SATB Anglican Chant
Anglican Chant
[edit | edit source]Anglican chant developed from plainchant. It is an art form of great beauty when sung in four-part harmony by carefully rehearsed choirs. Many congregations sing Anglican chant with affection and enthusiasm.
An Anglican chant consists of two phrases, one of four notes in duration, followed by on of six notes. A double, triple, or quadruple chant consists of a doubling, triplilng, or quadrupling of this basic pattern. Because of the fixed design of Anglican chant, a text must be pointed so that certain accented syllables will be sung to particular notes - the second and fourth notes of each section and the sixth note of the final section. The first note of each section, the reciting note, may be associated with only a single unaccented syllable (it may, in fact, on occasion be omitted) or it may be associated with a dozen or more syllables. The musical notation defines the pitch but not the duration of any note.
A Manual for Clergy and Church Musicians, © 1980 by the Church Pension Fund, pp. 55
You can see from the following attachment that singing Anglican Chant directly from The Hymnal 1982 can require more practice and skill than most congregations, let alone choirs, posses. This template allows a simple method of pointing and writing out Anglican Chant so they can be sung more easily. Here is a sample of S39 The Invitatory: Venite/Psalm 95.
The text for Psalms and Canticles may be downloaded from http://justus.anglican.org/resources/bcp/bcp.htm. However, the pointed versions are in The Hymnal 1982. There, two dots over a word imply a slur. A bracket over a word implies a tie. The apostrophes mark bars.
S 39 is a double chant, so you can think of it as an A B pattern that is repeated. For this example, I used an Antiphon for Lent (“The Lord if full of com ' passion and ' mercy: * Come let ' us a ' dore ' him.”) The sequence for the entire Venite (Psalm 95 verses 1-7) is in the form A A [Ant. B] A B A [Ant. B] A A [Ant. B]. It is best to end a section in a B. So if you are not using an Antiphon, you would probably program A B A A B A B for verses 1-7 respectively.
Using the Template:
[edit | edit source]- FIRST, create anglican-init.ly which provides chant like bars. This code was extracted from gregorian-init.ly.
- SECOND Open the template and indicate the key. In this case, d major
- THIRD program the music.
- FOURTH Enter words. Template allows you to specify a dynamic for each phrase. I also include verse number or "Ant." in box for reference during practice. Creat a different lyricmode entry for each antiphonal group and for the antiphon so that antiphons can be inserted in-line.
- FIFTH Sequence the trebMusic and bassMusic in the correct A B pattern. (You must do this for both treb and bass.)
- SIXTH Sequence the lyrics with the inserted Antiphon
When you have done these six steps, you can run LilyPond to check your programming.
\version "2.24.0"
%% http://lsr.di.unimi.it/LSR/Item?id=231
%% see also http://lsr.di.unimi.it/LSR/Item?id=708
%% commented out for LSR
%
% FIRST, create anglican-init.ly. This only needs to be done once each time you upgrade LilyPond.
% The code was borrowed from gregorian-init.ly.
% For purposes of the LSR, the anglican-init.ly code is inserted directly.
% \include "anglican-init.ly"
%
%% commented out for LSR
divisioMinima = {
\once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
% Workaround: add padding. Correct fix would be spacing engine handle this.
\once \override BreathingSign.minimum-X-extent = #'(-1.0 . 0.0)
\once \override BreathingSign.minimum-Y-extent = #'(-2.5 . 2.5)
\breathe
}
divisioMaior = {
\once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
\once \override BreathingSign.Y-offset = #0
% Workaround: add padding. Correct fix would be spacing engine handle this.
\once \override BreathingSign.minimum-X-extent = #'(-1.0 . 0.0)
\once \override BreathingSign.minimum-Y-extent = #'(-2.5 . 2.5)
\breathe
}
divisioMaxima = {
\once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
\once \override BreathingSign.Y-offset = #0
% Workaround: add padding. Correct fix would be spacing engine handle this.
\once \override BreathingSign.minimum-X-extent = #'(-1.0 . 0.0)
\once \override BreathingSign.minimum-Y-extent = #'(-2.5 . 2.5)
\breathe
}
finalis = {
\once \override BreathingSign.stencil = #ly:breathing-sign::finalis
\once \override BreathingSign.Y-offset = #0
% Workaround: add padding. Correct fix would be spacing engine handle this.
\once \override BreathingSign.minimum-X-extent = #'(-1.0 . 0.0)
\once \override BreathingSign.minimum-Y-extent = #'(-2.5 . 2.5)
\breathe
}
#(set-default-paper-size "letter")
\pointAndClickOff
%**********************************%
% END of inserted anglican-init.ly %
%**********************************%
global = {
%SECOND, enter key
\key d \major
%
\set Staff.whichBar = #""
\set Score.timing = ##f
\accidentalStyle modern-voice
\override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
\override Score.PaperColumn.keep-inside-line = ##t
}
% THIRD, Enter music (remember to include the leading s4 in the bassMusic sections)
trebMusicA = {
\textLengthOn s4^"A" \noBreak
<a' d'>2
\divisioMinima
<d'' d'>4 <b' e'>
\divisioMinima
<cis'' e'>2
\divisioMaior
<a' d'>2
\divisioMinima
<b' d'>4 <g' e'>
\divisioMinima
<a' cis'> <fis' d'>
\divisioMinima
<e' cis'>2
\divisioMaxima
}
trebMusicB = {
\textLengthOn s4^"B" \noBreak
<g' b>2
\divisioMinima
<c'' e'>4 <a' d'>
\divisioMinima
<b' d'>2
\divisioMaior
<e' cis'>2
\divisioMinima
<a' cis'>4 <fis' d'>
\divisioMinima
<g' d'> <e' cis'>
\divisioMinima
d'2
\finalis
}
bassMusicA = {
s4 <fis d>2
\divisioMinima
<fis b,>4 <gis e>
\divisioMinima
<a a,>2
\divisioMaior
<fis d>2
\divisioMinima
g4 <b e>
\divisioMinima
<a fis> <a d>
\divisioMinima
<a a,>2
\divisioMaxima
}
bassMusicB = {
s4 <g e>2
\divisioMinima
<g c>4 <fis d>
\divisioMinima
<g g,>2
\divisioMaior
<a g>2
\divisioMinima
<a fis>4 <b b,>
\divisioMinima
<b e> <g a,>
\divisioMinima
<fis d>2
\finalis
}
% FOURTH Enter Words (This allows a different dynamic for each verse. I create a separate lyric for
% each antiphonal group. This way, the antiphon can be changed without reprogramming the entire
% psalm. Also, I insert an en-dash in hyphenated words and an en-dash lyric tie for tied words.)
% NOTE: LSR didn't like the en-dash so I substituted a hyphen.
lentAntiphon = \lyricmode {
\markup { \box Ant. \raise #2.0 \dynamic mf The Lord if full of com-} passion and mercy:*
\markup { \raise #2.0 \dynamic mf Come let } us a- do-~ re him.
}
onetwo = \lyricmode {
\markup { \box 1 \raise #2.0 \dynamic mf Come, let us } sing_to the LORD;*
\markup { \raise #2.0 \dynamic f let us shout for joy to the} Rock of our sal- vation.
\markup { \box 2 \raise #2.0 \dynamic mf Let us come before his } presence with_thanks- giving*
\markup { \raise #2.0 \dynamic f and raise a loud } shout to him with psalms.
}
threefive = \lyricmode {
\markup { \box 3 \raise #2.0 \dynamic mf For the LORD is a } gre-~ at God,*
\markup { \raise #2.0 \dynamic mf and a great } King a- bove all gods.
\markup { \box 4 \raise #2.0 \dynamic mf In his hand are the } caverns of_the earth,*
\markup { \raise #2.0 \dynamic mf and the heights of the } hills are hi-~ s also.
\markup { \box 5 \raise #2.0 \dynamic mf The sea is } his, for_he made_it,*
\markup { \raise #2.0 \dynamic mf and his hands have } molded the dr-~ y land.
}
sixseven = \lyricmode {
\markup { \box 6 \raise #2.0 \dynamic mp Come, let us bow down, and } bend the knee,*
\markup { \raise #2.0 \dynamic mp and } kneel_be- fore_the LORD our Maker.
\markup { \box 7 \raise #2.0 \dynamic mf For he is our God, and we are the people of his pasture and the } sheep_of his hand.*
\markup { \raise #2.0 \dynamic mp Oh, that to- } day you_would hearken to_his voice!
}
\score {
\context ChoirStaff <<
\context Staff = women <<
\context Voice = women {
\oneVoice
\global
% FIFTH sequence the trebMusic and bassMusic in the correct A B pattern.
\trebMusicA
\trebMusicA
\trebMusicB
\trebMusicA
\trebMusicB
\trebMusicA
\trebMusicB
\trebMusicA
\trebMusicA
\trebMusicB
}
>>
\context Lyrics = women \lyricsto women {
\override LyricText.self-alignment-X = #-0.7
% SIXTH sequence the words with inserted Antiphon
\onetwo
\lentAntiphon
\threefive
\lentAntiphon
\sixseven
\lentAntiphon
}
\context Staff = men <<
\clef bass
\context Voice = basses {
\oneVoice
\global
% FIFTH sequence the trebMusic and bassMusic in the correct A B pattern.
\bassMusicA
\bassMusicA
\bassMusicB
\bassMusicA
\bassMusicB
\bassMusicA
\bassMusicB
\bassMusicA
\bassMusicA
\bassMusicB
}
>>
>>
\layout {
indent = 0\in
line-width = 8\in
oddFooterMarkup = ##f
oddHeaderMarkup = ##f
bookTitleMarkup = ##f
scoreTitleMarkup = ##f
ragged-right = ##t
ragged-last = ##t
\context {
\Score
forbidBreakBetweenBarLines = ##f
}
\context {
\Staff
\remove "Time_signature_engraver"
\override Stem.transparent = ##t
}
\context {
\Voice
\override Stem.length = #0
}
}
}
% END OF LILYPOND CODE
%{
I use lilypond-book to print the music because I usually want to insert scanned .png files at the beginning and sometimes the end of the document. In this case, it was not necessary, but sometimes the antiphon is already printed and there is no need reprogram it for publication. Here is the template for the Latex file (S39.tex):
\documentclass[letterpaper]{article}
\usepackage{graphicx}
\usepackage[total={8in,10in},centering,includefoot,includehead]{geometry}
\usepackage{fancyhdr} % This should be set AFTER setting up the page geometry
\usepackage{lastpage}
\pagestyle{fancy}\fancyhead{}
\renewcommand{\headrulewidth}{0pt} % customise the layout...
\lhead{}\chead{The Hymnal 1982 \copyright 1985, by The Church Pension Fund All rights reserved. Used by permission.}\rhead{}
\lfoot{Daily Morning Prayer II S 39\\The Invitatory: Venite/Psalm 95}\cfoot{Music engraving by Fred Leason with LilyPond 2.11.19}\rfoot{\thepage\ of \pageref{LastPage}}
\begin{document}
\includegraphics[width=7.5in]{../S39.png} %This is sometimes a scanned version of the antiphon. In this case, it is the Anglican Chant from the Hymnal.
\lilypondfile{S39.ly}
\includegraphics[width=7.5in]{../VeniteText.png} %This is sometimes a repeated scan of the Antiphon. In this case it is a sample of the pointing from the Hymnal.
\end{document}
%END OF LATEX.
SEVENTH Change the head and foot in the above .tex file. Name the correct \lilypondfile. Name any .png files that may be included in the final document.
I use this shell script to run lilypond-book. Put this script somewhere that is also in your PATH. Change the mode to execute (chmod +x lilybook.sh)
EIGHTH cd to the directory containing your .ly, .tex, and any .png files. Then run lilybook.sh <name of tex file>
BEGIN SCRIPT
#!/bin/sh
rm -r pdflatex
lilypond-book --pdf $1.tex --output=pdflatex
cd pdflatex
pdflatex $1
pdflatex $1
open $1.pdf
cd ..
END SCRIPT
Note, I run pdflatex twice so that the number of pages are counted.
So here is what your sequence will look like:
>pwd
~/Desktop/LSR
>ls
Anglican.rtfd S39.log S39.ly S39.pdf S39.png S39.ps S39.tex VeniteText.png
>lilybook.sh S39
%}
