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