%=============================================
%   created by MuseScore Version: 1.3
%          Friday, September 02, 2016
%=============================================

\version "2.12.0"

  \layout {\context {\Score \omit BarNumber}}
#(set-global-staff-size 19)

#(set-default-paper-size "letter")

\paper {
        #(define fonts
    (set-global-fonts
    #:music "cadence"
    #:brace "beethoven"
    #:roman "IM Fell Great Primer Pro"
    #:sans "IM Fell French Canon Pro"
    #:typewriter "Century Schoolbook L"
    #:factor (/ staff-height pt 20)))
  line-width    = 186.133\mm
  left-margin   = 14.8836\mm
  top-margin    = 14.8836\mm
  bottom-margin = 14.8836\mm
  %%indent = 0 \mm
  %%set to ##t if your score is less than one page:
  %% in orchestral scores you probably want the two bold slashes
  %% separating the systems: so uncomment the following line:
  %% system-separator-markup = \slashSeparator
  }

\header {
  title = \markup { \override #'(font-name . "IM Fell French Canon Pro") {Psalm XIX.}}
  poet = \markup { \override #'(font-name . "IM Fell Double Pica Pro") {March 2007. Rev. February 2012. Rev. August 2016}}
  composer = \markup { \override #'(font-name . "IM Fell Double Pica Pro") {Psalm 19: 7, 8, 9, 14}}
  tagline = ##f
    }

ATrvoiceAA = \relative c'{
    \set Staff.instrumentName = #"Discantus."
    \set Staff.shortInstrumentName = #""
    \clef treble
    %staffkeysig
    \key d \major
    %barkeysig:
    \key d \major
    %bartimesig:
    \time 2/2
    fis2 e4( d8 e)      | % 1
    fis2. a4      | % 2
    b8 \melisma cis\melismaEnd d2 e4      | % 3
    fis1      | % 4
}% end of last bar in partorvoice



ASvoiceBA = \relative c'{
    \set Staff.instrumentName = #"Soprano & Alto."
    \set Staff.shortInstrumentName = #""
    \clef treble
    %staffkeysig
    \key d \major
    %barkeysig:
    \key d \major
    %bartimesig:
    \time 2/2
    fis2 e4( d8 e)      | % 1
    fis2. a4      | % 2
    b8\melisma a\melismaEnd d2 cis4      | % 3
    b1      | % 4
    %bartimesig:
    \cadenzaOn
    \slurDashed
    \set melismaBusyProperties = #'()

    b\breve a4 b b1
    \breathe      | % 5
    b\breve a4 g fis1 \breathe \bar "|" \break \cadenzaOff
    \cadenzaOn | % 6
    g\breve fis4 (g) b1 \breathe     | % 7
    a\breve g4 (a) fis1 \bar "|."
}% end of last bar in partorvoice


ASvoiceBB = \relative c'{
    \voiceTwo

    d2 d      | % 1
    cis2. fis4      | % 2
    fis8\melisma e\melismaEnd g2 e4      | % 3
    dis?1_"D# after v.4"
    \cadenzaOn
    \slurDashed
\set melismaBusyProperties = #'()    | % 4
    fis\breve e4 fis g1      | % 5
    g\breve e4 d cis1 \bar "|" \cadenzaOff
    \cadenzaOn| % 6
    d\breve d4 (e) fis1    | % 7
    d\breve e4 (e) cis1 \bar "|."
}% end of last bar in partorvoice


ASpartB =  <<
    \mergeDifferentlyHeadedOn
    \mergeDifferentlyDottedOn
        \context Voice = ASvoiceBA{\voiceOne \ASvoiceBA}\\
        \context Voice = ASvoiceBB\ASvoiceBB
        >>



ABvoiceCA = \relative c{
    \set Staff.instrumentName = #"Tenor & Bass."
    \set Staff.shortInstrumentName = #""
    \clef bass
    %staffkeysig
    \key b \minor
    %barkeysig:
    \key b \minor
    %bartimesig:
    \time 2/2
    \once \override TextScript.force-hshift = #-5
    b'2^\markup { \box \center-column {"SATB"{"after v.3 & 4"}}} b      | % 1
    b4( a2) d4      | % 2
    d8\melisma cis\melismaEnd b2 b8\melisma a\melismaEnd      | % 3
    b1      | % 4
\cadenzaOn
\slurDashed
\set melismaBusyProperties = #'()
    d\breve cis4 d d1 \breathe   | % 5
    d\breve cis4 b ais1 \breathe \bar "|" \cadenzaOff     | % 6
    \cadenzaOn
    b\breve a4 (b) b1 \breathe     | % 7
    fis\breve b4 (b) ais1 \bar "|."
}% end of last bar in partorvoice


ABvoiceCB = \relative c{
    \voiceTwo \arpeggioBracket

    b4( a) g( g')      | % 1
    fis2. d4      | % 2
    g e2 fis4      | % 3
    <fis b,>1\arpeggio
    \cadenzaOn
    \slurDashed
\set melismaBusyProperties = #'()
| % 4
    b\breve b4 a g1      | % 5
    e\breve cis4 cis fis1 \bar "|" \cadenzaOff
    \cadenzaOn | % 6
    e\breve e4 (e) d1     | % 7
    b\breve cis4 (cis) fis,1 \bar "|."
}% end of last bar in partorvoice


ABpartC =  <<
    \mergeDifferentlyHeadedOn
    \mergeDifferentlyDottedOn
        \context Voice = ABvoiceCA{\voiceOne \ABvoiceCA}\\
        \context Voice = ABvoiceCB\ABvoiceCB
        >>

      ATrpartAverseA = \lyricmode { \set stanza = "" Your words, Lord, are spir -- it  and life. }
      ASpartBverseA = \lyricmode { Your words, Lord, are spir -- it  and life.
                                   <<
                                     {
                                       \set stanza = #"1. "
                                       \once \override LyricText.self-alignment-X = #LEFT "The law of the" Lord is perfect, reviv -- ing  the soul; "the decrees of the" Lord are sure, making wise the simple. }
\new Lyrics \with { alignBelowContext = #"ASpartBverseA" } {
                                       \set stanza = #"4. " \once \override LyricText.self-alignment-X = #LEFT "Let the words" of my mouth "and the meditation" of my heart "be acceptable" to _ you, "O LORD, my rock and" my re -- deemer. }
                                                                          \new Lyrics \with { alignBelowContext = #"ASpartBverseA" } {
                                       \set stanza = #"3. "  \once \override LyricText.self-alignment-X = #LEFT "The fear of the" Lord is pure, endur -- ing for -- ever; "the ordinances of the" Lord are true "and righteous" al -- to -- gether. }
                                                                            \new Lyrics \with { alignBelowContext = #"ASpartBverseA" } {
                                       \set stanza = #"2. "  \once \override LyricText.self-alignment-X = #LEFT "The precepts of the" Lord are right, rejoic -- ing  the heart: "the commandment of the" Lord is clear, enlightening the _ eyes. }
      >> }
\score {
    <<
        \context ChoirStaff = B<<
            \context Staff = ATrpartA <<
                \context Voice = ATrvoiceAA \ATrvoiceAA
            >>

             \context Lyrics = ATrpartAverseA\lyricsto ATrvoiceAA  \ATrpartAverseA

            \context Staff = ASpartB <<
                \ASpartB
            >>

             \context Lyrics = ASpartBverseA\lyricsto ASvoiceBA  \ASpartBverseA

            \context Staff = ABpartC <<
                \ABpartC
            >>


        >> %end of StaffGroupB



      \set Score.skipBars = ##t
       #(set-accidental-style 'modern-cautionary)
      \set Score.markFormatter = #format-mark-box-letters %%boxed rehearsal-marks
       \override Score.TimeSignature #'style = #'() %%makes timesigs always numerical
      %% remove previous line to get cut-time/alla breve or common time
      \set Score.pedalSustainStyle = #'mixed
       %% make spanners comprise the note it end on, so that there is no doubt that this note is included.
       \override Score.TrillSpanner #'(bound-details right padding) = #-2
      \override Score.TextSpanner #'(bound-details right padding) = #-1
      %% Lilypond's normal textspanners are too weak:
      \override Score.TextSpanner #'dash-period = #1
      \override Score.TextSpanner #'dash-fraction = #0.5
      %% lilypond chordname font, like mscore jazzfont, is both far too big and extremely ugly (olagunde@start.no):
      \override Score.ChordName #'font-family = #'roman
      \override Score.ChordName #'font-size =#0
      \override Score.LyricText #'font-size = #1.2
      %% In my experience the normal thing in printed scores is maj7 and not the triangle. (olagunde):
      \set Score.majorSevenSymbol = \markup {maj7}
  >>

  %% Boosey and Hawkes, and Peters, have barlines spanning all staff-groups in a score,
  %% Eulenburg and Philharmonia, like Lilypond, have no barlines between staffgroups.
  %% If you want the Eulenburg/Lilypond style, comment out the following line:
  \layout {\context {\Staff \RemoveEmptyStaves}}
}%% end of score-block