in effect&\cr\tablerule +% &|pagepreludes|&&the \mac{pagepreludes} macro is in effect&\cr\tablerule +% &|vnumbered|&&the current verse is numbered (i.e., it was started +% with \mac{beginverse} instead of \mac{beginverse}|*|)&\cr} +% \hrule} +% \caption{Conditional macros}\label{tab:conditionals} +% \end{table} +% The conditional block concludes with the macro |\fi|. +% Between the |\if|\Meta{type} and the |\fi| may also appear an |\else|. +% For example, in the construction +% +% \begin{codeblock} +% |\ifchorded| +% \quad\Meta{A} +% |\else| +% \quad\Meta{B} +% |\fi| +% \end{codeblock} +% +% \noindent +% material \Meta{A} is only included if the \env{chorded} option is active, +% and material \Meta{B} is only included if the \env{chorded} option is not +% active. +% +% \subsection{Page Layout}\label{sec:layout} +% +% \DescMacro{songcolumns} +% The number of columns per page can be set with |\songcolumns|. +% For example, to create 3 columns per page, write +% +% \begin{codeblock} +% |\songcolumns{3}| +% \end{codeblock} +% +% \noindent +% The number of columns should only be changed outside of \env{songs} +% environments. +% +% Setting the number of columns to zero disables the page-building algorithm +% entirely. +% This can be useful if you want to use an external package, such as +% |multicol| or \LaTeX's built-in |\twocolumn| macro, to build pages. +% For example, the following sets up an environment that is suitable for +% a lyric book that uses |\twocolumn|: +% +% \begin{codeblock} +% |\songcolumns{0}| +% |\flushbottom| +% |\twocolumn[\LARGE\centering My Songs]| +% |\begin{|\env{songs}|}{}| +% $\vdots$ +% |\end{|\env{songs}|}| +% \end{codeblock} +% +% \noindent +% When disabling the page-builder, please note the following potential +% issues: +% +% \begin{itemize} +% \item The \mac{repchoruses} feature does not work when the page-builder +% is disabled because the page-builder is responsible for inserting +% repeated choruses as new columns are formed. +% \item External page-building packages tend to allow column- and +% page-breaks within songs because they have no mechanism for moving an +% entire song to the next column or page to avoid such a break +% (see \mac{songpos} below). +% \item Indexes produced with \mac{showindex} are typeset to the width of +% the enclosing environment. +% Thus, you should be sure to reset \LaTeX{} back to one column (via +% |\onecolumn|) before executing \mac{showindex}. +% \end{itemize} +% +% \DescMacro{pagepreludes} +% Song preludes (i.e., the material atop each song, including the title) are +% typeset by default at column width. +% Writing |\pagepreludes| typesets subsequent preludes at page width atop +% fresh pages, with the rest of the song in multiple columns beneath its title. +% (To prohibit separation of songs from their preludes, it also sets +% \mac{songpos} to 0.) +% +% \DescMacro{columnsep} +% The horizontal distance between consecutive columns is controlled by +% the |\columnsep| dimension. +% For example, to separate columns by 1 centimeter of space, write +% +% \begin{codeblock} +% |\columnsep=1cm| +% \end{codeblock} +% +% \DescMacro{colbotglue} +% When \LaTeX{} ends each column it inserts glue equal to |\colbotglue|. +% In lyric books this macro is set to |0pt| so that each column ends flush with +% the bottom of the page. +% In other books that have ragged bottoms, it is set to stretchable +% glue so that columns end at whatever vertical position is convenient. +% The recommended setting for typsetting columns with ragged bottoms is: +% +% \begin{codeblock} +% |\renewcommand{\colbotglue}{0pt plus .5\textheight minus 0pt}| +% \end{codeblock} +% +% \DescMacro{lastcolglue} +% The last column in a \env{songs} environment gets |\lastcolglue| appended +% to it instead. +% By default it is infinitely stretchable so that the last column ends +% at its natural height. +% By setting it to |0pt|, you can force the last column to be flush with +% the bottom of the page: +% +% \begin{codeblock} +% |\renewcommand{\lastcolglue}{0pt}| +% \end{codeblock} +% +% \DescMacro{songpos} +% The \Songs{} package uses a song-positioning algorithm that +% moves songs to the next column or page in order to avoid column- or +% page-breaks within songs. +% The algorithm has four levels of aggressiveness, numbered from 0 to 3. +% You can change the aggressiveness level by typing +% +% \begin{codeblock} +% |\songpos{|\Meta{level}|}| +% \end{codeblock} +% +% \noindent +% The default level is 3, which avoids column-breaks, page-breaks, +% and page-turns within songs whenever possible. +% (Page-turns are page-breaks after odd-numbered pages in two-sided documents, +% or after all pages in one-sided documents.) +% Level 2 avoids page-breaks and page-turns but allows column-breaks within +% songs. +% Level 1 avoids only page-turns within songs. +% Level 0 turns off the song-positioning algorithm entirely. +% This causes songs to be positioned wherever \TeX{} thinks is best +% based on penalty settings (see \mac{vvpenalty} and \mac{spenalty}). +% +% \DescMacro{spenalty} +% The value of |\spenalty| controls the undesirability of column breaks +% at song boundaries. +% Usually it should be set to a value between 0 and \mac{vvpenalty} so that +% breaks between songs are preferable to breaks between verses within a song. +% By default it is set to 100. +% When it is $-10000$ or less, breaks between songs are required, so that +% each song always begins a fresh column. +% +% \subsection{Indexes}\label{sec:idxcust} +% +% \subsubsection{Index Appearance} +% +% \paragraph{Index Titles.} +% To customize the appearance of index titles, redefine the \mac{songsection} +% and/or \mac{songchapter} macros from \S\ref{sec:sectioning}. +% For example, to use \LaTeX's built-in |\section| and |\chapter| macros +% instead, you could write: +% +% \begin{codeblock} +% |\renewcommand{|\mac{songchapter}|}{\chapter}| +% |\renewcommand{|\mac{songsection}|}{\section}| +% \end{codeblock} +% +% \paragraph{Layout and page divisions.} +% \DescMacro{sepindexestrue} +% \DescMacro{sepindexesfalse} +% Indexes are by default typeset on separate pages, and when an index is +% sufficiently small, it is centered on the page in one column. +% To disable these defaults, write |\sepindexesfalse|. +% This causes indexes to avoid using unnecessary vertical space or +% starting unnecessary new pages. +% To re-enable the defaults, use |\sepindexestrue|. +% +% \DescMacro{idxheadwidth} +% The |\idxheadwidth| length defines the width of the shaded boxes that +% begin each alphabetic block of a large title index. +% Setting it to 0pt suppresses the boxes entirely. +% For example, to set the width of those boxes to 1 centimeter, you could +% define +% +% \begin{codeblock} +% |\setlength{\idxheadwidth}{1cm}| +% \end{codeblock} +% +% \paragraph{Fonts and colors.} +% \DescMacro{idxrefsfont} +% To control the formatting of the list of references on the right-hand side +% of index entries, redefine |\idxrefsfont|. +% For example, to typeset each list in boldface, write +% +% \begin{codeblock} +% |\renewcommand{\idxrefsfont}{\bfseries}| +% \end{codeblock} +% +% \DescMacro{idxtitlefont} +% \DescMacro{idxlyricfont} +% Title indexes contain entries for song titles and also entries for notable +% lines of lyrics. +% The fonts for these entries are controlled by |\idxtitlefont| and +% |\idxlyricfont|, respectively. +% For example, to show title entries in boldface sans-serif and lyric entries +% in regular roman font, one could define: +% +% \begin{codeblock} +% |\renewcommand{\idxtitlefont}{\sffamily\bfseries}| +% |\renewcommand{\idxlyricfont}{\rmfamily\mdseries}| +% \end{codeblock} +% +% \DescMacro{idxheadfont} +% To change the font used to typeset the capital letters that start each +% alphabetic section of a large title index, redefine |\idxheadfont|. +% For example, to typeset those letters in italics instead of boldface, type +% +% \begin{codeblock} +% |\renewcommand{\idxheadfont}{\sffamily\it\LARGE}| +% \end{codeblock} +% +% \DescMacro{idxbgcolor} +% To change the background color of the shaded boxes that contain the +% capital letters that start each alphabetic sectino of a large title +% index, redefine |\idxbgcolor|. +% For example: +% +% \begin{codeblock} +% |\renewcommand{\idxbgcolor}{red}| +% \end{codeblock} +% +% \DescMacro{idxauthfont} +% The font used to typeset entries of an author index is controlled by +% |\idxauthfont|. +% For example, to typeset such entries in italics instead of boldface, type +% +% \begin{codeblock} +% |\renewcommand{\idxauthfont}{\small\it}| +% \end{codeblock} +% +% \DescMacro{idxscripfont} +% The font used to typeset entries of a scripture index is controlled by +% |\idxscripfont|. +% For example, to typeset such entries in boldface instead of italics, type +% +% \begin{codeblock} +% |\renewcommand{\idxscripfont}{\sffamily\small\bfseries}| +% \end{codeblock} +% +% \DescMacro{idxbook} +% To control the formatting of the lines that start each new book of the +% bible in a scripture index, redefine |\idxbook|, which accepts the book +% name as its single argument. +% For example, to typeset each book name in a box, one could define +% +% \begin{codeblock} +% |\renewcommand{\idxbook}[1]{\framebox{\small\bfseries#1}}| +% \end{codeblock} +% +% \DescMacro{idxcont} +% In a scripture index, when a column break separates a block of entries +% devoted to a book of the bible, the new column is titled +% ``\Meta{bookname} (continued)'' by default. +% You can change this default by redefining the |\idxcont| macro, which +% receives the \Meta{bookname} as its single argument. +% For example, to typeset an index in German, one might define +% +% \begin{codeblock} +% |\renewcommand{\idxcont}[1]{\small\textbf{#1} (fortgefahren)}| +% \end{codeblock} +% +% \subsubsection{Entry References} +% +% \DescMacro{indexsongsas} +% By default, the right-hand side of each index entry contains a list of +% one or more song numbers. +% To instead list page numbers, use the |\indexsongsas| macro: +% +% \begin{codeblock} +% |\indexsongsas{|\Meta{id}|}{\thepage}| +% \end{codeblock} +% +% \noindent +% where \Meta{id} is the same identifier used in the \mac{newindex}, +% \mac{newauthorindex}, or \mac{newscripindex} macro that created the index. +% The second argument must always be something that expands into raw text +% without any formatting, since this text gets output to auxiliary files that +% are lexographically sorted by the index-generation program. +% To go back to indexing songs by song number, use \mac{thesongnum} in place +% of |\thepage| in the above. +% +% \subsubsection{PDF Bookmarks and Links} +% +% \DescMacro{songtarget} +% \DescMacro{songlink} +% Each \mac{beginsong} environment adds a PDF bookmark (if generating a PDF) +% and hyperlink target (if using the |hyperref| package) for the +% song by invoking |\songtarget| with two arguments: +% (1) a suggested PDF bookmark level, and (2) a link target name. +% Links in indexes to these targets are created by |\songlink|, which +% also gets two arguments: +% (1) the link target name (same as the second argument to \mac{songtarget}), +% and (2) the text to be linked. +% +% Redefine these macros to customize or suppress these bookmarks, targets, +% and links. +% For example, to enable both bookmarks and links (the default behavior) use: +% +% \begin{codeblock} +% |\renewcommand{\songtarget}[2]| +% | {\pdfbookmark[#1]{|\mac{thesongnum}|. |\mac{songtitle}|}{#2}}| +% |\renewcommand{\songlink}[2]{\hyperlink{#1}{#2}}| +% \end{codeblock} +% +% \noindent +% To enable links but not bookmarks, use: +% +% \begin{codeblock} +% |\renewcommand{\songtarget}[2]{\hypertarget{#2}{\relax}}| +% |\renewcommand{\songlink}[2]{\hyperlink{#1}{#2}}| +% \end{codeblock} +% +% \noindent +% To disable both bookmarks and links, use: +% +% \begin{codeblock} +% |\renewcommand{\songtarget}[2]{}| +% |\renewcommand{\songlink}[2]{#2}| +% \end{codeblock} +% +% \subsubsection{Sort Order} +% +% The alphabetic ordering of entries in title and author indexes is dictated +% by the computer system on which the \Songs{} software is installed. +% Different languages and regions have different sorting conventions, so the +% |songidx| Lua script delegates decisions about order to your operating system. +% If the default ordering proves inadequate, you can modify it by changing your +% operating system's \emph{locale} (see your system's local help files). +% Alternatively, you can explicitly tell the |songidx| program which locale to +% use in one of three ways: +% +% \begin{itemize} +% \item \emph{Windows:} +% Edit the |generate.bat| file in the |Sample| folder (or your working folder) +% with any plain text editor (e.g., Vim or Notepad). +% Near the top, find the line that says |SET locale=|. +% After the |=|, type any valid locale name. +% For a list of valid locale names on Windows, please see the ``Language name +% abbreviation'' column of Microsoft's online National Language Support (NLS) +% API Reference: +% +% {\centering\url{http://msdn.microsoft.com/en-us/goglobal/bb896001.aspx}\par} +% +% \item \emph{Unix:} +% Create an environment variable named |SONGIDX_LOCALE| and set it equal to +% the desired locale name. +% The command |locale -a| lists all valid locale names on most Unix systems. +% +% \item \emph{Command-line:} +% If you are executing the |songidx| script manually, use the |-l| option to +% specify the locale: +% +% \begin{codeblock} +% |texlua songidx -l sv_SE myindex.sxd myindex.sbx| +% \end{codeblock} +% +% \end{itemize} +% +% \subsubsection{Special Words In Song Info} +% +% The following macros control how certain keywords are treated when parsing +% and sorting index entries. +% They only affect indexes that have already been declared, so put them +% strictly after all your index creation commands (see \S\ref{sec:indexes}). +% +% \DescMacro{titleprefixword} +% In English, when a title begins with ``The'' or ``A'', it is traditional to +% move these words to the end of the title and sort the entry by the following +% word. +% So for example, ``The Song Title'' is typically indexed as +% ``Song Title, The''. +% To change this default behavior, you can use |\titleprefixword| in the +% document preamble to identify each word to be moved to the end whenever +% it appears as the first word of a title index entry. +% For example, to cause the word ``I'' to be moved to the end of title index +% entries, one could say, +% +% \begin{codeblock} +% |\titleprefixword{I}| +% \end{codeblock} +% +% \noindent +% The first use of |\titleprefixword| overrides the defaults, so if you also +% want to continue to move ``The'' and ``A'' to the end of entries, you must +% also say |\titleprefixword{The}| and |\titleprefixword{A}| explicitly. +% This macro may only be used in the document preamble but may be used +% multiple times to declare multiple prefix words. +% +% \DescMacro{authsepword} +% When parsing author index entries, the word ``and'' is recognized by the +% |songidx| script as a conjunctive that separates author names. +% To override this default and specify a different conjunctive, use the +% |\authsepword| macro one or more times in the document preamble. +% For example, to instead treat ``und'' as a conjunctive, you could say, +% +% \begin{codeblock} +% |\authsepword{und}| +% \end{codeblock} +% +% \noindent +% The first use of |\authsepword| and each of the following macros overrides +% the default, so if you also want to continue to treat ``and'' as a +% conjunctive, you must also say |\authsepword{and}| explicitly. +% +% \DescMacro{authbyword} +% When parsing author index entries, the word ``by'' is recognized as a +% keyword signaling that the index entry should only include material +% in the current list item that follows the word ``by''. +% So for example, ``Music by J.S. Bach'' is indexed as ``Bach, J.S.'' +% rather than ``Bach, Music by J.S.'' +% To recognize a different word instead of ``by'', you can use |\authbyword| +% in the document preamble. +% For example, to recognize ``durch'' instead, you could say +% +% \begin{codeblock} +% |\authbyword{durch}| +% \end{codeblock} +% +% \DescMacro{authignoreword} +% When parsing author index entries, if a list item contains the word +% ``unknown'', that item is ignored and is not indexed. +% This prevents items like ``Composer unknown'' from being indexed as names. +% To cause the indexer to recognize and ignore a different word, you can +% use the |\authignoreword| macro in the document preamble. +% For example, to ignore author index entries containing the word +% ``unbekannt'', you could say, +% +% \begin{codeblock} +% |\authignoreword{unbekannt}| +% \end{codeblock} +% +% \subsection{Page Headers and Footers} +% +% In \LaTeX, page headers and footers are defined using a system of +% invisible \emph{marks} that get inserted into the document at the +% beginning of each logical unit of the document (e.g., each section, song, +% verse, and chorus). +% The headers and footers are then defined so as to refer to the first +% and/or last invisible mark that ends up on each page once the document +% is divided into pages. +% This section describes the marks made available by the \Songs{} package. +% For more detailed information about the marks already provided by +% \LaTeX{} and how to use them, consult any \LaTeX{} user manual. +% +% \DescMacro{songmark} +% \DescMacro{versemark} +% \DescMacro{chorusmark} +% To add song information to page headings and footers, redefine |\songmark|, +% |\versemark|, or |\chorusmark| to add the necessary \TeX{} marks to the +% current page whenever a new song, verse, or chorus begins. +% These macros expect no arguments; to access the current song's +% information including titles, use the macros documented in +% \S\ref{sec:songinfo}. +% To access the current song's number or the current verse's number, use +% \mac{thesongnum} or \mac{theversenum} (see \S\ref{sec:numbering}). +% For example, to include the song number in the page headings produced by +% \LaTeX's |\pagestyle{myheadings}| feature, you could redefine |\songmark| +% as follows: +% +% \begin{codeblock} +% |\renewcommand{\songmark}{\markboth{|\mac{thesongnum}|}{|\mac{thesongnum}|}}| +% \end{codeblock} +% +% \subsection{Defining New Beginsong Keyvals}\label{sec:newkey} +% +% \DescMacro{newsongkey} +% The \mac{beginsong} macro supports several optional keyval parameters for +% declaring song information, including \env{by=}, \env{sr=}, and \env{cr=}. +% Users can define their own additional keyvals as well. +% To do so, use the |\newsongkey| macro, which has the syntax +% +% \begin{codeblock} +% |\newsongkey{|\Meta{keyname}|}{|\Meta{initcode}|}[|\Meta{default}|]{|\Meta{setcode}|}| +% \end{codeblock} +% +% \noindent +% Here, \Meta{keyname} is the name of the new key for the keyval, +% \Meta{initcode} is \LaTeX{} code that is executed at the start of each +% \mac{beginsong} line before the \mac{beginsong} arguments are processed, +% \Meta{default} (if specified) is the default value used for the keyval when +% \Meta{keyname} appears in \mac{beginsong} without a value, +% and \Meta{setcode} is macro code that is executed whenever +% \Meta{key} is parsed as part of the \mac{beginsong} keyval arguments. +% In \Meta{setcode}, |#1| expands to the value given by the user for the +% keyval (or to \Meta{default} if no value was given). +% +% For example, to define a new song key called |arr| which stores its +% value in a macro called |\arranger|, one could write: +% +% \begin{codeblock} +% |\newcommand{\arranger}{}| +% |\newsongkey{arr}{\def\arranger{}}| +% | {\def\arranger{Arranged by #1\par}}| +% \end{codeblock} +% +% \noindent +% Then one could redefine \mac{extendprelude} to print the arranger below the +% other song header information: +% +% \begin{codeblock} +% |\renewcommand{\extendprelude}{| +% | |\mac{showrefs}\mac{showauthors} +% | {\bfseries\arranger}| +% |}| +% \end{codeblock} +% +% \noindent +% A \mac{beginsong} line could then specify the song's arranger as follows: +% +% \begin{codeblock} +% \mac{beginsong}|{The Title}[arr={R. Ranger}]| +% $\vdots$ +% \mac{endsong} +% \end{codeblock} +% +% \noindent This produces +% +% \begin{sample} +% \setcounter{songnum}{1}% +% \vskip1pt% +% \newcommand\arranger{}% +% \newsongkey{arr}{\def\arranger{}}% +% {\def\arranger{Arranged by #1\par}}% +% \renewcommand{\extendprelude}{ +% \showrefs\showauthors +% {\bfseries\arranger} +% }% +% \beginsong{The Title}[arr={R. Ranger}] +% \endsong +% \renewcommand{\extendprelude}{}% +% \end{sample} +% +% For more detailed information about keyvals and how they work, consult the +% documentation for David Carlisle's |keyval| package, which comes standard +% with most \LaTeXe{} installations. +% +% \subsection{Font Kerning Corrections} +% +% \paragraph{Chord Overstriking.} +% In order to conserve space and keep songs readable, the \Songs{} package +% pushes chords down very close to the lyrics with which they are paired. +% Unfortunately, this can sometimes cause low-hanging characters in chord +% names to overstrike the lyrics they sit above. +% For example, +% +% \example|\[(Gsus4/D)]Overstrike|\produces{\[(Gsus4/D)]Overstrike} +% \eat\] +% +% \noindent +% Note that the parentheses and slash symbols in the chord name have +% invaded the lyric that sits beneath them. +% +% \DescMacro{chordlocals} +% The best solution to this problem is to use a font for chord names that +% minimizes low-hanging symbols; but if you lack such a font, then the +% following trick works pretty well. +% Somewhere in the preamble of your document, you can write the following +% \LaTeX{} code: +% +% \begin{codeblock} +% |\renewcommand{\chordlocals}{\catcode`(\active| +% | \catcode`)\active| +% | \catcode`/\active}| +% |\newcommand{\smraise}[1]{\raise2pt\hbox{\small#1}}| +% |\newcommand{\myslash}{\smraise/}| +% |\newcommand{\myopenparen}{\smraise(|\eat)|}| +% |\newcommand{\mycloseparen}{\smraise)}| +% |{\chordlocals| +% | \global\let(\myopenparen| +% | \global\let)\mycloseparen| +% | \global\let/\myslash}| +% \end{codeblock} +% +% \noindent +% This sets the |/|, |(|, and |)| symbols as active characters whenever they +% appear within chord names. +% \ImplOrDesc +% {(See \S\ref{sec:chordlocals} for documentation of the +% \texttt{\string\chordlocals} hook.)} +% {(Recompile this documentation to include the implementation section +% for more information about the \texttt{\string\chordlocals} macro.)} +% Each active character is defined so that it produces a smaller, raised +% version of the original symbol. +% The result is as follows: +% +% \renewcommand{\chordlocals}{\catcode`(\active +% \catcode`)\active +% \catcode`/\active} +% \newcommand{\smraise}[1]{\raise2pt\hbox{\small#1}} +% \newcommand{\myslash}{\smraise/} +% \newcommand{\myopenparen}{\smraise(} +% \newcommand{\mycloseparen}{\smraise)} +% {\chordlocals +% \global\let(\myopenparen +% \global\let)\mycloseparen +% \global\let/\myslash} +% +% \example|\[(Gsus4/D)]Overstrike (fixed)|\produces{\[(Gsus4/D)]Overstrike (fixed)} +% \eat\] +% +% \renewcommand\chordlocals{} +% +% \noindent +% As you can see, the low-hanging symbols have been elevated so that they +% sit above the baseline, correcting the overstrike problem. +% +% \paragraph{Scripture Font Quotation Marks.} +% \DescMacro{shiftdblquotes} +% The \Songs{} package compensates for a kerning problem in the Zaph Chancery +% font (used to typeset scripture quotations) by redefining the |``| and |''| +% token sequences to be active characters that yield double-quotes shifted +% 1.1 points and 2 points left, respectively, of their normal positions. +% If you use a different font size for scripture quotations, then you can use +% the |\shiftdblquotes| macro when redefining \mac{scripturefont} to change +% this kerning correction. +% For example, +% +% \begin{codeblock} +% |\renewcommand{|\mac{scripturefont}|}{| +% | \usefont{OT1}{pzc}{mb}{it}| +% | \shiftdblquotes{-1pt}{-2pt}{-3pt}{-4pt}| +% |}| +% \end{codeblock} +% +% \noindent +% removes 1 point of space to the left and 2 points of space to the +% right of left-double-quote characters, and 3 points to the left and 4 points +% to the right of right-double-quotes, within scripture quotations. +% +% \section{Informational Macros}\label{sec:songinfo} +% +% The macros described in this section can be used to retrieve information +% about the current song. +% This can be used when redefining \mac{extendprelude}, \mac{extendpostlude}, +% \mac{makeprelude}, \mac{makepostlude}, \mac{songmark}, \mac{versemark}, or +% \mac{chorusmark}, or any other macros that might typeset this information. +% +% \DescMacro{songauthors} +% To get the current song's list of authors (if any) use |\songauthors|. +% This yields the value of the \env{by=} key used in the \mac{beginsong} +% line. +% +% \DescMacro{songrefs} +% To get the current song's list of scripture references (if any) use +% |\songrefs|. +% This yields the value of the \env{sr=} key used in the \mac{beginsong} +% line, but modified with hyphens changed to en-dashes and spaces falling +% within a list of verse numbers changed to thin spaces for better +% typesetting. +% In addition, various penalties have been added to inhibit line breaks +% in strange places and encourage line breaks in others. +% +% \DescMacro{songcopyright} +% To get the current song's copyright info (if any), use |\songcopyright|. +% This yields the value of the \env{cr=} key used in the \mac{beginsong} line. +% +% \DescMacro{songlicense} +% To get the current song's licensing information (if any), use +% |\songlicense|. +% This yields the value of the \env{li=} key used in the \mac{beginsong} +% line, or whatever text was declared with \mac{setlicense}. +% +% \DescMacro{songtitle} +% The |\songtitle| macro yields the current song's title. +% By default this is the first title provided in the \mac{beginsong} line. +% The \mac{nexttitle} and \mac{foreachtitle} macros (see below) cause it +% to be set to the current song's other titles, if any. +% +% \DescMacro{resettitles} +% To get the current song's primary title (i.e., the first title specified +% in the song's \mac{beginsong} line), execute |\resettitles|. +% This sets the |\songtitle| macro to be the song's primary title. +% +% \DescMacro{nexttitle} +% To get the song's next title, execute |\nexttitle|, which +% sets |\songtitle| to be the next title in the song's list of titles +% (or sets |\songtitle| to |\relax| if there are no more titles). +% +% \DescMacro{foreachtitle} +% The |\foreachtitle| macro accepts \LaTeX{} code as its single +% argument and executes it once for each (remaining) song title. +% Within the provided code, use |\songtitle| to get the current title. +% For example, the following code generates a comma-separated list of all +% of the current song's titles: +% +% \begin{codeblock} +% \mac{resettitles} +% \mac{songtitle} +% \mac{nexttitle} +% |\foreachtitle{, |\mac{songtitle}|}| +% \end{codeblock} +% +% \DescMacro{songlist} +% When \mac{includeonlysongs} is used to extract a partial list of songs, the +% |\songlist| macro expands to the comma-separated list of songs that is being +% extracted. +% Redefining |\songlist| within the document preamble alters the list of +% songs to be extracted. +% Redefining it after the preamble may have unpredictable results. +% +% \section{Other Resources} +% +% There are a number of other \LaTeX{} packages available for typesetting +% songs, tablature diagrams, or song books. +% Probably the best of these is the \Rath{} package by Christopher Rath +% (\href{http://rath.ca/Misc/Songbook/}{{\tt http://rath.ca/Misc/Songbook/}}). +% Most of the differences between other packages and this one are intentional; +% the following is a summary of where I've adopted various differing design +% decisions and why. +% +% \bigskip +% +% \paragraph{Ease of Song Entry.} +% Much of the \Songs{} package programming is devoted to easing the burden of +% typing chords. +% With most \LaTeX{} song book packages the user types chords using a standard +% \LaTeX{} macro syntax like |\chord{|\Meta{chord}|}{|\Meta{lyric}|}|. +% The \Songs{} package uses a less conventional +% |\[|\Meta{chord}|]|\Meta{lyric}\eat\] syntax for several +% reasons detailed below. +% +% First, macros in the standard \LaTeX{} syntax require more key-presses +% than macros in the \Songs{} package's syntax. +% This can become become very taxing when typing up a large book. +% Chords often appear as frequently as one per syllable, especially in hymns, +% so keeping the syntax as brief as possible is desirable. +% +% Second, the standard \LaTeX{} macro syntax requires the user to estimate how +% much of the \Meta{lyric} will lie below the chord (because the \Meta{lyric} +% part must be enclosed in braces) whereas the \Songs{} package's syntax does +% not. +% Estimating this accurately can be quite difficult, since in many cases the +% \Meta{lyric} part must include punctuation or multiple words to get proper +% results. +% The \Songs{} package automates this for the user, significantly easing the +% task of chord-entry. +% +% Third, unlike the standard \LaTeX{} chord syntax, the \Songs{} package's +% syntax handles all hyphenation of chorded lyrics fully automatically. +% Extra hyphenation must be introduced in chord books wherever a chord +% is wider than the syllable it sits above. +% With the standard \LaTeX{} chord syntax such hyphenation must be +% introduced manually by the user (usually via a special hyphenation macro), +% but the \Songs{} package does this automatically. +% +% Fourth and finally, some other packages allow the user to use ``|b|'' +% in a \Meta{chord} to produce a flat symbol, whereas the \Songs{} package +% requires an ``|&|'' instead. +% Using ``|b|'' is more intuitive but prevents the +% use of ``|b|'' for any other purpose within a \Meta{chord}, such as to +% produce a literal ``b'' or to type another macro name like |\hbox| that +% contains a ``b''. +% Consequently, the \Songs{} package uses the less obvious ``|&|'' symbol to +% produce flat symbols. +% +% \paragraph{Song Structure.} +% The \Songs{} package provides a relatively small number of macros for +% typesetting high-level song structure, including verses, choruses, +% textual comments, and conditional macros that indicate that certain sections +% should go in chord books but not lyric books. +% These can be combined to typeset more sophisticated structures such as +% intros, bridges, brackets, endings, and the like. +% This is done in lieu of providing a specific macro for each of these +% structures since it results in greater flexibility and fewer macros for +% users to learn. +% +% \paragraph{Multiple columns.} +% The \Songs{} package was designed from the ground up to produce song books +% with many songs per page, arranged in multiple columns. +% As a result, it includes elaborate support for many features not found in +% most other packages, such as automatic column balancing, completely +% customizable song header and song footer blocks, and facilities for adding +% beautiful scripture quotations to fill in gaps between songs. +% +% \paragraph{Indexes.} +% Another major feature of the \Songs{} package is its support for a variety +% of different index types, most notably indexes arranged by scripture +% reference. +% Scripture indexes can be invaluable for planning services around particular +% sermons or topics. +% The \Songs{} package allows book authors to specify the names and preferred +% ordering of books of the bible, and automatically handles complex issues +% like overlapping verse ranges to produce an easy-to-read, compact, and +% well-ordered index. +% Other supported indexes include those sorted by author, by title, and by +% notable lines of lyrics. +% +% \paragraph{Automatic Transposition.} +% The \Songs{} package has a facility for automatically transposing songs, and +% even generating chord books that print the chords in multiple keys (e.g., so +% that a pianist and guitarist using a capo can play together from the same +% book). +% +% \bigskip +% +% The \Songs{} package was developed entirely independently of all other +% \LaTeX{} song book packages. +% I originally developed the set of \LaTeX{} macros that eventually became +% the \Songs{} package in order to typeset a song book for the Graduate +% Christian Fellowship (GCF) at Cornell University, and the Cornell +% International Christian Fellowship (CICF). +% Once I had fine-tuned my package to be sufficiently versatile, I decided +% to release it for public use. +% At that time I noticed the \Rath{} package and others, and wrote this +% summary of the most prominent differences. +% +% For information on more song-typesetting resources for \LaTeX, I recommend +% consulting the documentation provided with the \Rath{} package. +% It includes an excellent list of other resources that might be of interest +% to creators of song books. +% +% \section{GNU General Public License}\label{sec:license} +% +% \begingroup\small +% +% \begin{center} +% {\large\sc Terms and Conditions For \\ Copying, Distribution and Modification} +% \end{center} +% +% \begin{enumerate}\addtocounter{enumi}{-1} +% +% \item +% +% This License applies to any program or other work which contains a notice +% placed by the copyright holder saying it may be distributed under the +% terms of this General Public License. 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Many people have made +% generous contributions to the wide range of software distributed +% through that system in reliance on consistent application of that +% system; it is up to the author/donor to decide if he or she is willing +% to distribute software through any other system and a licensee cannot +% impose that choice. +% +% This section is intended to make thoroughly clear what is believed to +% be a consequence of the rest of this License. +% +% \item +% If the distribution and/or use of the Program is restricted in +% certain countries either by patents or by copyrighted interfaces, the +% original copyright holder who places the Program under this License +% may add an explicit geographical distribution limitation excluding +% those countries, so that distribution is permitted only in or among +% countries not thus excluded. In such case, this License incorporates +% the limitation as if written in the body of this License. +% +% \item +% The Free Software Foundation may publish revised and/or new versions +% of the General Public License from time to time. Such new versions will +% be similar in spirit to the present version, but may differ in detail to +% address new problems or concerns. +% +% Each version is given a distinguishing version number. If the Program +% specifies a version number of this License which applies to it and ``any +% later version'', you have the option of following the terms and conditions +% either of that version or of any later version published by the Free +% Software Foundation. If the Program does not specify a version number of +% this License, you may choose any version ever published by the Free Software +% Foundation. +% +% \item +% If you wish to incorporate parts of the Program into other free +% programs whose distribution conditions are different, write to the author +% to ask for permission. For software which is copyrighted by the Free +% Software Foundation, write to the Free Software Foundation; we sometimes +% make exceptions for this. Our decision will be guided by the two goals +% of preserving the free status of all derivatives of our free software and +% of promoting the sharing and reuse of software generally. +% +% \begin{center} +% {\large\sc No Warranty} +% \end{center} +% +% \item +% {\sc Because the program is licensed free of charge, there is no warranty +% for the program, to the extent permitted by applicable law. Except when +% otherwise stated in writing the copyright holders and/or other parties +% provide the program ``as is'' without warranty of any kind, either expressed +% or implied, including, but not limited to, the implied warranties of +% merchantability and fitness for a particular purpose. The entire risk as +% to the quality and performance of the program is with you. Should the +% program prove defective, you assume the cost of all necessary servicing, +% repair or correction.} +% +% \item +% {\sc In no event unless required by applicable law or agreed to in writing +% will any copyright holder, or any other party who may modify and/or +% redistribute the program as permitted above, be liable to you for damages, +% including any general, special, incidental or consequential damages arising +% out of the use or inability to use the program (including but not limited +% to loss of data or data being rendered inaccurate or losses sustained by +% you or third parties or a failure of the program to operate with any other +% programs), even if such holder or other party has been advised of the +% possibility of such damages.} +% +% \end{enumerate} +% +% \endgroup +% +% \StopEventually{\PrintIndex} +% +% \clearpage +% \section{Implementation} +% +% The following provides the verbatim implementation of the \Songs{} \LaTeX{} +% package, along with commentary on how it works. +% In general, macro names that contain a |@| symbol are not intended to be +% directly accessible by the outside world; they are for purely internal use. +% All other macros are intended to be used or redefined by document authors. +% +% Most of the macros likely to be of real interest to song book authors can +% be found in \S\ref{sec:impparams}. +% To find the implementation of any particular macro, the index at the end +% of this document should prove helpful. +% +% The unwary \TeX er may wonder at the rather large size of the +% implementation. +% The volume and complexity of the code stems mainly from the following +% challenging features: +% \begin{itemize} +% \item Putting chords above lyrics fully automatically requires building an +% entire lyric-parser in \LaTeX{} (see \S\ref{sec:lyricscan}). +% \item Avoiding page-turns within songs without prohibiting column-breaks +% requires building a completely new page-breaking algorithm +% (see \S\ref{sec:pagebuilder}). +% \item The package must be able to generate a daunting number of document +% variants from a common source: lyric-only books, chorded books, digital +% slides, transparency slides, selected song subsets, transposed songs, and +% combinations of the above. +% This is like putting six or more packages into one. +% \item Song book indexes are far more complex than those for a prose book. +% See \S\ref{sec:indexgen} for some of the difficulties involved. +% \end{itemize} +% +% \subsection{Initialization} +% +% The code in this section detects any \TeX{} versioning or configuration +% settings that are relevant to the rest of the song book code. +% +% \begin{macro}{\ifSB@etex} +% Numerous enhancements are possible when using an $\varepsilon$-\TeX{} +% compatible version of \LaTeX. +% We start by checking to see whether $\varepsilon$-\TeX{} primitives are +% available. +% \begin{macrocode} +\newif\ifSB@etex +\ifx\eTeXversion\undefined\else + \ifx\eTeXversion\relax\else + \SB@etextrue + \ifx\e@alloc\@undefined + \IfFileExists{etex.sty}{\RequirePackage{etex}}{} + \fi + \fi +\fi +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@pdf} +% Detect whether we're generating a pdf file, since this affects the +% treatment of hyperlinks and bookmark indexes. +% \begin{macrocode} +\newif\ifSB@pdf\SB@pdffalse +\IfFileExists{ifpdf.sty}{\RequirePackage{ifpdf}\ifpdf\SB@pdftrue\fi}{ + \ifx\pdfoutput\undefined\else + \ifx\pdfoutput\relax\else + \ifnum\pdfoutput<\@ne\else + \SB@pdftrue + \fi + \fi + \fi +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@preamble} +% Some macros have different effects depending on when they're used in the +% preamble or in the document body, so we need a conditional that remembers +% whether we're still in the preamble. +% It gets initialized to true and later changed to false once the body begins. +% \begin{macrocode} +\newif\ifSB@preamble +\SB@preambletrue +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@test} +% \begin{macro}{\ifSB@testii} +% \begin{macro}{\SB@temp} +% \begin{macro}{\SB@tempii} +% \begin{macro}{\SB@tempiii} +% \begin{macro}{\SB@tempiv} +% \begin{macro}{\SB@tempv} +% Reserve some control sequence names for scratch use. +% \begin{macrocode} +\newif\ifSB@test +\newif\ifSB@testii +\newcommand\SB@temp{} +\newcommand\SB@tempii{} +\newcommand\SB@tempiii{} +\newcommand\SB@tempiv{} +\newcommand\SB@tempv{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@newcount} +% \begin{macro}{\SB@newdimen} +% \begin{macro}{\SB@newbox} +% \begin{macro}{\SB@newtoks} +% \begin{macro}{\SB@newwrite} +% Create macros for safely allocating count, dimen, box, token, and write +% registers with detection for name-clashes. +% For some reason, the default allocation macros provided by the \LaTeX{} +% kernel do not detect name-clashes(!), which means that packages that use them +% might accidentally overwrite our registers, causing all sorts of problems. +% But at least we can do our best to avoid overwriting their registers. +% \begin{macrocode} +\newcommand\SB@newcount[1]{\@ifdefinable#1{\newcount#1}} +\newcommand\SB@newdimen[1]{\@ifdefinable#1{\newdimen#1}} +\newcommand\SB@newbox[1]{\@ifdefinable#1{\newbox#1}} +\newcommand\SB@newtoks[1]{\@ifdefinable#1{\newtoks#1}} +\newcommand\SB@newwrite[1]{\@ifdefinable#1{\newwrite#1}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@dimen} +% \begin{macro}{\SB@dimenii} +% \begin{macro}{\SB@dimeniii} +% \begin{macro}{\SB@dimeniv} +% \begin{macro}{\SB@box} +% \begin{macro}{\SB@boxii} +% \begin{macro}{\SB@boxiii} +% \begin{macro}{\SB@toks} +% \begin{macro}{\SB@cnt} +% \begin{macro}{\SB@cntii} +% \begin{macro}{\SB@skip} +% Reserve some temp registers for various purposes. +% \begin{macrocode} +\SB@newdimen\SB@dimen +\SB@newdimen\SB@dimenii +\SB@newdimen\SB@dimeniii +\SB@newdimen\SB@dimeniv +\SB@newbox\SB@box +\SB@newbox\SB@boxii +\SB@newbox\SB@boxiii +\SB@newtoks\SB@toks +\SB@newcount\SB@cnt +\SB@newcount\SB@cntii +\newlength\SB@skip +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@envbox} +% Also reserve a slightly less volatile box register for per-environment use. +% In scripture environments it holds the scripture citation. +% In indexes it holds the index title text. +% \begin{macrocode} +\SB@newbox\SB@envbox +% \end{macrocode} +% \end{macro} +% +% Load David Carlisle's |keyval| package for processing +% \Meta{key}=\Meta{value} style macro arguments. +% \begin{macrocode} +\RequirePackage{keyval} +% \end{macrocode} +% +% \begin{macro}{\SB@app} +% Utility macro: Append some text to the definition of another macro. +% \begin{macrocode} +\newcommand\SB@app[3]{% + \expandafter#1\expandafter#2\expandafter{#2#3}% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Default Parameters}\label{sec:impparams} +% +% This section defines macros and lengths that will typically be executed or +% redefined by the user in the document preamble to initialize the document. +% (Not all of these are restricted to preamble usage, however. Many can be used +% throughout the document to switch styles for different sections or different +% songs.) +% +% \begin{macro}{\lyricfont}\MainImpl{lyricfont} +% Define the font style to use for formatting song lyrics. +% \begin{macrocode} +\newcommand\lyricfont{\normalfont\normalsize} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\stitlefont}\MainImpl{stitlefont} +% Define the font style to use for formatting song titles. +% \begin{macrocode} +\newcommand\stitlefont{% + \sffamily\ifslides\Huge\else\slshape\Large\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\versefont}\MainImpl{versefont} +% \begin{macro}{\chorusfont}\MainImpl{chorusfont} +% \begin{macro}{\notefont}\MainImpl{notefont} +% \begin{macro}{\meterfont}\MainImpl{meterfont} +% \changes{v2.1}{2007/08/02}{Added} +% By default, verses, choruses, and textual notes just allow the |\lyricfont| +% style to continue. +% Meter numbers are in tiny, sans-serif, upright font. +% Echo parts toggle slanted and upright fonts. +% \begin{macrocode} +\newcommand\versefont{} +\newcommand\chorusfont{} +\newcommand\notefont{} +\newcommand\meterfont{\tiny\sffamily\upshape} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\echofont}\MainImpl{echofont} +% \changes{v2.18}{2014/06/28}{Added} +% Echo parts toggle between oblique and upright shapes like |\emph|, but we +% use |\slshape| instead of |\itshape| because it tends to look nicer with the +% larger fonts used in slides mode. +% \begin{macrocode} +\newcommand\echofont{% + \ifdim\fontdimen\@ne\font>\z@\upshape\else\slshape\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\scripturefont}\MainImpl{scripturefont} +% \changes{v1.13}{2005/05/12}{Added kerning correction for double-quote ligatures} +% Define the font style to use for formatting scripture quotations +% (defaults to Zapf Chancery). +% \begin{macrocode} +\newcommand\scripturefont{% + \usefont{OT1}{pzc}{mb}{it}% + \shiftdblquotes{-1.1\p@}\z@{-2\p@}\z@% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\printscrcite}\MainImpl{printscrcite} +% Define the printing style for the citation at the end of a scripture +% quotation. +% \begin{macrocode} +\newcommand\printscrcite[1]{\sffamily\small#1} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\snumbgcolor}\MainImpl{snumbgcolor} +% \begin{macro}{\notebgcolor}\MainImpl{notebgcolor} +% \begin{macro}{\idxbgcolor}\MainImpl{idxbgcolor} +% Define the background color used for shaded boxes containing +% song numbers, textual notes, and index section headers, respectively. +% To turn off all shading for a box type, use |\def|\Meta{macroname}|{}|. +% \begin{macrocode} +\newcommand\snumbgcolor{SongbookShade} +\newcommand\notebgcolor{SongbookShade} +\newcommand\idxbgcolor{SongbookShade} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\versejustify}\MainImpl{versejustify} +% \begin{macro}{\chorusjustify}\MainImpl{chorusjustify} +% \changes{v2.1}{2007/08/02}{Added} +% Verses and choruses are both left-justified with hanging indentation equal +% to |\parindent|. +% \begin{macrocode} +\newcommand\versejustify{\justifyleft} +\newcommand\chorusjustify{\justifyleft} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\notejustify}\MainImpl{notejustify} +% \changes{v2.1}{2007/08/02}{Added} +% Textual notes are fully justified when they are too long to fit in +% a single line. +% \begin{macrocode} +\newcommand\notejustify{% + \advance\baselineskip\p@\relax% + \leftskip\z@skip\rightskip\z@skip% + \parfillskip\@flushglue\parindent\z@% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\placenote}\MainImpl{placenote} +% \changes{v2.1}{2007/08/02}{Added} +% Textual notes are placed flush-left. +% The single argument to this macro is horizontal material that comprises the +% note. +% Usually it will consist of various hboxes and specials that were produced +% by |\colorbox|. +% \begin{macrocode} +\newcommand\placenote[1]{% + \leftskip\z@skip\rightskip\@flushglue\SB@cbarshift% + \noindent#1\par% +} +% \end{macrocode} +% \end{macro} +% +% These counters define the current song number and verse number. +% They can be redefined by the user at any time. +% \begin{macrocode} +\newcounter{songnum} +\newcounter{versenum} +% \end{macrocode} +% +% \begin{macro}{\thesongnum}\MainImpl{thesongnum} +% \begin{macro}{\songnumstyle} +% By default, the song numbering style will simply be an arabic number. +% Redefine |\thesongnum| to change it. +% (The |\songnumstyle| macro is obsolete and exists only for backward +% compatibility.) +% \begin{macrocode} +\renewcommand\thesongnum{\songnumstyle{songnum}} +\newcommand\songnumstyle{} +\let\songnumstyle\arabic +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\theversenum}\MainImpl{theversenum} +% \begin{macro}{\versenumstyle} +% By default, the verse numbering style will simply be an arabic number. +% Redefine |\theversenum| to change it. +% (The |\versenumstyle| macro is obsolete and exists only for backward +% compatibility.) +% \begin{macrocode} +\renewcommand\theversenum{\versenumstyle{versenum}} +\newcommand\versenumstyle{} +\let\versenumstyle\arabic +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\printsongnum}\MainImpl{printsongnum} +% Define the printing style for the large, boxed song numbers starting each +% song. +% \begin{macrocode} +\newcommand\printsongnum[1]{\sffamily\bfseries\LARGE#1} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\printversenum}\MainImpl{printversenum} +% Define the printing style for the verse numbers to the left of each verse. +% \begin{macrocode} +\newcommand\printversenum[1]{\lyricfont#1.\ } +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\placeversenum}\MainImpl{placeversenum} +% \changes{v2.1}{2007/08/02}{Added} +% Verse numbers are placed flush-left. +% This is achieved by inserting horizontal glue that reverses both the +% |\leftskip| and the |\parindent|. +% The single argument to this macro is an hbox containing the verse number. +% \begin{macrocode} +\newcommand\placeversenum[1]{% + \hskip-\leftskip\hskip-\parindent\relax% + \box#1% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\everyverse}\MainImpl{everyverse} +% \begin{macro}{\everychorus}\MainImpl{everychorus} +% \changes{v2.1}{2007/08/02}{Added} +% The following hooks allow users to insert material at the head of each +% verse or chorus. +% \begin{macrocode} +\newcommand\everyverse{} +\newcommand\everychorus{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\printchord}\MainImpl{printchord} +% Define the printing style for chords. +% \begin{macrocode} +\newcommand\printchord[1]{\sffamily\slshape\large#1} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\chordlocals}\MainImpl{chordlocals} +% \label{sec:chordlocals} +% This hook is expanded at the start of the scoping group that surrounds +% every chord name. +% Thus, it can be used to set any catcodes or definitions that should be +% local to chord names. +% \begin{macrocode} +\newcommand\chordlocals{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\versesep}\MainImpl{versesep} +% Specify the vertical distance between song verses. +% This gets set to a sentinel value by default; if the user doesn't redefine +% it by the end of the document preamble, it gets redefined to something +% sensible based on other settings. +% \begin{macrocode} +\newlength\versesep +\versesep123456789sp\relax +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\afterpreludeskip}\MainImpl{afterpreludeskip} +% \begin{macro}{\beforepostludeskip}\MainImpl{beforepostludeskip} +% Users can specify the amount of vertical space that separates song prelude +% and postlude material from the body of the song by adjusting the following +% two macros. +% \begin{macrocode} +\newlength\afterpreludeskip +\afterpreludeskip=2\p@\@plus4\p@ +\newlength\beforepostludeskip +\beforepostludeskip=2\p@\@plus4\p@ +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\baselineadj}\MainImpl{baselineadj} +% Define an adjustment factor for the vertical distance between consecutive +% lyric baselines. +% Setting this to zero accepts the default baseline distance computed by the +% songs package. +% \begin{macrocode} +\newlength\baselineadj +\baselineadj\z@skip +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\clineparams}\MainImpl{clineparams} +% The spacing between chords and the lyrics below them can be adjusted +% by changing the values of |\baselineskip|, |\lineskiplimit|, and +% |\lineskip| within the following macro. +% By default, |\baselineskip| is set to 2 points smaller than the height +% of the current (lyric) font, and |\lineskiplimit| and |\lineskip| are +% set so that chords intrude at most 2 points into the lyric below them. +% This helps to keep chords tight with lyrics. +% \begin{macrocode} +\newcommand\clineparams{% + \baselineskip\f@size\p@% + \advance\baselineskip-2\p@% + \lineskiplimit-2\p@% + \lineskip-2\p@% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\parindent} +% The |\parindent| length controls how far broken lyric lines are +% indented from the left margin. +% \begin{macrocode} +\parindent.25in +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxheadwidth}\MainImpl{idxheadwidth} +% Specify the width of the head-boxes in a large index. +% \begin{macrocode} +\newlength\idxheadwidth +\setlength\idxheadwidth{1.5cm} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\songnumwidth}\MainImpl{songnumwidth} +% Set the width of the song number boxes that begin each song. +% We guess a suitable width by typesetting the text ``999.'' +% \begin{macrocode} +\newlength\songnumwidth +\settowidth\songnumwidth{\printsongnum{999.}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\versenumwidth}\MainImpl{versenumwidth} +% Set the width that is reserved for normal-sized verse numbers. +% (Verse numbers wider than this will indent the first line of lyrics.) +% \begin{macrocode} +\newlength\versenumwidth +\settowidth\versenumwidth{\printversenum{9\kern1em}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\cbarwidth} +% This dictates the width of the vertical line placed to the left of +% choruses. +% Setting it to |0pt| eliminates the line entirely. +% \begin{macrocode} +\newlength\cbarwidth +\setlength\cbarwidth\p@ +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\sbarheight} +% This dictates the height of the horizontal line placed between each pair +% of songs. +% Setting it to |0pt| eliminates the line entirely. +% \begin{macrocode} +\newlength\sbarheight +\setlength\sbarheight\p@ +% \end{macrocode} +% \end{macro} +% +% Column- and page-breaks should typically not occur within a verse or chorus +% unless they are unavoidable. +% Thus, we set the |\interlinepenalty| to a high number (1000). +% \begin{macrocode} +\interlinepenalty\@m +% \end{macrocode} +% +% \begin{macro}{\vvpenalty}\MainImpl{vvpenalty} +% \begin{macro}{\ccpenalty}\MainImpl{ccpenalty} +% \begin{macro}{\vcpenalty}\MainImpl{vcpenalty} +% \begin{macro}{\cvpenalty}\MainImpl{cvpenalty} +% \begin{macro}{\brkpenalty}\MainImpl{brkpenalty} +% \changes{v2.1}{2007/08/02}{Added.} +% The following count registers define the line-breaking penalties inserted +% between verses, between choruses, after a verse followed by a chorus, after +% a chorus followed by a verse, and at |\brk| macros, respectively. +% +% The default value of 200 was chosen based on the following logic: +% Chord books should not yield underfull vbox warnings no matter how short +% their columns are. +% However, we still want to put as much material in each column as possible +% while avoiding intra-song column-breaks when they can be avoided. +% Chorded mode therefore sets |\colbotglue| with glue whose stretchability +% is half of the |\textheight|. +% Such glue will stretch at most twice its stretchability, yielding a +% badness of 800 in the worst case. +% The default |\vbadness| setting starts issuing warnings at badness 1000, +% so we set the penalties below to $1000-800=200$. +% \begin{macrocode} +\SB@newcount\vvpenalty\vvpenalty200 +\SB@newcount\ccpenalty\ccpenalty200 +\SB@newcount\vcpenalty\vcpenalty200 +\SB@newcount\cvpenalty\cvpenalty200 +\SB@newcount\brkpenalty\brkpenalty200 +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\spenalty}\MainImpl{spenalty} +% \changes{v2.1}{2007/08/02}{Added.} +% The following penalty gets inserted between songs. +% Setting it to a proper value is a somewhat delicate balancing act. +% It should typically be something between 0 and the default penalties above, +% so for now it defaults to 100. +% To start each song on a fresh column/page, set it to $-10000$ or below. +% \begin{macrocode} +\SB@newcount\spenalty\spenalty100 +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\songmark}\MainImpl{songmark} +% \changes{v1.17}{2005/09/24}{Added.} +% \begin{macro}{\versemark}\MainImpl{versemark} +% \begin{macro}{\chorusmark}\MainImpl{chorusmark} +% \changes{v2.1}{2007/08/02}{Added.} +% The user can redefine the following macros to add \TeX{} marks for each +% song, each verse, or each chorus. +% Such marks are used by \LaTeX{} to define page headers and footers. +% \begin{macrocode} +\newcommand\songmark{} +\newcommand\versemark{} +\newcommand\chorusmark{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\extendprelude}\MainImpl{extendprelude} +% \begin{macro}{\extendpostlude}\MainImpl{extendpostlude} +% \changes{v2.0}{2007/06/18}{Added.} +% To just add some fields to the existing |\makeprelude| or |\makepostlude| +% without having to redefine them entirely, users can redefine +% |\extendprelude| or |\extendpostlude|. +% By default, the prelude has the scripture references followed by the +% authors, and the postlude has the copyright info followed by the licensing +% info. +% \begin{macrocode} +\newcommand\extendprelude{\showrefs\showauthors} +\newcommand\extendpostlude{\songcopyright\ \songlicense\unskip} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\idxheadfont}\MainImpl{idxheadfont} +% \changes{v2.8}{2009/02/22}{Added.} +% Users can redefine |\idxheadfont| to affect the font in which each capital +% letter that heads a section of a title index is rendered. +% \begin{macrocode} +\newcommand\idxheadfont{\sffamily\bfseries\LARGE} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxtitlefont}\MainImpl{idxtitlefont} +% \changes{v2.8}{2009/02/22}{Added.} +% Users can redefine |\idxtitlefont| to affect the font in which song title +% index entries are rendered. +% \begin{macrocode} +\newcommand\idxtitlefont{\sffamily\slshape} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxlyricfont}\MainImpl{idxlyricfont} +% \changes{v2.8}{2009/02/22}{Added.} +% Users can redefine |\idxlyricfont| to affect the font in which notable lines +% of lyrics are rendered in a title index. +% \begin{macrocode} +\newcommand\idxlyricfont{\rmfamily} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxscripfont}\MainImpl{idxscripfont} +% \changes{v2.8}{2009/02/22}{Added.} +% Users can redefine |\idxscripfont| to affect the font in which scripture +% references are rendered in a scripture index. +% \begin{macrocode} +\newcommand\idxscripfont{\sffamily\small\slshape} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxauthfont}\MainImpl{idxauthfont} +% \changes{v2.8}{2009/02/22}{Added.} +% Users can redefine |\idxauthfont| to affect the font in which contributor +% names are rendered in an author index. +% \begin{macrocode} +\newcommand\idxauthfont{\small\bfseries} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxrefsfont}\MainImpl{idxrefsfont} +% \changes{v2.8}{2009/02/22}{Added.} +% Users can redefine |\idxrefsfont| to affect the font in which the list of +% song references on the right-hand-side of an index entry is typeset. +% \begin{macrocode} +\newcommand\idxrefsfont{\normalfont\normalsize} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxbook}\MainImpl{idxbook} +% \changes{v2.8}{2009/02/22}{Added.} +% Users can redefine |\idxbook| to dictate the book name header in a +% scripture index that begins each book of the bible. +% \begin{macrocode} +\newcommand\idxbook[1]{\small\bfseries#1} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\idxcont}\MainImpl{idxcont} +% \changes{v2.0}{2007/06/18}{Added.} +% Users can redefine |\idxcont| to dictate the column header in a scripture +% index after a column break falls within a book of the bible. +% \begin{macrocode} +\newcommand\idxcont[1]{\small\textbf{#1} (continued)} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\colbotglue} +% Glue of size |\colbotglue| is inserted at the bottom of each column. +% We use a macro instead of a glue register so that this can be redefined +% in terms of variable quantities such as |\textheight|. +% \begin{macrocode} +\newcommand\colbotglue{} +\let\colbotglue\z@skip +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\lastcolglue} +% Glue of size |\lastcolglue| is inserted at the bottom of the last column. +% \begin{macrocode} +\newcommand\lastcolglue{} +\let\lastcolglue\@flushglue +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\minfrets} +% Define the minimum number of fret rows that should appear in tablature +% diagrams. +% \begin{macrocode} +\SB@newcount\minfrets\minfrets4 +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@colwidth} +% Define a length to store the computed width of each column in a +% multi-column song page. +% The user shouldn't set this one directly, but some users might want to +% refer to it in calculations. +% \begin{macrocode} +\SB@newdimen\SB@colwidth +% \end{macrocode} +% \end{macro} +% +% \subsection{Package Options} +% +% This section defines code associated with the various option +% settings that can be specified on the |\usepackage| line. +% Many of these options can also be turned on or off subsequent to the +% |\usepackage| line, so macros for doing that are also located here. +% The options are not actually processed until \S\ref{sec:optproc} because +% some of the macros defined here refer to macros that have not yet been +% defined. +% +% \begin{option}{slides}\MainEnvImpl{slides} +% \begin{macro}{\slides}\MainImpl{slides} +% \optdef{off} +% Turning this option on generates a book of overhead slides---one for each +% song. +% It really just amounts to changing various parameter settings. +% Elsewhere in the code we also consult |\ifslides| to determine a few default +% parameter settings and to use a different song preamble structure. +% All the parameter changes below are local to the current scope; so to +% undo slides mode, just put |\slides| within a group and end the group +% wherever you want the slides settings to end. +% \begin{macrocode} +\DeclareOption{slides}{\slides} +\newcommand\slides{% + \slidestrue% + \def\lyricfont{\normalfont\huge}% + \def\chorusfont{\slshape}% + \def\versejustify{\justifycenter}% + \let\chorusjustify\versejustify + \def\placenote##1{\justifycenter\noindent##1\par}% + \scriptureoff% + \onesongcolumn% + \ifSB@preamble\ifSB@chordedspec\else\SB@chordsoff\fi\fi% + \spenalty-\@M% + \let\colbotglue\@flushglue% + \setlength\cbarwidth\z@% + \setlength\sbarheight\z@% +} +% \end{macrocode} +% \end{macro} +% \end{option} +% +% \begin{macro}{\justifyleft} +% \changes{v2.1}{2007/08/02}{Added} +% The |\justifyleft| macro sets up an environment in which lyrics are +% left-justified with hanging indentation equal to |\parindent|. +% It reserves spaces for verse numbers if used in a verse, and reserves +% space for the vertical bar left of choruses if used in a chorus. +% \begin{macrocode} +\newcommand\justifyleft{% + \leftskip\parindent% + \ifSB@inverse\advance\leftskip\versenumwidth\fi% + \SB@cbarshift% + \parindent-\parindent% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\justifycenter} +% \changes{v2.1}{2007/08/02}{Added} +% The |\justifycenter| macro sets up an environment in which lyrics are +% centered on each line. +% Verse numbers continue to be placed flush-left, but |\placeversenum| +% is temporarily redefined to keep the rest of the line containing a +% verse number centered. +% \begin{macrocode} +\newcommand\justifycenter{% + \centering\SB@cbarshift\rightskip\leftskip% + \def\placeversenum##1{% + \hskip-\leftskip\hskip-\parindent\relax% + \hangindent-\wd##1\hangafter\m@ne% + \box##1\hfil% + }% +} +% \end{macrocode} +% \end{macro} +% +% \begin{option}{unouter}\MainEnvImpl{unouter} +% \begin{macro}{\SB@outer} +% \optdef{off} +% Several macros provided by the \Songs{} package are, by default, declared +% |\outer| to aid in debugging. +% However, unusual documents may need to use these macros within larger +% constructs. +% To do so, use the |unouter| option to prevent any of the macros supplied +% by this package from being declared |\outer|. +% \begin{macrocode} +\newcommand\SB@outer{\outer} +\DeclareOption{unouter}{\let\SB@outer\relax} +% \end{macrocode} +% \end{macro} +% \end{option} +% +% \begin{option}{rawtext}\MainEnvImpl{rawtext} +% \optdef{off} +% Instead of generating a document, this dumps a text version of the song book +% to a file. This option can only be set in the |\usepackage| line because +% it dictates many top-level macro definitions. Turning rawtext on turns off +% the indexes by default, but this can be overridden by explicitly setting +% index options. (Note: Using rawtext with indexes turned on doesn't actually +% work yet, but might be added in a future revision.) +% \begin{macrocode} +\DeclareOption{rawtext}{\rawtexttrue\indexesoff} +% \end{macrocode} +% \end{option} +% +% \begin{option}{noshading}\MainEnvImpl{noshading} +% \optdef{off} +% Inhibit all shaded boxes (e.g., if the color package is unavailable). +% This option can only be set in the |\usepackage| line because the color +% package must be loaded in the preamble if at all. (Note: In a future release +% this might be extended to be modifiable throughout the preamble.) +% \begin{macrocode} +\DeclareOption{noshading}{\SB@colorboxesfalse} +% \end{macrocode} +% \end{option} +% +% \begin{option}{noindexes}\MainEnvImpl{noindexes} +% \begin{macro}{\indexeson}\MainImpl{indexeson} +% \begin{macro}{\indexesoff}\MainImpl{indexesoff} +% \optdef{off} +% Suppress generation of index files and displaying of in-document indexes. +% The |\indexeson| and |\indexesoff| macros can be used elsewhere to toggle +% display of indexes. +% Index-regeneration will occur if indexes are turned on by the end of the +% document. +% \begin{macrocode} +\DeclareOption{noindexes}{\indexesoff} +\newcommand\indexeson{\songindexestrue} +\newcommand\indexesoff{\songindexesfalse} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{option} +% +% \begin{option}{nopdfindex}\MainEnvImpl{nopdfindex} +% \optdef{off} +% Suppress creation of PDF bookmark entries and hyperlinks. +% \begin{macrocode} +\DeclareOption{nopdfindex}{% + \let\songtarget\@gobbletwo% + \let\songlink\@secondoftwo% +} +% \end{macrocode} +% \end{option} +% +% \begin{macro}{\ifSB@measurespec} +% \begin{macro}{\ifSB@chordedspec} +% The |showmeasures| and |chorded| options interact in the sense that by +% default, switching one of them on or off switches the other on or off as +% well. +% However, if the user explicitly says that one should be on or off, then +% switching the other shouldn't affect it. +% To produce this behavior, we need two extra conditionals to remember whether +% each of these options has been explicitly specified by the user or whether +% it is still in a default state. +% \begin{macrocode} +\newif\ifSB@measurespec +\newif\ifSB@chordedspec +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{option}{chorded}\MainEnvImpl{chorded} +% \begin{option}{lyric}\MainEnvImpl{lyric} +% \begin{macro}{\chordson}\MainImpl{chordson} +% \begin{macro}{\chordsoff}\MainImpl{chordsoff} +% \begin{macro}{\SB@chordson} +% \begin{macro}{\SB@chordsoff} +% \changes{v1.22}{2007/05/15}{Update \cs{baselineskip} when in songs.} +% \optdef{chorded} +% Determines whether chords should be shown. +% This option can be set in the |\usepackage| line or toggled elsewhere +% with the |\chordson| and |\chordsoff| macros. +% Chords cannot be turned on in conjunction with the |rawtext| option. +% If chords are turned on by the end of the preamble, no attempt will be made +% to balance columns on each page. +% \begin{macrocode} +\DeclareOption{chorded}{\chordson} +\DeclareOption{lyric}{\chordsoff} +\newcommand\chordson{\SB@chordedspectrue\SB@chordson} +\newcommand\chordsoff{\SB@chordedspectrue\SB@chordsoff} +\newcommand\SB@chordson{% + \ifrawtext% + \SB@errrtopt% + \else% + \chordedtrue\lyricfalse% + \let\SB@bracket\SB@chord% + \let\SB@rechord\SB@@rechord% + \let\SB@ch\SB@ch@on% + \ifSB@measurespec% + \ifmeasures\SB@measureson\else\SB@measuresoff\fi% + \else% + \SB@measureson% + \fi% + \ifSB@preamble\def\colbotglue{\z@\@plus.5\textheight}\fi% + \SB@setbaselineskip% + \fi% +} +\newcommand\SB@chordsoff{% + \chordedfalse\lyrictrue% + \def\SB@bracket##1]{\ignorespaces}% + \let\SB@rechord\relax% + \let\SB@ch\SB@ch@off% + \ifSB@measurespec% + \ifmeasures\SB@measureson\else\SB@measuresoff\fi% + \else% + \SB@measuresoff% + \fi% + \ifSB@preamble\let\colbotglue\z@skip\fi% + \SB@setbaselineskip% +} +% \end{macrocode} +% \eat\] +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{option} +% \end{option} +% +% \begin{option}{showmeasures}\MainEnvImpl{showmeasures} +% \begin{option}{nomeasures}\MainEnvImpl{nomeasures} +% \begin{macro}{\measureson}\MainImpl{measureson} +% \begin{macro}{\measuresoff}\MainImpl{measuresoff} +% \begin{macro}{\SB@measureson} +% \begin{macro}{\SB@measuresoff} +% \optdef{showmeasures if chorded, nomeasures otherwise} +% Determines whether measure bars and meter notes should be shown. +% Option can be set in the |\usepackage| line or toggled elsewhere with the +% |\measureson| and |\measuresoff| macros. +% \begin{macrocode} +\DeclareOption{showmeasures}{\measureson} +\DeclareOption{nomeasures}{\measuresoff} +\newcommand\measureson{\SB@measurespectrue\SB@measureson} +\newcommand\measuresoff{\SB@measurespectrue\SB@measuresoff} +\newcommand\SB@measureson{% + \measurestrue% + \let\SB@mbar\SB@makembar% + \ifchorded% + \let\SB@mch\SB@mch@on% + \else% + \let\SB@mch\SB@mch@m% + \fi% + \ifSB@inverse\SB@loadactives\fi% + \ifSB@inchorus\SB@loadactives\fi% +} +\newcommand\SB@measuresoff{% + \measuresfalse% + \let\SB@mbar\@gobbletwo% + \ifchorded% + \let\SB@mch\SB@ch@on% + \else% + \let\SB@mch\SB@ch@off% + \fi% + \ifSB@inverse\SB@loadactives\fi% + \ifSB@inchorus\SB@loadactives\fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{option} +% \end{option} +% +% \begin{option}{transposecapos}\MainEnvImpl{transposecapos} +% \optdef{off} +% If set, the |\capo| macro transposes the song instead of printing a note +% to use a capo. Use this option to generate a chord book for pianists who +% have trouble transposing or guitarists who don't have capos. +% \begin{macrocode} +\DeclareOption{transposecapos}{\transcapostrue} +% \end{macrocode} +% \end{option} +% +% \begin{option}{noscripture}\MainEnvImpl{noscripture} +% \begin{macro}{\scriptureon}\MainImpl{scriptureon} +% \begin{macro}{\scriptureoff}\MainImpl{scriptureoff} +% \optdef{off} +% Inhibits the display of scripture quotes. +% This option can also be toggled on and off anywhere with the |\sciptureon| +% and |\scriptureoff| macros. +% \begin{macrocode} +\DeclareOption{noscripture}{\SB@omitscriptrue} +\newcommand\scriptureon{\SB@omitscripfalse} +\newcommand\scriptureoff{\SB@omitscriptrue} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{option} +% +% \begin{option}{onesongcolumn}\MainEnvImpl{onesongcolumn} +% \begin{option}{twosongcolumns}\MainEnvImpl{twosongcolumns} +% \begin{macro}{\onesongcolumn}\MainImpl{onesongcolumn} +% \begin{macro}{\twosongcolumns}\MainImpl{twosongcolumns} +% \begin{macro}{\songcolumns}\MainImpl{songcolumns} +% \optdef{onesongcolumn is the default if generating slides or rawtext, twosongcolumns otherwise} +% The number of columns per page is specified using the following package +% options and macros. +% In \env{rawtext} mode it must remain set to one column per page. +% The entire page-making system can be turned off by setting the number of +% columns to zero. +% This will cause each song to be contributed to the current vertical list +% without any attempt to form columns; the enclosing environment must handle +% the page layout. +% Probably this means that |\repchoruses| will not work, since an external +% package won't know to insert repeated choruses when building pages. +% \begin{macrocode} +\DeclareOption{twosongcolumns}{\SB@numcols\tw@} +\DeclareOption{onesongcolumn}{\SB@numcols\@ne} +\newcommand\songcolumns[1]{% + \SB@cnt#1\relax% + \ifnum\SB@cnt=\SB@numcols\else% + \ifSB@preamble\else{\SB@clearpage}\fi% + \fi% + \SB@numcols\SB@cnt% + \ifnum\SB@numcols>\z@% + \SB@colwidth-\columnsep% + \multiply\SB@colwidth\SB@numcols% + \advance\SB@colwidth\columnsep% + \advance\SB@colwidth\textwidth% + \divide\SB@colwidth\SB@numcols% + \else% + \ifrepchorus\SB@warnrc\fi% + \fi% +} +\newcommand\onesongcolumn{\songcolumns\@ne} +\newcommand\twosongcolumns{\songcolumns\tw@} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{option} +% \end{option} +% +% \begin{macro}{\includeonlysongs}\MainImpl{includeonlysongs} +% \begin{macro}{\songlist} +% Display only a select list of songs and ignore the rest. +% \begin{macrocode} +\newcommand\songlist{} +\newcommand\includeonlysongs[1]{% + \ifSB@songsenv\SB@errpl\else% + \partiallisttrue% + \renewcommand\songlist{#1}% + \fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\nosongnumbers}\MainImpl{nosongnumbers} +% \changes{v2.9}{2009/04/01}{Added.} +% The user can turn off song numbering with the following macro. +% \begin{macrocode} +\newcommand\nosongnumbers{\setlength\songnumwidth\z@} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\noversenumbers}\MainImpl{noversenumbers} +% \changes{v1.20}{2006/03/12}{Added.} +% The user can turn off verse numbering with the following macro. +% \begin{macrocode} +\newcommand\noversenumbers{% + \renewcommand\printversenum[1]{}% + \setlength\versenumwidth\z@% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\repchoruses}\MainImpl{repchoruses} +% \begin{macro}{\norepchoruses}\MainImpl{norepchoruses} +% \changes{v2.1}{2007/08/02}{Added.} +% Using |\repchoruses| causes choruses to be automatically repeated on +% subsequent pages of the song. +% The feature requires $\varepsilon$-\TeX{} because the supporting code needs +% an extended mark register class. +% \begin{macrocode} +\ifSB@etex + \newcommand\repchoruses{% + \ifnum\SB@numcols<\@ne\SB@warnrc\fi% + \repchorustrue% + } +\else + \newcommand\repchoruses{\SB@erretex} +\fi +\newcommand\norepchoruses{\repchorusfalse} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\sepverses} +% The following penalty settings cause verses and choruses to be separated +% onto different slides when in slides mode, except that consecutive choruses +% remain together when they fit. +% \begin{macrocode} +\newcommand\sepverses{% + \vvpenalty-\@M% + \ccpenalty100 % + \vcpenalty\vvpenalty% + \cvpenalty\vvpenalty% + \let\colbotglue\@flushglue% +} +% \end{macrocode} +% \end{macro} +% +% Some option settings, margins, and other lengths are finalized at the end of +% the preamble. +% That code is below. +% +% \begin{macrocode} +\AtBeginDocument{ +% \end{macrocode} +% +% If the user hasn't set the |\versesep|, set it to the default. +% \begin{macrocode} + \SB@setversesep +% \end{macrocode} +% +% Initialize page layout algorithm. +% \begin{macrocode} + \songcolumns\SB@numcols +% \end{macrocode} +% +% Macros used after this point occur outside the preamble. +% \begin{macrocode} + \SB@preamblefalse +} +% \end{macrocode} +% +% \subsection{Page-builder} +% \label{sec:pagebuilder} +% +% The following macros handle the building of pages that contain songs. +% They compute where best to place each song (e.g., whether to place it in the +% current column or move to the next column or page). +% The output routines for generating a partial list of songs in a specified +% order also can be found here. +% +% \begin{macro}{\SB@songbox} +% The most recently processed song (or scripture quotation) is stored in this +% box. +% \begin{macrocode} +\SB@newbox\SB@songbox +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@numcols} +% \begin{macro}{\SB@colnum} +% Reserve two count registers to hold the total number of columns and the +% current column number, respectively. +% \begin{macrocode} +\SB@newcount\SB@numcols\SB@numcols\tw@ +\SB@newcount\SB@colnum +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@colbox} +% Reserve a box register to hold the current column in progress. +% \begin{macrocode} +\SB@newbox\SB@colbox +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@pgbox} +% Reserve a box register to hold the current page in progress. +% \begin{macrocode} +\SB@newbox\SB@pgbox +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@mrkbox} +% Reserve a box register to hold marks that migrate out of songs as they +% get split into columns and pages. +% \begin{macrocode} +\SB@newbox\SB@mrkbox +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@maxmin} +% The following helper macro takes the max or min of two dimensions. +% If \argp{2}=``|<|'', it sets \argp{1} to the maximum of \argp{1} and +% \argp{3}. +% If \argp{2}=``|>|'', it sets \argp{1} to the minimum of \argp{1} and +% \argp{3}. +% \begin{macrocode} +\newcommand\SB@maxmin[3]{\ifdim#1#2#3#1#3\fi} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@mkpage} +% The following macro is the heart of the page-building engine. +% It splits the contents of a box into a page of columns. +% If |\repchoruses| is active, the contents of |\SB@chorusbox| +% are additionally inserted into fresh columns created during the spitting +% process. +% The macro arguments are: +% \begin{enumerate} +% \item an integer (positive or zero) indicating whether box $b$ should be +% fully emptied and committed as columns (if positive), or whether its +% final less-than-column-height remainder should be reserved as an in-progress +% column (if zero); +% \item the box $b$ to split; +% \item a count register $i$ equaling the column index (zero or greater) +% where the content of $b$ is to begin; and +% \item the desired column height. +% \end{enumerate} +% Box $b$ is split and $i$ is incremented until $i$ reaches +% |\SB@numcols| or $b$ is emptied. +% If $b$ is emptied and the first argument is 0, the final column is \emph{not} +% contributed; instead it is left in $b$ and $i$ is left equal to the index +% of the column that would have been added if $b$ had been emptied. +% This allows the next call to reconsider whether to end the +% current column here or add some or all of the next contribution to it. +% Otherwise, if $b$ is emptied and the first argument is positive, the final +% column is contributed and $i$ is set to one greater than the index of that +% column. +% (If $i$ reaches |\SB@numcols| before $b$ is emptied, the first argument is +% ignored.) +% +% Box $b$ and count register $i$ are globally modified. +% If |\SB@updatepage| is not redefined, boxes |\SB@pgbox| and |\SB@mrkbox| +% are also globally modified based on the results of the split. +% +% The implementation takes two special steps to avoid pre-committing +% in-progress columns (when the first macro argument is zero): +% First, the final split that empties box $b$ is ``undone'' by reverting to a +% backup copy made before each split. +% Second, any underfull box warnings for this final split are suppressed by +% temporarily adding infinite-stretch |\vfil| glue to the bottom of the box. +% This strategy preserves underfull and overfull box warnings for the columns +% that are actually committed, but suppresses faux warnings for the last split +% that is undone. +% \begin{macrocode} +\newcommand\SB@mkpage[4]{% + \ifvoid#2\else\begingroup% + \edef\SB@temp{\ifnum#2=\SB@box\SB@boxii\else\SB@box\fi}% + \edef\SB@tempii{\ifnum#2=\SB@boxiii\SB@boxii\else\SB@boxiii\fi}% + \splitmaxdepth\maxdepth\splittopskip\z@skip% + \ifnum#1=\z@\global\setbox#2\vbox{\unvbox#2\vfil}\fi% + \loop\ifnum#3<\SB@numcols% + \ifnum#1=\z@\setbox\SB@tempii\copy#2\fi% + \setbox\SB@temp\vsplit#2to#4\relax% + \ifvoid#2% + \ifnum#1=\z@% + \global\setbox#2\box\SB@tempii% + \else% + \SB@updatepage% + \global\advance#3\@ne% + \fi% + #3\SB@numcols% + \else% + \SB@updatepage% + \global\advance#3\@ne% + \ifrepchorus\ifvoid\SB@chorusbox\else% + \SB@insertchorus#2% + \fi\fi% + \fi% + \repeat% + \ifnum#1=\z@\global\setbox#2\vbox{\unvbox#2\unskip}\fi% + \endgroup\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@migrate} +% Migrate a mark out of a recently split vertical list, but do not insert +% superfluous empty marks that may override previous marks. +% \begin{macrocode} +\newcommand\SB@migrate[1]{% + \SB@toks\expandafter{#1}% + \edef\SB@temp{\the\SB@toks}% + \ifx\SB@temp\@empty\else\mark{\the\SB@toks}\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@updatepage} +% Update boxes |\SB@pgbox| and |\SB@mrkbox| immediately after splitting +% the contents of |\SB@colbox|. +% \begin{macrocode} +\newcommand\SB@updatepage{% + \global\setbox\SB@mrkbox\vbox{% + \unvbox\SB@mrkbox% + \SB@migrate\splitfirstmark% + \SB@migrate\splitbotmark% + }% + \global\setbox\SB@pgbox\hbox{% + \SB@dimen\SB@colwidth% + \advance\SB@dimen\columnsep% + \multiply\SB@dimen\SB@colnum% + \advance\SB@dimen-\wd\SB@pgbox% + \unhbox\SB@pgbox% + \ifdim\SB@dimen=\z@\else\hskip\SB@dimen\relax\fi% + \box\SB@temp% + }% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@droppage} +% This alternate definition of |\SB@updatepage| drops the just-created +% page instead of contributing it. +% This allows |\SB@mkpage| to be called by the song-positioning algorithm +% as a trial run without outputting anything. +% \begin{macrocode} +\newcommand\SB@droppage{\setbox\SB@temp\box\voidb@x} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@output} +% This is the main output routine for the page-builder. +% It repeatedly calls |\SB@mkpage|, emitting pages as they are completed, +% until the remaining content of box |\SB@colbox| is not enough to fill a +% column. +% If the macro argument is 0, this final, in-progress column is left +% unfinished, pending future contributions. +% If the argument is positive, the final material is committed as a column. +% If the argument is two or greater, the entire in-progress page is also +% committed and the column number reset. +% \begin{macrocode} +\newcommand\SB@output[1]{% + \ifnum\SB@numcols>\z@\begingroup% + \loop% + \SB@dimen\textheight% + \ifinner\else\advance\SB@dimen-\pagetotal\fi% + \SB@mkpage#1\SB@colbox\SB@colnum\SB@dimen% + \SB@testfalse\SB@testiitrue% + \ifnum#1>\@ne\ifvoid\SB@colbox\ifnum\SB@colnum>\z@% + \SB@testtrue\SB@testiifalse% + \fi\fi\fi% + \ifnum\SB@colnum<\SB@numcols\SB@testiifalse\else\SB@testtrue\fi% + \ifSB@test% + \unvbox\SB@mrkbox% + \ifinner\else\kern\z@\fi% + \box\SB@pgbox% + \ifinner\else\vfil\break\vskip\vsize\relax\fi% + \global\SB@colnum\z@% + \fi% + \ifSB@testii\repeat% + \endgroup\else% + \unvbox\SB@colbox\unskip% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@putboxes} +% Create a vertical list consisting of the already committed contents of the +% current column plus the most recently submitted song box. +% The \LaTeX{} primitive that should be used to contribute each box is +% specified in the first argument. +% \begin{macrocode} +\newcommand\SB@putboxes[1]{% + \SB@dimen\ifnum\SB@numcols>\z@\ht\SB@colbox\else\p@\fi% + #1\SB@colbox% + \ifdim\SB@dimen>\z@% + \SB@breakpoint\spenalty% + \ifdim\sbarheight>\z@% + \vskip-\sbarheight\relax% + \fi% + \fi% + #1\SB@songbox% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@nextcol} +% Force $n$ column breaks, where $n$ is given by the first argument. +% The first created column is finished with the glue specified in the +% second argument. +% When the second argument is |\@flushglue|, this forces a break that leaves +% whitespace at the bottom of the column. +% When it's |\colbotglue|, it acts like a natural column break chosen by +% the page-breaker. +% However, if the current column is empty, |\@flushglue| is always used so +% that an empty column will result. +% \begin{macrocode} +\newcommand\SB@nextcol[2]{% + \ifnum#1>\z@% + \ifnum\SB@numcols>\z@% + \global\setbox\SB@colbox\vbox{% + \SB@cnt#1\relax% + \SB@dimen\ht\SB@colbox% + \unvbox\SB@colbox% + \unskip% + \ifdim\SB@dimen>\z@% + \vskip#2\relax% + \break% + \advance\SB@cnt\m@ne% + \fi% + \loop\ifnum\SB@cnt>\z@% + \nointerlineskip% + \null% + \vfil% + \break% + \advance\SB@cnt\m@ne% + \repeat% + }% + \SB@output1% + \else% + \ifnum\lastpenalty=-\@M\null\fi% + \break% + \fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@selectcol} +% This is the entrypoint to the song-positioning algorithm. +% It gets defined by |\songpos| to either |\SB@@selectcol| (below) or +% |\relax| (when song-positioning is turned off). +% \begin{macrocode} +\newcommand\SB@selectcol{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@@selectcol} +% \changes{v2.1}{2007/08/02}{Rewritten to better handle glue} +% \changes{v2.9}{2009/07/30}{Rewritten to handle repeated choruses} +% Songs should be squeezed in wherever they fit, but breaking a column or page +% within a song should be avoided. +% The following macro outputs zero or more column breaks to select a good +% place for |\SB@songbox| to be contributed to the current (or the next) page. +% The number of column breaks is determined by temporarily setting +% |\SB@updatepage| to |\SB@droppage| and then calling the |\SB@mkpage| +% algorithm under various conditions to see how many columns it would +% contribute if we start the current song at various positions. +% \begin{macrocode} +\newcommand\SB@@selectcol{% + \begingroup% + \SB@cnt\z@% + \vbadness\@M\vfuzz\maxdimen% + \let\SB@updatepage\SB@droppage% + \SB@dimen\textheight% + \ifinner\else\advance\SB@dimen-\pagetotal\fi% + \setbox\SB@boxii\vbox{\SB@putboxes\unvcopy}% + \SB@cntii\SB@colnum% + \SB@mkpage0\SB@boxii\SB@cntii\SB@dimen% + \SB@spos% + \global\SB@cnt\SB@cnt% + \endgroup% + \SB@nextcol\SB@cnt\colbotglue% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@spbegnew} +% Begin a trial typesetting of the current song on a fresh page to see if +% it fits within a page. +% \begin{macrocode} +\newcommand\SB@spbegnew{% + \setbox\SB@boxiii\copy\SB@songbox% + \SB@cntii\z@% + \SB@mkpage0\SB@boxiii\SB@cntii\textheight% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@spextold} +% Tentatively extend the song previously typeset on the current even page to +% the next odd page to see whether it fits on a double-page. +% If the current page is odd-numbered, do nothing since extending the song +% to the next page would introduce a page-turn. +% \begin{macrocode} +\newcommand\SB@spextold{% + \ifodd\c@page\else% + \SB@cntii\z@% + \SB@mkpage0\SB@boxii\SB@cntii\textheight% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@spextnew} +% Extend the trial typesetting started with |\SB@spbegnew| to a second +% page to see whether the song fits on a fresh double-page. +% \begin{macrocode} +\newcommand\SB@spextnew{% + \SB@cntii\z@% + \SB@mkpage0\SB@boxiii\SB@cntii\textheight% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@spdblpg} +% Compute the number of column breaks required to shift the current song +% to the next double-page if the result of the last test run fits within +% its page (as indicated by counter |\SB@cntii|). +% Otherwise leave the requested number of column breaks set to zero. +% \begin{macrocode} +\newcommand\SB@spdblpg{% + \ifnum\SB@cntii<\SB@numcols% + \SB@cnt\SB@numcols% + \advance\SB@cnt-\SB@colnum% + \if@twoside\ifodd\c@page\else% + \advance\SB@cnt\SB@numcols% + \fi\fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@sposi} +% This is the level-1 song positioning algorithm. +% It moves songs to the next double-page only if doing so would avoid a +% page-turn that would otherwise appear within the song. +% \begin{macrocode} +\newcommand\SB@sposi{% + \ifnum\SB@cntii<\SB@numcols\else\if@twoside% + \SB@spextold% + \fi\fi% + \ifnum\SB@cntii<\SB@numcols\else% + \SB@spbegnew% + \ifnum\SB@cntii<\SB@numcols\else\if@twoside% + \SB@spextnew% + \fi\fi% + \SB@spdblpg% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@sposii} +% This is the level-2 song-positioning algorithm. +% It moves songs to the next page or double-page if doing so avoids a +% page-break or page-turn that would otherwise appear within the song. +% \begin{macrocode} +\newcommand\SB@sposii{% + \ifnum\SB@cntii<\SB@numcols\else% + \SB@spbegnew% + \ifnum\SB@cntii<\SB@numcols% + \SB@cnt\SB@numcols% + \advance\SB@cnt-\SB@colnum% + \else% + \if@twoside% + \SB@spextold% + \ifnum\SB@cntii<\SB@numcols\else% + \SB@spextnew% + \SB@spdblpg% + \fi% + \fi% + \fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@sposiii} +% This is the level-3 song-positioning algorithm. +% It moves songs to the next column, the next page, or the next double-page +% if doing so avoids a column-break, page-break, or page-turn that would +% otherwise appear within the song. +% \begin{macrocode} +\newcommand\SB@sposiii{% + \ifnum\SB@cntii>\SB@colnum% + \SB@cnt\SB@colnum% + \advance\SB@cnt\@ne% + \ifnum\SB@cnt<\SB@numcols% + \setbox\SB@boxiii\copy\SB@songbox% + \SB@mkpage0\SB@boxiii\SB@cnt\SB@dimen% + \advance\SB@cnt\m@ne% + \fi% + \ifnum\SB@cnt>\SB@colnum% + \SB@cnt\z@% + \SB@sposii% + \else% + \SB@cnt\@ne% + \fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\songpos} +% This is the macro by which the user adjusts the aggressiveness level of the +% song-positioning algorithm. +% See the macros above for what each level does. +% \begin{macrocode} +\newcommand\songpos[1]{% + \ifcase#1% + \let\SB@selectcol\relax% + \let\SB@spos\relax% + \or% + \let\SB@selectcol\SB@@selectcol% + \let\SB@spos\SB@sposi% + \or% + \let\SB@selectcol\SB@@selectcol% + \let\SB@spos\SB@sposii% + \or% + \let\SB@selectcol\SB@@selectcol% + \let\SB@spos\SB@sposiii% + \else% + \SB@errspos% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@spos} +% The |\SB@spos| macro gets redefined by |\songpos| above depending on the +% current song-positioning aggressiveness level. +% By default it is set to level 3. +% \begin{macrocode} +\newcommand\SB@spos{} +\songpos\thr@@ +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@clearpage} +% Output all contributed material as a new page unless there is no contributed +% material. In that case do nothing (i.e., don't produce a blank page). +% The |\SB@colbox| is tested for zero height and depth rather than voidness, +% since sometimes it contains zero-length |\splittopskip| glue. +% \begin{macrocode} +\newcommand\SB@clearpage{% + \SB@testtrue% + \ifvoid\SB@pgbox% + \ifdim\ht\SB@colbox=\z@\ifdim\dp\SB@colbox=\z@% + \SB@testfalse% + \fi\fi% + \fi% + \ifSB@test% + \SB@cnt\SB@numcols% + \advance\SB@cnt-\SB@colnum% + \SB@nextcol\SB@cnt\lastcolglue% + \SB@output2% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@cleardpage} +% Like |\SB@clearpage| but shift to a fresh \emph{even-numbered} page in +% two-sided documents. +% Note that this differs from \LaTeX's |\cleardoublepage|, which shifts to +% odd-numbered pages. +% Song books prefer starting things on even-numbered pages because this +% maximizes the distance until the next page-turn. +% \begin{macrocode} +\newcommand\SB@cleardpage{% + \SB@clearpage% + \if@twoside\ifodd\c@page% + \SB@nextcol\SB@numcols\@flushglue% + \SB@output2% + \fi\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@stype} +% There are two song content submission types: column- and page-submissions. +% Page-submissions are page-width and go atop fresh pages unless the current +% page has only page-width material so far. +% Column-submissions are column-width and start a new page only when the +% current page is full. +% This macro gets set to the desired type for the current submission. +% Mostly it stays set to the default column-submission type. +% \begin{macrocode} +\newcommand\SB@stype{\SB@stypcol} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@stypcol} +% \changes{v2.1}{2007/08/02}{Rewritten to better handle glue} +% Column-submissions contribute the contents of |\SB@songbox| to either the +% current column or the next column or page, depending on where it best fits. +% \begin{macrocode} +\newcommand\SB@stypcol{% + \ifnum\SB@numcols>\z@% + \SB@selectcol% + \global\setbox\SB@colbox\vbox{\SB@putboxes\unvbox}% + \SB@output0% + \else% + \unvbox\voidb@x% + \SB@breakpoint\spenalty% + \ifdim\sbarheight>\z@% + \vskip-\sbarheight\relax% + \fi% + \unvbox\SB@songbox% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@styppage} +% Page-submissions go directly to the top of the nearest fresh page unless +% the current page has all page-width material so far. +% +% Implementation notes: +% The |\null| is needed because the page builder consults |\pagetotal|, +% which isn't updated by \TeX{} until a box is contributed (|\unvbox| doesn't +% count). +% Both |\nointerlineskip|s are needed because |\unvbox| fails to update +% |\prevdepth|, and it doesn't make sense to inherit its value from whatever +% preceeded this contribution. +% Authors who want interline glue must therefore insert it explicitly at the +% bottom of their contributed text. +% \begin{macrocode} +\newcommand\SB@styppage{% + \ifnum\SB@numcols>\z@% + \SB@clearpage% + \unvbox\SB@songbox% + \nointerlineskip\null% + \else% + \unvbox\SB@songbox% + \fi% + \nointerlineskip% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@sgroup} +% This macro controls whether songs submitted to the +% page-builder are actually contributed to the final document when +% using |\includeonlysongs| to generate a partial list. +% If |\SB@sgroup| is empty, then the song is silently dropped. +% Otherwise it is contributed only if |\SB@sgroup| is a member of +% |\songlist|. +% \begin{macrocode} +\newcommand\SB@sgroup{} +\let\SB@sgroup\@empty +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@groupcnt} +% This counter assigns a unique integer to each item of a group. +% Environments that come before the group's song are numbered decreasingly +% from $-1$. +% The song itself has number 0. +% Environments that come after the song are numbered increasingly from 1. +% \begin{macrocode} +\SB@newcount\SB@groupcnt +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@clearpboxes} +% This dynamically constructed macro clears the content of all boxes created +% by the workings of |\includeonlysongs|. +% \begin{macrocode} +\newcommand\SB@clearpboxes{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@partbox} +% Save a box of full-song or chorus material for later output when producing +% a partial list using |\includeonlysongs|. +% \begin{macrocode} +\newcommand\SB@partbox[1]{% + \SB@newbox#1% + \SB@app\gdef\SB@clearpboxes{\setbox#1\box\voidb@x}% + \global\setbox#1\box% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@submitpart} +% When a song completes and we're generating a partial list, save the song +% in a box so that it can be submitted at the end of the section in the +% order specified by |\includeonlysongs|. +% \begin{macrocode} +\newcommand\SB@submitpart{% + \ifx\SB@sgroup\@empty\else% + \SB@testfalse + \@for\SB@temp:=\songlist\do{\ifx\SB@temp\SB@sgroup\SB@testtrue\fi}% + \ifSB@test% + \edef\SB@tempii{\SB@sgroup @\the\SB@groupcnt}% + \expandafter\SB@partbox + \csname songbox@\SB@tempii\endcsname\SB@songbox% + \global\expandafter\let% + \csname stype@\SB@tempii\endcsname\SB@stype% + \ifrepchorus\ifvoid\SB@chorusbox\else% + \expandafter\SB@partbox + \csname chbox@\SB@tempii\endcsname\SB@chorusbox% + \fi\fi% + \fi% + \global\advance\SB@groupcnt% + \ifnum\SB@groupcnt<\z@\m@ne\else\@ne\fi% + \fi% + \setbox\SB@songbox\box\voidb@x% + \setbox\SB@chorusbox\box\voidb@x% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@submitsong} +% Submit the most recently finished song (or block of other vertical material) +% for output. +% If we're generating a partial list of songs, save it in a box instead of +% submitting it here. +% (The saved boxes will be submitted in the requested order at the end of +% the songs section.) +% \begin{macrocode} +\newcommand\SB@submitsong{% + \ifpartiallist\SB@submitpart\else\SB@stype\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@submitenv} +% Submit the |\SB@envbox| box as a page-width contribution. +% \begin{macrocode} +\newcommand\SB@submitenv{% + \begingroup% + \let\SB@songbox\SB@envbox% + \SB@styppage% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@songlistbrk} +% \begin{macro}{\SB@songlistnc} +% \begin{macro}{\SB@songlistcp} +% \begin{macro}{\SB@songlistcdp} +% These macros define the words that, when placed in a |\songlist|, +% force a column break at that point. +% Using |brk| produces a soft break (like |\brk|) that won't leave +% whitespace at the bottom of the broken column in lyric books. +% Using |nextcol| produces a hard break (like |\nextcol|) that may +% insert whitespace to finish the column. +% Using |sclearpage| moves to the next page if the current page is +% nonempty. +% Using |scleardpage| moves to the next double-page if the current +% double-page is nonempty. +% \begin{macrocode} +\newcommand*\SB@songlistbrk{brk} +\newcommand*\SB@songlistnc{nextcol} +\newcommand*\SB@songlistcp{sclearpage} +\newcommand*\SB@songlistcdp{scleardpage} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\commitsongs}\MainImpl{commitsongs} +% If we're generating only a partial list, then wait until the end of the +% section and then output all the songs we saved in boxes in the order +% specified. +% \begin{macrocode} +\newcommand\commitsongs{% + \ifpartiallist% + \ifnum\SB@numcols>\z@% + \@for\SB@temp:=\songlist\do{% + \ifx\SB@temp\SB@songlistnc\SB@nextcol\@ne\@flushglue\else% + \ifx\SB@temp\SB@songlistbrk\SB@nextcol\@ne\colbotglue\else% + \ifx\SB@temp\SB@songlistcp\SB@clearpage\else% + \ifx\SB@temp\SB@songlistcdp\SB@cleardpage\else% + \SB@groupcnt\m@ne\SB@finloop% + \SB@groupcnt\z@\SB@finloop% + \fi\fi\fi\fi% + }% + \else% + \@for\SB@temp:=\songlist\do{% + \ifx\SB@temp\SB@songlistnc\vfil\break\else% + \ifx\SB@temp\SB@songlistbrk\break\else% + \ifx\SB@temp\SB@songlistcp\clearpage\else% + \ifx\SB@temp\SB@songlistcdp% + \clearpage% + \ifodd\c@page\null\newpage\fi% + \else% + \SB@groupcnt\m@ne\SB@finloop% + \SB@groupcnt\z@\SB@finloop% + \fi\fi\fi\fi% + }% + \fi% + \SB@clearpboxes% + \fi% + \SB@clearpage% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@finloop} +% While contributing saved material included by |\includeonlysongs|, +% this macro contributes each series of boxes grouped together as part of a +% |songgroup| environment. +% \begin{macrocode} +\newcommand\SB@finloop{% + \loop\edef\SB@tempii{\SB@temp @\the\SB@groupcnt}% + \expandafter\ifx% + \csname songbox@\SB@tempii\endcsname\relax\else% + \setbox\SB@songbox\expandafter\copy% + \csname songbox@\SB@tempii\endcsname% + \expandafter\ifx\csname chbox@\SB@tempii\endcsname\relax% + \repchorusfalse% + \else% + \repchorustrue% + \setbox\SB@chorusbox\expandafter\copy% + \csname chbox@\SB@tempii\endcsname% + \fi% + \csname stype@\SB@tempii\endcsname% + \advance\SB@groupcnt\ifnum\SB@groupcnt<\z@\m@ne\else\@ne\fi% + \repeat% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@insertchorus} +% Insert a chorus into the first marked spot in the box given +% in the first argument. +% This is usually achieved by splitting the box at the first valid +% breakpoint after the first |\SB@cmark| in the box. +% The box is globally modified. +% \begin{macrocode} +\newcommand\SB@insertchorus[1]{{% + \vbadness\@M\vfuzz\maxdimen% + \setbox\SB@box\copy#1% + \setbox\SB@box\vsplit\SB@box to\maxdimen% + \edef\SB@temp{\splitfirstmarks\SB@nocmarkclass}% + \ifx\SB@temp\SB@nocmark\else% + \edef\SB@temp{\splitfirstmarks\SB@cmarkclass}% + \ifx\SB@temp\SB@cmark% + \SB@dimen4096\p@% + \SB@dimenii\maxdimen% + \SB@dimeniii\SB@dimen% + \loop% + \SB@dimeniii.5\SB@dimeniii% + \setbox\SB@box\copy#1% + \setbox\SB@box\vsplit\SB@box to\SB@dimen% + \edef\SB@temp{\splitfirstmarks\SB@cmarkclass}% + \ifx\SB@temp\SB@cmark% + \SB@dimenii\SB@dimen% + \advance\SB@dimen-\SB@dimeniii% + \else% + \advance\SB@dimen\SB@dimeniii% + \fi% + \ifdim\SB@dimeniii>2\p@\repeat% + \setbox\SB@box\vsplit#1to\SB@dimenii% + \global\setbox#1\vbox{% + \unvbox\SB@box\unskip% + \SB@inversefalse\SB@prevversetrue\SB@stanzabreak% + \SB@putbox\unvcopy\SB@chorusbox% + \SB@inversetrue\SB@prevversefalse\SB@stanzabreak% + \unvbox#1% + }% +% \end{macrocode} +% However, if the first mark is a |\SB@lastcmark|, it means that this chorus +% should go after the last verse in the song. +% There is no valid breakpoint there, so to get a chorus into that spot, we +% have to do a rather ugly hack: +% We pull the bottom material off the box with |\unskip|, |\unpenalty|, and +% |\lastbox|, then insert the chorus, then put the bottom material back on. +% This works because the high-level structure of the bottom material should +% be static. +% Even if the user redefines |\makepostlude|, the new definition gets put +% in a single box that can be manipulated with |\lastbox|. +% However, if we ever change the high-level structure, we need to remember to +% change this code accordingly. +% \begin{macrocode} + \else\ifx\SB@temp\SB@lastcmark% + \global\setbox#1\vbox{% + \unvbox#1% + \unskip% + \ifdim\sbarheight>\z@% + \setbox\SB@box\lastbox% + \unskip\unpenalty% + \fi% + \setbox\SB@box\lastbox% + \unskip\unskip% + \SB@inversefalse\SB@prevversetrue\SB@stanzabreak% + \marks\SB@nocmarkclass{\SB@nocmark}% + \unvcopy\SB@chorusbox% + \vskip\versesep\vskip\beforepostludeskip\relax% + \nointerlineskip\box\SB@box% + \ifdim\sbarheight>\z@% + \nobreak\vskip2\p@\@plus\p@% + \hrule\@height\sbarheight\@width\SB@colwidth% + \fi% + }% + \fi\fi% + \fi% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\nextcol}\MainImpl{nextcol} +% End the current column (inserting vertical space as needed). +% This differs from column breaks produced with |\brk|, which does not +% introduce any empty vertical space. +% \begin{macrocode} +\newcommand\nextcol{% + \@ifstar{\SB@nextcol\@ne\@flushglue}% + {\ifpartiallist\else\SB@nextcol\@ne\@flushglue\fi}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\sclearpage}\MainImpl{sclearpage} +% Move to the next page if the current page is nonempty. +% \begin{macrocode} +\newcommand\sclearpage{% + \@ifstar\SB@clearpage{\ifpartiallist\else\SB@clearpage\fi}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\scleardpage}\MainImpl{scleardpage} +% Move to the next even-numbered page if the current page is odd or nonempty. +% \begin{macrocode} +\newcommand\scleardpage{% + \@ifstar\SB@cleardpage{\ifpartiallist\else\SB@cleardpage\fi}% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Songs} +% +% The following macros handle the parsing and formatting of the material that +% begins and ends each song. +% +% \begin{macro}{\SB@lop} +% \begin{macro}{\SB@@lop} +% \begin{macro}{\SB@emptylist} +% \begin{macro}{\SB@ifempty} +% The following macros were adapted from Donald Knuth's \emph{The \TeX book}, +% for manipulating lists of the form +% {\it |\\|item1|\\|item2|\\|...|\\|itemN|\\|}. +% \begin{macrocode} +\newcommand\SB@lop[1]{\expandafter\SB@@lop\the#1\SB@@lop#1} +\newcommand\SB@@lop{} +\def\SB@@lop\\#1\\#2\SB@@lop#3#4{\global#3{\\#2}\global#4{#1}} +\newcommand*\SB@emptylist{\\} +\newcommand\SB@ifempty[3]{% + \edef\SB@temp{\the#1}% + \ifx\SB@temp\SB@emptylist#2\else#3\fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@titlelist} +% \begin{macro}{\SB@titletail} +% These registers hold the full list of titles for the current song and +% the tail list of titles that has not yet been iterated over. +% \begin{macrocode} +\SB@newtoks\SB@titlelist +\SB@newtoks\SB@titletail +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\songtitle} +% \changes{v1.15}{2005/05/26}{Added song title iterators} +% The |\songtitle| macro will initially hold the primary title of the +% current song. +% The user can iterate over titles using |\nexttitle| or |\foreachtitle|. +% \begin{macrocode} +\newcommand\songtitle{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\resettitles}\MainImpl{resettitles} +% \changes{v1.15}{2005/05/26}{Added.} +% Initialize the title list iterator. +% \begin{macrocode} +\newcommand\resettitles{% + \global\SB@titletail\SB@titlelist% + \nexttitle% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\nexttitle}\MainImpl{nexttitle} +% \changes{v1.15}{2005/05/26}{Added.} +% Advance the title list iterator to the next title. +% \begin{macrocode} +\newcommand\nexttitle{% + \SB@ifempty\SB@titletail{% + \global\let\songtitle\relax% + }{% + \SB@lop\SB@titletail\SB@toks% + \edef\songtitle{\the\SB@toks}% + }% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\foreachtitle}\MainImpl{foreachtitle} +% \changes{v1.15}{2005/05/26}{Added.} +% Execute a block of code for each remaining title in the title list. +% \begin{macrocode} +\newcommand\foreachtitle[1]{% + \ifx\songtitle\relax\else% + \loop#1\nexttitle\ifx\songtitle\relax\else\repeat% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@insong} +% \begin{macro}{\ifSB@intersong} +% \begin{macro}{\ifSB@inverse} +% \begin{macro}{\ifSB@inchorus} +% To help the user locate errors, keep track of which environments we're inside +% and immediately signal an error if someone tries to use a song command inside +% a scripture quotation, etc. +% \begin{macrocode} +\newif\ifSB@songsenv\SB@songsenvfalse +\newif\ifSB@insong\SB@insongfalse +\newif\ifSB@intersong\SB@intersongfalse +\newif\ifSB@inverse\SB@inversefalse +\newif\ifSB@inchorus\SB@inchorusfalse +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@closeall} +% If an error is detected using one of the above, the following macro will +% contain a macro sequence sufficient to end the unclosed environment, +% hopefully allowing processing to continue. +% \begin{macrocode} +\newcommand\SB@closeall{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@rawrefs} +% \begin{macro}{\songauthors}\MainImpl{songauthors} +% \begin{macro}{\songcopyright}\MainImpl{songcopyright} +% \begin{macro}{\songlicense}\MainImpl{songlicense} +% The current song's scripture references, authors, copyright info, and +% copyright license information are stored in these macros. +% \begin{macrocode} +\newcommand\SB@rawrefs{} +\newcommand\songauthors{} +\newcommand\songcopyright{} +\newcommand\songlicense{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\songrefs}\MainImpl{songrefs} +% When the user asks for the song's scripture references, rather than give +% them the raw token list that the author entered, we return a prettier +% version in which spaces, dashes, and penalties have been adjusted. +% The prettier version is stored in the following control sequence. +% \begin{macrocode} +\newcommand\songrefs{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\setlicense}\MainImpl{setlicense} +% The user sets the licensing info for the current song with this command. +% \begin{macrocode} +\newcommand\setlicense{\gdef\songlicense} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\newsongkey}\MainImpl{newsongkey} +% \begin{macro}{\SB@clearbskeys} +% \changes{v2.0}{2007/06/18}{Added.} +% Defining a new key for |\beginsong| is just like the |keyval| package's +% |\define@key| macro except that we must also define some initializer code +% for each key. +% This provides an opportunity to clear registers before each song. +% (Otherwise when a key wasn't specified, we'd inherit the old values from +% the previous song.) +% \begin{macrocode} +\newcommand\SB@clearbskeys{} +\newcommand\newsongkey[2]{% + \SB@app\gdef\SB@clearbskeys{#2}% + \define@key{beginsong}{#1}% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% Define keys |sr|, |by|, |cr|, |li|, |index|, and |ititle| for scripture +% references, authors, copyright info, licensing info, lyric index entries, +% and alternate title index entries, respectively. +% \begin{macrocode} +\newsongkey{sr}{\def\SB@rawrefs{}\gdef\songrefs{}} + {\def\SB@rawrefs{#1}\SB@parsesrefs{#1}} +\newsongkey{by}{\def\songauthors{}}{\def\songauthors{#1}} +\newsongkey{cr}{\def\songcopyright{}}{\def\songcopyright{#1}} +\newsongkey{li}{\setlicense{}}{\setlicense{#1}} +\newsongkey{index}{}{\indexentry{#1}} +\newsongkey{ititle}{}{\indextitleentry{#1}} +% \end{macrocode} +% +% \begin{environment}{song}\MainEnvImpl{song} +% \begin{macro}{\beginsong} +% \begin{macro}{\SB@@beginsong} +% \begin{macro}{\SB@bsoldfmt} +% \begin{macro}{\SB@@bskvfmt} +% Parse the arguments of a |\beginsong| macro. +% The |\beginsong| macro supports two syntaxes. +% The preferred syntax takes the song title(s) as its first argument and +% an optional keyval list in brackets as its second argument. +% A legacy syntax supports four arguments, all enclosed in braces, +% which are: the title(s), scripture references, authors, and copyright info. +% \begin{macrocode} +\newenvironment{song}{\beginsong}{\SB@endsong} +\newcommand\beginsong[1]{% + \ifSB@insong\SB@errboo\SB@closeall\fi% + \ifSB@intersong\SB@errbor\SB@closeall\fi% + \SB@insongtrue% + \def\SB@closeall{\endsong}% + \SB@parsetitles{#1}% + \global\setbox\SB@songwrites\box\voidb@x% + \SB@clearbskeys% + \@ifnextchar[\SB@bskvfmt\SB@@beginsong% +} +\newcommand\SB@@beginsong{% + \@ifnextchar\bgroup\SB@bsoldfmt\SB@@@beginsong% +} +\newcommand\SB@bsoldfmt[3]{% + \SB@bskvfmt[sr={#1},by={#2},cr={#3}]% +} +\newcommand\SB@bskvfmt{} +\def\SB@bskvfmt[#1]{% + \setkeys{beginsong}{#1}% + \SB@@@beginsong% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@@@beginsong} +% \changes{v1.12}{2005/05/10}{Redid spacing and page-breaking} +% \changes{v1.14}{2005/05/15}{Improved scripture reference line-breaking} +% \changes{v2.0}{2007/06/18}{Added keyval syntax.} +% Begin typesetting a song. +% Beginning a song involves typesetting the title and other info, adding +% entries to the indexes, and setting up the environment in which verses and +% choruses reside. +% \begin{macrocode} +\newcommand\SB@@@beginsong{% + \global\SB@stanzafalse% + \setbox\SB@chorusbox\box\voidb@x% + \SB@gotchorusfalse% + \setbox\SB@songbox\vbox\bgroup\begingroup% + \ifnum\SB@numcols>\z@\hsize\SB@colwidth\fi% + \leftskip\z@skip\rightskip\z@skip% + \parfillskip\@flushglue\parskip\z@skip% + \SB@raggedright% + \global\SB@transposefactor\z@% + \global\SB@cr@{\\}% + \protected@edef\@currentlabel{\p@songnum\thesongnum}% + \setcounter{versenum}{1}% + \SB@prevversetrue% + \meter44% + \resettitles% + \SB@addtoindexes\songtitle\SB@rawrefs\songauthors% + \nexttitle% + \foreachtitle{\expandafter\SB@addtotitles\expandafter{\songtitle}}% + \resettitles% + \lyricfont\relax% + \SB@setbaselineskip% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@endsong} +% \changes{v1.12}{2005/05/10}{Redid spacing and page-breaking} +% \changes{v2.0}{2007/06/18}{Removed hyperref dependency} +% Ending a song involves creating the song header (with |\makeprelude|), +% creating the song footer (with |\makepostlude|), and then assembling +% everything together into the |\SB@songbox|. +% The box is then submitted to the page-builder via |\SB@submitsong|. +% We do things this way instead of just contributing material directly +% to the main vertical list because submitting material song by song allows +% for a more sophisticated page-breaking algorithm than is possible with +% \TeX's built-in algorithm. +% \begin{macrocode} +\newcommand\SB@endsong{% + \ifSB@insong% + \ifSB@inverse\SB@erreov\endverse\fi% + \ifSB@inchorus\SB@erreoc\endchorus\fi% + \global\SB@skip\versesep% + \unskip% + \ifrepchorus\ifvoid\SB@chorusbox\else% + \ifSB@prevverse\ifvnumbered% + \marks\SB@cmarkclass{\SB@lastcmark}% + \fi\fi% + \fi\fi% + \endgroup\egroup% + \begingroup% + \ifnum\SB@numcols>\z@% + \hsize\ifpagepreludes\textwidth\else\SB@colwidth\fi% + \fi% + \leftskip\z@skip\rightskip\z@skip% + \parfillskip\@flushglue\parskip\z@skip\parindent\z@% + \global\setbox\SB@envbox\vbox{% + \songmark% + \unvbox\SB@songwrites% + \ifpagepreludes\else\ifdim\sbarheight>\z@% + \hrule\@height\sbarheight\@width\hsize% + \nobreak\vskip5\p@\relax% + \fi\fi% + \resettitles% + \begingroup% + \songtarget{\ifnum\c@section=\z@1\else2\fi}% + {song\theSB@songsnum-\thesongnum}% + \endgroup% + \vbox{\makeprelude}% + \nobreak\vskip\SB@skip% + \vskip\afterpreludeskip\relax% + }% + \ifnum\SB@numcols>\z@\hsize\SB@colwidth\fi% + \global\setbox\SB@songbox\vbox{% + \ifpagepreludes\else\unvbox\SB@envbox\fi% + \unvbox\SB@songbox% + \nobreak\vskip\SB@skip% + \vskip\beforepostludeskip\relax% + \nointerlineskip% + \vbox{\makepostlude}% + \ifdim\sbarheight>\z@% + \nobreak\vskip2\p@\@plus\p@% + \nointerlineskip% + \hbox{\vrule\@height\sbarheight\@width\hsize}% + \fi% + }% + \endgroup% + \SB@insongfalse% + \edef\SB@sgroup{\thesongnum}% + \global\SB@groupcnt\z@% + \ifpagepreludes\SB@submitenv\fi% + \SB@submitsong% + \ifnum\SB@grouplvl=\z@\let\SB@sgroup\@empty\fi% + \stepcounter{songnum}% + \else% + \ifSB@intersong\SB@erreor\SB@closeall% + \else\SB@erreot\fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% \end{environment} +% +% \begin{macro}{\SB@setbaselineskip} +% \changes{v1.22}{2007/05/15}{Added.} +% \changes{v2.1}{2007/08/02}{Fixed to scale better with large font sizes.} +% Set the |\baselineskip| to an appropriate line height. +% \begin{macrocode} +\newcommand\SB@setbaselineskip{% + \SB@dimen\f@size\p@% + \baselineskip\SB@dimen\relax% + \ifchorded% + \setbox\SB@box\hbox{{\printchord{ABCDEFG\shrp\flt/j7}}}% + \advance\baselineskip\ht\SB@box% + \advance\baselineskip2\p@% + \fi% + \ifslides% + \advance\baselineskip.2\SB@dimen\@plus.5\SB@dimen% + \@minus.2\SB@dimen% + \else% + \advance\baselineskip\z@\@plus.1\SB@dimen\relax% + \fi% + \advance\baselineskip\baselineadj% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@setversesep} +% Set the |\versesep| to an appropriate amount if has not already been +% explicitly set by the user. +% \begin{macrocode} +\newcommand\SB@setversesep{% + \SB@dimen123456789sp% + \edef\SB@temp{\the\SB@dimen}% + \edef\SB@tempii{\the\versesep}% + \ifx\SB@temp\SB@tempii% + \begingroup% + \lyricfont\relax% + \SB@dimen\f@size\p@% + \ifchorded% + \setbox\SB@box\hbox{{\printchord{ABCDEFG\shrp\flt/j7}}}% + \advance\SB@dimen\ht\SB@box% + \fi% + \ifslides% + \global\versesep1.2\SB@dimen\@plus.3\SB@dimen% + \@minus.3\SB@dimen% + \else% + \global\versesep.75\SB@dimen\@plus.25\SB@dimen% + \@minus.13\SB@dimen% + \fi% + \endgroup% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\makeprelude}\MainImpl{makeprelude} +% \changes{v1.15}{2005/05/26}{Added to make song header format customizable.} +% \changes{v2.0}{2007/06/18}{Arguments removed to support keyval syntax.} +% Generate the material that begins each song. +% This macro is invoked at |\endsong| so that its code can access song info +% defined throughout the song. +% +% Note that if you are redefining |\makeprelude|, you can probably replace +% everything below with something much simpler. +% The code below is lengthy because it accommodates all of the many different +% options that various authors may adjust to customize their books. +% If you redefine it, you can replace all of this with smaller, more +% specialized programming that just outputs the prelude format you desire. +% \begin{macrocode} +\newcommand\makeprelude{% + \resettitles% +% \end{macrocode} +% In slides mode, the title, references, and authors are simply centered on +% the page with no song number. +% Only the first of the song titles is included. +% The references and authors only span the middle 50\% of the page, since +% letting them span the whole page width stretches them out too much and makes +% their fine print too hard to read. +% \begin{macrocode} + \ifslides% + \hbox to\hsize{{\hfil\stitlefont\relax\songtitle\hfil}}% + \vskip5\p@% + \hbox to\hsize{% + \hfil% + \vbox{% + \divide\hsize\tw@\parskip\p@\relax% + \centering\small\extendprelude% + }% + \hfil% + }% + \else% +% \end{macrocode} +% In non-slides mode, we write the song number in a shaded box to the left +% (if |\songnumwidth| is positive) and everything else in left-justified +% paragraphs to the right of it (or centered if |\pagepreludes| is on). +% The height of the shaded box that contains the song number depends on +% which is higher: the natural height of the song number, or everything else +% that goes to the right of it. +% To find out which is higher, we start by putting the song number in its +% own box (|\SB@boxii|). +% \begin{macrocode} + \ifdim\songnumwidth>\z@% + \setbox\SB@boxii\hbox{{\SB@colorbox\snumbgcolor{% + \hbox to\songnumwidth{% + \printsongnum{\thesongnum}\hfil% + }% + }}}% + \fi% +% \end{macrocode} +% Now we know the width $w$ of the song number box, so we typeset everything +% else in a box (|\SB@box|) of width $c-w$, where $c$ is the column width. +% (If |\pagepreludes| is on, we instead use width $c-2w$ so that the material +% stays centered on the page.) +% \begin{macrocode} + \setbox\SB@box\vbox{% + \ifdim\songnumwidth>\z@% + \SB@dimen\wd\SB@boxii% + \advance\SB@dimen3\p@% + \ifpagepreludes\multiply\SB@dimen\tw@\fi% + \advance\hsize-\SB@dimen% + \fi% + \ifpagepreludes\centering\else\SB@raggedright\fi% + \offinterlineskip\lineskip\p@% + {\stitlefont\relax% + \songtitle\par% + \nexttitle% + \foreachtitle{(\songtitle)\par}}% + \ifdim\prevdepth=\z@\kern\p@\fi% + \parskip\p@\relax\tiny% + \extendprelude% + \kern\z@% + }% +% \end{macrocode} +% If the song number is being printed (i.e., |\songnumwidth| is positive), +% and its height is greater than the height of the other material, then we +% just put |\SB@boxii| and |\SB@box| side-by-side. +% If the song number is being printed but its height is less, then we +% re-typeset it at height equal to the other material, and place the boxes +% side-by-side. +% Finally, if the song number is not being printed at all, we just unbox +% |\SB@box| onto the vertical list. +% \begin{macrocode} + \ifdim\songnumwidth>\z@% + \hbox{% + \ifdim\ht\SB@boxii>\ht\SB@box% + \box\SB@boxii% + \kern3\p@% + \vtop{\box\SB@box}% + \else% + \SB@colorbox\snumbgcolor{\vbox to\ht\SB@box{{% + \hbox to\songnumwidth{% + \printsongnum{\thesongnum}\hfil% + }\vfil% + }}}% + \kern3\p@% + \box\SB@box% + \fi% + }% + \else% + \unvbox\SB@box% + \fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\makepostlude}\MainImpl{makepostlude} +% \changes{v1.15}{2005/05/26}{Added to make song trailer format customizable.} +% \changes{v2.0}{2007/06/18}{Arguments removed to support keyval syntax.} +% Generate the material that ends each song. +% The default implementation just prints the copyright and licensing +% information (if any) as a single, left-justified, non-indentended paragraph +% in fine print. +% \begin{macrocode} +\newcommand\makepostlude{% + \SB@raggedright\baselineskip\z@skip\parskip\z@skip\parindent\z@% + \tiny\extendpostlude% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\showauthors}\MainImpl{showauthors} +% Display the author information in the prelude. +% This macro is only called by |\extendprelude|, which is only called by +% |\makeprelude|; so if you redefine either of those, you don't need this. +% The default implementation prints the authors in boldface and shortens the +% spacing after periods so that they don't look like ends of sentences. +% \begin{macrocode} +\newcommand\showauthors{% + \setbox\SB@box\hbox{\bfseries\sfcode`.\@m\songauthors}% + \ifdim\wd\SB@box>\z@\unhbox\SB@box\par\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\showrefs}\MainImpl{showrefs} +% Display the scripture references in the prelude. +% This macro is only called by |\extendprelude|, which is only called by +% |\makeprelude|; so if you redefine either of those, you don't need this. +% The default implementation prints the scripture references in slanted +% (oblique) font. +% \begin{macrocode} +\newcommand\showrefs{% + \setbox\SB@box\hbox{\slshape\songrefs\vphantom,}% + \ifdim\wd\SB@box>\z@\unhbox\SB@box\par\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@next} +% \begin{macro}{\SB@donext} +% \begin{macro}{\SB@dothis} +% Several macros use |\futurelet| to look ahead in the input stream, and then +% take various actions depending on what is seen. +% In these macros, |\SB@next| is assigned the token seen, |\SB@dothis| is +% assigned the action to be taken on this loop iteration, and |\SB@donext| is +% assigned the action to be taken to continue (or terminate) the loop. +% \begin{macrocode} +\newcommand\SB@next{} +\newcommand\SB@donext{} +\newcommand\SB@dothis{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@nextname} +% Sometimes when scanning ahead we |\string|ify the name of the next token. +% When that happens, the name is stored in this macro for safekeeping. +% \begin{macrocode} +\newcommand\SB@nextname{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@appendsp} +% Append an explicit space token (catcode 10) to a token register. +% This is a useful macro to have around because inlining this code directly +% into a larger macro is harder than it seems: +% If you write the following code but with an explicit control sequence +% instead of |#1|, then the space immediately following the name will get +% stripped by the \TeX{} parser. +% But invoking the following macro with a control sequence as an argument +% works fine, because in that case the explicit space has already been +% tokenized when this macro was first defined and won't be stripped as it +% is expanded. +% \begin{macrocode*} +\newcommand\SB@appendsp[1]{#1\expandafter{\the#1 }} +% \end{macrocode*} +% \end{macro} +% +% \begin{macro}{\SB@parsetitles} +% \changes{v2.1}{2007/08/02}{Added} +% Parse a list of song titles. +% This just involves removing leading and trailing spaces from around each +% title in the |\\|-separated list. +% \begin{macrocode} +\newcommand\SB@parsetitles[1]{% + \begingroup% + \global\SB@titlelist{\\}% + \SB@toks{}% + \let\\\SB@titlesep% + \SB@pthead#1\SB@endparse% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@pthead} +% \begin{macro}{\SB@@pthead} +% \begin{macro}{\SB@@@pthead} +% While processing tokens at the head of a title, we skip over all spaces +% until we reach a non-space token. +% \begin{macrocode} +\newcommand\SB@pthead{\futurelet\SB@next\SB@@pthead} +\newcommand\SB@@pthead{% + \ifcat\noexpand\SB@next\@sptoken% + \expandafter\SB@@@pthead% + \else% + \expandafter\SB@ptmain% + \fi% +} +\newcommand\SB@@@pthead{% + \afterassignment\SB@pthead% + \let\SB@next= } +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@ptloop} +% The iterator of the title parser loop just scans the next token. +% \begin{macrocode} +\newcommand\SB@ptloop{\futurelet\SB@next\SB@ptmain} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@ptmain} +% Once we've reached a non-space token in the title, we consume the remainder +% of the title as-is, except that space tokens should be trimmed from the end +% of each title. +% \begin{macrocode} +\newcommand\SB@ptmain{% + \ifcat\noexpand\SB@next\@sptoken% + \let\SB@donext\SB@ptsp% + \else\ifcat\noexpand\SB@next\bgroup% + \let\SB@donext\SB@ptbg% + \else\ifx\SB@next\SB@endparse% + \global\SB@titlelist\expandafter{\the\SB@titlelist\\}% + \let\SB@donext\@gobble% + \else\ifx\SB@next\\% + \SB@toks{}% + \def\SB@donext{\SB@ptstep\SB@pthead}% + \else% + \def\SB@donext{\SB@ptstep\SB@ptloop}% + \fi\fi\fi\fi% + \SB@donext} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@ptstep} +% Consume a non-space, non-left-brace token and add it to the current song +% title. +% If any spaces preceded it, add those too. +% \begin{macrocode} +\newcommand\SB@ptstep[2]{% + \global\SB@titlelist\expandafter\expandafter\expandafter{% + \expandafter\the\expandafter\SB@titlelist\the\SB@toks#2}% + \SB@toks{}% + #1} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@ptbg} +% The next title token is a left-brace. +% It should be balanced, so consume the entire group and add it (along with +% its surrounding braces) as-is to the current title. +% \begin{macrocode} +\newcommand\SB@ptbg[1]{\SB@ptstep\SB@ptloop{{#1}}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@ptsp} +% The next title token is a space. +% We won't know whether to include it in the title until we see what +% follows it. +% Strings of spaces followed by the |\\| title-delimiter token, or that +% conclude a title argument, should be stripped. +% So rather than add the space token to the title, we remember it in a +% token register for possible later inclusion. +% \begin{macrocode} +\newcommand\SB@ptsp{ + \SB@appendsp\SB@toks% + \afterassignment\SB@ptloop% + \let\SB@next= } +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@titlesep} +% While parsing song titles, we temporarily assign |\\| a non-trivial +% top-level expansion (|\SB@titlesep|) in order to distinguish it from +% other macros. +% \begin{macrocode} +\newcommand\SB@titlesep{SB@titlesep} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@endparse} +% The |\SB@endparse| token marks the end of a token sequence being parsed. +% If parsing works as intended, the macro should never be expanded, so +% produce an error if it is. +% \begin{macrocode} +\newcommand\SB@endparse{% + \SB@Error{Title parsing failed}{This error should not occur.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@parsesrefs} +% \changes{v1.14}{2005/05/15}{Added} +% Assign the |\songrefs| macro a processed version of a scripture reference in +% which the following adjustments have been made: +% (1)~Spaces not preceded by a comma or semicolon are made non-breaking. +% For example, |2 John 1:1| and |Song of Solomon 1:1| become |2~John~1:1| and +% |Song~of~Solomon~1:1|, respectively. +% (2)~Spaces between a semicolon and a book name are lengthened to en-spaces. +% (3)~Single hyphens are lengthened to en-dashes (|--|). +% (4)~Non-breaking, thin spaces are appended to commas not followed by a +% space. For example |John 3:16,17| becomes |John~3:16,\nobreak\thinspace17|. +% (5)~Everything within an explicit group is left unchanged, allowing the +% user to suppress all of the above as desired. +% +% To achieve this, we must change all commas, hyphens, and spaces +% in the scripture reference into active characters. +% Unfortunately, the catcodes of everything in the text were set back when +% the full keyval list was digested as an argument to |\beginsong|, so we +% must unset and reset the catcodes. +% One obvious solution is to use |\scantokens| from $\varepsilon$-\TeX{} to +% do this, but that doesn't allow us to suppress the re-catcoding process +% within groups, and we'd like to avoid intoducing features that require +% $\varepsilon$-\TeX{} anyway for compatibility reasons. +% Therefore, we build the following small scanner instead. +% +% The scanner walks through the text token by token, replacing each important +% token by its active equivalent. +% No character codes are modified during this process and no tokens are +% inserted because some of these tokens might end up being arguments to +% multi-byte unicode character macros rather than being expanded directly. +% The |inputenc| package only cares about the character codes, not the +% category codes, so modifying only the category codes should be safe. +% \begin{macrocode} +\newcommand\SB@parsesrefs[1]{% + \begingroup% + \SB@toks{\begingroup\SB@sractives}% + \SB@prloop#1\SB@endparse% + \xdef\songrefs{\the\SB@toks\endgroup}% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@prloop} +% \begin{macro}{\SB@prstep} +% \begin{macro}{\SB@@prstep} +% The main loop of the scripture reference scanner identifies each space, +% hyphen, and comma for special treatment. +% \begin{macrocode} +\newcommand\SB@prloop{\futurelet\SB@next\SB@prstep} +\newcommand\SB@prstep{% + \ifcat\noexpand\SB@next A% + \expandafter\SB@prcpy% + \else% + \expandafter\SB@@prstep% + \fi% +} +\newcommand\SB@@prstep{% + \ifcat\noexpand\SB@next\@sptoken% + \let\SB@donext\SB@prspace% + \else\ifx\SB@next-% + \let\SB@donext\SB@prhyphen% + \else\ifx\SB@next,% + \let\SB@donext\SB@prcomma% + \else\ifx\SB@next\SB@endparse% + \let\SB@donext\@gobble% + \else\ifcat\noexpand\SB@next\bgroup% + \let\SB@donext\SB@prgr% + \else% + \let\SB@donext\SB@prcpy% + \fi\fi\fi\fi\fi% + \SB@donext% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@prcpy} +% \begin{macro}{\SB@prgr} +% Anything that isn't one of the special tokens above, and anything in a +% group, is copied without modification. +% \begin{macrocode} +\newcommand\SB@prcpy[1]{\SB@toks\expandafter{\the\SB@toks#1}\SB@prloop} +\newcommand\SB@prgr[1]{\SB@toks\expandafter{\the\SB@toks{#1}}\SB@prloop} +% \end{macrocode} +% \end{macro} +% \end{macro} + +% \begin{macro}{\SB@prcomma} +% \begin{macro}{\SB@prhyphen} +% Commas and hyphens are replaced with active equivalents. +% \begin{macrocode} +\newcommand\SB@prcomma[1]{} +{\catcode`,\active + \gdef\SB@prcomma#1{\SB@toks\expandafter{\the\SB@toks,}\SB@prloop}} +\newcommand\SB@prhyphen[1]{} +{\catcode`-\active + \gdef\SB@prhyphen#1{\SB@toks\expandafter{\the\SB@toks-}\SB@prloop}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@prspace} +% \begin{macro}{\SB@@prspace} +% Spaces are made active as well, but doing so requires some +% specialized code since they cannot be consumed as implicit macro arguments. +% \begin{macrocode*} +\newcommand\SB@prspace[1]{} +{\obeyspaces +\gdef\SB@prspace{\SB@toks\expandafter{\the\SB@toks }\SB@@prspace}} +% \end{macrocode*} +% \begin{macrocode} +\newcommand\SB@@prspace{\afterassignment\SB@prloop\let\SB@temp= } +% \end{macrocode} +% \end{macro} +% \end{macro} + +% \begin{macro}{\SB@sractives} +% Assign macro definitions to active commas, hyphens, spaces, and returns +% when the token list generated by |\SB@parsesrefs| is used to typeset a +% scripture reference list. +% \begin{macrocode*} +\newcommand\SB@sractives{} +{\catcode`,\active\catcode`-\active\obeyspaces% +\gdef\SB@sractives{% +\let,\SB@srcomma\let-\SB@srhyphen\let \SB@srspace% +\SB@srspacing}% +} +% \end{macrocode*} +% \end{macro} +% +% \begin{macro}{\SB@srspacing} +% The space factors of semicolons and commas are what the active spaces +% within a scripture reference text use to decide what came before. +% The following sets them to their default values in case they have been +% changed, but sets all other space factors to 1000. +% \begin{macrocode} +\newcommand\SB@srspacing{% + \nonfrenchspacing\sfcode`\;=1500\sfcode`\,=1250\relax% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@srcomma} +% \begin{macro}{\SB@@srcomma} +% Commas not already followed by whitespace are appended with a thin, +% non-breaking space. +% \begin{macrocode} +\newcommand\SB@srcomma{,\futurelet\SB@next\SB@@srcomma} +\newcommand\SB@@srcomma{% + \ifx\SB@next\SB@srspace\else% + \nobreak\thinspace% + \fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@srhyphen} +% \begin{macro}{\SB@@srhyphen} +% \begin{macro}{\SB@srdash} +% \begin{macro}{\SB@@srdash} +% Hyphens that are not already part of a ligature (an en- or em-dash) +% become en-dashes. +% \begin{macrocode} +\newcommand\SB@srhyphen{\futurelet\SB@next\SB@@srhyphen} +\newcommand\SB@@srhyphen{% + \ifx\SB@next\SB@srhyphen\expandafter\SB@srdash\else--\fi% +} +\newcommand\SB@srdash[1]{\futurelet\SB@next\SB@@srdash} +\newcommand\SB@@srdash{% + \ifx\SB@next\SB@srhyphen---\expandafter\@gobble\else--\fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@srspace} +% \begin{macro}{\SB@@srspace} +% To compress consecutive whitespace, we ignore spaces +% immediately followed by more whitespace. +% Spaces not preceded by a semicolon or comma become non-breaking. +% Most spaces following a semicolon become en-spaces with favorable +% breakpoints, but a special case arises for spaces between a semicolon +% and a digit (see |\SB@srcso| below). +% \begin{macrocode} +\newcommand\SB@srspace{\futurelet\SB@next\SB@@srspace} +\newcommand\SB@@srspace{% + \let\SB@donext\relax% + \ifx\SB@next\SB@srspace\else% + \ifnum\spacefactor>\@m% + \ifnum\spacefactor>1499 % + \ifcat\noexpand\SB@next0% + \let\SB@donext\SB@srcso% + \else% + \penalty-5\enskip% + \fi% + \else% + \space% + \fi% + \else% + \nobreak\space% + \fi% + \fi% + \SB@donext% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@srcso} +% \begin{macro}{\SB@@srcso} +% A space between a semicolon and a digit could be within a list of +% verse references for a common book (e.g., |Job 1:1; 2:2|); +% or it could separate the previous book from a new book whose name +% starts with a number (e.g., |Job 1:1; 1 John 1:1|). +% In the former case, we should just use a regular space; +% but in the latter case we should be using an en-space with a +% favorable breakpoint. +% To distinguish between the two, we peek ahead at the next two tokens. +% If the second one is a space, assume the latter; otherwise assume the +% former. +% \begin{macrocode} +\newcommand\SB@srcso[1]{\futurelet\SB@temp\SB@@srcso} +\newcommand\SB@@srcso{% + \ifx\SB@temp\SB@srspace% + \penalty-5\enskip% + \else% + \space% + \fi% + \SB@next% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \subsection{Verses and Choruses} +% +% The following programming typesets song contents, including verses, choruses, +% and textual notes. +% +% \begin{macro}{\ifSB@stanza} +% The following conditional remembers if we've seen any stanzas yet in the +% current song. +% \begin{macrocode} +\newif\ifSB@stanza +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@stanzabreak} +% \changes{v1.12}{2005/05/10}{Fixed stanza counting code and improved spacing} +% End this song stanza and start a new one. +% \begin{macrocode} +\newcommand\SB@stanzabreak{% + \ifhmode\par\fi% + \ifSB@stanza% + \SB@breakpoint{% + \ifSB@inverse% + \ifSB@prevverse\vvpenalty\else\cvpenalty\fi% + \else% + \ifSB@prevverse\vcpenalty\else\ccpenalty\fi% + \fi% + }% + \vskip\versesep% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@breakpoint} +% Insert a valid breakpoint into the vertical list comprising a song. +% \begin{macrocode} +\newcommand\SB@breakpoint[1]{% + \begingroup% + \ifnum#1<\@M% + \SB@skip\colbotglue\relax% + \SB@skip-\SB@skip% + \else% + \SB@skip\z@skip% + \fi% + \advance\SB@skip\lastskip% + \unskip% + \nobreak% + \ifnum#1<\@M% + \vskip\colbotglue\relax% + \penalty#1% + \fi% + \vskip\SB@skip% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@putbox} +% Unbox a vbox and follow it by vertical glue if its depth is unusually +% shallow. +% This ensures that verses and choruses will look equally spaced even if +% one of them has a final line with no descenders. +% \begin{macrocode} +\newcommand\SB@putbox[2]{% + \begingroup% + \SB@dimen\dp#2% + #1#2% + \setbox\SB@box\hbox{{\lyricfont\relax p}}% + \ifdim\SB@dimen<\dp\SB@box% + \advance\SB@dimen-\dp\SB@box% + \vskip-\SB@dimen% + \fi% + \setbox\SB@box\box\voidb@x% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@obeylines} +% Within verses and choruses we would like to use |\obeylines| so that each +% \Meta{return} in the source file ends a paragraph without having to say +% |\par| explicitly. +% The \LaTeX{} base code establishes the convention that short-term changes to +% |\par| will restore |\par| by setting it equal to |\@par|. +% Long-term (i.e., environment-long) changes to |\par| should therefore +% redefine |\@par| to restore the desired long-term definition. +% The following code starts a long-term redefinition of |\par| adhering to +% these conventions, and extends that definition to \Meta{return} as well. +% \begin{macrocode} +\newcommand\SB@obeylines{% + \let\par\SB@par% + \obeylines% + \let\@par\SB@@par% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@par} +% The following replacement definition of |\par| constructs paragraphs in +% which page-breaks are disallowed, since no wrapped line in a song should +% span a page- or column-break. +% It then inserts an interlinepenalty after the paragraph so that such +% penalties will appear between consecutive lines in each verse. +% (Note: The |\endgraf| macro must not be uttered within a local group +% since this prevents parameters like |\hangindent| from being +% reset at the conclusion of each paragraph.) +% \begin{macrocode} +\newcommand\SB@par{% + \ifhmode% + \SB@cnt\interlinepenalty% + \interlinepenalty\@M% + \endgraf% + \interlinepenalty\SB@cnt% + \ifSB@inchorus% + \ifdim\cbarwidth>\z@\nobreak\else\SB@ilpenalty\fi% + \else% + \SB@ilpenalty% + \fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@ilpenalty} +% By default, breaking a vertical list between paragraphs incurs a penalty +% of zero. +% Thus, we only insert an explicit penalty between lines if +% |\interlinepenalty| is non-zero. +% This avoids cluttering the vertical list with superfluous zero penalties. +% \begin{macrocode} +\newcommand\SB@ilpenalty{% + \ifnum\interlinepenalty=\z@\else% + \penalty\interlinepenalty% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@@par} +% This replacement definition of |\@par| restores the |\SB@par| definition of +% |\par| and then ends the paragraph. +% \begin{macrocode} +\newcommand\SB@@par{\let\par\SB@par\par} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@parindent} +% \changes{v1.12}{2005/05/10}{Added} +% Reserve a length to remember the current |\parindent|. +% \begin{macrocode} +\SB@newdimen\SB@parindent +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@everypar} +% Reserve a control sequence to hold short-term changes to |\everypar|. +% \begin{macrocode} +\newcommand\SB@everypar{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@raggedright} +% \changes{v1.12}{2005/05/10}{Added} +% Perform |\raggedright| except don't nuke the |\parindent|. +% \begin{macrocode} +\newcommand\SB@raggedright{% + \SB@parindent\parindent% + \raggedright% + \parindent\SB@parindent% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\vnumbered} +% \changes{v2.1}{2007/08/02}{Renamed.} +% The following conditional remembers whether this verse is being numbered +% or not (i.e., it distinguishes between |\beginverse| and |\beginverse*|). +% \begin{macrocode} +\newif\ifvnumbered +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@prevverse} +% Reserve a conditional to remember if the previous block in this song was +% a verse. +% \begin{macrocode} +\newif\ifSB@prevverse +% \end{macrocode} +% \end{macro} +% +% Before replacing the little-used |verse| environment with a new one, +% issue a warning if the current definition of |\verse| is not the +% \LaTeX-default one. +% This may indicate a package clash. +% \begin{macrocode} +\CheckCommand\verse{% + \let\\\@centercr% + \list{}{% + \itemsep\z@% + \itemindent-1.5em% + \listparindent\itemindent% + \rightmargin\leftmargin% + \advance\leftmargin1.5em% + }% + \item\relax% +} +% \end{macrocode} +% +% \begin{environment}{verse}\MainEnvImpl{verse} +% \begin{environment}{verse*} +% \begin{macro}{\beginverse} +% Begin a new verse. +% This can be done by beginning a |verse| environment or by using the +% |\beginverse| macro. +% The latter must check for a trailing star to determine whether this +% verse should be numbered. +% We use |\@ifstar| to scan ahead for the star, but this needs to be done +% carefully because while scanning we might encounter tokens that +% should be assigned different catcodes once the verse really begins. +% Thus, we temporarily invoke |\SB@loadactives| for the duration of +% |\@ifstar| so that everything gets the right catcode. +% \begin{macrocode} +\renewenvironment{verse} + {\vnumberedtrue\SB@beginverse} + {\SB@endverse} +\newenvironment{verse*} + {\vnumberedfalse\SB@beginverse} + {\SB@endverse} +\newcommand\beginverse{% + \begingroup% + \SB@loadactives% + \@ifstar{\endgroup\vnumberedfalse\SB@beginverse}% + {\endgroup\vnumberedtrue\SB@beginverse}% +} +% \end{macrocode} +% \end{macro} +% \end{environment} +% \end{environment} +% +% \begin{macro}{\SB@beginverse} +% \changes{v1.12}{2005/05/10}{Shifted to using \cs{parindent} instead of \cs{everypar} to do indentation} +% Start the body of a verse. +% We begin by inserting a mark if |\repchoruses| is active and this verse +% was preceded by a numbered verse (making this an eligible place to insert +% a chorus later). +% +% Verse numbering is implemented using |\everypar| so that if there is any +% vertical material between the |\beginverse| and the first line of the +% verse, that material will come before the verse number. +% Intervening horizontal material (e.g., |\textnote|) can temporarily +% clear |\everypar| to defer the verse number until later. +% \begin{macrocode} +\newcommand\SB@beginverse{% + \ifSB@insong% + \ifSB@inverse\SB@errbvv\endverse\fi% + \ifSB@inchorus\SB@errbvc\endchorus\fi% + \else% + \SB@errbvt\beginsong{Unknown Song}% + \fi% + \ifrepchorus\ifvoid\SB@chorusbox\else% + \SB@gotchorustrue% + \ifSB@prevverse\ifvnumbered% + \marks\SB@cmarkclass{\SB@cmark}% + \fi\fi% + \fi\fi% + \SB@inversetrue% + \def\SB@closeall{\endverse\endsong}% + \SB@stanzabreak% + \versemark\nobreak% + \global\SB@stanzatrue% + \SB@ifempty\SB@cr@\memorize{\replay[]}% + \setbox\SB@box\vbox\bgroup\begingroup% + \ifvnumbered% + \protected@edef\@currentlabel{\p@versenum\theversenum}% + \def\SB@everypar{% + \setbox\SB@box\hbox{{\printversenum{\theversenum}}}% + \ifdim\wd\SB@box<\versenumwidth% + \setbox\SB@box% + \hbox to\versenumwidth{\unhbox\SB@box\hfil}% + \fi% + \ifchorded\vrule\@height\baselineskip\@width\z@\@depth\z@\fi% + \placeversenum\SB@box% + \gdef\SB@everypar{}% + }% + \else% + \def\SB@everypar{% + \ifchorded\vrule\@height\baselineskip\@width\z@\@depth\z@\fi% + \gdef\SB@everypar{}% + }% + \fi% + \everypar{\SB@everypar\everypar{}}% + \versefont\relax\SB@setbaselineskip\versejustify% + \SB@loadactives% + \SB@obeylines% + \penalty12345 % + \everyverse\relax% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@endverse} +% End a verse. +% This involves unboxing the verse material with |\SB@putbox|, which +% corrects for last lines that are unusually shallow. +% \begin{macrocode} +\newcommand\SB@endverse{% + \ifSB@insong% + \ifSB@inverse% + \unpenalty% + \endgroup\egroup% + \SB@putbox\unvbox\SB@box% + \SB@inversefalse% + \def\SB@closeall{\endsong}% + \ifvnumbered\stepcounter{versenum}\fi% + \SB@prevversetrue% + \else\ifSB@inchorus\SB@errevc\endchorus% + \else\SB@errevo\fi\fi% + \else% + \SB@errevt% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@chorustop} +% When a chorus is broken in to several pieces by column-breaks (via |\brk|), +% the following conditional remembers whether the current piece is the +% topmost one for this chorus. +% \begin{macrocode} +\newif\ifSB@chorustop +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chorusbox} +% When |\repchoruses| is used, the first sequence of consecutive choruses +% is remembered in the following box register. +% \begin{macrocode} +\SB@newbox\SB@chorusbox +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@gotchorus} +% The following conditional remembers whether we've completed storing the +% first block of consecutive choruses. +% \begin{macrocode} +\newif\ifSB@gotchorus +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@cmarkclass} +% \begin{macro}{\SB@nocmarkclass} +% \changes{v2.6}{2008/02/14}{Added safe allocation of extended mark registers} +% The |\repeatchoruses| feature requires the use of two extended mark +% classes provided by $\varepsilon$-\TeX. +% We use the |\newmarks| macro to allocate these classes, if it's +% available. +% If |\newmarks| doesn't exist, then that means the user has an +% $\varepsilon$-\TeX{} compatible version of \LaTeX, but no |etex| style +% file to go with it; +% we just have to pick two mark classes and hope that nobody else is +% using them. +% \begin{macrocode} +\ifSB@etex + \@ifundefined{newmarks}{ + \@ifundefined{newmark}{ + \mathchardef\SB@cmarkclass83 + \mathchardef\SB@nocmarkclass84 + }{ + \newmark\SB@cmarkclass + \newmark\SB@nocmarkclass + } + }{ + \newmarks\SB@cmarkclass + \newmarks\SB@nocmarkclass + } +\fi +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@cmark} +% \begin{macro}{\SB@lastcmark} +% \begin{macro}{\SB@nocmark} +% To determine where choruses should be inserted when |\repchoruses| is +% active, three kinds of marks are inserted into song boxes: +% |\SB@cmark| is used to mark places where a chorus might be inserted between +% verses, and |\SB@lastcmark| marks a place where a chorus might be inserted +% after the last verse of the song. +% Both marks are $\varepsilon$-\TeX{} marks of class |\SB@cmarkclass|, +% to avoid disrupting the use of standard \TeX{} marks. +% Each time a chorus is automatically inserted, |\SB@nocmark| is inserted +% with mark class |\SB@nocmarkclass| just above it (and at the top of each +% additional page it spans). +% This inhibits future chorus inserts until the already-inserted chorus has +% been fully committed to the output file. +% Otherwise some choruses could get auto-inserted multiple times at the same +% spot, possibly even leading to an infinite loop! +% \begin{macrocode} +\newcommand*\SB@cmark{SB@cmark} +\newcommand*\SB@lastcmark{SB@lastcmark} +\newcommand*\SB@nocmark{SB@nocmark} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{environment}{chorus}\MainEnvImpl{chorus} +% \begin{macro}{\beginchorus} +% \changes{v1.12}{2005/05/10}{Shifted to using \cs{parindent} instead of \cs{everypar} to do indentation} +% \changes{v1.14}{2005/05/15}{Choruses now stretch like the verses} +% Start a new chorus. +% If |\repchoruses| is active and this is part of the first set of consecutive +% choruses in the song, then include it and its preceding vertical material +% in the |\SB@chorusbox| for possible later duplication elsewhere. +% \begin{macrocode} +\newenvironment{chorus}{\beginchorus}{\SB@endchorus} +\newcommand\beginchorus{% + \ifSB@insong + \ifSB@inverse\SB@errbcv\endverse\fi% + \ifSB@inchorus\SB@errbcc\endchorus\fi% + \else% + \SB@errbct\beginsong{Unknown Song}% + \fi% + \SB@inchorustrue% + \def\SB@closeall{\endchorus\endsong}% + \SB@chorustoptrue% + \vnumberedfalse% + \SB@stanzabreak% + \chorusmark% + \ifrepchorus% + \ifSB@gotchorus\else\ifSB@prevverse\else% + \global\setbox\SB@chorusbox\vbox{% + \unvbox\SB@chorusbox% + \SB@stanzabreak% + \chorusmark% + }% + \fi\fi% + \fi% + \global\SB@stanzatrue% + \replay[]% + \SB@@beginchorus% + \everychorus\relax% +} +% \end{macrocode} +% \end{macro} +% \end{environment} +% +% \begin{macro}{\SB@@beginchorus} +% Begin the body of a chorus, or continue the body of a chorus after |\brk| +% has paused it to insert a valid breakpoint. +% We insert an empty class-|\SB@cmarkclass| mark here so that this chorus +% will not be duplicated elsewhere on the same page(s) where it initially +% appears. +% \begin{macrocode} +\newcommand\SB@@beginchorus{% + \ifrepchorus\marks\SB@cmarkclass{}\fi% + \setbox\SB@box\vbox\bgroup\begingroup% + \ifchorded% + \def\SB@everypar{% + \vrule\@height\baselineskip\@width\z@\@depth\z@% + \gdef\SB@everypar{}% + }% + \everypar{\SB@everypar\everypar{}}% + \fi% + \chorusfont\relax\SB@setbaselineskip\chorusjustify% + \SB@loadactives% + \SB@obeylines% + \penalty12345 % +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@endchorus} +% End a chorus. +% This involves creating the vertical line to the left of the chorus and then +% unboxing the chorus material that was previously accumulated. +% \begin{macrocode} +\newcommand\SB@endchorus{% + \ifSB@insong% + \ifSB@inchorus% + \unpenalty% + \endgroup\egroup% + \SB@inchorusfalse% + \def\SB@closeall{\endsong}% + \setbox\SB@box\vbox{% + \SB@chorusbar\SB@box% + \SB@putbox\unvbox\SB@box% + } + \ifrepchorus\ifSB@gotchorus\else% + \global\setbox\SB@chorusbox\vbox{% + \unvbox\SB@chorusbox% + \unvcopy\SB@box% + }% + \fi\fi% + \unvbox\SB@box% + \SB@prevversefalse% + \else\ifSB@inverse\SB@errecv\endverse% + \else\SB@erreco\fi\fi% + \else% + \SB@errect% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@cbarshift} +% Increase |\leftskip| to accommodate the chorus bar, if any. +% \begin{macrocode} +\newcommand\SB@cbarshift{% + \ifSB@inchorus\ifdim\cbarwidth>\z@% + \advance\leftskip\cbarwidth% + \advance\leftskip5\p@\relax% + \fi\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chorusbar} +% Create the vertical bar that goes to the left of a chorus. +% Rather than boxing up the chorus in order to put the bar to the left, +% the bar is introduced as leaders directly into the vertical list of the +% main song box. +% This allows it to stretch and shrink when a column is typeset by the +% page-builder. +% \begin{macrocode} +\newcommand\SB@chorusbar[1]{% + \ifdim\cbarwidth>\z@% + \SB@dimen\ht#1% + \SB@dimenii\dp#1% + \advance\SB@dimen% + \ifSB@chorustop\ifchorded\else2\fi\fi\SB@dimenii% + \SB@skip\SB@dimen\relax% + \SB@computess\SB@skip1\@plus#1% + \SB@computess\SB@skip{-1}\@minus#1% + \nointerlineskip\null\nobreak% + \leaders\vrule\@width\cbarwidth\vskip\SB@skip% + \ifSB@chorustop\ifchorded\else% + \advance\SB@skip-\SB@dimenii% + \fi\fi% + \nobreak\vskip-\SB@skip% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@computess} +% \changes{v1.14}{2005/05/15}{Added} +% This computes the stretchability or shrinkability of a vbox and stores +% the result in the skip register given by \argp{1}. +% If $\argp{2}=1$ and \argp{3} is ``\texttt{plus}'', then the stretchability +% of box \argp{4} is added to the plus component of \argp{1}. +% If $\argp{2}=-1$ and \argp{3} is ``\texttt{minus}'', then the shrinkability +% of the box is added to the minus component of \argp{1}. +% If the stretchability or shrinkability is infinite, then we guess 1fil +% for that component. +% \begin{macrocode} +\newcommand\SB@computess[4]{% + \begingroup% + \vbadness\@M\vfuzz\maxdimen% + \SB@dimen4096\p@% + \setbox\SB@box\vbox spread#2\SB@dimen{\unvcopy#4}% + \ifnum\badness=\z@% + \global\advance#1\z@#31fil\relax% + \else% + \SB@dimenii\SB@dimen% + \loop% + \SB@dimenii.5\SB@dimenii% + \ifnum\badness<100 % + \advance\SB@dimen\SB@dimenii% + \else + \advance\SB@dimen-\SB@dimenii% + \fi% + \setbox\SB@box\vbox spread#2\SB@dimen{\unvcopy#4}% + \ifnum\badness=100 \SB@dimenii\z@\fi% + \ifdim\SB@dimenii>.1\p@\repeat% + \ifdim\SB@dimen<.1\p@\SB@dimen\z@\fi% + \global\advance#1\z@#3\SB@dimen\relax% + \fi% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\brk}\MainImpl{brk} +% Placing |\brk| within a line in a verse or chorus tells \TeX{} to break the +% line at that point (if it needs to be broken at all). +% +% Placing |\brk| on a line by itself within a chorus stops the chorus (and its +% vertical bar), inserts a valid breakpoint, and then restarts the chorus +% with no intervening space so that if the breakpoint isn't used, there will +% be no visible effect. +% Placing it on a line by itself within a verse just inserts a breakpoint. +% +% Placing |\brk| between songs forces a column- or page-break, but only if +% generating a non-partial list of songs. +% When generating a partial list, |\brk| between songs is ignored. +% \begin{macrocode} +\newcommand\brk{% + \ifSB@insong% + \ifhmode\penalty-5 \else% + \unpenalty% + \ifSB@inchorus% + \ifdim\cbarwidth=\z@% + \ifrepchorus\marks\SB@cmarkclass{}\fi% + \SB@breakpoint\brkpenalty% + \else% + \endgroup\egroup% + \ifrepchorus\ifSB@gotchorus\else% + \global\setbox\SB@chorusbox\vbox{% + \unvbox\SB@chorusbox% + \SB@chorusbar\SB@box% + \unvcopy\SB@box% + \SB@breakpoint\brkpenalty% + }% + \fi\fi% + \SB@chorusbar\SB@box% + \unvbox\SB@box% + \SB@breakpoint\brkpenalty% + \SB@chorustopfalse% + \SB@@beginchorus% + \fi% + \else% + \SB@breakpoint\brkpenalty% + \fi% + \fi% + \else% + \ifpartiallist\else\SB@nextcol\@ne\colbotglue\fi% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@boxup} +% Typeset a shaded box containing a textual note to singers or musicians. +% We first try typesetting the note on a single line. +% If it's too big, then we try again in paragraph mode with full +% justification. +% \begin{macrocode} +\newcommand\SB@boxup[1]{% + \setbox\SB@box\hbox{{\notefont\relax#1}}% + \SB@dimen\wd\SB@box% + \advance\SB@dimen6\p@% + \advance\SB@dimen\leftskip% + \advance\SB@dimen\rightskip% + \ifdim\SB@dimen>\hsize% + \vbox{{% + \advance\hsize-6\p@% + \advance\hsize-\leftskip% + \advance\hsize-\rightskip% + \notejustify% + \unhbox\SB@box\par% + \kern\z@% + }}% + \else% + \vbox{\box\SB@box\kern\z@}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\textnote}\MainImpl{textnote} +% \changes{v1.12}{2005/05/10}{Defined unset paragraph parameters} +% Create a textual note for singers and musicians. +% If the note begins a verse or chorus, it should not be preceded by any +% spacing. +% Verses and choruses begin with the sentinel penalty 12345, so we check +% |\lastpenalty| to identify this case. +% When typesetting the note, we must be sure to temporarily clear |\everypar| +% to inhibit any verse numbering that might be pending. +% We also readjust the |\baselineskip| as if we weren't doing chords, since +% no chords go above a textual note. +% \begin{macrocode} +\newcommand\textnote[1]{% + \ifhmode\par\fi% + \ifnum\lastpenalty=12345\else% + \ifSB@inverse% + \vskip2\p@\relax% + \else\ifSB@inchorus% + \vskip2\p@\relax% + \else\ifSB@stanza% + \nobreak\vskip\versesep% + \fi\fi\fi% + \fi% + \begingroup% + \everypar{}% + \ifchorded\chordedfalse\SB@setbaselineskip\chordedtrue\fi% + \placenote{\SB@colorbox\notebgcolor{\SB@boxup{#1}}}% + \endgroup% + \nobreak% + \ifSB@inverse% + \vskip2\p@\relax% + \else\ifSB@inchorus% + \vskip2\p@\relax% + \else\ifSB@stanza\else% + \nobreak\vskip\versesep% + \fi\fi\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\musicnote}\MainImpl{musicnote} +% \changes{v1.12}{2005/05/10}{Now just (conditionally) calls \cs{textnote} for consistency} +% Create a textual note for musicians. +% \begin{macrocode} +\newcommand\musicnote[1]{\ifchorded\textnote{#1}\fi} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\echo}\MainImpl{echo} +% \begin{macro}{\SB@echo} +% \begin{macro}{\SB@@echo} +% \changes{v1.21}{2006/09/17}{Customized fonts now preserved.} +% \changes{v2.1}{2007/08/02}{Toggles instead of forces slanted font.} +% Typeset an echo part in the lyrics. +% Echo parts are in a user-customizable font and parenthesized. +% +% The |\echo| macro must be able to accept chords in its argument. +% This complicates the implementation because chord macros should change +% catcodes, but if we grab |\echo|'s argument in the usual way then all the +% catcodes will be set before the chord macros have a chance to change them. +% This would disallow chord name abbreviations like |#| and |&| within +% |\echo| parts. +% +% If we're using $\varepsilon$-\TeX{} then the solution is easy: we use +% |\scantokens| to re-scan the argument and thereby re-assign the catcodes. +% (One subtlety: Whenever \LaTeX{} consumes an argument to a macro, it changes +% |#| to |##| so that when the argument text is substituted into the body of +% the macro, the replacement text will not contain unsubstituted parameters +% (such as |#1|). +% If |\scantokens| is used on the replacement text and the scanned tokens +% assign a new catcode to |#|, that causes |#|'s to be doubled in the +% \emph{output}, which was not the intent. +% To avoid this problem, we use |\@sanitize| before consuming the argument to +% |\echo|, which sets the catcodes of most special tokens (including |#|) to +% 12, so that \LaTeX{} will not recognize any of them as parameters and will +% therefore not double any of them.) +% \begin{macrocode} +\ifSB@etex + \newcommand\echo{\begingroup\@sanitize\SB@echo} + \newcommand\SB@echo[1]{% + \endgroup% + \begingroup% + \echofont\relax% + \endlinechar\m@ne% + \scantokens{(#1)}% + \endgroup% + } +\else +% \end{macrocode} +% If we're not using $\varepsilon$-\TeX, we must do something more complicated. +% We set up the appropriate font within a local group and finish with +% |\hbox| so that the argument to |\echo| is treated as the body of the box. +% Control is reacquired after the box using |\aftergroup|, whereupon we +% unbox the box and insert the closing parenthesis. +% This almost works except that if the last thing in an echo part is a long +% chord name atop a short lyric, the closing parenthesis will float out away +% from the lyric instead of being sucked under the chord. +% I can find no solution to this problem, so to avoid it users must find a +% version of \LaTeX{} that is $\varepsilon$-\TeX{} compatible. +% \begin{macrocode} + \newcommand\echo{% + \begingroup% + \echofont\relax% + \afterassignment\SB@echo% + \setbox\SB@box\hbox% + } + \newcommand\SB@echo{\aftergroup\SB@@echo(} + \newcommand\SB@@echo{\unhbox\SB@box)\endgroup} +\fi +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\rep}\MainImpl{rep} +% \changes{v1.21}{2006/09/17}{Changed to avoid math mode.} +% Place |\rep{|\Meta{n}|}| at the end of a line to indicate that it should be +% sung \Meta{n} times. +% \begin{macrocode} +\newcommand\rep[1]{% + (\raise.25ex\hbox{% + \fontencoding{OMS}\fontfamily{cmsy}\selectfont\char\tw@% + }#1)% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Scripture Quotations} +% +% The macros in this section typeset scripture quotations and other +% between-songs environments. +% +% \begin{environment}{songgroup}\MainEnvImpl{songgroup} +% A |songgroup| environment associates all enclosed environments +% with the enclosed song. +% When generating a partial list, all the enclosed environments are +% contributed if and only if the enclosed song is contributed. +% \begin{macrocode} +\newenvironment{songgroup}{% + \ifnum\SB@grouplvl=\z@% + \edef\SB@sgroup{\thesongnum}% + \global\SB@groupcnt\m@ne% + \fi% + \advance\SB@grouplvl\@ne% +}{% + \advance\SB@grouplvl\m@ne% + \ifnum\SB@grouplvl=\z@\let\SB@sgroup\@empty\fi% +} +% \end{macrocode} +% \end{environment} +% +% \begin{macro}{\SB@grouplvl} +% Count the |songgroup| environment nesting depth. +% \begin{macrocode} +\SB@newcount\SB@grouplvl +% \end{macrocode} +% \end{macro} +% +% \begin{environment}{intersong}\MainEnvImpl{intersong} +% An intersong block contributes vertical material to a column between the +% songs of a songs section. +% It is subject to the same column-breaking algorithm as real songs, but +% receives none of the other formatting applied to songs. +% \begin{macrocode} +\newenvironment{intersong}{% + \ifSB@insong\SB@errbro\SB@closeall\fi% + \ifSB@intersong\SB@errbrr\SB@closeall\fi% + \setbox\SB@chorusbox\box\voidb@x% + \SB@intersongtrue% + \def\SB@closeall{\end{intersong}}% + \setbox\SB@songbox\vbox\bgroup\begingroup% + \ifnum\SB@numcols>\z@\hsize\SB@colwidth\fi% + \ifdim\sbarheight>\z@% + \hrule\@height\sbarheight\@width\hsize% + \nobreak% + \fi% +}{% + \ifSB@intersong + \ifdim\sbarheight>\z@% + \ifhmode\par\fi% + \SB@skip\lastskip% + \unskip\nobreak\vskip\SB@skip% + \hbox{\vrule\@height\sbarheight\@width\hsize}% + \fi% + \endgroup\egroup% + \ifSB@omitscrip% + \setbox\SB@songbox\box\voidb@x% + \else% + \SB@submitsong% + \fi% + \SB@intersongfalse% + \else% + \ifSB@insong\SB@errero\SB@closeall\else\SB@errert\fi% + \fi% +} +% \end{macrocode} +% The starred form contributes page-spanning vertical material directly to +% the top of the nearest fresh page. +% \begin{macrocode} +\newenvironment{intersong*}{% + \ifSB@insong\SB@errbro\SB@closeall\fi% + \ifSB@intersong\SB@errbrr\SB@closeall\fi% + \setbox\SB@chorusbox\box\voidb@x% + \SB@intersongtrue% + \def\SB@closeall{\end{intersong*}}% + \setbox\SB@songbox\vbox\bgroup\begingroup% +}{% + \ifSB@intersong% + \endgroup\egroup% + \ifSB@omitscrip% + \setbox\SB@songbox\box\voidb@x% + \else% + \def\SB@stype{\SB@styppage}% + \SB@submitsong% + \def\SB@stype{\SB@stypcol}% + \fi% + \SB@intersongfalse% + \else% + \ifSB@insong\SB@errero\SB@closeall\else\SB@errert\fi% + \fi% +} +% \end{macrocode} +% \end{environment} +% +% \begin{environment}{scripture}\MainEnvImpl{scripture} +% \begin{macro}{\beginscripture} +% Begin a scripture quotation. +% We first store the reference in a box for later use, and then set up +% a suitable environment for the quotation. +% Quotations cannot typically be reworded if line-breaking fails, +% so we set |\emergencystretch| to a relatively high value at the outset. +% \begin{macrocode} +\newenvironment{scripture}{\beginscripture}{\SB@endscripture} +\newcommand\beginscripture[1]{% + \begin{intersong}% + \SB@parsesrefs{#1}% + \setbox\SB@envbox\hbox{{\printscrcite\songrefs}}% + \def\SB@closeall{\endscripture}% + \nobreak\vskip5\p@% + \SB@parindent\parindent\parindent\z@% + \parskip\z@skip\parfillskip\@flushglue% + \leftskip\SB@parindent\rightskip\SB@parindent\relax% + \scripturefont\relax% + \baselineskip\f@size\p@\@plus\p@\relax% + \advance\baselineskip\p@\relax% + \emergencystretch.3em% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@endscripture} +% End a scripture quotation. +% \begin{macrocode} +\newcommand\SB@endscripture{% + \ifSB@intersong + \scitehere% + \ifhmode\par\fi% + \vskip-3\p@% + \end{intersong}% + \fi% +} +% \end{macrocode} +% \end{macro} +% \end{environment} +% +% \begin{macro}{\scitehere}\MainImpl{scitehere} +% \changes{v2.1}{2007/08/02}{Added} +% Usually the scripture citation should just come at the |\endscripture| +% line, but at times the user might want to invoke this macro explicitly +% at a more suitable point. +% A good example is when something near the end of the scripture quotation +% drops \TeX{} into vertical mode. +% In such cases, it is often better to issue the citation before leaving +% horizontal mode. +% +% In any case, this macro should work decently whether in horizontal or +% vertical mode. +% In horizontal mode life is easy: we just append the reference to the +% current horizontal list using the classic code from p.~106 of The \TeX book. +% However, if we're now in vertical mode, the problem is a little harder. +% We do the best we can by using |\lastbox| to remove the last line, then +% adding the reference and re-typesetting it. +% This isn't as good as the horizontal mode solution because \TeX{} only +% gets to reevaluate the last line instead of the whole paragraph, but +% usually the results are passable. +% \begin{macrocode} +\newcommand\scitehere{% + \ifSB@intersong% + \ifvoid\SB@envbox\else% + \ifvmode% + \setbox\SB@box\lastbox% + \nointerlineskip\noindent\hskip-\leftskip% + \unhbox\SB@box\unskip% + \fi% + \unskip\nobreak\hfil\penalty50\hskip.8em\null\nobreak\hfil% + \box\SB@envbox\kern-\SB@parindent% + {\parfillskip\z@\finalhyphendemerits2000\par}% + \fi% + \else% + \SB@errscrip\scitehere% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\Acolon}\MainImpl{Acolon} +% \begin{macro}{\Bcolon}\MainImpl{Bcolon} +% \changes{v1.13}{2005/05/12}{Added} +% Typeset a line of poetry in a scripture quotation. +% \begin{macrocode} +\newcommand\Acolon{\SB@colon2\Acolon} +\newcommand\Bcolon{\SB@colon1\Bcolon} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@colon} +% Begin a group of temporary definitions that will end at the next +% \Meta{return}. +% The \Meta{return} will end the paragraph and close the local scope. +% \begin{macrocode} +\newcommand\SB@colon[2]{% + \ifSB@intersong\else% + \SB@errscrip#2% + \beginscripture{Unknown}% + \fi% + \ifhmode\par\fi% + \begingroup% + \rightskip\SB@parindent\@plus4em% + \advance\leftskip2\SB@parindent% + \advance\parindent-#1\SB@parindent% + \def\par{\endgraf\endgroup}% + \obeylines% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\strophe}\MainImpl{strophe} +% \changes{v1.13}{2005/05/12}{Added} +% Insert blank space indicative of a strophe division in a scripture quotation. +% \begin{macrocode} +\newcommand\strophe{% + \ifSB@intersong\else% + \SB@errscrip\strophe\beginscripture{Unknown}% + \fi% + \vskip.9ex\@plus.45ex\@minus.68ex\relax% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\scripindent}\MainImpl{scripindent} +% \begin{macro}{\scripoutdent}\MainImpl{scripoutdent} +% \begin{macro}{\SB@scripdent} +% \changes{v1.13}{2005/05/12}{Added} +% Create an indented sub-block within a scripture quotation. +% \begin{macrocode} +\newcommand\SB@scripdent[2]{% + \ifSB@intersong\else% + \SB@errscrip#2\beginscripture{Unknown}% + \fi% + \ifhmode\par\fi% + \advance\leftskip#1\SB@parindent\relax% +} +\newcommand\scripindent{\SB@scripdent1\scripindent} +\newcommand\scripoutdent{\SB@scripdent-\scripoutdent} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\shiftdblquotes}\MainImpl{shiftdblquotes} +% \changes{v1.13}{2005/05/12}{Added} +% \begin{macro}{\SB@ldqleft} +% \begin{macro}{\SB@ldqright} +% \begin{macro}{\SB@rdqleft} +% \begin{macro}{\SB@rdqright} +% \begin{macro}{\SB@scanlq} +% \begin{macro}{\SB@scanrq} +% \begin{macro}{\SB@dolq} +% \begin{macro}{\SB@dorq} +% The Zaph Chancery font used by default to typeset scripture quotations +% seems to have some kerning problems with double-quote ligatures. The +% |\shiftdblquotes| macro allows one to modify the spacing around all +% double-quotes until the current group ends. +% \begin{macrocode} +\newcommand\SB@quotesactive{% + \catcode`'\active% + \catcode``\active% +} +\newcommand\shiftdblquotes[4]{} +\newcommand\SB@ldqleft{} +\newcommand\SB@ldqright{} +\newcommand\SB@rdqleft{} +\newcommand\SB@rdqright{} +\newcommand\SB@scanlq{} +\newcommand\SB@scanrq{} +\newcommand\SB@dolq{} +\newcommand\SB@dorq{} +{ + \SB@quotesactive + \gdef\shiftdblquotes#1#2#3#4{% + \def\SB@ldqleft{\kern#1}% + \def\SB@ldqright{\kern#2}% + \def\SB@rdqleft{\kern#3}% + \def\SB@rdqright{\kern#4}% + \SB@quotesactive% + \def`{\futurelet\SB@next\SB@scanlq}% + \def'{\futurelet\SB@next\SB@scanrq}% + } + \gdef\SB@scanlq{% + \ifx\SB@next`% + \expandafter\SB@dolq% + \else% + \expandafter\lq% + \fi% + } + \gdef\SB@scanrq{% + \ifx\SB@next'% + \expandafter\SB@dorq% + \else% + \expandafter\rq% + \fi% + } + \gdef\SB@dolq`{% + \ifvmode\leavevmode\else\/\fi% + \vadjust{}% + \SB@ldqleft\lq\lq\SB@ldqright% + \vadjust{}% + } + \gdef\SB@dorq'{% + \ifvmode\leavevmode\else\/\fi% + \vadjust{}% + \SB@rdqleft\rq\rq\SB@rdqright% + \vadjust{}% + } +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \subsection{Transposition} +% +% The macros that transpose chords are contained in this section. +% +% \begin{macro}{\SB@transposefactor} +% This counter identifies the requested number of halfsteps by which chords are +% to be transposed (from $-11$ to $+11$). +% \begin{macrocode} +\SB@newcount\SB@transposefactor +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@convertnotes} +% Even when transposition is not requested, the transposition logic can be +% used to automatically convert note names to another form. +% The following conditional turns that feature on or off. +% \begin{macrocode} +\newif\ifSB@convertnotes +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\notenameA} +% \begin{macro}{\notenameB} +% \begin{macro}{\notenameC} +% \begin{macro}{\notenameD} +% \begin{macro}{\notenameE} +% \begin{macro}{\notenameF} +% \begin{macro}{\notenameG} +% Reserve a control sequence for each note of the diatonic scale. +% These will be used to identify which token sequences the input file uses +% to denote the seven scale degrees. +% Their eventual definitions \emph{must} consist entirely of uppercase +% letters, and they must be assigned using |\def|, but that comes later. +% \begin{macrocode} +\newcommand\notenameA{} +\newcommand\notenameB{} +\newcommand\notenameC{} +\newcommand\notenameD{} +\newcommand\notenameE{} +\newcommand\notenameF{} +\newcommand\notenameG{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\printnoteA} +% \begin{macro}{\printnoteB} +% \begin{macro}{\printnoteC} +% \begin{macro}{\printnoteD} +% \begin{macro}{\printnoteE} +% \begin{macro}{\printnoteF} +% \begin{macro}{\printnoteG} +% These control sequences are what the transposition logic actually +% outputs to denote each scale degree. +% They can include any \LaTeX{} code that is legal in horizontal mode. +% \begin{macrocode} +\newcommand\printnoteA{} +\newcommand\printnoteB{} +\newcommand\printnoteC{} +\newcommand\printnoteD{} +\newcommand\printnoteE{} +\newcommand\printnoteF{} +\newcommand\printnoteG{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\notenamesin}\MainImpl{notenamesin} +% Set the note names used by the input file. +% \begin{macrocode} +\newcommand\notenamesin[7]{% + \def\notenameA{#1}% + \def\notenameB{#2}% + \def\notenameC{#3}% + \def\notenameD{#4}% + \def\notenameE{#5}% + \def\notenameF{#6}% + \def\notenameG{#7}% + \SB@convertnotestrue% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\notenamesout}\MainImpl{notenamesout} +% Set the note names that are output by the transposition logic. +% \begin{macrocode} +\newcommand\notenamesout[7]{% + \def\printnoteA{#1}% + \def\printnoteB{#2}% + \def\printnoteC{#3}% + \def\printnoteD{#4}% + \def\printnoteE{#5}% + \def\printnoteF{#6}% + \def\printnoteG{#7}% + \SB@convertnotestrue% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\notenames}\MainImpl{notenames} +% Set an identical input name and output name for each scale degree. +% \begin{macrocode} +\newcommand\notenames[7]{% + \notenamesin{#1}{#2}{#3}{#4}{#5}{#6}{#7}% + \notenamesout{#1}{#2}{#3}{#4}{#5}{#6}{#7}% + \SB@convertnotesfalse% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\alphascale}\MainImpl{alphascale} +% \begin{macro}{\solfedge}\MainImpl{solfedge} +% Predefine scales for alphabetic names and solfedge names, and +% set alphabetic scales to be the default. +% \begin{macrocode} +\newcommand\alphascale{\notenames ABCDEFG} +\newcommand\solfedge{\notenames{LA}{SI}{DO}{RE}{MI}{FA}{SOL}} +\alphascale +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\ifSB@prefshrps} +% When a transposed chord falls on a black key, the code must choose which +% enharmonically equivalent name to give the new chord. +% (For example, should C transposed by +1 be named C$\#$ or D$\flat$?) +% A heuristic is used to guess which name is most appropriate. +% The following conditional records whether the current key signature is +% sharped or flatted according to this heuristic guess. +% \begin{macrocode} +\newif\ifSB@prefshrps +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\ifSB@needkey} +% The first chord seen is usually the best indicator of the key of the song. +% (Even when the first chord isn't the tonic, it will often be the dominant +% or subdominant, which usually has the same kind of accidental in its key +% signatures as the actual key.) This conditional remembers whether the current +% chord is the first one seen in the song, and should therefore be used to +% guess the key of the song. +% \begin{macrocode} +\newif\ifSB@needkey +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\transpose}\MainImpl{transpose} +% The |\transpose| macro sets the transposition adjustment factor and +% informs the transposition logic that the next chord seen will be the first +% one in the new key. +% \begin{macrocode} +\newcommand\transpose[1]{% + \advance\SB@transposefactor by#1\relax% + \SB@cnt\SB@transposefactor% + \divide\SB@cnt12 % + \multiply\SB@cnt12 % + \advance\SB@transposefactor-\SB@cnt% + \SB@needkeytrue% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\capo}\MainImpl{capo} +% Specifying a |\capo| normally just causes a textual note to musicians to be +% typeset, but if the |transposecapos| option is active, it activates +% transposition of the chords. +% \begin{macrocode} +\newcommand\capo[1]{% + \iftranscapos\transpose{#1}\else\musicnote{capo #1}\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\prefersharps}\MainImpl{prefersharps} +% \begin{macro}{\preferflats}\MainImpl{preferflats} +% One of these macros is called after the first chord has been seen to +% register that we're transposing to a key with a sharped or flatted key +% signature. +% \begin{macrocode} +\newcommand\prefersharps{\SB@prefshrpstrue\SB@needkeyfalse} +\newcommand\preferflats{\SB@prefshrpsfalse\SB@needkeyfalse} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\transposehere}\MainImpl{transposehere} +% If automatic transposition has been requested, yield the given chord +% transposed by the requested amount. +% Otherwise return the given chord verbatim. +% \begin{macrocode} +\newcommand\transposehere[1]{% + \ifnum\SB@transposefactor=\z@% + \ifSB@convertnotes% + \SB@dotranspose{#1}% + \the\SB@toks% + \else% + #1% + \fi% + \else% + \ifSB@convertnotes% + {\SB@transposefactor\z@% + \SB@dotranspose{#1}% + \xdef\SB@tempv{\the\SB@toks}}% + \else% + \def\SB@tempv{#1}% + \fi% + \SB@dotranspose{#1}% + \expandafter\trchordformat\expandafter{\SB@tempv}{\the\SB@toks}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\notrans}\MainImpl{notrans} +% Suppress chord transposition without suppressing note name conversion. +% When a |\notrans{|\Meta{text}|}| macro appears within text undergoing +% transposition, the |\notrans| macro and the group will be preserved +% verbatim by the transposition parser. +% When it is then expanded after parsing, we must therefore re-invoke +% the transposition logic on the argument, but in an environment where +% the transposition factor has been temporarily set to zero. +% This causes note name conversion to occur without actually transposing. +% \begin{macrocode} +\newcommand\notrans[1]{% + \begingroup% + \SB@transposefactor\z@% + \transposehere{#1}% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@dotranspose} +% Parse the argument to a chord macro, yielding the transposed equivalent in +% the |\SB@toks| token register. +% \begin{macrocode} +\newcommand\SB@dotranspose[1]{% + \SB@toks{}% + \let\SB@dothis\SB@trmain% + \SB@trscan#1\SB@trend% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\trchordformat}\MainImpl{trchordformat} +% By default, transposing means replacing old chords with new chords in the +% new key. However, sometimes the user may want to typeset something more +% sophisticated, like old chords followed by new chords in parentheses so +% that musicians who use capos and those who don't can play from the same +% piece of music. Such typesetting is possible by redefining the following +% macro to something like |#1 (#2)| instead of |#2|. +% \begin{macrocode} +\newcommand\trchordformat[2]{#2} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trscan} +% This is the entrypoint to the code that scans over the list of tokens +% comprising a chord and transposes note names as it goes. +% Start by peeking ahead at the next symbol without consuming it. +% \begin{macrocode} +\newcommand\SB@trscan{\futurelet\SB@next\SB@dothis} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trmain} +% Test to see whether the token was a begin-brace, end-brace, or space. +% These tokens require special treatment because they cannot be +% accepted as implicit arguments to macros. +% \begin{macrocode} +\newcommand\SB@trmain{% + \ifx\SB@next\bgroup% + \let\SB@donext\SB@trgroup% + \else\ifx\SB@next\egroup% + \SB@toks\expandafter{\the\SB@toks\egroup}% + \let\SB@donext\SB@trskip% + \else\ifcat\noexpand\SB@next\@sptoken% + \SB@appendsp\SB@toks% + \let\SB@donext\SB@trskip% + \else% + \let\SB@donext\SB@trstep% + \fi\fi\fi% + \SB@donext% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trgroup} +% A begin-group brace lies next in the input stream. +% Consume the entire group as an argument to this macro, and append it, +% including the begin- and end-group tokens, to the list of tokens processed +% so far. +% No transposition takes place within a group; they are copied verbatim +% because they probably contain macro code. +% \begin{macrocode} +\newcommand\SB@trgroup[1]{% + \SB@toks\expandafter{\the\SB@toks{#1}}% + \SB@trscan% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trskip} +% A space or end-brace lies next in the input stream. +% It has already been added to the token list, so skip over it. +% \begin{macrocode} +\newcommand\SB@trskip{% + \afterassignment\SB@trscan% + \let\SB@next= } +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trstep} +% A non-grouping token lies next in the input stream. +% Consume it as an argument to this macro, and then test it to see whether +% it's a note letter or some other recognized item. +% If so, process it; otherwise just append it to the token list and continue +% scanning. +% \begin{macrocode} +\newcommand\SB@trstep[1]{% + \let\SB@donext\SB@trscan% + \ifcat\noexpand\SB@next A% + \ifnum\uccode`#1=`#1% + \def\SB@temp{#1}% + \let\SB@dothis\SB@trnote% + \else% + \SB@toks\expandafter{\the\SB@toks#1}% + \fi% + \else\ifx\SB@next\SB@trend + \let\SB@donext\relax% + \else% + \SB@toks\expandafter{\the\SB@toks#1}% + \fi\fi% + \SB@donext% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trnote} +% We're in the midst of processing a sequence of uppercase letters that +% might comprise a note name. +% Check to see whether the next token is an accidental (sharp or flat), +% or yet another letter. +% \begin{macrocode} +\newcommand\SB@trnote{% + \ifcat\noexpand\SB@next A% + \let\SB@donext\SB@trnotestep% + \else\ifnum\SB@transposefactor=\z@% + \SB@cnt\z@% + \let\SB@donext\SB@trtrans% + \else\ifx\SB@next\flt% + \SB@cnt\m@ne% + \let\SB@donext\SB@tracc% + \else\ifx\SB@next\shrp% + \SB@cnt\@ne% + \let\SB@donext\SB@tracc% + \else% + \SB@cnt\z@% + \let\SB@donext\SB@trtrans% + \fi\fi\fi\fi% + \SB@donext% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trnotestep} +% The next token is a letter. +% Consume it and test to see whether it is an uppercase letter. +% If so, add it to the note name being assembled; otherwise reinsert it into +% the input stream and jump directly to the transposition logic. +% \begin{macrocode} +\newcommand\SB@trnotestep[1]{% + \ifnum\uccode`#1=`#1% + \SB@app\def\SB@temp{#1}% + \expandafter\SB@trscan% + \else% + \SB@cnt\z@% + \expandafter\SB@trtrans\expandafter#1% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@tracc} +% We've encountered an accidental (sharp or flat) immediately following a +% note name. +% Peek ahead at the next token without consuming it, and then jump to the +% transposition logic. +% This is done because the transposition logic might need to infer the key +% signature of the song, and if the next token is an m (for minor), then +% that information can help. +% \begin{macrocode} +\newcommand\SB@tracc[1]{\futurelet\SB@next\SB@trtrans} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trtrans} +% We've assembled a sequence of capital letters (in |\SB@temp|) that might +% comprise a note name to be transposed. +% If the letters were followed by a |\shrp| then |\SB@cnt| is 1; if they were +% followed by a |\flt| then it is $-1$; otherwise it is 0. +% If the assembled letters turn out to not match any valid note name, then +% do nothing and return to scanning. +% Otherwise compute a new transposed name. +% \begin{macrocode} +\newcommand\SB@trtrans{% + \advance\SB@cnt% + \ifx\SB@temp\notenameA\z@% + \else\ifx\SB@temp\notenameB\tw@% + \else\ifx\SB@temp\notenameC\thr@@% + \else\ifx\SB@temp\notenameD5 % + \else\ifx\SB@temp\notenameE7 % + \else\ifx\SB@temp\notenameF8 % + \else\ifx\SB@temp\notenameG10 % + \else-99 \fi\fi\fi\fi\fi\fi\fi% + \ifnum\SB@cnt<\m@ne% + \SB@toks\expandafter\expandafter\expandafter{% + \expandafter\the\expandafter\SB@toks\SB@temp}% + \else% + \advance\SB@cnt\SB@transposefactor% + \ifnum\SB@cnt<\z@\advance\SB@cnt12 \fi% + \ifnum\SB@cnt>11 \advance\SB@cnt-12 \fi% + \ifSB@needkey\ifnum\SB@transposefactor=\z@\else\SB@setkeysig\fi\fi% + \edef\SB@temp{% + \the\SB@toks% + \ifSB@prefshrps% + \ifcase\SB@cnt\printnoteA\or\printnoteA\noexpand\shrp\or% + \printnoteB\or\printnoteC\or\printnoteC\noexpand\shrp\or% + \printnoteD\or\printnoteD\noexpand\shrp\or\printnoteE\or% + \printnoteF\or\printnoteF\noexpand\shrp\or\printnoteG\or% + \printnoteG\noexpand\shrp\fi% + \else% + \ifcase\SB@cnt\printnoteA\or\printnoteB\noexpand\flt\or% + \printnoteB\or\printnoteC\or\printnoteD\noexpand\flt\or% + \printnoteD\or\printnoteE\noexpand\flt\or\printnoteE\or% + \printnoteF\or\printnoteG\noexpand\flt\or\printnoteG\or% + \printnoteA\noexpand\flt\fi% + \fi}% + \SB@toks\expandafter{\SB@temp}% + \fi% + \let\SB@dothis\SB@trmain% + \SB@trscan% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@setkeysig} +% If this is the first chord of the song, assume that this is the tonic of the +% key, and select whether to use a sharped or flatted key signature for the +% rest of the song based on that. +% Even if this isn't the tonic, it's probably the dominant or sub-dominant, +% which almost always has a number of sharps or flats similar to the tonic. +% If the bottom note of the chord turns out to be a black key, we choose the +% enharmonic equivalent that is closest to C on the circle of fifths +% (i.e., the one that has fewest sharps or flats). +% \begin{macrocode} +\newcommand\SB@setkeysig{% + \global\SB@needkeyfalse% + \ifcase\SB@cnt% + \global\SB@prefshrpstrue\or% A + \global\SB@prefshrpsfalse\or% Bb + \global\SB@prefshrpstrue\or% B + \ifx\SB@next m% C + \global\SB@prefshrpsfalse% + \else% + \global\SB@prefshrpstrue% + \fi\or% + \global\SB@prefshrpstrue\or% C# + \ifx\SB@next m% D + \global\SB@prefshrpsfalse% + \else% + \global\SB@prefshrpstrue% + \fi\or% + \global\SB@prefshrpsfalse\or% Eb + \global\SB@prefshrpstrue\or% E + \global\SB@prefshrpsfalse\or% F + \global\SB@prefshrpstrue\or% F# + \ifx\SB@next m% G + \global\SB@prefshrpsfalse% + \else% + \global\SB@prefshrpstrue% + \fi\or% + \global\SB@prefshrpsfalse\else% Ab + \global\SB@needkeytrue% non-chord + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@trend} +% The following macro marks the end of chord text to be processed. +% It should always be consumed and discarded by the chord-scanning +% logic above, so generate an error if it is ever expanded. +% \begin{macrocode} +\newcommand\SB@trend{% + \SB@Error{Internal Error: Transposition failed}% + {This error should not occur.}% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Measure Bars} +% +% The following code handles the typesetting of measure bars. +% +% \begin{macro}{\SB@metertop} +% \begin{macro}{\SB@meterbot} +% These macros remember the current numerator and denominator of the meter. +% \begin{macrocode} +\newcommand\SB@metertop{} +\newcommand\SB@meterbot{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\meter}\MainImpl{meter} +% Set the current meter without producing an actual measure bar yet. +% \begin{macrocode} +\newcommand\meter[2]{\gdef\SB@metertop{#1}\gdef\SB@meterbot{#2}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@measuremark} +% Normally measure bar boxes should be as thin as possible so that they can be +% slipped into lyrics without making them hard to read. But when two measure +% bars appear consecutively, they need to be spaced apart more so that they +% look like two separate lines instead of one thick line. To achieve this, +% there needs to be a way to pull a vbox off the current list and determine +% whether or not it is a box that contains a measure bar. The solution is to +% insert a mark (|\SB@measuremark|) at the top of each measure bar vbox. +% We can then see whether this measure bar immediately follows another measure +% bar by using |\vsplit| on |\lastbox|. +% \begin{macrocode} +\newcommand\SB@measuremark{SB@IsMeasure} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@makembar}\MainImpl{mbar} +% Typeset a measure bar. If provided, \argp{1} is the numerator and \argp{2} is +% the denominator of the meter to be rendered above the bar. If those arguments +% are left blank, render a measure bar without a meter marking. +% \begin{macrocode} +\newcommand\SB@makembar[2]{% + \ifSB@inverse\else% + \ifSB@inchorus\else\SB@errmbar\fi% + \fi% + \ifhmode% + \SB@skip\lastskip\unskip% + \setbox\SB@box\lastbox% + \copy\SB@box% + \ifvbox\SB@box% + \begingroup% + \setbox\SB@boxii\copy\SB@box% + \vbadness\@M\vfuzz\maxdimen% + \setbox\SB@boxii% + \vsplit\SB@boxii to\maxdimen% + \endgroup% + \long\edef\SB@temp{\splitfirstmark}% + \ifx\SB@temp\SB@measuremark% + \penalty100\hskip1em% + \else% + \penalty100\hskip\SB@skip% + \fi% + \else% + \penalty100\hskip\SB@skip% + \fi% + \fi% + \ifvmode\leavevmode\fi% + \setbox\SB@box\hbox{{\meterfont\relax#1}}% + \setbox\SB@boxii\hbox{{\meterfont\relax#2}}% + \SB@dimen\wd\ifdim\wd\SB@box>\wd\SB@boxii\SB@box\else\SB@boxii\fi% + \SB@dimenii\baselineskip% + \advance\SB@dimenii-2\p@% + \advance\SB@dimenii-\ht\SB@box% + \advance\SB@dimenii-\dp\SB@box% + \advance\SB@dimenii-\ht\SB@boxii% + \advance\SB@dimenii-\dp\SB@boxii% + \let\SB@temp\relax% + \ifdim\SB@dimen>\z@% + \advance\SB@dimenii-.75\p@% + \def\SB@temp{\kern.75\p@}% + \fi% + \SB@maxmin\SB@dimen<{.5\p@}% + \SB@maxmin\SB@dimenii<\z@% + \vbox{% + \mark{\SB@measuremark}% + \hbox to\SB@dimen{% + \hfil% + \box\SB@box% + \hfil% + }% + \nointerlineskip% + \hbox to\SB@dimen{% + \hfil% + \box\SB@boxii% + \hfil% + }% + \SB@temp% + \nointerlineskip% + \hbox to\SB@dimen{% + \hfil% + \vrule\@width.5\p@\@height\SB@dimenii% + \hfil% + }% + }% + \meter{}{}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\mbar} +% The |\mbar| macro invokes |\SB@mbar|, which gets redefined by macros and +% options that turn measure bars on and off. +% \begin{macrocode} +\newcommand\mbar{\SB@mbar} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\measurebar}\MainImpl{measurebar} +% Make a measure bar using the most recently defined meter. +% Then set the meter to nothing so that the next measure bar will not +% display any meter unless the meter changes. +% \begin{macrocode} +\newcommand\measurebar{% + \mbar\SB@metertop\SB@meterbot% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@repcolon} +% Create the colon that preceeds or follows a repeat sign. +% \begin{macrocode} +\newcommand\SB@repcolon{{% + \usefont{OT1}{cmss}{m}{n}\selectfont% + \ifchorded% + \baselineskip.5\SB@dimen% + \vbox{\hbox{:}\hbox{:}\kern.5\p@}% + \else% + \raise.5\p@\hbox{:}% + \fi% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\lrep}\MainImpl{lrep} +% Create a begin-repeat sign. +% \begin{macrocode} +\newcommand\lrep{% + \SB@dimen\baselineskip% + \advance\SB@dimen-2\p@% + \vrule\@width1.5\p@\@height\SB@dimen\@depth\p@% + \kern1.5\p@% + \vrule\@width.5\p@\@height\SB@dimen\@depth\p@% + \SB@repcolon% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\rrep}\MainImpl{rrep} +% Create an end-repeat sign. +% \begin{macrocode} +\newcommand\rrep{% + \SB@dimen\baselineskip% + \advance\SB@dimen-2\p@% + \SB@repcolon% + \vrule\@width.5\p@\@height\SB@dimen\@depth\p@% + \kern1.5\p@% + \vrule\@width1.5\p@\@height\SB@dimen\@depth\p@% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Lyric Scanning}\label{sec:lyricscan} +% +% The obvious way to create a chord macro is as a normal macro with +% two arguments, one for the chord name and one for the lyrics to go +% under the chord---e.g.~|\chord{|\Meta{chordname}|}{|\Meta{lyric}|}|. +% However, in practice such a macro is extremely cumbersome and +% difficult to use. +% The problem is that in order to use such a macro properly, the user +% must remember a bunch of complex style rules that govern what +% part of the lyric text needs to go in the \Meta{lyric} parameter and +% what part should be typed after the closing brace. +% To avoid separating a word from its trailing punctuation, the +% \Meta{lyric} parameter must often include punctuation but not certain +% special punctuation like hyphens, should include the rest of the +% word but not if there's another chord in the word, should omit +% measure bars but only if measure bars are being shown, etc. +% This is way too difficult for the average user. +% +% To avoid this problem, we define chords using a one-argument macro +% (the argument is the chord name), but with no explicit argument for +% the lyric part. +% Instead, the macro scans ahead in the input stream, automatically +% determining what portion of the lyric text that follows should be +% sucked in as an implicit second argument. +% The following code does this look-ahead scanning. +% +% \begin{macro}{\ifSB@wordends} +% \begin{macro}{\ifSB@brokenword} +% Chord macros must look ahead in the input stream to see whether this chord +% is immediately followed by whitespace or the remainder of a word. +% If the latter, hyphenation might need to be introduced. +% These macros keep track of the need for hyphenation, if any. +% \begin{macrocode} +\newif\ifSB@wordends +\newif\ifSB@brokenword +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@lyric} +% Lyrics appearing after a chord are scanned into the following token list +% register. +% \begin{macrocode} +\SB@newtoks\SB@lyric +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@numhyps} +% Hyphens appearing in lyrics require special treatment. +% The following counter counts the number of explicit hyphens ending +% the lyric syllable that follows the current chord. +% \begin{macrocode} +\SB@newcount\SB@numhyps +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@lyricnohyp} +% When a lyric syllable under a chord ends in exactly one hyphen, the +% following token register is set to be the syllable without the hyphen. +% \begin{macrocode} +\SB@newtoks\SB@lyricnohyp +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@lyricbox} +% \begin{macro}{\SB@chordbox} +% The following two boxes hold the part of the lyric text that is to be +% typeset under the chord, and the chord text that is to be typeset above. +% \begin{macrocode} +\SB@newbox\SB@lyricbox +\SB@newbox\SB@chordbox +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chbstok} +% \changes{v1.22}{2007/05/15}{Added.} +% When |\MultiwordChords| is active, the following reserved control +% sequence remembers the first (space) token not yet included into the +% |\SB@lyricbox| box. +% \begin{macrocode} +\newcommand\SB@chbstok{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@setchord} +% \changes{v2.3}{2007/09/23}{Support replayed chords over ligatures} +% \changes{v2.7}{2009/01/08}{Extend rather than replace chordbox} +% \changes{v3.0}{2017/04/19}{Fix transposition of replayed chord over ligature} +% The following macro typesets its argument as a chord and stores the +% result in box |\SB@chordbox| for later placement into the document. +% The hat token (|^|) is redefined so that outside of math mode it +% suppresses chord memorization, but inside of math mode it retains +% its usual superscript meaning. +% If memorization is active, the chord's token sequence is stored in +% the current replay register. +% If |\SB@chordbox| is non-empty, the new chord is appended to it +% rather than replacing it. +% This allows consecutive chords not separated by whitespace to be +% typeset as a single chord sequence atop a common lyric. +% \begin{macrocode} +\newcommand\SB@setchord{} +{ + \catcode`^\active + \gdef\SB@setchord#1{% + \SB@gettabindtrue\SB@nohattrue% + \setbox\SB@chordbox\hbox{% + \unhbox\SB@chordbox% + \begingroup% + \ifSB@trackch% + \let\SB@activehat\SB@hat@tr% + \else% + \let\SB@activehat\SB@hat@notr% + \fi% + \let^\SB@activehat% + \printchord{% + \ifSB@firstchord\else\kern.15em\fi% + \vphantom/% + \transposehere{#1}% + \kern.2em% + }% + \endgroup% + }% + \SB@gettabindfalse% + \ifSB@trackch\ifSB@nohat% + \global\SB@creg\expandafter{\the\SB@creg#1\\}% + \fi\fi% + \let\SB@noreplay\@firstofone% + } +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@outertest} +% \begin{macro}{\SB@otesta} +% \begin{macro}{\SB@otestb} +% The lyric-scanning code must preemptively determine whether the next token +% is a macro declared |\outer| before it tries to accept that token as an +% argument. +% Otherwise \TeX{} will abort with a parsing error. +% Macros declared |\outer| are not allowed in arguments, so determining +% whether a token is |\outer| is a delicate process. +% The following does so by consulting |\meaning|. +% A macro can be identified as |\outer| if its meaning has the +% word ``|\outer|'' before the first colon. +% \begin{macrocode} +\newcommand\SB@outertest{% + \expandafter\SB@otesta\meaning\SB@next:\SB@otesta% +} +\newcommand\SB@otesta{} +\edef\SB@otesta#1:#2\SB@otesta{% + \noexpand\SB@otestb% + #1\string\outer% + \noexpand\SB@otestb% +} +\newcommand\SB@otestb{} +\expandafter\def\expandafter\SB@otestb% +\expandafter#\expandafter1\string\outer#2\SB@otestb{% + \def\SB@temp{#2}% + \ifx\SB@temp\@empty\SB@testfalse\else\SB@testtrue\fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@UTFtest} +% \begin{macro}{\SB@U@two} +% \begin{macro}{\SB@U@three} +% \begin{macro}{\SB@U@four} +% \begin{macro}{\SB@@UTFtest} +% \changes{v1.22}{2007/05/15}{Added.} +% To support UTF-8 encoded \LaTeX{} source files, we need to be able to +% identify multibyte characters during the lyric scanning process. +% Alas, the |utf8.def| file provides no clean way of identifying the +% macros it defines for this purpose. +% The best solution seems to be to look for any token named +% |\UTFviii@|$\ldots$|@octets| in the top-level expansion of the macro. +% \begin{macrocode} +\newcommand\SB@UTFtest{} +\edef\SB@UTFtest#1{% + \noexpand\expandafter% + \noexpand\SB@@UTFtest% + \noexpand\meaning#1% + \string\UTFviii@zero@octets% + \noexpand\SB@@UTFtest% +} +\newcommand\SB@U@two{\global\SB@cnt\tw@} +\newcommand\SB@U@three{\global\SB@cnt\thr@@} +\newcommand\SB@U@four{\global\SB@cnt4\relax} +\newcommand\SB@@UTFtest{} +{\escapechar\m@ne + \xdef\SB@temp{\string\@octets}} +\edef\SB@temp{##1\string\UTFviii@##2\SB@temp} +\expandafter\def\expandafter\SB@@UTFtest\SB@temp#3\SB@@UTFtest{% + \SB@cnt\z@% + {\csname SB@U@#2\endcsname}% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\DeclareLyricChar}\MainImpl{DeclareLyricChar} +% \begin{macro}{\DeclareNonLyric}\MainImpl{DeclareNonLyric} +% \begin{macro}{\DeclareNoHyphen}\MainImpl{DeclareNoHyphen} +% \begin{macro}{\SB@declare} +% \changes{v1.22}{2007/05/15}{Added \cs{DeclareLyricChar}.} +% \changes{v2.1}{2007/08/02}{Added \cs{DeclareNonLyric} and \cs{DeclareNoHyphen}.} +% \changes{v2.6}{2008/03/27}{Macro tests made name-based instead of def-based} +% When scanning the lyric text that follows a chord, it is necessary to +% distinguish accents and other intra-word macros (which should be included +% in the under-chord lyric text) from other macros (which should be pushed +% out away from the text). +% The following macros allow users to declare a token to be lyric-continuing +% or lyric-ending. +% \begin{macrocode} +\newcommand\SB@declare[3]{% + \afterassignment\iffalse\let\SB@next= #3\relax\fi% + \SB@UTFtest\SB@next% + \ifcase\SB@cnt% + \ifcat\noexpand#3\relax% + \SB@addNtest\SB@macrotests#1#2#3% + \else\ifcat\noexpand#3.% + \SB@addDtest\SB@othertests#1#2% + \else\ifcat\noexpand#3A% + \SB@addDtest\SB@lettertests#1#2% + \else% + \SB@addDtest\relax0#2% + \fi\fi\fi% + \or% + \SB@addNtest\SB@macrotests#1#2#3% + \else% + \SB@addMtest\SB@multitests#1#2#3\relax\relax\relax% + \fi% +} +\newcommand\DeclareLyricChar{\SB@declare\SB@testtrue0} +\newcommand\DeclareNonLyric{\SB@declare\SB@testfalse\SB@testfalse} +\newcommand\DeclareNoHyphen{\SB@declare\SB@testfalse\SB@testtrue} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@lettertests} +% \begin{macro}{\SB@macrotests} +% \begin{macro}{\SB@multitests} +% \begin{macro}{\SB@othertests} +% For speed, token tests introduced by |\DeclareLyricChar| and friends +% are broken out into separate macros based on category codes. +% \begin{macrocode} +\newcommand\SB@lettertests{} +\newcommand\SB@macrotests{} +\newcommand\SB@multitests{} +\newcommand\SB@othertests{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% The following macros add tests to the test macros defined above. +% In each, \argp{1} is the test macro to which the test should be added, +% \argp{2} and \argp{3} is the code to be executed at scanning-time and +% at hyphenation-time if the test succeeds (or ``0'' if no action is to +% be performed), and \argp{4} is the token to which the currently scanned +% token should be compared to determine whether it matches. +% +% \begin{macro}{\SB@addDtest} +% A definition-test: The test succeeds if the next lyric token has the same +% meaning (at test-time) of the non-macro, non-active character token that +% was given to the |\Declare| macro. +% \begin{macrocode} +\newcommand\SB@addDtest[3]{% + \ifx0#2\else% + \def#1{{\csname SB@!\meaning\SB@next\endcsname}}% + \expandafter\def\csname SB@!\meaning\SB@next\endcsname{\global#2}% + \fi% + \ifx0#3\else% + \expandafter\def\csname SB@HT@\meaning\SB@next\endcsname{\global#3}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@addNtest} +% A name-test: The test succeeds if the next token is a non-|\outer| +% macro or active character and its |\string|ified name matches the +% |\string|ified name of the control sequence that was given to the +% |\Declare| macro. +% \begin{macrocode} +\newcommand\SB@addNtest[4]{% + \ifx0#2\else% + \def#1{{\csname SB@!\SB@nextname\endcsname}}% + \expandafter\def\csname SB@!\string#4\endcsname{\global#2}% + \fi% + \ifx0#3\else% + \expandafter\def\csname SB@HT@\string#4\endcsname{\global#3}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@addMtest} +% A multibyte-test: The test succeeds if the next lyric token is the +% beginning of a UTF-8 encoded multibyte character sequence that matches +% the multibyte sequence given to the |\Declare| macro. +% \begin{macrocode} +\newcommand\SB@addMtest[7]{% + \edef\SB@temp{% + \string#4% + \ifx\relax#5\else\string#5\fi% + \ifx\relax#6\else\string#6\fi% + \ifx\relax#7\else\string#7\fi% + }% + \ifx0#2\else% + \def#1{{\csname SB@!\SB@nextname\endcsname}}% + \expandafter\def\csname SB@!\SB@temp\endcsname{\global#2}% + \fi% + \ifx0#3\else% + \expandafter\def\csname SB@HT@\SB@temp\endcsname{\global#3}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% The following code declares the common intra-word macros provided by +% \TeX{} (as listed on p.~52 of The \TeX book) to be lyric-continuing. +% \begin{macrocode} +\DeclareLyricChar\` +\DeclareLyricChar\' +\DeclareLyricChar\^ +\DeclareLyricChar\" +\DeclareLyricChar\~ +\DeclareLyricChar\= +\DeclareLyricChar\. +\DeclareLyricChar\u +\DeclareLyricChar\v +\DeclareLyricChar\H +\DeclareLyricChar\t +\DeclareLyricChar\c +\DeclareLyricChar\d +\DeclareLyricChar\b +\DeclareLyricChar\oe +\DeclareLyricChar\OE +\DeclareLyricChar\ae +\DeclareLyricChar\AE +\DeclareLyricChar\aa +\DeclareLyricChar\AA +\DeclareLyricChar\o +\DeclareLyricChar\O +\DeclareLyricChar\l +\DeclareLyricChar\L +\DeclareLyricChar\ss +\DeclareLyricChar\i +\DeclareLyricChar\j +\DeclareLyricChar\/ +\DeclareLyricChar\- +\DeclareLyricChar\discretionary +% \end{macrocode} +% +% We declare |\par| to be lyric-ending without introducing hyphenation. +% The |\par| macro doesn't actually appear in most verses because we use +% |\obeylines|, but we include a check for it in case the user says |\par| +% explicitly somewhere. +% \begin{macrocode} +\DeclareNoHyphen\par +% \end{macrocode} +% +% \begin{macro}{\SB@bracket} +% This macro gets invoked by the |\[|\eat\] macro whenever a chord begins. +% It gets redefined by code that turns chords on and off, so its initial +% definition doesn't matter. +% \begin{macrocode} +\newcommand\SB@bracket{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chord} +% Begin parsing a chord macro. +% While parsing the chord name argument, we set some special catcodes so +% that chord names can use |#| and |&| for sharps and flats. +% \begin{macrocode} +\newcommand\SB@chord{\SB@begincname\SB@@chord} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@begincname} +% \begin{macro}{\SB@endcname} +% While parsing a chord name, certain characters such as |#| and |&| are +% temporarily set active so that they can be used as abbreviations for +% sharps and flats. +% To accomplish this, |\SB@begincname| must always be invoked before any +% macro whose argument is a chord name, and |\SB@endcname| must be invoked +% at the start of the body of any macro whose argument is a chord name. +% To aid in debugging, we also temporarily set \Meta{return} characters and +% chord macros |\outer|. +% This will cause \TeX{} to halt with a runaway argument error on the correct +% source line if the user forgets to type a closing end-brace (a common typo). +% Colon characters are also set non-active to avoid a conflict between the +% \textsf{Babel} French package and the |\gtab| macro. +% \begin{macrocode} +\newcommand\SB@begincname{} +{\catcode`\^^M\active + \gdef\SB@begincname{% + \begingroup% + \catcode`##\active\catcode`&\active% + \catcode`:12\relax% + \catcode`\^^M\active\SB@outer\def^^M{}% + \SB@outer\def\[{}% + \chordlocals\relax% + } +} +\newcommand\SB@endcname{} +\let\SB@endcname\endgroup +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@nbsp} +% Non-breaking spaces (|~|) should be treated as spaces by the lyric-scanner +% code that follows. +% Although |~| is usually an active character that creates a non-breaking +% space, some packages (e.g., the \textsf{Babel} package) redefine it to +% produce accents, which are typically not lyric-ending. +% To distinguish the real |~| from redefined |~|, we need to create a macro +% whose definition is the non-breaking space definition normally assigned to +% |~|. +% \begin{macrocode} +\newcommand*\SB@nbsp{\nobreakspace{}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@firstchord} +% The following conditional is true when the current chord is the first +% chord in a sequence of one or more chord macros. +% \begin{macrocode} +\newif\ifSB@firstchord\SB@firstchordtrue +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@@chord} +% Finish processing the chord name and then begin scanning the implicit +% lyric argument that follows it. +% This is the main entrypoint to the lyric-scanner code. +% \begin{macrocode} +\newcommand*\SB@@chord{} +\def\SB@@chord#1]{% + \SB@endcname% + \ifSB@firstchord% + \setbox\SB@lyricbox\hbox{\kern\SB@tabindent}% + \global\SB@tabindent\z@% + \SB@lyric{}% + \SB@numhyps\z@% + \SB@spcinit% + \setbox\SB@chordbox\box\voidb@x% + \fi% + \SB@setchord{#1}% + \SB@firstchordfalse% + \let\SB@dothis\SB@chstart% + \SB@chscan% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\MultiwordChords}\MainImpl{MultiwordChords} +% \begin{macro}{\SB@spcinit} +% \changes{v1.22}{2007/05/15}{Added.} +% The |\SB@spcinit| macro is invoked at the beginning of the lyric +% scanning process. +% By default it does nothing, but if |\MultiwordChords| is invoked, +% it initializes the lyric-scanner state to process spaces as part of +% lyrics. +% \begin{macrocode} +\newcommand\SB@spcinit{} +\newcommand\MultiwordChords{% + \def\SB@spcinit{% + \let\SB@chdone\SB@chlyrdone% + \let\SB@chimpspace\SB@chnxtdone% + \let\SB@chexpspace\SB@chnxtdone% + \let\SB@chespace\SB@chendspace% + }% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chscan} +% \begin{macro}{\SB@chmain} +% This is the main loop of the lyric-scanner. +% Peek ahead at the next token without consuming it, then execute +% a loop body based on the current state (|\SB@dothis|), and finally +% go to the next iteration (|\SB@donext|). +% \begin{macrocode} +\newcommand\SB@chscan{% + \let\SB@nextname\relax% + \futurelet\SB@next\SB@chmain% +} +\newcommand\SB@chmain{\SB@dothis\SB@donext} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chnxtrelax} +% \begin{macro}{\SB@chnxtstep} +% \begin{macro}{\SB@chnxtdone} +% To shorten the lyric parser macros that follow and thereby improve their +% speed, we here define some abbreviations for common logic in untaken +% branches. +% \begin{macrocode} +\newcommand\SB@chnxtrelax{\let\SB@donext\relax} +\newcommand\SB@chnxtstep{\let\SB@donext\SB@chstep} +\newcommand\SB@chnxtdone{\let\SB@donext\SB@chdone} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% Warning: In the lyric-scanner macros that follow, |\SB@next| +% might be a macro declared |\outer|. +% This means that it must \emph{never} be passed as an argument to +% a macro and it must never explicitly appear in any untaken branch +% of a conditional. +% If it does, the \TeX{} parser will complain of a runaway argument +% when it tries to skip over an |\outer| macro while consuming tokens +% at high speed. +% +% \begin{macro}{\SB@chstart} +% We begin lyric-scanning with two special cases: +% (1) If the chord macro is immediately followed by another chord macro with +% no intervening whitespace, drop out of the lyric scanner and reenter it when +% the second macro is parsed. +% The chord texts will get concatenated together above the lyric that follows. +% (2) If the chord macro is immediately followed by one or more quote +% tokens, then consume them all and output them \emph{before} the chord. +% This causes the chord to sit above the actual word instead of the +% left-quote or left-double-quote symbol, which looks better. +% \begin{macrocode} +\newcommand\SB@chstart{% + \ifx\SB@next\[\SB@chnxtrelax% + \else\ifx\SB@next\SB@activehat\SB@chnxtrelax% + \else\ifx\SB@next\ch\SB@chnxtrelax% + \else\ifx\SB@next\mch\SB@chnxtrelax% + \else\ifx\SB@next`\SB@chnxtstep% + \else\ifx\SB@next'\SB@chnxtstep% + \else\ifx\SB@next"\SB@chnxtstep% + \else% + \the\SB@lyric% + \SB@lyric{}% + \SB@firstchordtrue% + \let\SB@dothis\SB@chnorm% + \SB@chnorm% + \fi\fi\fi\fi\fi\fi\fi% +} +% \end{macrocode} +% \end{macro} +% \eat\] +% +% \begin{macro}{\SB@chnorm} +% \changes{v2.0}{2007/06/18}{Rewritten for speed} +% First, check to see whether the lyric token is a letter. +% Since that's the most common case, we do this check first for speed. +% \begin{macrocode} +\newcommand\SB@chnorm{% + \ifcat\noexpand\SB@next A% + \SB@testtrue\SB@lettertests% + \ifSB@test% + \SB@chespace\SB@chnxtstep% + \else% + \SB@chnxtdone% + \fi% + \else% + \SB@chtrymacro% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chtrymacro} +% Next, check to see whether it's a macro or active character. +% We do these checks next because these are the only cases when the +% token might be |\outer|. +% Once we eliminate that ugly possibility, we can write the rest of +% the code without having to worry about putting |\SB@next| in +% places where |\outer| tokens are illegal. +% \begin{macrocode} +\newcommand\SB@chtrymacro{% + \ifcat\noexpand\SB@next\relax% + \SB@chmacro% + \else% + \SB@chother% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chother} +% The token is not a letter, macro, or active character. +% The only other cases of interest are spaces, braces, and hyphens. +% If it's one of those, take the appropriate action; otherwise end the +% lyric here. +% Since we've eliminated the possibility of macros and active characters, +% we can be sure that the token isn't |\outer| at this point. +% \begin{macrocode} +\newcommand\SB@chother{% + \ifcat\noexpand\SB@next\@sptoken% + \SB@chexpspace% + \else\ifcat\noexpand\SB@next\bgroup% + \SB@chespace\let\SB@donext\SB@chbgroup% + \else\ifcat\noexpand\SB@next\egroup% + \SB@chespace\let\SB@donext\SB@chegroup% + \else\ifx\SB@next-% + \SB@numhyps\@ne\relax% + \SB@lyricnohyp\expandafter{\the\SB@lyric}% + \let\SB@dothis\SB@chhyph% + \SB@chespace\SB@chnxtstep% + \else\ifcat\noexpand\SB@next.% + \SB@testtrue\SB@othertests% + \ifSB@test% + \SB@chespace\SB@chnxtstep% + \else% + \SB@chnxtdone% + \fi% + \else% + \SB@chespace\SB@chnxtstep% + \fi\fi\fi\fi\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chmacro} +% \changes{v1.22}{2007/05/15}{Added support for UTF-8.} +% The lyric-scanner has encountered a macro or active character. +% If it's |\outer|, it should never be used in an argument, so stop here. +% \begin{macrocode} +\newcommand\SB@chmacro{% + \SB@outertest% + \ifSB@test% + \SB@chnxtdone% + \else% + \let\SB@donext\SB@chgetname% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chgetname} +% We've encountered a non-|\outer| macro or active character. +% Use |\string| to get its name, but insert the token back into the +% input stream since we haven't decided whether to consume it yet. +% \begin{macrocode} +\newcommand\SB@chgetname[1]{% + \edef\SB@nextname{\string#1}% + \SB@@chmacro\SB@donext#1% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@@chmacro} +% The lyric-scanner has encountered a non-|\outer| macro or active character. +% Its |\string|ified name has been stored in |\SB@nextname|. +% Test to see whether it's a known macro or the beginning of a +% multibyte-encoded international character. +% If the former, dispatch some macro-specific code to handle it. +% If the latter, grab the full multibyte sequence and include it in the lyric. +% \begin{macrocode} +\newcommand\SB@@chmacro{% + \ifx\SB@next\SB@activehat% + \SB@chnxtdone% + \else\ifx\SB@next\SB@par% + \SB@chnxtdone% + \else\ifx\SB@next\measurebar% + \SB@chmbar% + \else\ifx\SB@next\mbar% + \SB@chmbar% + \else\ifx\SB@next\ch% + \SB@chespace\let\SB@donext\SB@chlig% + \else\ifx\SB@next\mch% + \SB@chespace\let\SB@donext\SB@mchlig% + \else\ifx\SB@next\ % + \SB@chimpspace% + \else\ifx\SB@next\SB@nbsp% + \SB@chimpspace% + \else% + \SB@UTFtest\SB@next% + \ifcase\SB@cnt\SB@chothermac% + \or\or\SB@chespace\let\SB@donext\SB@chsteptwo% + \or\SB@chespace\let\SB@donext\SB@chstepthree% + \or\SB@chespace\let\SB@donext\SB@chstepfour\fi% + \fi\fi\fi\fi\fi\fi\fi\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chothermac} +% \changes{v2.6}{2008/03/26}{All active chars now included in lyrics by default.} +% The lyric-scanner has encountered a macro or active character that is +% not |\outer|, not a known macro that requires special treatment, +% and not a multibyte international character. +% First, check the macro's name (stored in |\SB@nextname|) to see whether it +% begins with a non-escape character. +% If so, it's probably an accenting or punctuation character made active +% by the |inputenc| or |babel| packages. +% Most such characters should be included in the lyric, so include it by +% default; otherwise exclude it by default. +% The user can override the defaults using |\DeclareLyricChar| and friends. +% \begin{macrocode} +\newcommand\SB@chothermac{% + \SB@testfalse% + \afterassignment\iffalse% + \SB@cnt\expandafter`\SB@nextname x\fi% + \ifnum\the\catcode\SB@cnt=\z@\else\SB@testtrue\fi% + \SB@macrotests% + \ifSB@test% + \SB@chespace\SB@chnxtstep% + \else% + \SB@chnxtdone% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chstep} +% \begin{macro}{\SB@chsteptwo} +% \begin{macro}{\SB@chstepthree} +% \begin{macro}{\SB@chstepfour} +% \begin{macro}{\SB@chmulti} +% \begin{macro}{\SB@chmstop} +% We've encountered one or more tokens that should be included in the +% lyric text. +% (More than one means we've encountered a multibyte encoding of an +% international character.) +% Consume them (as arguments to this macro) and add them to the list +% of tokens we've already consumed. +% \begin{macrocode} +\newcommand\SB@chstep[1]{% + \SB@lyric\expandafter{\the\SB@lyric#1}% + \SB@chscan% +} +\newcommand\SB@chsteptwo[2]{\SB@chmulti{#1#2}{\string#1\string#2}} +\newcommand\SB@chstepthree[3]{% + \SB@chmulti{#1#2#3}{\string#1\string#2\string#3}% +} +\newcommand\SB@chstepfour[4]{% + \SB@chmulti{#1#2#3#4}{\string#1\string#2\string#3\string#4}% +} +\newcommand\SB@chmulti[2]{% + \def\SB@next{#1}% + \edef\SB@nextname{#2}% + \SB@testtrue\SB@multitests% + \ifSB@test% + \SB@lyric\expandafter{\the\SB@lyric#1}% + \expandafter\SB@chscan% + \else% + \expandafter\SB@chmstop% + \fi% +} +\newcommand\SB@chmstop{\expandafter\SB@chdone\SB@next} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chhyph} +% We've encountered a hyphen. +% Continue to digest hyphens, but terminate as soon as we see anything +% else. +% \begin{macrocode} +\newcommand\SB@chhyph{% + \ifx\SB@next-% + \advance\SB@numhyps\@ne\relax% + \SB@chnxtstep% + \else% + \SB@chnxtdone% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chimpspace} +% \begin{macro}{\SB@chexpspace} +% We've encountered an implicit or explicit space. +% Normally this just ends the lyric, but if |\MultiwordChords| is +% active, these macros both get redefined to process the space. +% \begin{macrocode} +\newcommand\SB@chimpspace{} +\let\SB@chimpspace\SB@chnxtdone +\newcommand\SB@chexpspace{} +\let\SB@chexpspace\SB@chnxtdone +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chespace} +% \begin{macro}{\SB@chendspace} +% \changes{v1.22}{2007/05/15}{Added.} +% The |\SB@chespace| macro gets invoked by the lyric-scanner just before a +% non-space token is about to be accepted as part of an under-chord lyric. +% Normally it does nothing; however, if |\MultiwordChords| is active, it +% gets redefined to do one of three things: +% (1) Initially it is set equal to |\SB@chendspace| so that if the very +% first token following the chord macro is not a space, the lyric-scanner +% macros are redefined to process any future spaces encountered. +% Otherwise the very first token is a space, and the lyric ends immediately. +% (2) While scanning non-space lyric tokens, it is set to nothing, since no +% special action needs to be taken until we encounter a sequence of one or +% more spaces. +% (3) When a space token is encountered (but not the very first token after +% the chord macro), it is set equal to |\SB@chendspace| again so that +% |\SB@chendspace| is invoked once the sequence of one or more space tokens +% is finished. +% \begin{macrocode} +\newcommand\SB@chespace{} +\newcommand\SB@chendspace{% + \let\SB@chdone\SB@chlyrdone% + \def\SB@chexpspace{\SB@chbspace\SB@chexpspace}% + \def\SB@chimpspace{\SB@chbspace\SB@chimpspace}% + \def\SB@chespace{}% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chbspace} +% \begin{macro}{\SB@chgetspace} +% \changes{v1.22}{2007/05/15}{Added.} +% The |\SB@chbspace| macro gets invoked when |\MultiwordChords| is active +% and the lyric-scanner has encountered a space token that was immediately +% preceded by a non-space token. +% Before processing the space, we add all lyrics seen so far to the +% |\SB@lyricbox| and check its width. +% If we've seen enough lyrics to match or exceed the width of the chord, +% a space stops the lyric-scanning process. +% (This is important because it minimizes the size of the chord box, +% providing as many line breakpoints as possible to the paragraph-formatter.) +% +% Otherwise we begin scanning space tokens without adding them to the +% lyric until we see what the next non-space token is. +% If the next non-space token would have ended the lyric anyway, roll back +% and end the lyric here, reinserting the space tokens back into the token +% stream. +% If the next non-space token would have been included in the lyric, +% the lyric-scanner proceeds as normal. +% \begin{macrocode} +\newcommand\SB@chbspace{% + \setbox\SB@lyricbox\hbox{% + \unhbox\SB@lyricbox% + \the\SB@lyric% + }% + \SB@lyric{}% + \ifdim\wd\SB@lyricbox<\wd\SB@chordbox% + \let\SB@chbstok= \SB@next% + \def\SB@chexpspace{\let\SB@donext\SB@chgetspace}% + \let\SB@chimpspace\SB@chnxtstep% + \let\SB@chespace\SB@chendspace% + \let\SB@chdone\SB@chspcdone% + \else% + \let\SB@chimpspace\SB@chnxtdone% + \let\SB@chexpspace\SB@chnxtdone% + \fi% +} +\newcommand\SB@chgetspace{% + \SB@appendsp\SB@lyric% + \let\SB@nextname\relax% + \afterassignment\SB@chscan% + \let\SB@next= } +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chmbar} +% We've encountered a measure bar. +% Either ignore it or end the lyric text, depending on whether +% measure bars are being displayed. +% \begin{macrocode} +\newcommand\SB@chmbar{% + \ifmeasures% + \SB@chnxtdone% + \else% + \SB@chespace\SB@chnxtstep% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chbgroup} +% We've encountered a begin-group brace. +% Consume the entire group that it begins, and add it to the list +% of tokens including the begin and end group tokens. +% \begin{macrocode} +\newcommand\SB@chbgroup[1]{% + \SB@lyric\expandafter{\the\SB@lyric{#1}}% + \SB@chscan% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chegroup} +% \begin{macro}{\SB@chegrpscan} +% \begin{macro}{\SB@chegrpmacro} +% \begin{macro}{\SB@chegrpouter} +% \begin{macro}{\SB@chegrpname} +% \begin{macro}{\SB@chegrpdone} +% We've encountered an end-group brace whose matching begin-group brace +% must have come before the chord macro itself. +% This forcibly ends the lyric text. +% Before stopping, we must set |\SB@next| to the token following the brace +% and |\SB@nextname| to its |\string|ified name so that |\SB@emitchord| will +% know whether to add hyphenation. +% Therefore, we temporarily consume the end-group brace, then scan the +% next token without consuming it, and finally reinsert the end-group brace +% and stop. +% \begin{macrocode} +\newcommand\SB@chegroup{% + \let\SB@nextname\relax% + \afterassignment\SB@chegrpscan% + \let\SB@next= } +\newcommand\SB@chegrpscan{% + \futurelet\SB@next\SB@chegrpmacro% +} +\newcommand\SB@chegrpmacro{% + \ifcat\noexpand\SB@next\relax% + \expandafter\SB@chegrpouter% + \else% + \expandafter\SB@chegrpdone% + \fi% +} +\newcommand\SB@chegrpouter{% + \SB@outertest% + \ifSB@test% + \expandafter\SB@chegrpdone% + \else% + \expandafter\SB@chegrpname% + \fi% +} +\newcommand\SB@chegrpname[1]{% + \edef\SB@nextname{\string#1}% + \SB@chegrpdone#1% +} +\newcommand\SB@chegrpdone{\SB@chdone\egroup} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chlig} +% \begin{macro}{\SB@mchlig} +% We've encountered a |\ch| chord-over-ligature macro, or an +% |\mch| measurebar-and-chord-over-ligature macro. +% Consume it and all of its arguments, and load them into some +% registers for future processing. +% (Part of the ligature might fall into this lyric text or might +% not, depending on whether we decide to add hyphenation.) +% Then end the lyric text here. +% \begin{macrocode} +\newcommand\SB@chlig[5]{% + \gdef\SB@ligpre{{#3}}% + \gdef\SB@ligpost{\[#2]{#4}}% + \gdef\SB@ligfull{% + \[\SB@noreplay{\hphantom{{\lyricfont\relax#3}}}#2]{#5}% + }% + \SB@chdone% +} +\newcommand\SB@mchlig[5]{% + \SB@lyric\expandafter{\the\SB@lyric#3}% + \let\SB@next\measurebar% + \edef\SB@nextname{\string\measurebar}% + \gdef\SB@ligpost{\measurebar\[#2]{#4}}% + \gdef\SB@ligfull{\measurebar\[#2]{#4}}% + \SB@chdone% +} +% \end{macrocode} +% \eat\] +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@chdone} +% \begin{macro}{\SB@chlyrdone} +% \begin{macro}{\SB@chspcdone} +% The |\SB@chdone| macro is invoked when we've decided to end the lyric +% text (usually because we've encountered a non-lyric token). +% Normally this expands to |\SB@chlyrdone|, which adds any uncontributed +% lyric material to the |\SB@lyricbox| and jumps to the main chord +% formatting macro. +% However, if |\MultiwordChords| is active and if the lyric ended with +% a sequence of one or more space tokens, then we instead reinsert the +% space tokens into the token stream without contributing them to the +% |\SB@lyricbox|. +% \begin{macrocode} +\newcommand\SB@chlyrdone{% + \setbox\SB@lyricbox\hbox{% + \unhbox\SB@lyricbox% + \ifnum\SB@numhyps=\@ne% + \the\SB@lyricnohyp% + \else% + \the\SB@lyric% + \fi% + }% + \SB@emitchord% +} +\newcommand\SB@chspcdone{% + \let\SB@nextname\relax% + \let\SB@next= \SB@chbstok% + \expandafter\SB@emitchord\the\SB@lyric% +} +\newcommand\SB@chdone{} +\let\SB@chdone\SB@chlyrdone +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@ligpre} +% \begin{macro}{\SB@ligpost} +% \begin{macro}{\SB@ligfull} +% The following three macros record arguments passed to a |\ch| macro that +% concludes the lyric text of the |\[]|\eat\] macro currently being processed. +% \begin{macrocode} +\newcommand\SB@ligpre{} +\newcommand\SB@ligpost{} +\newcommand\SB@ligfull{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@clearlig} +% Clear all ligature-chord registers. +% \begin{macrocode} +\newcommand\SB@clearlig{% + \gdef\SB@ligpre{}% + \gdef\SB@ligpost{}% + \gdef\SB@ligfull{}% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Chords} +% +% \begin{macro}{\SB@emitchord}\MainImpl{[} +% \changes{v1.12}{2005/05/10}{Inhibited hyphenation of trailing punctuation} +% \changes{v1.13}{2005/05/12}{Added code to preserve the spacefactor} +% \changes{v1.16}{2005/07/23}{Chord macros massively reorganized to take lyrics as implicit rather than explicit arguments} +% The |\SB@emitchord| macro does the actual work of typesetting chord text +% over lyric text, introducing appropriate hyphenation when necessary. +% We begin by consulting |\SB@next|, which should have been set by the +% lyric-scanning code in \S\ref{sec:lyricscan} to the token that immediately +% follows the lyric under this chord, to determine whether the lyric text +% ends on a word boundary. +% \begin{macrocode} +\newcommand\SB@emitchord{% + \ifSB@inverse\else\ifSB@inchorus\else\SB@errchord\fi\fi% + \SB@testfalse% + \ifcat\noexpand\SB@next\@sptoken\SB@testtrue\fi% + \ifcat\noexpand\SB@next.\SB@testtrue\fi% + \ifx\SB@next\SB@par\SB@testtrue\fi% + \ifx\SB@next\egroup\SB@testtrue\fi% + \ifx\SB@next\endgroup\SB@testtrue\fi% + {\csname% + SB@HT@\ifx\SB@nextname\relax\meaning\SB@next\else\SB@nextname\fi% + \endcsname}% + \ifSB@test\SB@wordendstrue\else\SB@wordendsfalse\fi% +% \end{macrocode} +% Next, compare the width of the lyric to the width of the chord to +% determine whether hyphenation might be necessary. +% The original lyric text might have ended in a string of one or more +% explicit hyphens, enumerated by |\SB@numhyps|. +% If it ended in exactly one, the lyric-scanning code suppresses that hyphen +% so that we can here add a new hyphen that floats out away from the word +% when the chord above it is long. +% If it ended in more than one (e.g., the encoding of an en- or em-dash) then +% the lyric-scanner leaves it alone; we must not add any hyphenation or float +% the dash away from the word. +% +% There is also code here to insert a penalty that discourages linebreaking +% immediately before lyricless chords. +% Beginning a wrapped line with a lyricless chord is undesirable because it +% makes it look as though the wrapped line is extra-indented (due to the +% empty lyric space below the chord). +% It should therefore happen only as a last resort. +% \begin{macrocode} + \SB@dimen\wd\SB@chordbox% + \ifvmode\leavevmode\fi% + \SB@brokenwordfalse% + \ifdim\wd\SB@lyricbox>\z@% + \ifdim\SB@dimen>\wd\SB@lyricbox% + \ifSB@wordends\else\SB@brokenwordtrue\fi% + \fi% + \else% + \SB@skip\lastskip% + \unskip\penalty200\hskip\SB@skip% + \fi% + \ifnum\SB@numhyps>\z@% + \ifnum\SB@numhyps>\@ne% + \SB@brokenwordfalse% + \else% + \SB@brokenwordtrue% + \fi% + \fi% +% \end{macrocode} +% If lyrics are suppressed on this line (e.g., by using |\nolyrics|), then just +% typeset the chord text on the natural baseline. +% \begin{macrocode} + \SB@testfalse% + \ifnolyrics\ifdim\wd\SB@lyricbox=\z@\SB@testtrue\fi\fi% + \ifSB@test% + \unhbox\SB@chordbox% + \gdef\SB@temp{\expandafter\SB@clearlig\SB@ligfull}% + \else% +% \end{macrocode} +% Otherwise, typeset the chord above the lyric on a double-height line. +% \begin{macrocode} + \vbox{\clineparams\relax% + \ifSB@brokenword% + \global\setbox\SB@lyricbox\hbox{% + \unhbox\SB@lyricbox% + \SB@ligpre% + }% + \SB@maxmin\SB@dimen<{\wd\SB@lyricbox}% + \advance\SB@dimen.5em% + \hbox to\SB@dimen{\unhbox\SB@chordbox\hfil}% + \hbox to\SB@dimen{% + \unhcopy\SB@lyricbox\hfil + \ifnum\hyphenchar\font>\m@ne\char\hyphenchar\font\hfil\fi% + }% + \global\SB@cnt\@m% + \gdef\SB@temp{\expandafter\SB@clearlig\SB@ligpost}% + \else% + \box\SB@chordbox% + \hbox{% + \unhcopy\SB@lyricbox% + \global\SB@cnt\spacefactor% + \hfil% + }% + \gdef\SB@temp{\expandafter\SB@clearlig\SB@ligfull}% + \fi% + }% +% \end{macrocode} +% If the chord is lyricless, inhibit a linebreak immediately following it. +% This prevents sequences of lyricless chords (which often end lines) from +% being wrapped in the middle, which looks very unsightly and makes them +% difficult to read. +% If the chord has a lyric but it doesn't end on a word boundary, insert +% an appropriate penalty to prevent linebreaking without hyphenation. +% Also preserve the spacefactor in this case, which allows \LaTeX{} to +% fine-tune the spacing between consecutive characters in the word that +% contains the chord. +% \begin{macrocode} + \ifSB@wordends% + \ifdim\wd\SB@lyricbox>\z@\else\nobreak\fi% + \else% + \penalty% + \ifnum\SB@numhyps>\z@\exhyphenpenalty% + \else\ifSB@brokenword\hyphenpenalty% + \else\@M\fi\fi% + \spacefactor\SB@cnt% + \fi% + \fi% +% \end{macrocode} +% Finally, end the macro with some code that handles the special case that +% this chord is immediately followed by a chord-over-ligature macro. +% The code above sets |\SB@temp| to the portion of the ligature that should +% come after this chord but before the chord that tops the ligature. +% This text must be inserted here. +% \begin{macrocode} + \SB@temp% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@accidental} +% Typeset an accidental symbol as a superscript within a chord. +% Since chord names are often in italics but math symbols like sharp and +% flat are not, we need to do some kerning adjustments before and after the +% accidental to position it as if it were italicized. +% The pre-adjustment is just a simple italic correction using |\/|. +% The post-adjustment is based on the current font's slant-per-point metric. +% \begin{macrocode} +\newcommand\SB@accidental[1]{{% + \/% + \m@th#1% + \SB@dimen-\fontdimen\@ne\font% + \advance\SB@dimen.088142\p@% + \ifdim\SB@dimen<\z@% + \kern\f@size\SB@dimen% + \fi% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\sharpsymbol}\MainImpl{sharpsymbol} +% \begin{macro}{\flatsymbol}\MainImpl{flatsymbol} +% When changing the sharp or flat symbol, change these macros rather than +% changing |\shrp| or |\flt|. +% This will ensure that other shortcuts like |#| and |&| will reflect your +% change. +% \begin{macrocode} +\newcommand\sharpsymbol{\ensuremath{^\#}} +\newcommand\flatsymbol{\raise.5ex\hbox{{\SB@flatsize$\flat$}}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\shrp}\MainImpl{shrp} +% \begin{macro}{\flt}\MainImpl{flt} +% \changes{v2.10}{2009/08/18}{Font size made relative} +% These macros typeset sharp and flat symbols. +% \begin{macrocode} +\newcommand\shrp{\SB@accidental\sharpsymbol} +\newcommand\flt{\SB@accidental\flatsymbol} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\DeclareFlatSize} +% The |\flat| math symbol is too small for properly typesetting +% chord names. +% (Its size was designed for staff notation not textual chord names.) +% The correct size for the symbol should be approximately 30\% larger +% than the current superscript size, or 90\% of the base font size $b$. +% However, simply computing $0.9b$ does not work well because most fonts +% do not render well in arbitrary sizes. +% To solve the problem, we must therefore choose an appropriate size +% individually for each possible base font size $b$. +% This is the solution adopted by the rest of \LaTeX{} for such things. +% For example, \LaTeX's |\DeclareMathSizes| macro defines an appropriate +% superscript size for each possible base font size. +% The macro below creates a similar macro that that defines an appropriate +% flat-symbol size for each possible base font size. +% \begin{macrocode} +\newcommand\DeclareFlatSize[2]{% + \expandafter\xdef\csname SB@flatsize@#1\endcsname{#2}% +} +\DeclareFlatSize\@vpt\@vpt +\DeclareFlatSize\@vipt\@vipt +\DeclareFlatSize\@viipt\@vipt +\DeclareFlatSize\@viiipt\@viipt +\DeclareFlatSize\@ixpt\@viiipt +\DeclareFlatSize\@xpt\@ixpt +\DeclareFlatSize\@xipt\@xpt +\DeclareFlatSize\@xiipt\@xipt +\DeclareFlatSize\@xivpt\@xiipt +\DeclareFlatSize\@xviipt\@xivpt +\DeclareFlatSize\@xxpt\@xviipt +\DeclareFlatSize\@xxvpt\@xxpt +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@flatsize} +% Select the correct flat symbol size based on the current font size. +% \begin{macrocode} +\newcommand\SB@flatsize{% + \@ifundefined{SB@flatsize@\f@size}{}{% + \expandafter\fontsize% + \csname SB@flatsize@\f@size\endcsname\f@baselineskip% + \selectfont% + }% +} +% \end{macrocode} +% \end{macro} +% +% In the following code, the |\ch|, |\mch|, |\[|\eat\], and |^| macros are +% each defined to be a single macro that then expands to the real definition. +% This is necessary because the top-level definitions of each must stay the +% same in order to allow the lyric-scanning code to uniquely identify them, +% yet their internal definitions must be redefined by code that turns +% chords and/or measure bars on and off. +% Such code redefines |\SB@ch|, |\SB@mch|, |\SB@bracket|, and |\SB@rechord| +% to effect a change of mode without touching the top-level definitions. +% +% \begin{macro}{\ch}\MainImpl{ch} +% \begin{macro}{\SB@ch} +% \begin{macro}{\SB@ch@on} +% \begin{macro}{\SB@@ch} +% \begin{macro}{\SB@@@ch} +% \begin{macro}{\SB@ch@off} +% The |\ch| macro puts a chord atop a ligature without breaking the ligature. +% Normally this just means placing the chord midway over the unbroken +% ligature (ignoring the third argument completely). +% However, when a previous chord macro encounters it while scanning ahead in +% the input stream to parse its lyric, the |\ch| macro itself is not actually +% expanded at all. +% Instead, the chord macro scans ahead, spots the |\ch| macro, gobbles it, +% and then steals its arguments, breaking the ligature with hyphenation. +% Thus, the |\ch| macro is only actually expanded when the ligature +% shouldn't be broken. +% \begin{macrocode} +\newcommand\ch{\SB@ch} +\newcommand\SB@ch{} +\newcommand\SB@ch@on{\SB@begincname\SB@@ch} +\newcommand*\SB@@ch[1]{\SB@endcname\SB@@@ch{#1}} +\newcommand*\SB@@@ch[4]{\[\SB@noreplay{\hphantom{#2}}#1]#4} +\newcommand*\SB@ch@off[4]{#4} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \eat\] +% +% \begin{macro}{\mch}\MainImpl{mch} +% \begin{macro}{\SB@mch} +% \begin{macro}{\SB@mch@m} +% \begin{macro}{\SB@mch@on} +% \begin{macro}{\SB@@mch} +% \begin{macro}{\SB@@@mch} +% The |\mch| macro is like |\ch| except that it also introduces a measure +% bar. +% \begin{macrocode} +\newcommand\mch{\SB@mch} +\newcommand\SB@mch{} +\newcommand*\SB@mch@m[4]{#2\measurebar#3} +\newcommand\SB@mch@on{\SB@begincname\SB@@mch} +\newcommand*\SB@@mch[1]{\SB@endcname\SB@@@mch{#1}} +\newcommand*\SB@@@mch[4]{#2\measurebar\[#1]#3} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \eat\] +% +% \begin{macro}{\SB@activehat} +% This macro must always contain the current definition of the |^| +% chord-replay active character, in order for the lyric scanner to properly +% identify it and insert proper hyphenation when necessary. +% \begin{macrocode} +\newcommand\SB@activehat{% + \ifmmode^\else\expandafter\SB@rechord\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@hat@tr} +% In verses/choruses where chords are being memorized, |\SB@activehat| +% gets set to this definition, which marks the current chord as immune to +% memorization. +% \begin{macrocode} +\newcommand\SB@hat@tr{% + \ifmmode^\else\global\SB@nohatfalse\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@hat@notr} +% In verses/choruses where chords are being replayed, |\SB@activehat| +% get set to the following, which replays the next memorized chord and +% subjects it to any required transposition and/or note conversion. +% \begin{macrocode} +\newcommand\SB@hat@notr{% + \ifmmode^\else% + \SB@lop\SB@ctail\SB@toks% + \expandafter\transposehere\expandafter{\the\SB@toks}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@loadactives} +% It's cumbersome to have to type |\shrp|, |\flt|, and |\mbar| every time you +% want a sharp, flat, or measure bar, so within verses and choruses we allow +% the hash, ampersand, and pipe symbols to perform the those functions too. +% It's also cumbersome to have to type something like |\chord{Am}{lyric}| to +% produce each chord. +% As an easier alternative, we here define |\[Am]|\eat\] +% to typeset chords. +% \begin{macrocode} +\newcommand\SB@loadactives{} +{ + \catcode`&\active + \catcode`#\active + \catcode`|\active + \catcode`^\active + \global\let&\flt + \global\let#\shrp + \global\let|\measurebar + \global\let^\SB@activehat + \gdef\SB@loadactives{% + \catcode`^\ifchorded\active\else9 \fi% + \catcode`|\ifmeasures\active\else9 \fi% + \def\[{\SB@bracket}% + } +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Chord Replaying} +% +% \begin{macro}{\SB@trackch} +% While inside a verse where the chord history is being remembered for future +% verses, |\SB@trackch| is true. +% \begin{macrocode} +\newif\ifSB@trackch +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@cr@} +% Reserve token registers to record a history of the chords seen in a verse. +% \begin{macrocode} +\SB@newtoks\SB@cr@ +\SB@newtoks\SB@ctail +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@creg} +% The following control sequence equals the token register being memorized +% into or replayed from. +% \begin{macrocode} +\newcommand\SB@creg{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\newchords}\MainImpl{newchords} +% \changes{v2.6}{2008/02/23}{Added} +% Allocate a new chord-replay register to hold memorized chords. +% \begin{macrocode} +\newcommand\newchords[1]{% + \@ifundefined{SB@cr@#1}{% + \expandafter\SB@newtoks\csname SB@cr@#1\endcsname% + \global\csname SB@cr@#1\endcsname{\\}% + }{\SB@errdup{#1}}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\memorize}\MainImpl{memorize} +% \begin{macro}{\SB@memorize} +% \changes{v2.6}{2008/02/23}{Optional argument added} +% Saying |\memorize| throws out any previously memorized list of chords and +% starts memorizing chords until the end of the current verse or chorus. +% \begin{macrocode} +\newcommand\memorize{% + \@ifnextchar[\SB@memorize{\SB@memorize[]}% +} +\newcommand\SB@memorize{} +\def\SB@memorize[#1]{% + \@ifundefined{SB@cr@#1}{\SB@errreg{#1}}{% + \SB@trackchtrue% + \global\expandafter\let\expandafter\SB@creg% + \csname SB@cr@#1\endcsname% + \global\SB@creg{\\}% + }% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\replay}\MainImpl{replay} +% \begin{macro}{\SB@replay} +% \begin{macro}{\SB@@replay} +% \changes{v2.6}{2008/02/23}{Added} +% Saying |\replay| stops any memorization and begins replaying memorized +% chords. +% \begin{macrocode} +\newcommand\replay{\@ifnextchar[\SB@replay\SB@@replay} +\newcommand\SB@replay{} +\def\SB@replay[#1]{% + \@ifundefined{SB@cr@#1}{\SB@errreg{#1}}{% + \SB@trackchfalse% + \global\expandafter\let\expandafter\SB@creg% + \csname SB@cr@#1\endcsname% + \global\SB@ctail\SB@creg% + }% +} +\newcommand\SB@@replay{% + \SB@trackchfalse% + \global\SB@ctail\SB@creg% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@rechord} +% \begin{macro}{\SB@@rechord} +% Replay the same chord that was in a previous verse. +% \begin{macrocode} +\newcommand\SB@rechord{} +\newcommand\SB@@rechord{% + \SB@ifempty\SB@ctail{% + \SB@errreplay% + \SB@toks{}% + \let\SB@donext\@gobble% + }{% + \SB@lop\SB@ctail\SB@toks% + \let\SB@donext\SB@chord% + \let\SB@noreplay\@gobble% + }% + \expandafter\SB@donext\the\SB@toks]% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\ifSB@nohat} +% The |\ifSB@nohat| conditional is set to false when a chord macro contains +% a |^| in its argument. +% This suppresses the recording mechanism momentarily so that replays will +% skip this chord. +% \begin{macrocode} +\newif\ifSB@nohat +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@noreplay} +% Sometimes material must be added to a chord but omitted when the chord is +% replayed. +% We accomplish this by enclosing such material in |\SB@noreplay| macros, +% which are set to |\@gobble| just before a replay and reset to +% |\@firstofone| at other times. +% \begin{macrocode} +\newcommand\SB@noreplay{} +\let\SB@noreplay\@firstofone +% \end{macrocode} +% \end{macro} +% +% \subsection{Guitar Tablatures} +% +% The song book software not only supports chord names alone, but can also +% typeset guitar tablature diagrams. The macros for producing these diagrams +% are found here. +% +% \begin{macro}{\SB@fretwidth} +% Set the width of each vertical string in the tablature diagram. +% \begin{macrocode} +\newlength\SB@fretwidth +\setlength\SB@fretwidth{6\p@} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@fretnum} +% Typeset a fret number to appear to the left of the diagram. +% \begin{macrocode} +\newcommand\SB@fretnum[1]{{% + \sffamily\fontsize\@xpt\@xpt\selectfont#1% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@onfret} +% Typeset one string of one fret with \argp{1} typeset overtop of it (usually +% a dot or nothing at all). +% \begin{macrocode} +\newcommand\SB@onfret[1]{% + \kern.5\SB@fretwidth\kern-.2\p@% + \vrule\@height6\p@% + \kern-.2\p@\kern-.5\SB@fretwidth% + \hbox to\SB@fretwidth{\hfil#1\hfil}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@atopfret} +% Typeset material (given by \argp{1}) to be placed above a string in the +% tablature diagram. +% \begin{macrocode} +\newcommand\SB@atopfret[1]{% + \hbox to\SB@fretwidth{\hfil#1\hfil}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@fretbar} +% Typeset a horizontal fret bar of width |\SB@dimen|. +% \begin{macrocode} +\newcommand\SB@fretbar{% + \nointerlineskip% + \hbox to\SB@dimen{% + \advance\SB@dimen-\SB@fretwidth% + \advance\SB@dimen.4\p@% + \hfil% + \vrule\@width\SB@dimen\@height.4\p@\@depth\z@% + \hfil% + }% + \nointerlineskip% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@topempty} +% \begin{macro}{\SB@topX} +% \begin{macro}{\SB@topO} +% Above a string in a tablature diagram there can be nothing, +% an $\times$, or an $\circ$. +% \begin{macrocode} +\newcommand\SB@topempty{\SB@atopfret\relax} +\newcommand\SB@topX{\SB@atopfret{% + \hbox{% + \kern-.2\p@% + \fontencoding{OMS}\fontfamily{cmsy}% + \fontseries{m}\fontshape{n}% + \fontsize\@viipt\@viipt\selectfont\char\tw@% + \kern-.2\p@% + }% +}} +\newcommand\SB@topO{\SB@atopfret{% + \vrule\@width\z@\@height4.3333\p@\@depth.8333\p@% + \lower.74\p@\hbox{% + \fontencoding{OMS}\fontfamily{cmsy}% + \fontseries{m}\fontshape{n}% + \fontsize\@xpt\@xpt\selectfont\char14% + }% +}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@doify} +% \begin{macro}{\SB@@doify} +% \begin{macro}{\SB@do} +% Define the macro given in the first argument to equal the fully expanded +% content of the second argument, but with |\SB@do| inserted before each token +% or group. +% \begin{macrocode} +\newcommand\SB@do[1]{} +\newcommand\SB@doify[2]{% + \SB@toks{}% + \edef#1{#2}% + \expandafter\SB@@doify#1\SB@@doify% + \edef#1{\the\SB@toks}% +} +\newcommand\SB@@doify[1]{% + \ifx#1\SB@@doify\else% + \SB@toks\expandafter{\the\SB@toks\SB@do{#1}}% + \expandafter\SB@@doify% + \fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@allbarres} +% \begin{macro}{\SB@dobarre} +% Reserve a control sequence to remember all the stacks, start control +% sequences, and end control sequences associated with barre delimiter pairs; +% and a control sequence to perform an arbitrary action on them. +% \begin{macrocode} +\newcommand\SB@allbarres{} +\newcommand\SB@dobarre{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@barreI} +% \begin{macro}{\SB@barreN} +% \begin{macro}{\SB@barreY} +% As we process strings in order, barres in progress can be in one of three +% states: initial (|\SB@barreI|), deactivated (|\SB@barreN|), or +% tentatively activated (|\SB@barreY|). +% \begin{macrocode} +\newcommand\SB@barreI{\noexpand\SB@barreI} +\newcommand\SB@barreN{\noexpand\SB@barreN} +\newcommand\SB@barreY{\noexpand\SB@barreY} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@lowfret} +% \begin{macro}{\SB@@lowfret} +% If we see a lower numbered fret than the current fret within a barre, +% deactivate the barre. +% (It has already been shown on an earlier fret.) +% \begin{macrocode} +\newcommand\SB@lowfret{% + \let\SB@dobarre\SB@@lowfret\SB@allbarres% + \SB@fretempty% +} +\newcommand\SB@@lowfret[3]{{% + \let\SB@barreI\SB@barreN% + \let\SB@barreY\SB@barreN% + \xdef#1{#1}% +}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@bactivate} +% If we see the current fret within a barre, tentatively activate the barre +% (unless it is already deactivated). +% \begin{macrocode} +\newcommand\SB@bactivate[3]{{% + \let\SB@barreI\SB@barreY% + \xdef#1{#1}% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@bbarre} +% Starting a barre group pushes it onto its stack in the initial state. +% \begin{macrocode} +\newcommand\SB@bbarre[1]{% + \xdef#1{\SB@barreI{\the\SB@cntii}#1}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@ebarre} +% \begin{macro}{\SB@@ebarre} +% \begin{macro}{\SB@@@ebarre} +% Ending a barre group pops it and draws it if it's active. +% \begin{macrocode} +\newcommand\SB@ebarre[3]{% + \ifx#1\@empty% + \ifnum\SB@cnt=\@ne\SB@errebar#2#3\fi% + \else% + \expandafter\SB@@ebarre#1\SB@@ebarre#1% + \fi% +} +\newcommand\SB@@ebarre{} +\def\SB@@ebarre#1#2#3\SB@@ebarre#4{{% + \gdef#4{#3}% + \let\SB@barreI\@gobble% + \let\SB@barreN\@gobble% + \let\SB@barreY\SB@barre% + #1{#2}% +}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@barreson} +% \begin{macro}{\SB@barresoff} +% Turn barre delimiters on or off, depending on whether we're typesetting +% the interior or upper part of the tablature diagram. +% \begin{macrocode} +\newcommand\SB@barreson[3]{% + \def#2{\SB@bbarre#1}% + \def#3{\SB@ebarre#1#2#3}% +} +\newcommand\SB@barresoff[3]{\let#2\relax\let#3\relax} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@fretempty} +% \begin{macro}{\SB@fretdot} +% \begin{macro}{\SB@@fretdot} +% On a string in a fret diagram there can be nothing or a filled circle. +% \begin{macrocode} +\newcommand\SB@fretempty{% + \advance\SB@cntii\@ne% + \SB@onfret\relax% +} +\newcommand\SB@fretdot{% + \advance\SB@cntii\@ne% + \let\SB@dobarre\SB@bactivate\SB@allbarres% + \SB@@fretdot% +} +\newcommand\SB@@fretdot{% + \SB@onfret{% + \fontencoding{OMS}\fontfamily{cmsy}% + \fontseries{m}\fontshape{n}% + \fontsize\@xiipt\@xiipt\selectfont\char15% + }% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@barre} +% Draw a barre. +% \begin{macrocode} +\newcommand\SB@barre[1]{{% + \SB@dimen\SB@fretwidth% + \multiply\SB@dimen\SB@cntii% + \advance\SB@dimen-#1\SB@fretwidth% + \kern-\SB@dimen% + \SB@@fretdot% + \kern-.5\SB@fretwidth% + \advance\SB@dimen-\SB@fretwidth% + \raise.7pt\hbox{\vrule\@height4.6\p@\@width\SB@dimen}% + \kern-.5\SB@fretwidth% + \SB@@fretdot% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@fretend} +% At the end of a barred row in a tablature diagram, we auto-finish any +% activated barres that weren't explicitly closed by the user. +% \begin{macrocode} +\newcommand\SB@fretend{{% + \let\SB@barreI\@gobble% + \let\SB@barreN\@gobble% + \let\SB@barreY\SB@barre% + \def\SB@dobarre##1##2##3{##1\gdef##1{}}\SB@allbarres% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@finger} +% \begin{macro}{\SB@X} +% \begin{macro}{\SB@Z} +% \begin{macro}{\SB@O} +% If we're including fingering info in the tablature diagram, then below +% each string there might be a number. +% \begin{macrocode} +\newcommand*\SB@X{X} +\newcommand*\SB@Z{0} +\newcommand*\SB@O{O} +\newcommand\SB@finger[1]{% + \def\SB@temp{#1}% + \ifx\SB@temp\SB@X\SB@topempty\else% + \ifx\SB@temp\SB@Z\SB@topempty\else% + \ifx\SB@temp\SB@O\SB@topempty\else% + \SB@atopfret{\sffamily\fontsize\@vipt\@vipt\selectfont#1}% + \fi\fi\fi% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\ifSB@gettabind} +% \begin{macro}{\SB@tabindent} +% Lyrics under tablature diagrams look odd if they aren't aligned with the +% leftmost string of the diagram. +% To accomplish this, the following two macros record the amount by which +% a lyric under this tablature diagram must be indented to position it +% properly. +% \begin{macrocode} +\newif\ifSB@gettabind\SB@gettabindfalse +\SB@newdimen\SB@tabindent +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@targfret} +% \begin{macro}{\SB@targstr} +% \begin{macro}{\SB@targfing} +% Reserve some macro names in which to store the three pieces of the +% second argument to the |\gtab| macro. +% The first is for the fret number, the second is for the \Meta{strings} +% info, and the last is for the \Meta{fingering} info. +% \begin{macrocode} +\newcommand\SB@targfret{} +\newcommand\SB@targstr{} +\newcommand\SB@targfing{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% In general |\gtab| macros often appear inside chord macros, which means +% that their arguments have already been scanned by the time the +% |\gtab| macro itself is expanded. +% This means that catcodes cannot be reassigned (without resorting to +% $\varepsilon$-\TeX). +% +% We therefore adopt the alternative strategy of converting each token +% in the \Meta{strings} and \Meta{fingering} arguments of a |\gtab| macro +% into a control sequence (using |\csname|). +% We can then temporarily assign meanings to those control sequences and +% replay the arguments to achieve various effects. +% +% \begin{macro}{\SB@gtinit} +% \begin{macro}{\SB@gtinc} +% Different meanings are assigned to digits, |X|'s, and |O|'s +% as we typeset each row of the interior of the diagram. +% These meanings are set by |\SB@gtinit| and |\SB@gtinc|. +% \begin{macrocode} +\newcommand\SB@gtinit{% + \def\SB@do##1{\csname##1\endcsname}% + \let\O\0% + \let\3\2\let\4\2\let\5\2\let\6\2% + \let\7\2\let\8\2\let\9\2% +} +\newcommand\SB@gtinc{% + \advance\SB@cnt\@ne% + \let\9\8\let\8\7\let\7\6\let\6\5\let\5\4% + \let\4\3\let\3\2\let\2\1\let\1\SB@lowfret% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\BarreDelims} +% \begin{macro}{\SB@bdelims} +% Each pair of barre delimiters reserves a stack and augments the +% initialization state to recognize those delimiters. +% \begin{macrocode} +\newcommand\BarreDelims[2]{% + \expandafter\SB@bdelims\csname SB@bs@#1#2\expandafter\endcsname% + \csname#1\expandafter\endcsname\csname#2\endcsname% +} +\newcommand\SB@bdelims[3]{% + \newcommand*#1{}% + \SB@app\def\SB@allbarres{\SB@dobarre#1#2#3}% +} +\BarreDelims() +\BarreDelims[] +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\gtab} +% \begin{macro}{\SB@gtab} +% \changes{v2.9}{2009/03/27}{Fixed compatibility issue with Babel French} +% A |\gtab| macro begins by setting catcodes suitable for parsing a chord +% name as its first argument. +% This allows tokens like |#| and |&| to be used for sharp and flat even +% when |\gtab| is used outside a chord macro. +% Colon is reset to a non-active character while processing the second +% argument to avoid a potential conflict with \textsf{Babel} French. +% \begin{macrocode} +\newcommand\gtab{\SB@begincname\SB@gtab} +\newcommand*\SB@gtab[1]{% + \SB@endcname% + \begingroup% + \catcode`:12\relax% + \SB@@gtab{#1}% +} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@@gtab} +% If transposition is currently taking place, allow the user to customize +% the behavior by redefining |\gtabtrans|. +% Using |\gtab| within |\gtabtrans| should go directly to |\SB@@@gtab| +% (otherwise an infinite loop would result!). +% \begin{macrocode} +\newcommand*\SB@@gtab[2]{% + \endgroup% + \ifnum\SB@transposefactor=\z@% + \SB@@@gtab{#1}{#2}% + \else% + \begingroup% + \let\gtab\SB@@@gtab% + \gtabtrans{#1}{#2}% + \endgroup% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\gtabtrans}\MainImpl{gtabtrans} +% By default, transposed guitar tablatures just display the transposed +% chord name and omit the diagram. +% Transposing a tablature diagram requires manual judgment calls for most +% stringed instruments, so we can't do it automatically. +% \begin{macrocode} +\newcommand\gtabtrans[2]{\transposehere{#1}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@@@gtab}\MainImpl{gtab} +% \changes{v2.13}{2011/04/16}{Added transposition for chord names} +% Typeset a full tablature diagram. +% Text \argp{1} is a chord name placed above the diagram. +% Text \argp{2} consists of a colon-separated list of: +% (1) an optional fret number placed to the left of the diagram; +% (2) a sequence of tokens, each of which can be +% |X| (to place an $\times$ above the string), +% |0| or |O| (to place an $\circ$ above the string), or +% one of |1| through |9| (to place a filled circle on that string at the +% fret of the given number); and +% (3) an optional sequence of tokens, each of which is either |0| +% (no fingering information for that string), +% or one of |1| through |4| (to place the given number under that string). +% \begin{macrocode} +\newcommand\SB@@@gtab[2]{% + \let\SB@targfret\@empty% + \let\SB@targstr\@empty% + \let\SB@targfing\@empty% + \SB@tabargs#2:::\SB@tabargs% + \ifx\SB@targstr\@empty% + \def\SB@targstr{\0\0\0\0\0\0}% + \fi% + \ifvmode\leavevmode\fi% + \vbox{% + \normalfont\normalsize% + \setbox\SB@box\hbox{% + \thinspace{\printchord{\transposehere{#1}\strut}}\thinspace% + }% + \setbox\SB@boxii\hbox{\SB@fretnum{\SB@targfret}}% + \setbox\SB@boxiii\hbox{{% + \let\X\SB@topX\let\0\SB@topO% + \let\1\SB@topempty\let\2\1% + \SB@gtinit% + \let\SB@dobarre\SB@barresoff\SB@allbarres% + \SB@targstr% + }}% + \hsize\wd\SB@box% + \ifSB@gettabind% + \global\SB@tabindent\wd\SB@boxii% + \global\advance\SB@tabindent.5\SB@fretwidth% + \global\advance\SB@tabindent-.5\p@% + \fi% + \SB@dimen\wd\SB@boxii% + \advance\SB@dimen\wd\SB@boxiii% + \ifdim\hsize<\SB@dimen% + \hsize\SB@dimen% + \else\ifSB@gettabind% + \SB@dimenii\hsize% + \advance\SB@dimenii-\SB@dimen% + \divide\SB@dimenii\tw@% + \global\advance\SB@tabindent\SB@dimenii% + \fi\fi% + \hbox to\hsize{\hfil\unhbox\SB@box\hfil}% + \kern-\p@\nointerlineskip% + \hbox to\hsize{% + \hfil% + \vtop{\kern\p@\kern2\p@\box\SB@boxii}% + \vtop{% + \SB@dimen\wd\SB@boxiii% + \box\SB@boxiii% + \let\X\SB@fretempty\let\0\X% + \let\1\SB@fretdot\def\2{\SB@fretempty\global\SB@testtrue}% + \SB@gtinit% + \let\SB@dobarre\SB@barreson\SB@allbarres% + \SB@cnt\@ne% + \loop% + \SB@testfalse% + \SB@fretbar\hbox{\SB@cntii\z@\SB@targstr\SB@fretend}% + \ifnum\SB@cnt<\minfrets\SB@testtrue\fi% + \ifSB@test\SB@gtinc\repeat% + \SB@fretbar% + \ifx\SB@targsfing\@empty\else% + \kern1.5\p@% + \hbox{\let\SB@do\SB@finger\SB@targfing}% + \fi% + }% + \hfil% + }% + \kern3\p@% + }% + \SB@gettabindfalse% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@tabargs} +% \begin{macro}{\SB@@tabargs} +% \begin{macro}{\SB@ctoken} +% \changes{v3.1}{2017/06/23}{Allow macros within 2nd gtab arg} +% Break the second argument to a |\gtab| macro into three sub-arguments. +% The possible forms are: +% (a) \Meta{strings}, +% (b) \Meta{fret}|:|\Meta{strings}, +% (c) \Meta{strings}|:|\Meta{fingering}, or +% (d) \Meta{fret}|:|\Meta{strings}|:|\Meta{fingering}. +% To distinguish forms (b) and (c), we count the number of tokens before +% the first colon. +% If there is only one token or group, we assume it must be form (b), +% since frets larger than 9 and 1-stringed instruments are both rare. +% Otherwise we assume form (c). +% \begin{macrocode} +\newcommand\SB@ctoken{} \def\SB@ctoken{:} +\newcommand\SB@tabargs{} +\def\SB@tabargs#1:#2:#3:#4\SB@tabargs{% + \def\SB@temp{#4}% + \ifx\SB@temp\@empty% + \SB@doify\SB@targstr{#1}% + \else\ifx\SB@temp\SB@ctoken% + \SB@@tabargs#1\SB@@tabargs% + \ifx\SB@temp\@empty% + \def\SB@targfret{#1}% + \SB@doify\SB@targstr{#2}% + \else% + \SB@doify\SB@targfing{#2}% + \SB@doify\SB@targstr{#1}% + \fi% + \else% + \def\SB@targfret{#1}% + \SB@doify\SB@targfing{#3}% + \SB@doify\SB@targstr{#2}% + \fi\fi% +} +\newcommand\SB@@tabargs{} +\def\SB@@tabargs#1#2\SB@@tabargs{\def\SB@temp{#2}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \subsection{Book Sectioning} +% +% The following macros divide the song book into distinct sections, each with +% different headers, different song numbering styles, different indexes, etc. +% +% \begin{macro}{\songchapter}\MainImpl{songchapter} +% \changes{v1.19}{2005/10/24}{Added} +% Format the chapter header for a chapter in a song book. +% By default, chapter headers on a song book omit the chapter number, but do +% include an entry in the pdf index or table of contents. +% Thus, the chapter has a number; it's just not displayed at the start of +% the chapter. +% \begin{macrocode} +\newcommand\songchapter{% + \let\SB@temp\@seccntformat% + \def\@seccntformat##1{}% + \@startsection{chapter}{0}{\z@}% + {3.5ex\@plus1ex\@minus.2ex}% + {.4ex\let\@seccntformat\SB@temp}% + {\sffamily\bfseries\LARGE\centering}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\songsection}\MainImpl{songsection} +% \changes{v1.19}{2005/10/24}{Section headers changed to omit numbers} +% Format the section header for a section in a song book. +% This is the same as for chapter headers except at the section level. +% \begin{macrocode} +\newcommand\songsection{% + \let\SB@temp\@seccntformat% + \def\@seccntformat##1{}% + \@startsection{section}{1}{\z@}% + {3.5ex\@plus1ex\@minus.2ex}% + {.4ex\let\@seccntformat\SB@temp}% + {\sffamily\bfseries\LARGE\centering}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{environment}{songs}\MainEnvImpl{songs} +% \changes{v1.19}{2005/10/24}{Song numbers now starts at one instead of zero} +% Begin and end a book section. +% The argument is a list of indexes with which to associate songs in this +% section. +% \begin{macrocode} +\newenvironment{songs}[1]{% + \ifSB@songsenv\SB@errnse\fi% + \gdef\SB@indexlist{#1}% + \SB@chkidxlst% + \stepcounter{SB@songsnum}% + \setcounter{songnum}{1}% + \let\SB@sgroup\@empty% + \ifinner\else\ifdim\pagetotal>\z@% + \null\nointerlineskip% + \fi\fi% + \songcolumns\SB@numcols% + \SB@songsenvtrue% +}{% + \commitsongs% + \global\let\SB@indexlist\@empty% + \ifinner\else\clearpage\fi% + \SB@songsenvfalse% +} +% \end{macrocode} +% \end{environment} +% +% Each |songs| section needs a unique number to aid in hyperlinking. +% \begin{macrocode} +\newcounter{SB@songsnum} +% \end{macrocode} +% +% \subsection{Index Generation} +% \label{sec:indexgen} +% +% The following macros generate the various types of indexes. At present there +% are four types: +% \begin{enumerate} +% \item A ``large'' index has a separate section for each capital letter and +% is printed in two columns. +% \item A ``small'' index has only a single column, centered, and has no +% sections. +% \item A ``scripture'' index has three columns and each entry has a +% comma-separated list of references. +% \item An ``author'' index is like a large index except in bold and without +% the sectioning. +% \end{enumerate} +% ``Large'' and ``small'' indexes will be chosen automatically based on the +% number of index entries when building a song index. The other two types are +% designated by the user. +% +% As is typical of \LaTeX{} indexes, generation of song book indexes requires +% two passes of document compilation. During the first pass, data files are +% generated with song titles, authors, and scripture references. An external +% program is then used to produce \LaTeX{} source files from those data files. +% During the second pass of document compilation, those source files are +% imported to typeset all the indexes and display them in the document. +% +% Internally, this package code uses a \emph{four} step process to move +% the index data from the source |.tex| file to the |.sxd| data files. +% \begin{enumerate} +% \item While the current song box is in the midst of construction, +% the data is stored in a box of non-immediate write whatsit nodes. +% \item The whatsits are migrated out to the top of the song box when +% it is finalized at |\endsong|. +% \item When the song box is shipped out to the output file, \TeX{} expands +% the whatsits, causing the data to be written to the |.sxc| auxiliary file. +% \item At the |\end{document}| line, the |.sxc| is processed multiple +% times---once for each index---to split the data into the respective +% |.sxd| files. +% \end{enumerate} +% The first and second steps allow index references to point to the +% beginning of the song no matter where the indexing commands appear +% within the song. +% The third step allows \TeX{} to drop index entries that refer to +% songs that do not actually appear in the output (e.g., because of +% |\includeonlysongs|). +% It also allows index entries to refer to information that is only decided +% at shipout time, such as page numbers. +% The fourth step allows all indexing to be accomplished with at most one +% write register. +% \LaTeX{} provides extremely few write registers, so using as +% few as possible is essential for supporting books with many indexes. +% +% \begin{macro}{\songtarget}\MainImpl{songtarget} +% This macro is invoked by each \mac{beginsong} environment with two arguments: +% (1) a suggested pdf bookmark index level, and +% (2) a target name to which hyperlinks for this song in the index will refer. +% The macro is expected to produce a suitable pdf bookmark entry and/or +% link target. +% The default definition tries to use |\pdfbookmark| if generating a PDF, +% and resorts to |\hypertarget| (if it exists) otherwise. +% The user can redefine the macro to customize how and whether bookmarks +% and/or links are created. +% \begin{macrocode} +\newcommand\songtarget[2]{% + \ifnum\@ne=0\ifSB@pdf\ifx\pdfbookmark\undefined\else% + \ifx\pdfbookmark\relax\else1\fi\fi\fi\relax% + \pdfbookmark[#1]{\thesongnum. \songtitle}{#2}% + \else\ifx\hypertarget\undefined% + \else\ifx\hypertarget\relax\else% + \hypertarget{#2}{\relax}% + \fi\fi\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\songlink}\MainImpl{songlink} +% This macro is invoked by the index code to produce a link to a song target +% created by \mac{songtarget}. +% Its two arguments are: +% (1) the target name (same as the second argument to \mac{songtarget}, and +% (2) the text that is to be linked. +% The default implementation uses |\hyperlink| if it exists; otherwise it +% just leaves the text unlinked. +% \begin{macrocode} +\newcommand\songlink{% + \ifnum\@ne=0\ifx\hyperlink\undefined\else% + \ifx\hyperlink\relax\else1\fi\fi\relax% + \expandafter\hyperlink% + \else% + \expandafter\@gobble% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@indexlist} +% This macro records the comma-separated list of the identifiers of indexes +% associated with the current book section. +% \begin{macrocode} +\newcommand\SB@indexlist{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@allindexes} +% This macro records a comma-separated list of all the index identifiers +% for the entire document. +% \begin{macrocode} +\newcommand\SB@allindexes{} +\let\SB@allindexes\@empty +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@out} +% The |\SB@out| control sequence is reserved for the write register allocated +% by the package code, if one is needed. +% (It is allocated at the first index declaration.) +% \begin{macrocode} +\newcommand\SB@out{} +\let\SB@out\relax +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@newindex} +% Initialize a new title, author, or scripture index. +% \begin{macrocode} +\newcommand\SB@newindex[4]{% + \expandafter\newcommand\csname SB@idxfilename@#3\endcsname{#4}% + \expandafter\newcommand\csname SB@idxsel@#3\endcsname[3]{###1}% + \expandafter\newcommand\csname SB@idxref@#3\endcsname{\thesongnum}% + \xdef\SB@allindexes{% + \ifx\SB@allindexes\@empty\else\SB@allindexes,\fi#3% + }% + \if@filesw% + \ifx\SB@out\relax% + \SB@newwrite\SB@out% + \immediate\openout\SB@out=\jobname.sxc\relax% + \fi% + \immediate\write\SB@out{\noexpand\SB@iwrite{#3}{#2}}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\newindex}\MainImpl{newindex} +% Define a new title index. +% The first argument is an identifier for the index (used in constructing +% index-specific control sequence names). +% The second argument is a filename root; auxiliary file \argp{2}|.sxd| is +% where the index data is stored at the end of processing. +% \begin{macrocode} +\newcommand\newindex{\SB@newindex1{TITLE INDEX DATA FILE}} +\@onlypreamble\newindex +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\newscripindex}\MainImpl{newscripindex} +% Define a new scripture index. This is exactly like |\newindex| except that +% scripture references are added to the auxiliary file instead of titles. +% \begin{macrocode} +\newcommand\newscripindex{\SB@newindex2{SCRIPTURE INDEX DATA FILE}} +\@onlypreamble\newscripindex +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\newauthorindex}\MainImpl{newauthorindex} +% Define a new author index. This is exactly like |\newindex| except that +% author info is added to the auxiliary file instead of titles. +% \begin{macrocode} +\newcommand\newauthorindex{\SB@newindex3{AUTHOR INDEX DATA FILE}} +\@onlypreamble\newauthorindex +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@cwrite} +% Write index data to a Song indeX Combined (|.sxc|) auxiliary file. +% The first argument is the identifier for the index to which the data +% ultimately belongs. +% The second argument is the data itself. +% The write is non-immediate so that it is only output if its enclosing +% song is ultimately shipped to the output file. +% \begin{macrocode} +\newcommand\SB@cwrite[2]{% + \ifx\SB@out\relax\else% + \protected@write\SB@out\SB@keepactive{\protect\SB@iwrite{#1}{#2}}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@keepactive} +% By default, the |inputenc| package expands Unicode characters into macro +% names when writing them to files. +% This behavior must be inhibited when writing to the |.sxc| file, since +% |songidx| needs the original Unicode characters for sorting. +% To achieve this, we temporarily redefine most active characters so that +% they expand to an unexpandable string version of themselves. +% \begin{macrocode} +\newcommand\SB@keepactive{} +{\catcode`\~\active + \catcode`\.12 + \def\\#1#2{% + \endgroup + \SB@app\gdef\SB@keepactive{\def#1{#2}}% + } + \def\SB@temp#1#2{% + \SB@cnt#1\relax + \loop + \begingroup + \uccode`\~\SB@cnt + \uccode`\.\SB@cnt + \uppercase{\\~.} + \ifnum\SB@cnt<#2\relax + \advance\SB@cnt\@ne + \repeat + } + \SB@temp{1}{8} + \SB@temp{11}{11} + \SB@temp{14}{91} + \SB@temp{93}{255} +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@iwrite} +% The line contributed by |\SB@cwrite| to the |.sxc| file is an |\SB@iwrite| +% macro that re-outputs the data to an appropriate |.sxd| file. +% \begin{macrocode} +\newcommand\SB@iwrite[2]{% + \def\SB@tempii{#1}% + \ifx\SB@temp\SB@tempii% + \SB@toks{#2}% + \immediate\write\SB@out{\the\SB@toks}% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@uncombine} +% At the end of the document, the |.sxc| file can be processed multiple +% times to produce all the |.sxd| files without resorting to multiple write +% registers. +% Each pass activates the subset of the |\SB@iwrite| commands that apply to +% one index. +% \begin{macrocode} +\newcommand\SB@uncombine{% + \ifx\SB@out\relax\else% + \immediate\closeout\SB@out% + \ifsongindexes% + \@for\SB@temp:=\SB@allindexes\do{% + \immediate\openout\SB@out=% + \csname SB@idxfilename@\SB@temp\endcsname.sxd\relax% + \begingroup\makeatletter\catcode`\%12\relax% + \input{\jobname.sxc}\endgroup% + \immediate\closeout\SB@out% + }% + \fi% + \fi% +} +\AtEndDocument{\SB@uncombine} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@songwrites} +% The following box register stores index data until it can be migrated to +% the top of the song box currently under construction. +% \begin{macrocode} +\SB@newbox\SB@songwrites +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@addtoindex} +% \changes{v2.8}{2009/02/03}{Writes made non-immediate} +% Queue data \argp{2} associated with the current song for eventual writing +% to the index whose identifier is given by \argp{1}. +% \begin{macrocode} +\newcommand\SB@addtoindex[2]{% + \protected@edef\SB@tempii{#2}% + \ifx\SB@tempii\@empty\else% + \global\setbox\SB@songwrites\vbox{% + \unvbox\SB@songwrites% + \SB@cwrite{#1}{#2}% + \SB@cwrite{#1}{\csname SB@idxref@#1\endcsname}% + \SB@cwrite{#1}{song\theSB@songsnum-\thesongnum.% + \ifnum\c@section=\z@1\else2\fi}% + }% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@addtoindexes} +% Add \argp{1} to all title indexes, \argp{2} to all scripture indexes, and +% \argp{3} to all author indexes. +% \begin{macrocode} +\newcommand\SB@addtoindexes[3]{% + \@for\SB@temp:=\SB@indexlist\do{% + \SB@addtoindex\SB@temp% + {\csname SB@idxsel@\SB@temp\endcsname{#1}{#2}{#3}}% + }% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@addtotitles} +% Add \argp{1} to all title indexes, but leave other indexes unaffected. +% \begin{macrocode} +\newcommand\SB@addtotitles[1]{% + \@for\SB@temp:=\SB@indexlist\do{% + \csname SB@idxsel@\SB@temp\endcsname% + {\SB@addtoindex\SB@temp{#1}}{}{}% + }% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@chkidxlst} +% \changes{v2.3}{2007/09/23}{Added.} +% Check the current list of indexes and flag an error if any are undefined. +% \begin{macrocode} +\newcommand\SB@chkidxlst{% + \let\SB@temp\SB@indexlist% + \let\SB@indexlist\@empty% + \@for\SB@tempii:=\SB@temp\do{% + \@ifundefined{SB@idxsel@\SB@tempii}{\SB@errnoidx\SB@tempii}{% + \ifx\SB@indexlist\@empty% + \SB@toks\expandafter{\SB@tempii}% + \else% + \SB@toks\expandafter\expandafter\expandafter{% + \expandafter\SB@indexlist\expandafter,\SB@tempii}% + \fi% + \edef\SB@indexlist{\the\SB@toks}% + }% + }% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\indexentry}\MainImpl{indexentry} +% \changes{v2.3}{2007/09/23}{Optional argument added} +% \begin{macro}{\SB@idxentry} +% \begin{macro}{\SB@@idxentry} +% |\SB@addtoindexes| will be called automatically for each song in a section. +% However, |\indexentry| may be called by the user in order to add an +% alternative index entry for the given song. +% Usually this is done to index the song by its first line or some other +% memorable line in a chorus or verse somewhere. +% \begin{macrocode} +\newcommand\indexentry{\@ifnextchar[{\SB@idxentry*}{\SB@@idxentry*}} +\newcommand\SB@idxentry{} +\def\SB@idxentry#1[#2]#3{{% + \def\SB@indexlist{#2}% + \SB@chkidxlst% + \SB@addtoindexes{#1#3}{#3}{#3}% +}} +\newcommand\SB@@idxentry[2]{\SB@addtotitles{#1#2}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\indextitleentry}\MainImpl{indextitleentry} +% \changes{v2.3}{2007/09/23}{Optional argument added} +% |\indextitleentry| may be used to add an alternate title for the song to +% the index. +% (The only difference between the effects of |\indexentry| and +% |\indextitleentry| is that the latter are italicized in the rendered index +% and the former are not.) +% \begin{macrocode} +\newcommand\indextitleentry{% + \@ifnextchar[{\SB@idxentry{}}{\SB@@idxentry{}}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\indexsongsas}\MainImpl{indexsongsas} +% \changes{v2.8}{2009/02/03}{Added.} +% The following macro allows the user to change how songs are indexed on the +% right side of index entries. +% By default, the song's number is listed. +% \begin{macrocode} +\newcommand\indexsongsas[1]{% + \@ifundefined{SB@idxref@#1}% + {\SB@errnoidx{#1}\@gobble}% + {\expandafter\renewcommand\csname SB@idxref@#1\endcsname}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@idxcmd} +% \begin{macro}{\SB@@idxcmd} +% \begin{macro}{\authsepword}\MainImpl{authsepword} +% \begin{macro}{\authbyword}\MainImpl{authbyword} +% \begin{macro}{\authignoreword}\MainImpl{authignoreword} +% \begin{macro}{\titleprefixword}\MainImpl{titleprefixword} +% \changes{v2.0}{2007/06/18}{Added.} +% The |songidx| index-generation script understands several different +% directives that each dictate various aspects of how index entries are +% parsed, sorted, and displayed. +% Such directives should typically appear at the start of the |.sxd| +% file just after the header line that identifies the type of index. +% \begin{macrocode} +\newcommand\SB@idxcmd[3]{% + \ifx\SB@allindexes\@empty% + \SB@warnnoidx% + \else\ifx\SB@out\relax\else% + \@for\SB@temp:=\SB@allindexes\do{% + \csname SB@idxsel@\SB@temp\endcsname% + {\SB@@idxcmd{#1}}{\SB@@idxcmd{#2}}{\SB@@idxcmd{#3}}% + }% + \fi\fi% +} +\newcommand\SB@@idxcmd[1]{% + \def\SB@tempii{#1}% + \ifx\SB@tempii\@empty\else% + \immediate\write\SB@out{% + \noexpand\SB@iwrite{\SB@temp}{#1}% + }% + \fi% +} +\newcommand\authsepword[1]{} +\newcommand\authbyword[1]{} +\newcommand\authignoreword[1]{} +\newcommand\titleprefixword[1]{} +{\catcode`\%=12 + \gdef\authsepword#1{\SB@idxcmd{}{}{%sep #1}} + \gdef\authbyword#1{\SB@idxcmd{}{}{%after #1}} + \gdef\authignoreword#1{\SB@idxcmd{}{}{%ignore #1}} + \gdef\titleprefixword#1{\SB@idxcmd{%prefix #1}{}{}}} +\@onlypreamble\authsepword +\@onlypreamble\authbyword +\@onlypreamble\authignoreword +\@onlypreamble\titleprefixword +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@idxlineskip} +% Set the spacing between lines in an index. +% \begin{macrocode} +\newcommand\SB@idxlineskip[1]{% + \vskip#1\p@\@plus#1\p@\@minus#1\p@% +} +% \end{macrocode} +% \end{macro} +% +% When rendering an index entry $X\ldots Y$ that is too long to fit on one +% physical line, we must break text $X$ and/or $Y$ up into multiple lines. +% Text $X$ should be typeset as a left-justified paragraph with a right +% margin of about 2em; however, its final line must not be so long that it +% cannot fit even the first item of list $Y$. +% Text $Y$ should be typeset as a right-justified paragraph whose first line +% begins on the last line of $X$. +% However, breaking $Y$ up the way paragraphs are normally broken up doesn't +% work well because that causes most of $Y$ to be crammed into the first few +% lines, leaving the last line very short. +% This looks strange and is hard to read. +% It looks much better to instead break $Y$ up in such a way that the portion +% of $Y$ that is placed on each line is of approximately equal width (subject +% to the constraint that we don't want to introduce any more lines than are +% necessary). +% This makes it visually clear that all of these lines are associated with $X$. +% The following code performs the width computations that do this +% horizontal-balancing of text. +% +% \begin{macro}{\SB@ellipspread} +% Typeset an index entry of the form $X\ldots Y$. +% In the common case, the entire entry fits on one line so we just typeset +% it in the usual way. +% If it doesn't fit on one line, we call |\SB@balancerows| for a more +% sophisticated treatment. +% \begin{macrocode} +\newcommand\SB@ellipspread[2]{% + \begingroup% + \SB@dimen\z@% + \def\SB@temp{#1}% + \SB@toks{#2}% + \setbox\SB@box\hbox{{% + \SB@temp% + \leaders\hbox to.5em{\hss.\hss}\hskip2em\@plus1fil% + {\the\SB@toks}% + }}% + \ifdim\wd\SB@box>\hsize% + \SB@balancerows% + \else% + \hbox to\hsize{\unhbox\SB@box}\par% + \fi% + \endgroup% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@balancerows} +% Typeset an index entry of the form $X\ldots Y$ that doesn't fit on one line, +% where $X$ is the content of macro |\SB@temp| and +% $Y$ is the content of token register |\SB@toks|. +% +% First, we must pre-compute the width $w_1$ of the final line of $X$ when +% $X$ is typeset as a left-justified paragraph, storing it in |\SB@dimenii|. +% This is necessary because in order to force \TeX{} to typeset the first +% line of $Y$ at some chosen width $w_2$, we must insert leaders of width +% $c-w_1-w_2$ into the paragraph between $X$ and $Y$, where $c$ is the column +% width. +% +% Computing this width $w_1$ is a bit tricky. +% We must tell \TeX{} that the last line of $X$ must not be so long that it +% does not even have room for the first item of $Y$. +% Thus, we must strip off the first item of $Y$ and add it (or a non-breaking +% space of equivalent width) to the end of $X$ to typeset the paragraph. +% Then we use |\lastbox| to pull off the final line and check its width. +% \begin{macrocode} +\newcommand\SB@balancerows{% + \edef\SB@tempii{\the\SB@toks}% + \setbox\SB@box\vbox{% + \SB@toks\expandafter{\expandafter\\\the\SB@toks\\}% + \SB@lop\SB@toks\SB@toks% + \settowidth\SB@dimen{\the\SB@toks}% + \advance\SB@dimen-.5em% + \leftskip.5cm% + {\hbadness\@M\hfuzz\maxdimen% + \hskip-.5cm\relax\SB@temp\unskip\nobreak% + \hskip\SB@dimen\nobreak% + \rightskip2em\@plus1fil\par}% + \setbox\SB@box\lastbox% + \setbox\SB@box\hbox{% + \unhbox\SB@box% + \unskip\unskip\unpenalty% + \unpenalty\unskip\unpenalty% + }% + \expandafter% + }% + \expandafter\SB@dimenii\the\wd\SB@box\relax% +% \end{macrocode} +% Next, compute the smallest width $w_2$ such that the index entry text +% produced by |\SB@multiline| with |\SB@dimen|=$w_2$ has no more lines than +% with |\SB@dimen| set to the maximum available width for the right-hand side. +% This effectively horizontal-balances the right-hand side of the index entry +% text, making all lines of $Y$ roughly equal in width without introducing +% any extra lines. +% \begin{macrocode} + \SB@dimen\hsize% + \advance\SB@dimen-.5cm% + \setbox\SB@box\vbox{% + \SB@multiline{\hbadness\@M\hfuzz\maxdimen}% + }% + \SB@dimeniii.5\SB@dimen% + \SB@dimeniv\SB@dimeniii% + \loop% + \SB@dimeniv.5\SB@dimeniv% + \setbox\SB@boxii\vbox{% + \SB@dimen\SB@dimeniii% + \SB@multiline{\hbadness\@M\hfuzz\maxdimen}% + }% + \ifnum\SB@cnt<\@M% + \ifdim\ht\SB@boxii>\ht\SB@box% + \advance\SB@dimeniii\SB@dimeniv% + \else% + \SB@dimen\SB@dimeniii% + \advance\SB@dimeniii-\SB@dimeniv% + \fi% + \else% + \advance\SB@dimeniii\SB@dimeniv% + \fi% + \ifdim\SB@dimeniv>2\p@\repeat% + \setbox\SB@box\box\voidb@x% + \setbox\SB@boxii\box\voidb@x% +% \end{macrocode} +% Finally, typeset the results based on the quantities computed above. +% \begin{macrocode} + \SB@multiline\relax% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@multiline} +% Create a paragraph containing text $X\ldots Y$ +% where $X$ is the content of |\SB@temp|, $Y$ is the content of |\SB@tempii|, +% and $Y$ is restricted to width |\SB@dimen| (but may span multiple +% lines of that width). +% Dimen register |\SB@dimenii| must be set with the expected width of the +% final line of $X$. +% The first argument contains any parameter definitions that should be in +% effect when $X$ is processed. +% +% Note that the expansion of |\SB@tempii|, which may contain |\SB@idxitemsep|, +% depends on |\SB@dimen|. +% Therefore, the redefinition of |\SB@dimen| at the start of this macro must +% not be removed! +% \begin{macrocode} +\newcommand\SB@multiline[1]{% + \begingroup% + \SB@dimen-\SB@dimen% + \advance\SB@dimen\hsize% + \SB@dimenii-\SB@dimenii% + \advance\SB@dimenii\SB@dimen% + {#1\hskip-.5cm\relax\SB@temp\unskip\nobreak% + \SB@maxmin\SB@dimenii<{1.5em}% + \leftskip.5cm\rightskip2em\@plus1fil% + \interlinepenalty\@M% + \leaders\hbox to.5em{\hss.\hss}\hskip\SB@dimenii\@plus1fill% + \nobreak{\SB@tempii\kern-2em}% + \par\global\SB@cnt\badness}% + \endgroup% +}% +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@idxitemsep} +% \changes{v1.11}{2005/04/21}{Changed macro name to avoid a name clash} +% If text $Y$ in index entry $X\ldots Y$ has multiple items in a list, those +% items should be separated by |\\| macros instead of by commas. +% The |\\| macro will be assigned the definition of |\SB@idxitemsep| during +% index generation, which produces the comma along with the complex spacing +% required if $Y$ ends up being broken into multiple lines. +% In particular, it forces each wrapped line of $Y$ to be right-justified +% with left margin at least |\SB@dimen|. +% \begin{macrocode} +\newcommand\SB@idxitemsep{% + ,\kern-2em\penalty-8\hskip2.33em\@minus.11em% + \hskip-\SB@dimen\@plus-1fill% + \vadjust{}\nobreak% + \hskip\SB@dimen\@plus1fill\relax% +} +% \end{macrocode} +% \end{macro} +% +% The following set of macros and environments are intended for use in the +% |.sbx| files that are automatically generated by an index-generating +% program; they shouldn't normally appear in the user's |.tex| or |.sbd| +% files directly. +% However, they are named as exported macros (no |@| symbols) since they are +% used outside the package code and are therefore not stricly internal. +% +% \begin{environment}{idxblock} +% Some indexes are divided into blocks (e.g., one for each letter of the +% alphabet or one for each book of the bible). +% Each such block should be enclosed between |\begin{idxblock}{X}| and +% |\end{idxblock}| lines, where X is the title of the block. The actual +% definition of the |idxblock| environment is set within the initialization +% code for each type of index (below). +% \begin{macrocode} +\newenvironment{idxblock}[1]{}{} +% \end{macrocode} +% \end{environment} +% +% \begin{macro}{\idxentry} +% \begin{macro}{\idxaltentry} +% Within each |idxblock| environment there should be a series of |\idxentry| +% and/or |\idxaltentry| macros, one for each line of the index. Again, the +% exact definitions of these macros will vary between index types. +% \begin{macrocode} +\newcommand\idxentry[2]{} +\newcommand\idxaltentry[2]{} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{environment}{SB@lgidx} +% \begin{environment}{SB@smidx} +% Some indexes actually have two definitions for each |idxblock| +% environment---one for use when there are few enough entries to permit a +% small style index, and another for use in a large style index. These macros +% will be redefined appropriately within the initialization code for each +% type of index. +% \begin{macrocode} +\newenvironment{SB@lgidx}[1]{}{} +\newenvironment{SB@smidx}[1]{}{} +% \end{macrocode} +% \end{environment} +% \end{environment} +% +% \begin{macro}{\SB@idxsetup} +% Set various parameters for a column of an index environment. +% \begin{macrocode} +\newcommand\SB@idxsetup{% + \hsize\SB@colwidth% + \parskip\z@skip\parfillskip\z@skip\parindent\z@% + \baselineskip\f@size\p@\@plus\p@\@minus\p@% + \lineskiplimit\z@\lineskip\p@\@plus\p@\@minus\p@% + \hyphenpenalty\@M\exhyphenpenalty\@M% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@makeidxcolumn} +% Break off enough material from |\SB@box| to create one column of the +% index. +% \begin{macrocode} +\newcommand\SB@makeidxcolumn{% + \ifdim\ht\SB@box=\z@% + \hskip\hsize\relax% + \else% + \splittopskip\z@skip\splitmaxdepth\maxdepth% + \vsplit\SB@box to\SB@dimen% + \global\setbox\SB@box\vbox{% + \SB@idxsetup% + \splitbotmark% + \unvbox\SB@box% + }% + \fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@oneidxpage} +% Construct one full page of the index. +% The definition of |\SB@oneidxpage| is generated dynamically based on the +% type of index and number of columns. +% \begin{macrocode} +\newcommand\SB@oneidxpage{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@displayindex} +% \changes{v1.11}{2005/04/21}{Item separator macro now localized in scope to the index file} +% \changes{v2.0}{2007/06/18}{Removed hyperref dependency} +% \changes{v2.6}{2008/02/16}{Balance columns on final page} +% \changes{v2.8}{2009/03/06}{Changed argument order} +% Create an index with title \argp{2} and with \argp{1} columns (must be a +% literal constant). Input the index contents from external file \argp{3}, +% which is expected to be a \TeX{} file. +% \begin{macrocode} +\newcommand\SB@displayindex[3]{% + \ifsongindexes\begingroup% + \SB@colwidth\hsize% + \advance\SB@colwidth-#1\columnsep% + \advance\SB@colwidth\columnsep% + \divide\SB@colwidth#1% + \setbox\SB@envbox\vbox{% + \let\SB@temp\songsection% + \ifx\chapter\undefined\else% + \ifx\chapter\relax\else% + \let\SB@temp\songchapter% + \fi% + \fi% + \SB@temp{#2}% + }% +% \end{macrocode} +% The |.sbx| index file might not exist (e.g., if this is the first pass +% through the \TeX{} compiler). +% If it exists, first try typesetting its content as a small index +% (one column, centered, with no divisions). +% \begin{macrocode} + \IfFileExists{\csname SB@idxfilename@#3\endcsname.sbx}{% + \ifsepindexes% + \global\setbox\SB@box\vbox{% + \null% + \vfil% + \unvcopy\SB@envbox% + \vskip.5in\@minus.3in\relax% + \hbox to\hsize{% + \hfil% + \vbox{% + \SB@idxsetup% + \renewenvironment{idxblock}[1]% + {\begin{SB@smidx}{####1}}{\end{SB@smidx}}% + \let\\\SB@idxitemsep% + \input{\csname SB@idxfilename@#3\endcsname.sbx}% + }% + \hfil% + }% + \vskip\z@\@plus2fil\relax% + }% +% \end{macrocode} +% Test whether the resulting small index fits within one page. +% If not, re-typeset it as a large index. +% \begin{macrocode} + {\vbadness\@M\vfuzz\maxdimen% + \splitmaxdepth\maxdepth\splittopskip\z@skip% + \global\setbox\SB@boxii\vsplit\SB@box to\textheight}% + \ifvoid\SB@box% + \box\SB@boxii% + \else% + \SB@lgindex{#1}{#3}% + \fi% + \else% + \SB@lgindex{#1}{#3}% + \fi% + }% +% \end{macrocode} +% If the |.sbx| file doesn't exist, then instead typeset a page with a +% message on it indicating that the document must be compiled a second +% time in order to generate the index. +% \begin{macrocode} + {% + \ifsepindexes% + \vbox to\textheight{% + \vfil% + \unvbox\SB@envbox% + \vskip1em\relax% + \hbox to\hsize{\hfil[Index not yet generated.]\hfil}% + \vskip\z@\@plus2fil\relax% + }% + \else% + \unvbox\SB@envbox% + \hbox to\hsize{\hfil[Index not yet generated.]\hfil}% + \fi% + }% + \ifsepindexes\clearpage\fi% + \endgroup\fi% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@lgindex} +% Typeset a large-style index. +% We begin by typesetting the entire index into a box. +% \begin{macrocode} +\newcommand\SB@lgindex[2]{% + \global\setbox\SB@box\vbox{% + \renewenvironment{idxblock}[1]% + {\begin{SB@lgidx}{##1}}{\end{SB@lgidx}}% + \let\\\SB@idxitemsep% + \SB@idxsetup% + \input{\csname SB@idxfilename@#2\endcsname.sbx}% + \unskip% + }% +% \end{macrocode} +% Next, we split the box into columns and pages until the last page is reached. +% \begin{macrocode} + \SB@toks{\SB@makeidxcolumn}% + \SB@cnt#1\relax% + \loop\ifnum\SB@cnt>\@ne% + \SB@toks\expandafter{\the\SB@toks% + \kern\columnsep\SB@makeidxcolumn}% + \advance\SB@cnt\m@ne% + \repeat% + \edef\SB@oneidxpage{\the\SB@toks}% + \unvbox\SB@envbox% + \vskip.2in\relax% + \nointerlineskip% + \null% + \nointerlineskip% + \SB@cnt\vbadness\vbadness\@M% + \SB@dimenii\vfuzz\vfuzz\maxdimen% + \loop% + \SB@dimen\textheight% + \ifinner\else\kern\z@\advance\SB@dimen-\pagetotal\fi% + \global\setbox\SB@boxii\copy\SB@box% + \global\setbox\SB@boxiii\hbox{\SB@oneidxpage}% + \ifdim\ht\SB@box>\z@% + \box\SB@boxiii% + \vfil\break% + \repeat% +% \end{macrocode} +% The final page of the index should have all equal-height columns instead +% of a few full columns followed by some short or empty columns at the end. +% To achieve this, we re-typeset the final page, trying different column +% heights until we find one that causes the material to span an equal +% percentage of all the columns on the page. +% \begin{macrocode} + \SB@dimenii\ht\SB@boxii% + \divide\SB@dimenii#1\relax% + \SB@maxmin\SB@dimen>\SB@dimenii% + \loop% + \global\setbox\SB@box\copy\SB@boxii% + \global\setbox\SB@boxiii\hbox{\SB@oneidxpage}% + \ifdim\ht\SB@box>\z@% + \advance\SB@dimen\p@% + \repeat% + \box\SB@boxiii% + \global\setbox\SB@boxii\box\voidb@x% + \vbadness\SB@cnt\vfuzz\SB@dimenii% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\showindex}\MainImpl{showindex} +% \changes{v2.8}{2009/03/06}{Added optional argument} +% Create an index with title \argp{2} based on the data associated with index +% identifier \argp{3} (which was passed to |\newindex|). +% Optional argument \argp{1} specifies the number of columns. +% This macro calls the appropriate index-creation macro depending on the type +% of index that \argp{3} was declared to be. +% \begin{macrocode} +\newcommand\showindex[3][0]{% + \@ifundefined{SB@idxsel@#3}{\SB@errnoidx{#3}}{% + \expandafter\let\expandafter\SB@temp\csname SB@idxsel@#3\endcsname% + \SB@cnt#1\relax% + \ifnum\SB@cnt<\@ne\SB@cnt\SB@temp232\relax\fi% + \expandafter\SB@temp% + \expandafter\SB@maketitleindex% + \expandafter\SB@makescripindex% + \expandafter\SB@makeauthorindex% + \expandafter{\the\SB@cnt}% + {#2}{#3}% + }% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@maketitleindex} +% \changes{v2.8}{2009/03/06}{Added columns argument} +% Create a song title index. +% \argp{1} is a column count, +% \argp{2} is the title, and +% \argp{3} is the index identifier (which was passed to |\newindex|). +% \begin{macrocode} +\newcommand\SB@maketitleindex{% + \ifnum\idxheadwidth>\z@% + \renewenvironment{SB@lgidx}[1]{ + \hbox{\SB@colorbox\idxbgcolor{\vbox{% + \hbox to\idxheadwidth{{\idxheadfont\relax##1}\hfil}% + }}}% + \nobreak\vskip3\p@\@plus2\p@\@minus2\p@\nointerlineskip% + }{\penalty-50\vskip5\p@\@plus5\p@\@minus4\p@}% + \else% + \renewenvironment{SB@lgidx}[1]{}{}% + \fi% + \renewenvironment{SB@smidx}[1]{}{}% + \renewcommand\idxentry[2]{% + \SB@ellipspread{\idxtitlefont\relax\ignorespaces##1\unskip}% + {{\idxrefsfont\relax##2}}% + }% + \renewcommand\idxaltentry[2]{% + \SB@ellipspread{\idxlyricfont\relax\ignorespaces##1\unskip}% + {{\idxrefsfont\relax##2}}% + }% + \SB@displayindex% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@idxcolhead} +% In a scripture index, this macro remembers the current book of the bible +% we're in so that new columns can be headed with ``Bookname (continued)''. +% \begin{macrocode} +\newcommand\SB@idxcolhead{} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@idxheadsep} +% Add vertical space following the header line that begins (or continues) a +% section of a scripture index. +% \begin{macrocode} +\newcommand\SB@idxheadsep{{% + \SB@dimen4\p@% + \advance\SB@dimen-\prevdepth% + \SB@maxmin\SB@dimen<\z@% + \SB@dimenii\SB@dimen% + \SB@maxmin\SB@dimenii>\p@% + \vskip\SB@dimen\@plus\p@\@minus\SB@dimenii% +}} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@idxcont} +% Typeset the ``Bookname (continued)'' line that continues a scripture +% index section when it spans a column break. +% \begin{macrocode} +\newcommand\SB@idxcont[1]{% + \hbox to\hsize{{\idxcont{#1}}\hfil}% + \nobreak% + \SB@idxheadsep\nointerlineskip% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@makescripindex} +% \changes{v2.4}{2007/10/08}{Scripture index spacing made more uniform} +% \changes{v2.8}{2009/03/06}{Added columns argument} +% Create a scripture index. +% \argp{1} is a column count, +% \argp{1} is the title, and +% \argp{2} is the index identifier (which was passed to |\newscripindex|). +% \begin{macrocode} +\newcommand\SB@makescripindex{% + \renewenvironment{SB@lgidx}[1]{% + \gdef\SB@idxcolhead{##1}% + \hbox to\hsize{{\idxbook{##1}}\hfil}% + \nobreak% + \SB@idxheadsep\nointerlineskip% + }{% + \mark{\noexpand\relax}% + \penalty-20\vskip3\p@\@plus3\p@\relax% + }% + \renewenvironment{SB@smidx}[1] + {\begin{SB@lgidx}{##1}}{\end{SB@lgidx}}% + \renewcommand\idxentry[2]{% + \SB@ellipspread{\hskip.25cm\idxscripfont\relax##1}% + {{\idxrefsfont\relax##2}}% + \SB@toks\expandafter{\SB@idxcolhead}% + \mark{\noexpand\SB@idxcont{\the\SB@toks}}% + }% + \renewcommand\idxaltentry[2]{\SB@erridx{a scripture}}% + \SB@displayindex% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@makeauthorindex} +% \changes{v2.8}{2009/03/06}{Added columns argument} +% Create an author index. +% \argp{1} is a column count, +% \argp{2} is the title, and +% \argp{2} is the index identifier (which was passed to |\newauthindex|). +% \begin{macrocode} +\newcommand\SB@makeauthorindex{% + \renewenvironment{SB@lgidx}[1]{}{}% + \renewenvironment{SB@smidx}[1]{}{}% + \renewcommand\idxentry[2]{% + \SB@ellipspread{{\idxauthfont\relax\sfcode`.\@m##1}}% + {{\idxrefsfont##2}}% + }% + \renewcommand\idxaltentry[2]{\SB@erridx{an author}}% + \SB@displayindex% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Error Messages} +% +% We break error messages out into separate macros here in order to reduce the +% length (in tokens) of the more frequently used macros that do actual work. +% This can result in a small speed improvement on slower machines. +% +% \begin{macro}{\SB@Error} +% \begin{macro}{\SB@Warn} +% All errors and warnings will be reported as coming from package ``songs''. +% \begin{macrocode} +\newcommand\SB@Error{\PackageError{songs}} +\newcommand\SB@Warn{\PackageWarning{songs}} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\SB@errspos} +% \begin{macrocode} +\newcommand\SB@errspos{% + \SB@Error{Illegal \protect\songpos\space argument}{The argume% + nt to \protect\songpos\space must be a number from 0 to 3.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errnse} +% \begin{macrocode} +\newcommand\SB@errnse{% + \SB@Error{Nested songs environments are not supported}{End th% + e previous songs environment before beginning the next one.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errpl} +% \begin{macrocode} +\newcommand\SB@errpl{% + \SB@Error{\protect\includeonlysongs\space not permitted with% + in a songs environment}{\protect\includeonlysongs\space can o% + nly be used in the document preamble or between songs environ% + ments in the document body.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errrtopt} +% \begin{macrocode} +\newcommand\SB@errrtopt{% + \SB@Error{Cannot display chords in a rawtext dump}{You have u% + sed the rawtext option in the \protect\usepackage\space lin% + e and have either used the chorded option as well or have use% + d the \protect\chordson\space macro subsequently.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@warnrc} +% \begin{macrocode} +\newcommand\SB@warnrc{% + \SB@Warn{The \protect\repchoruses\space feature will not wor% + k when the number of columns is set to zero}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@warnnoidx} +% \begin{macrocode} +\newcommand\SB@warnnoidx{% + \SB@Warn{Index command has no effect since no indexes are ye% + t declared}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errboo} +% \begin{macrocode} +\newcommand\SB@errboo{% + \SB@Error{Encountered \protect\beginsong\space without seein% + g an \protect\endsong\space for the previous song}% + {Song \thesongnum\space might be missing a% + n \protect\endsong\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbor} +% \begin{macrocode} +\newcommand\SB@errbor{% + \SB@Error{Encountered \protect\beginsong\space without seein% + g an \protect\endscripture\space for the preceding scriptur% + e quotation}{A scripture quotation appearing after son% + g \thesongnum\space might be missing a% + n \protect\endscripture\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@erreov} +% \begin{macrocode} +\newcommand\SB@erreov{% + \SB@Error{Encountered \protect\endsong\space without seein% + g an \protect\endverse\space for the preceding verse}{Son% + g \thesongnum\space has a \protect\beginverse\space% + line with no matching \protect\endverse\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@erreoc} +% \begin{macrocode} +\newcommand\SB@erreoc{% + \SB@Error{Encountered \protect\endsong\space without seein% + g an \protect\endchorus\space for the preceding chorus}{Son% + g \thesongnum\space has a \protect\beginchorus\space% + line with no matching \protect\endchorus\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@erreor} +% \begin{macrocode} +\newcommand\SB@erreor{% + \SB@Error{Encountered \protect\endsong\space without seein% + g an \protect\endscripture for the preceding scripture quot% + e}{A scripture quote appearing before song \thesongnum\space% + ended with \protect\endsong\space instead of wit% + h \protect\endscripture.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@erreot} +% \begin{macrocode} +\newcommand\SB@erreot{% + \SB@Error{Encountered \protect\endsong\space with no matchin% + g \protect\beginsong}{Before song \thesongnum\space there wa% + s an \protect\endsong\space with no matchin% + g \protect\beginsong.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbvv} +% \begin{macrocode} +\newcommand\SB@errbvv{% + \SB@Error{Encountered \protect\beginverse\space without seein% + g an \protect\endverse\space for the preceding verse}{Son% + g \thesongnum\space might have a verse that has n% + o \protect\endendverse\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbvc} +% \begin{macrocode} +\newcommand\SB@errbvc{% + \SB@Error{Encountered \protect\beginverse\space without seein% + g an \protect\endchorus\space for the preceding chorus}{Son% + g \thesongnum\space might have a chorus that has n% + o \protect\endchorus\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbvt} +% \begin{macrocode} +\newcommand\SB@errbvt{% + \SB@Error{Encountered \protect\beginverse\space without firs% + t seeing a \protect\beginsong\space line}{Before son% + g \thesongnum, there is a \protect\beginverse\space line no% + t contained in any song.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errevc} +% \begin{macrocode} +\newcommand\SB@errevc{% + \SB@Error{Encountered \protect\endverse\space while process% + ing a chorus}{Song \thesongnum\space might hav% + e a \protect\beginchorus\space concluded by a% + n \protect\endverse\space instead of an \protect\endchorus.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errevo} +% \begin{macrocode} +\newcommand\SB@errevo{% + \SB@Error{Encountered \protect\endverse\space without firs% + t seeing a \protect\beginverse}{Song \thesongnum\space m% + ight have an \protect\endverse\space with no matchin% + g \protect\beginverse.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errevt} +% \begin{macrocode} +\newcommand\SB@errevt{% + \SB@Error{Encountered an \protect\endverse\space outside o% + f any song}{Before song \thesongnum, there is a% + n \protect\endverse\space line not preceded b% + y a \protect\beginsong\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@erretex} +% \begin{macrocode} +\newcommand\SB@erretex{% + \SB@Error{The \protect\repchoruses\space feature requires e-% + TeX compatibility}{Your version of LaTeX2e does not appear t% + o be e-TeX compatible. Find a distribution that includes e-T% + eX support in order to use this feature.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbcv} +% \begin{macrocode} +\newcommand\SB@errbcv{% + \SB@Error{Encountered \protect\beginchorus\space without see% + ing an \protect\endverse\space for the preceding verse}{Son% + g \thesongnum\space might hav% + e a \protect\beginverse\space with no match% + ing \protect\endverse.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbcc} +% \begin{macrocode} +\newcommand\SB@errbcc{% + \SB@Error{Encountered \protect\beginchorus\space without see% + ing an \protect\endchorus\space for the preceding chorus}% + {Song \thesongnum\space might have a \protect\beginchorus% + \space with no matching \protect\endchorus.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbct} +% \begin{macrocode} +\newcommand\SB@errbct{% + \SB@Error{Encountered \protect\beginchorus\space without see% + ing a \protect\beginsong\space line first}{After son% + g \thesongnum\space there is a \protect\beginchorus\space% + line outside of any song.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errecv} +% \begin{macrocode} +\newcommand\SB@errecv{% + \SB@Error{Encountered an \protect\endchorus\space while proc% + essing a verse}{Song \thesongnum\space might hav% + e a \protect\beginverse\space concluded by \protect\endchorus% + \space instead of \protect\endverse.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@erreco} +% \begin{macrocode} +\newcommand\SB@erreco{% + \SB@Error{Encountered \protect\endchorus\space without firs% + t seeing a \protect\beginchorus}{Song \thesongnum\space m% + ight have an \protect\endchorus\space with no match% + ing \protect\beginchorus.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errect} +% \begin{macrocode} +\newcommand\SB@errect{% + \SB@Error{Encountered an \protect\endchorus\space outside o% + f any song}{Before song \thesongnum, there is a% + n \protect\endchorus\space line not preceded b% + y a \protect\beginsong\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbro} +% \begin{macrocode} +\newcommand\SB@errbro{% + \SB@Error{Missing \protect\endsong}% + {Nested song and intersong environments are not supported% + . Song \thesongnum\space might be missing a% + n \protect\endsong\space line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errbrr} +% \begin{macrocode} +\newcommand\SB@errbrr{% + \SB@Error{Nested intersong environments are not supported}% + {A scripture quote or other intersong environment before s% + ong \thesongnum\space is missing its ending line.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errero} +% \begin{macrocode} +\newcommand\SB@errero{% + \SB@Error{Encountered an \protect\endscripture\space whil% + e processing a song}{Song \thesongnum\space ends wit% + h \protect\endscripture\space when it should end wit% + h \protect\endsong.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errert} +% \begin{macrocode} +\newcommand\SB@errert{% + \SB@Error{Encountered an \protect\endscripture\space with% + out first seeing a \protect\beginscripture}{Before son% + g \thesongnum, there is an \protect\endscripture\space w% + ith no matching \protect\beginscripture.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errscrip} +% \begin{macrocode} +\newcommand\SB@errscrip[1]{% + \SB@Error{Encountered a \protect#1\space outside a scriptu% + re quote}{\protect#1\space can only appear betwee% + n \protect\beginscripture\space an% + d \protect\endscripture\space lines.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errchord} +% \begin{macrocode} +\newcommand\SB@errchord{% + \SB@Error{Song \thesongnum\space seems to have chord% + s that appear outside of any verse or chorus}{All chords a% + nd lyrics should appear between \protect\beginverse\space% + and \protect\endverse, or between \protect\beginchorus\space% + and \protect\endchorus.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errreplay} +% \begin{macrocode} +\newcommand\SB@errreplay{% + \SB@Error{Replayed chord has no matching chord}{Son% + g \thesongnum\space uses \protect^ more times than the% + re are chords in the previously memorized verse.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errreg} +% \begin{macrocode} +\newcommand\SB@errreg[1]{% + \SB@Error{Unknown chord-replay register name: #1}{Chord-re% + play registers must be declared with \protect\newchords.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errdup} +% \begin{macrocode} +\newcommand\SB@errdup[1]{% + \SB@Error{Duplicate definition of chord-replay register% + : #1}{\protect\newchords\space was used to declare the sa% + me chord-replay register twice.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errmbar} +% \begin{macrocode} +\newcommand\SB@errmbar{% + \SB@Error{Song \thesongnum\space seems to have measur% + e bars that appear outside of any verse or chorus}{All mea% + sure bars (produced with \protect\mbar\space or |) must ap% + pear between \protect\beginverse\space an% + d \protect\endverse, or between \protect\beginchorus\space% + and \protect\endchorus.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errebar} +% \begin{macrocode} +\newcommand\SB@errebar[2]{% + \SB@Error{Ignoring unbalanced \expandafter\@gobble\string#2 i% + n \protect\gtab}{Found no \expandafter\@gobble\string#1 to ma% + tch the \expandafter\@gobble\string#2.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@errnoidx} +% \begin{macrocode} +\newcommand\SB@errnoidx[1]{% + \SB@Error{Unknown index identifier: #1}{This index identifie% + r was never declared using \protect\newindex.}% +} +% \end{macrocode} +% \end{macro} +% +% \begin{macro}{\SB@erridx} +% \begin{macrocode} +\newcommand\SB@erridx[1]{% + \SB@Error{\protect\idxaltentry\space not allowed in #1 index}% + {This error should not occur. The index generation routines ha% + ve malfunctioned. Try deleting all temporary files and then re% + compiling.}% +} +% \end{macrocode} +% \end{macro} +% +% \subsection{Option Processing}\label{sec:optproc} +% +% \begin{macro}{\ifchorded} +% \begin{macro}{\iflyric} +% \begin{macro}{\ifslides} +% \begin{macro}{\ifmeasures} +% \begin{macro}{\ifpartiallist} +% \begin{macro}{\ifrepchorus} +% \begin{macro}{\iftranscapos} +% \begin{macro}{\ifnolyrics} +% \begin{macro}{\ifrawtext} +% \begin{macro}{\ifsongindexes} +% \begin{macro}{\ifsepindexes} +% \begin{macro}{\ifpagepreludes} +% \begin{macro}{\ifSB@colorboxes} +% \begin{macro}{\ifSB@omitscrip} +% Reserve conditionals for all of the various option settings. +% We wait to define these since if any are used earlier than this, it is +% an error in the package code, and we'd rather get an error than continue. +% \begin{macrocode} +\newif\ifchorded +\newif\iflyric\lyrictrue +\newif\ifslides +\newif\ifmeasures +\newif\ifpartiallist +\newif\ifrepchorus +\newif\iftranscapos +\newif\ifnolyrics +\newif\ifrawtext +\newif\ifsongindexes\songindexestrue +\newif\ifsepindexes\sepindexestrue +\newif\ifpagepreludes +\newif\ifSB@colorboxes +\IfFileExists{color.sty}\SB@colorboxestrue\SB@colorboxesfalse +\newif\ifSB@omitscrip +% \end{macrocode} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% \end{macro} +% +% \begin{macro}{\nolyrics} +% \begin{macro}{\pagepreludes} +% The |\nolyrics| and |\pagepreludes| macros are just shorthand for +% |\nolyricstrue| and |\pagepreludestrue|, respectively. +% \begin{macrocode} +\newcommand\nolyrics{} +\let\nolyrics\nolyricstrue +\newcommand\pagepreludes{\pagepreludestrue\songpos0} +% \end{macrocode} +% \end{macro} +% \end{macro} +% +% Finally we're ready to process all of the package options. +% This is delayed until near the end because the option processing code +% needs to execute various macros found in the previous sections. +% \begin{macrocode} +\SB@chordson +\ProcessOptions\relax +% \end{macrocode} +% +% \begin{macro}{\SB@colorbox} +% Include the colors package and define colors, if requested. +% \begin{macrocode} +\ifSB@colorboxes + \RequirePackage{color} + \definecolor{SongbookShade}{gray}{.80} + \newcommand\SB@colorbox[2]{% + \ifx\@empty#1% + \vbox{% + \kern3\p@% + \hbox{\kern3\p@{#2}\kern3\p@}% + \kern3\p@% + }% + \else% + \colorbox{#1}{#2}% + \fi% + } +\else + \newcommand\SB@colorbox[2]{\vbox{% + \kern3\p@% + \hbox{\kern3\p@{#2}\kern3\p@}% + \kern3\p@% + }} +\fi +% \end{macrocode} +% \end{macro} +% +% \subsection{Rawtext Mode} +% +% If generating raw text, most of what has been defined previously is ignored +% in favor of some very specialized macros that write all the song lyrics to +% a text file. +% \begin{macrocode} +\ifrawtext + \SB@newwrite\SB@txtout + \immediate\openout\SB@txtout=\jobname.txt + \newif\ifSB@doEOL + {\catcode`\^^M12 % + \catcode`\^^J12 % + \gdef\SB@printEOL{\ifSB@doEOL^^M^^J\fi}} + {\catcode`#12\gdef\SB@hash{#}} + {\catcode`&12\gdef\SB@amp{&}} + \renewcommand\SB@@@beginsong{% + \begingroup% + \def\'{}\def\`{}\def\v{}\def\u{}\def\={}\def\^{}% + \def\.{}\def\H{}\def\~{}\def\"{}\def\t{}% + \def\copyright{(c)}% + \let~\space% + \let\par\SB@printEOL% + \let\#\SB@hash% + \let\&\SB@amp% + \catcode`|9 % + \catcode`*9 % + \catcode`^9 % + \def\[##1]{}% + \resettitles% + \immediate\write\SB@txtout{\thesongnum. \songtitle}% + \nexttitle% + \foreachtitle{\immediate\write\SB@txtout{(\songtitle)}}% + \ifx\songauthors\@empty\else% + \immediate\write\SB@txtout{\songauthors}% + \fi% + \ifx\SB@rawrefs\@empty\else% + \immediate\write\SB@txtout{\SB@rawrefs}% + \fi% + \immediate\write\SB@txtout{}% + \SB@doEOLfalse% + \obeylines% + } + \renewcommand\SB@endsong{% + \SB@doEOLtrue% + \immediate\write\SB@txtout{\songcopyright\space% + \songlicense\SB@printEOL}% + \endgroup% + \SB@insongfalse% + \stepcounter{songnum}% + } + \def\SB@parsesrefs#1{\def\songrefs{#1}} + \long\def\beginverse#1#2\endverse{% + \SB@doEOLtrue\begingroup% + \def\textnote##1{##1}% + \def\SB@temp{#1}% + \def\SB@star{*}% + \ifx\SB@temp\SB@star% + \immediate\write\SB@txtout{\@gobble#2}% + \else% + \immediate\write\SB@txtout{#2}% + \fi% + \endgroup\SB@doEOLfalse} + \long\def\beginchorus#1\endchorus{% + \SB@doEOLtrue\begingroup% + \def\textnote##1{##1}% + \immediate\write\SB@txtout{Chorus:#1}% + \endgroup\SB@doEOLfalse} + \long\def\beginscripture#1\endscripture{} + \def\musicnote#1{} + \def\textnote#1{% + \SB@doEOLtrue% + \immediate\write\SB@txtout{#1\SB@printEOL}% + \SB@doEOLfalse} + \def\brk{} + \def\rep#1{(x#1)} + \def\echo#1{(#1)} + \def\mbar#1#2{} + \def\lrep{} + \def\rrep{} + \def\nolyrics{} + \renewcommand\memorize[1][]{} + \renewcommand\replay[1][]{} +\fi +% \end{macrocode} +% +% \Finale +\endinput + diff --git a/macros/latex/contrib/songs/songs.ins b/macros/latex/contrib/songs/songs.ins new file mode 100644 index 0000000000..9bbcdc734d --- /dev/null +++ b/macros/latex/contrib/songs/songs.ins @@ -0,0 +1,61 @@ +%% Copyright (C) 2018 Kevin W. Hamlen +%% +%% This program is free software; you can redistribute it and/or +%% modify it under the terms of the GNU General Public License +%% as published by the Free Software Foundation; either version 2 +%% of the License, or (at your option) any later version. +%% +%% This program is distributed in the hope that it will be useful, +%% but WITHOUT ANY WARRANTY; without even the implied warranty of +%% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +%% GNU General Public License for more details. +%% +%% You should have received a copy of the GNU General Public License +%% along with this program; if not, write to the Free Software +%% Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, +%% MA 02110-1301, USA. +%% +%% The latest version of this program can be obtained from +%% http://songs.sourceforge.net. + +\input docstrip.tex +\keepsilent + +\usedir{tex/latex/songs} + +\preamble + +This is a generated file. + +Copyright (C) 2018 by Kevin W. Hamlen + +This file may be distributed and/or modified under the conditions of +the LaTeX Project Public License, either version 1.3a of this license +or (at your option) any later version. The latest version of this +license is in: + + http://www.latex-project.org/lppl.txt + +and version 1.3a or later is part of all distributions of LaTeX version +2004/10/01 or later. + +\endpreamble + +\generate{\file{songs.sty}{\from{songs.dtx}{package}}} + +\obeyspaces +\Msg{*************************************************************} +\Msg{* *} +\Msg{* To finish the installation you have to move the following *} +\Msg{* file into a directory searched by TeX: *} +\Msg{* *} +\Msg{* songs.sty *} +\Msg{* *} +\Msg{* To produce the documentation run the file songbook.dtx *} +\Msg{* through LaTeX. *} +\Msg{* *} +\Msg{* Happy TeXing! *} +\Msg{* *} +\Msg{*************************************************************} + +\endbatchfile diff --git a/macros/latex/contrib/songs/songs.pdf b/macros/latex/contrib/songs/songs.pdf new file mode 100644 index 0000000000..e937aa29d0 --- /dev/null +++ b/macros/latex/contrib/songs/songs.pdf @@ -0,0 +1,28725 @@ +%PDF-1.5 +%ÐÔÅØ +1 0 obj +<< /S /GoTo /D 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