How to Install and Use

the "EZ" Byzantine Music Font Package

1) Introduction ............................................................................................................................... 1
2) Installation instructions: .......................................................................................................... 2
3) Suggestions for Writing Music ................................................................................................. 2
a) Layout of characters on the keyboard: ................................................................................. 2
b) Ho to begin riting !usic: ................................................................................................. 3
c) "o!!on ty#ing !istakes ....................................................................................................... $
%) Ho to &se the Macros ............................................................................................................. '
$) &sing the (eyboard Shortcuts ................................................................................................ 11
') )he *+ ,saltica *ditor ............................................................................................................ 12
-) .rder of .#erations ................................................................................................................ 12
/) 0fterord ................................................................................................................................. 13
: http://www.stanthonysmonastery.org/music/ Odigies .doc
1) Introduction
The "EZ" Byzantine Music Package was created at St. Anthony's Greek Orthodox Monastery
in Arizona in 2005. It is an improved version
*
oI the Psaltica Ionts made by Elie Daoun that are
available at www.cmkon.org. What makes this Byzantine music package the best set oI Ionts
currently available is its macros. These macros automatically adjust the relative note positions
Ior a proIessional look, and they can also instantly make all the appropritate notes red.
This package was named "EZ" because it allows one to write Byzantine music such that the
neumes are perIectly aligned with relative ease. The Iollowing instructions Iill several pages not
because this package is very complicated, but merely because I wanted to explain thoroughly
every possible detail. Many users will consider my explanations selI-evident.
As with any new program, an initial eIIort is necessary to become Iamiliar with it. But aIter
writing a Iew hymns with these Ionts, you will soon realize their versatility and will learn to type
music almost as Iast as you can type regular text. Then you will be able to write music quickly
*
To see all these improvements, go to: http://www.stanthonysmonastery.org/music/ByzMusicFontsComparison.pdI
Updated:
Dec. 15, 2006
and with a distinct elegance that will give you great satisIaction and will also attract others to use
your music.
* * *
2) Installation instructions:
AIter unzipping the Iile you downloaded, iI you have a Windows computer, open the "Fonts"
Iolder in your Control Panel, and Irom the "File" menu, select "Install New Font..." and then
select all Iive Ionts included in the Ionts Iolder oI this package. II you have a Macintosh
computer, drag all Iive Ionts Irom the Ionts Iolder oI this package into your Mac's "Font Book".
Doing the above should complete the installation process. However, many users get the error
message: "The macro cannot be Iound or has been disabled because oI your Macro security
settings" when they try to run the macros. II this happens, you need to change your macro
security settings. To do so, go to Tools -~ Macro -~ Security... and select "Medium" security
level. It is then necessary to restart Word in order to implement this change. When you open "EZ
template.dot" you will be inIormed that the Iile contains macros and warned that some macros
contain viruses. You must select "Enable Macros" Ior this Iont package to work properly. Don't
worry; I promise that it doesn't have any viruses!
II you still can't get the macros to work, do the Iollowing: Open the Iile "EZ template.dot"
and go to Tools -~ Templates and Add-Ins... -~ Organizer... -~ Macro Project Items. Select the
"EZMacros" in the leIt window and press the "Copy" button to move them to Normal.dot.
(back to top)
3) Suggestions for Writing Music
a) Layout of characters on the keyboard:
Since each oI the Iive Ionts in this package has almost 100 symbols, memorizing the position
oI every symbol would be nearly impossible. ThereIore, you should print the Iile "EZ-
CharacterTables.pdI" Ior quick reIerence.
*
Nevertheless, iI you plan on writing more than just a
Iew pages oI music, you will save yourselI a great deal oI time by Iamiliarizing yourselI with the
keystrokes Ior the more common symbols. At the risk oI stating the obvious, in the Iollowing
paragraph in small type I will make a Iew observations regarding the layout oI symbols. (Feel
Iree to skip it and continue on the Iollowing page.)
*
II Ior some reason you can't print this Iile, download the Iile: http://www.stanthonysmonastery.org/music /EZ-
CharacterTables.doc (200 Kb)
2
In the "EZ Psaltica" Iont (which contains all the most commonly used symbols) the jumps oI
one through nine are represented by the numerals 19. Jumps down oI one through nine are
represented by holding the SHIFT key and pressing the corresponding digits 19. In other words, "!"
is an apostrophos (down one), "" is an elaphron (down two), etc. The jumps oI one through eight
with a petaste are represented by the buttons directly beneath the numbers 18: q, w, e, r, t, y, u, i.
The martyrias Nee, Pa, Vou, ..., Zo are all in a row on the keyboard letters: c, v, b, n, m, etc. The
lower part oI the martyria is usually produced by typing the same button needed Ior the top part oI
the martyria, but while holding the SHIFT key. In other words, the diatonic martyrias Ior Nee, Pa,
Vou, Ga, etc. are written by the Iollowing keystrokes: cC, vV, bB, nN, etc. In the Ionts "EZ Fthora"
and "EZ Special-II" the same row oI letters: c, v, b, n, m, etc. also corresponds to the notes Nee, Pa,
Vou, Ga, etc., but are used Ior note markers and the isokratema. Note that when the keystroke Ior an
isokratema is capitalized, it is shiIted slightly to the leIt. In the "EZ Fthora" Iont, there is also more
than one version oI each Ithora. The capitalized version oI a given letter will always be shiIted
slightly to the right oI the lower-case version. One will also notice that the keys beneath the numbers
1, 2, 3, etc. will write the same Ithora beneath the previous note instead oI above it. So, Ior example,
the "2" button on the keyboard writes a Ithora oI second mode above the note, whereas the "w"
button (which is directly below the "2") writes the same Ithora below the note. Also, the diatonic
Ithoras Ior NeeZo are associated with the keyboard buttons in the row: d, I, g, h, j, k, l.
b) Ho to begin riting !usic:
To begin writing music, you must begin with the template
*
"EZ template.dot" because it has
the macros embedded in it. The Iont size oI the "EZ" music Ionts should be about 20, but not less
than 18. Mac users need to set their keyboard to "American English." IMPORTANT UPDATE:
In older versions oI this Iont package, it was necessary to press the space bar once aIter every
non-backstriking character Ior the macros to work properly. The user needed to be careIul not
press the space bar beIore typing back-striking notes (such as the gorgon or the klasma), because
then some oI the macros wouldn't Iix things properly. So, Ior example, to type the Iirst Iew notes
in the music sample on the Iollowing page, it was necessary to type:
0 SPACE J SPACE 3 ' z SPACE \ SPACE 0 SPACE ! S :
SPACE ! A etc.
*
A "template" in MicrosoIt Word is a Iile that contains the structure and tools Ior shaping such elements as the style
and page layout oI Iinished Iiles. So every time you want to create a new music document, you should Iirst open
"EZ template.dot", then select "Save As..." Irom the File menu and give your new document an appropriate name,
and then start typing your music.
3
But now with this new version oI the macros, the necessary spaces are inserted automatically.
Users may still insert those spaces iI they are already accustomed to typing in that manner,
because the macros are smart enough not to insert these spaces iI they have already been
inserted. Thus, in order to enter the Iirst Iew notes in the music sample below, one can either
type the sequence mentioned above, or one may simply type:
0J3'z\0!S:!A etc.
IMPORTANT NOTE: The 'smart quotes (i.e., curved quotes) option must NOT be turned on
when typing music or running the macros, because it will change a ' character into a ` character.
To turn oII the smart quotes option, go to Tools-~AutoCorrect Options..., and in the tab entitled
"AutoFormat As You Type" remove the check Irom the Iirst box, which says "Straight quotes"
with 'smart quotes.
The easiest way to combine the lyrics with the music using Word is to create a Iloating "text
box" Ior the lyrics. (This can be done Irom the "Insert" menu or by clicking the button on
the EZ toolbar) The Iollowing example oI music with a text box in Iront will appear on your
screen properly only aIter you have installed the EZ music Ionts:
_ _ q o _

_ _o q _ o
_

x
q_

_ _ o o o __

_c _o__ |: _ _

o
o
_ __ o _

o _

oc
_ e: o__q
q_
The lyrics were written using the Iont "CG Omega." In my opinion, this is an ideal Iont Ior
writing the lyrics oI Byzantine music because the letters are compact without looking scrunched.
Using a compact Iont is especially crucial when syllables with many letters need to Iit beneath a
single note. It is also a "sans seriI" Iont, which some people Iind easier to read. II you plan on
using this Iont Ior your music, I recommend using our "EZ Omega" version oI the Iont instead,
4
A - rise, O____ God, judge___________ the___________ earth;_____
for____ Thou shalt__ have an____ in - her - it - - - - ance a -
mong_____ all___________ the____ na - - - - - - tions.___
which is included in this Iont package, because our version has two subtle advantages.
*

In order to make the text box to "Iloat" over the other text, double-click on the boundary oI
the text box, and then in the layout tab, select "In Iront oI text". Also, in the "Color and Lines"
tab, you must select "No Fill" Ior the Iill color and "No Line" Ior the line color.
In order to make successive lines oI the text box take up the same amount oI space as
successive lines in the music, Iollow the Iollowing steps:
1. Place the cursor in the text box, and then Irom the "Format" menu, select
"Paragraph..." In the "Line Spacing" drop-down menu, select "Exactly" and in the
"At:" drop-down menu beside it, enter the number "60"
2. Place the cursor somewhere in the music, and also make the line spacing "Exactly 60"
Instead oI doing these steps manually each time, you can save time by simply pressing the
button on the toolbar.
(In order to get your cursor "behind" the text box so that you can edit the music, move the
mouse to the margin outside the text box, and then click the leIt button oI the mouse. Then,
navigate through the music with the arrow keys. Or another way is to make the text box Iloat
behind the music when you want to edit the music. To do so, right-click on the border oI the text
box, select "Format Text Box..." and then in the layout tab, select "Behind text.")
W012I23: Some versions oI MicrosoIt Word Ior Windows have a bug that make the
program crash when you try to create a text box. The way around this problem is Iirst to select
the text you want to put in the text box, and then (with that text still selected) create the text box.
c) "o!!on ty#ing !istakes
The most common mistake people make with this Iont package is to type two separate
*
In particular, our version oI the "CG Omega" Iont (which is named "EZ Omega") has the Iollowing two
advantages:
1) With our version oI the Iont, you can type a "third-space" character (i.e., a space that is about one-third the
width oI a regular space) by typing the key combination: CTRL-ALT-/ Normally this keystroke would create an
italic "I" (]). On a Mac the keystroke is In-command-; Using a third-space character is especially helpIul iI you are
a perIectionist and you want the words oI the lyrics to be precisely aligned with the notes they are beneath.
2) Our version also has a third-width "low line" (the "" character). The "low line" character is what should be
used in the lyrics Ior word extensions (i.e., the line placed aIter the Iinal syllable in a word when that syllable is held
Ior more than one note). Having a third-width "low line" character is helpIul Ior perIectionists that want the end oI a
word extension to be perIectly aligned with the end oI a note. To type this third-width "low line" character in our EZ
Omega Iont, you need to press the combination: CTRL-ALT-. (control-alt-period). Normally this keystroke would
create a capital "I" with a grave accent above it (I). On a Mac the keystroke is option-I The width oI this "third-
width" character is approximately one-third the width oI the regular "low line" character.
5
characters instead oI a single character that is the combination they want. For example, instead oI
typing the hyphen key Ior an yporroe with a gorgon, they will type the ")" key (an yporroe)
Iollowed by the "S" key (a gorgon). Likewise, they might be unaware oI the "l" key which is the
combination: oligon-kentemata-gorgon, and try to create this combo with two separate
characters. The way to avoid making this mistake is to take a careIul look at the character tables
so that you become Iamiliar with what special combinations exist as a single keystroke.
The other common mistake people make is to be unaware that there is more than one version
oI some characters. For example, there are Iour diIIerent keystrokes Ior writing a klasma: A, a,
Z, and z. "A" is the klasma that aligns well above an apostrophos, "a" is aligns well with most
other neumes, "z" is when you want the klasma beneath the neume, and "Z" is when you want
the klasma above the oligon in a jump oI Iour. These Iour klasmas were probably selI-evident to
you when you saw the character tables, but many people overlook the two options that exist Ior
the syndesmos, antikenoma, and omalon. The omalon can be either a "" or a "|" , the
antikenoma can be either a "}" or a " , and the syndesmos can be either a "|" in EZ Psaltica or a
"\" in EZ Special-II. (back to top)
%) Ho to &se the Macros
There are thirteen macros that Iix up the music in documents written with the "EZ" music
Ionts:
4utton on
)oolbar
Macro 2a!e (eyboard
Shortcut
5unction
MoveUp CTRL-ALT-u shiIts selected characters up
MoveDown CTRL-ALT-m shiIts selected characters down
MoveLeIt CTRL-ALT-h shiIts a selected character to the leIt
without changing the position oI the
characters beIore and aIter it
MoveRight CTRL-ALT-k shiIts a selected character to the right
without changing the position oI the
characters beIore and aIter it
JustiIy CTRL-SHIFT-5 makes the right edge oI the music
justiIied, i.e., the same distance Irom the
edge oI the paper
PolishNotes CTRL-SHIFT-1 automatically adjusts the relative
positions oI neumes so that they are
aligned better
6
MakeNotesRed CTRL-SHIFT-2 makes red all gorgons, martyrias, ison
symbols, etc.
ExpandLine CTRL-SHIFT-6 increases the spacing between neumes in
the line where the cursor is.
CompressLine CTRL-SHIFT-7 decreases the spacing between neumes in
the line where the cursor is.
MakeIsonBlue CTRL-SHIFT-3 makes all ison symbols blue
MakeIsonGreen CTRL-SHIFT-4 makes all ison symbols greeen
Insert Text Box inserts a text box Ior the lyrics
Format Text Box Iormats a text box

The macros "MoveLeIt", "MoveRight", "MoveUp", and "MoveDown" shiIt the selected
character(s) in the given direction, without changing the position oI the notes around it. The way
the "MoveLeIt" macro works is by condensing the spacing oI the previous character and
expanding the spacing oI the selected character. This makes the characters beIore and aIter the
selected character remain in the same place, while the selected character is shiIted to the leIt.
Similarly, the "MoveRight" macro works by doing the opposite: it expands the spacing oI the
previous character, and condenses the spacing oI the selected character.
W012I23: The macros "MoveLeIt", "MoveRight", "MoveUp", and "MoveDown" should
not be run until you have typed in all the music and run the "PolishNotes" macro, because these
two macros will undo any manual positioning you may have done by using those Iour macros.
So in the event that beIore you have Iinished typing in all the music you see some notes that you
think will not be automatically Iixed by the "PolishNotes" macro and thus will need to be
adjusted manually by using these "MoveLeIt", "MoveRight", etc. macros, I suggest that you
merely highlight these notes temporarily until you have Iinished writing all the music and have
run the "Polish Notes" macro, and then you can easily go back and see iI the notes you
highlighted still need to be Iixed.
Since most oI the backstrike characters have a width oI zero or almost zero, it is almost
impossible to select a single backstrike character by using only the mouse. So iI you need to
select a single backstrike character (in order to adjust its position), the easiest way to do so is by
using the arrows keys on your keyboard.
7
Bear in mind that the macros "MoveLeIt", "MoveRight", "MoveUp", and "MoveDown"
adjust the character attributes oI the selected character. So iI you continue typing music with the
cursor immediately to the right oI a character that has been adjusted, Ior example, down by 2
points or condensed by 3 points, all the new characters you type in will also be adjusted down by
2 points or condensed by 3 points (in other words, too high and scrunched together). Likewise,
the "PolishNotes" macro sometimes raise or condense characters in order to align them properly.
So the same problem can occur iI you insert the cursor aIter a character adjusted by this macro
and then continue typing in music. This is why it is advisable to run these macros only AFTER
you have completed typing in all the music.
UnIortunately, the "MoveRight" macro does not work well on backstrike characters (i.e.,
characters that do not shiIt the cursor to the right), because Word thinks that these characters are
already as condensed as they can be. For the same reason, the "MoveLeIt" macro does not work
well on a character preceded by a backstrike character. So what this means is that iI you have, Ior
example the Iollowing symbols:
o_
in the order: Oligon, Klasma, Isokratema
you will not be able use the "MoveLeIt" macro to shiIt the isokratema to the leIt, since it is
preceded by the klasma, which is a backstrike character. However, iI you typed the sequence:
_o
in the order: Oligon, Isokratema, Klasma
you can use the "MoveLeIt" macro to shiIt the isokratema to the leIt, since it is now preceded
by a character that does not have a width oI zero.
The "JustiIy" macro replaces all the spaces you inserted between notes (written with the "EZ
Psaltica" Iont) with a blank space using the Tahoma Iont, with the Iont size set to 1. The reason
why this is helpIul is because the spaces in the "EZ" Ionts are considered as characters by your
computer, which means you won't be able to have the music Iorced-justiIied unless these spaces
are replaced with spaces oI a standard Iont. Note that with this latest version oI the Iont package,
iI you didn't insert blank spaces between every note (as mentioned in part 2), this macro will
insert them Ior you. Important: Since this macro will shiIt the horizontal position oI the notes,
8
you will need to re-align the lyrics with the notes iI you had already entered the lyrics. For this
reason, it is advisable to enter the lyrics only AFTER you run this "JustiIy" macro. No harm is
done iI you run this macro more than once in the same document.
The "PolishNotes" macro polishes the relative note positions so that things look cleaner. It
works by running the invisible subroutines "PolishNotes1", "PolishNotes1b", "PolishNotes2",
and "PolishNotes2b". The reason why they were not combined into one big macro was because
they exceeded the maximum number oI lines oI code that Word's compiler could handle in a
single macro. The "PolishNotes" macro lowers all the martyries, shiIts the klasma beneath a
petaste to its proper position (i.e., to the right and slighty lower), moves the kentemata to the leIt
when they collide with a pseIeston beneath an oligon, and does dozens oI other subtle alterations.
II you run this macro without having selected a part oI your music, it will polish the notes in your
entire document. But iI you select a particular section oI your music and then run this macro, it
will only aIIect the music you have selected. (When you do so, you will be asked iI you want to
save changes to a blank Word document that this macro created as a notepad. Your answer
should be "No.") W012I23: Even though this macro may be run more than once, it is not
advisable to do so, because it might make undesirable changes to your music. So iI you have
added new notes to a document that has already been polished by this macro and you want to
polish those new notes, select those notes beIore running this macro, and this will ensure that
only those notes will be polished.
To view a list oI changes made by the "PolishNotes" macro, open the Iollowing PDF Iile:
http://www.stanthonysmonastery.org/music/ByzMusicMacros.pdI (30 Kb)
I urge you to look through this list beIore you start typing up music, because iI you are
unaware oI what changes will be done automatically, you might waste time trying to Iix things
manually that would have been taken care oI automatically by the macros.
One minor Ilaw with this "PolishNotes" macro is that iI a backstrike character is inserted
between two characters that it is looking Ior to adjust, it usually isn't smart enough to realize that
those two characters need to be adjusted. For example, iI you type the Iollowing three symbols
c_
in the order: Petaste, Isokratema, Klasma
9
the macro will not realize that you have a petaste Iollowed by a klasma, which needs no be
shiIted to the right. However, iI you typed the sequence:
c_
in the order: Petaste, Klasma, Isokratema
the macro would realize that you have a klasma Iollowing a petaste, and then it would adjust
the klasma's position so that it would appear as Iollows:
c_
It is unIortunate that this large "PolishNotes" macro can take 30 seconds (more or less,
depending on your computer's speed) to Iix three pages oI music, which is rather slow in terms
oI "computer time." But bearing in mind that doing the same thing by hand would take at least
30 minutes, I hope you will be patient with this "slow" macro.
The "MakeNotesRed" macro is an optional macro that makes all the appropriate notes red. In
particular, it changes the Iont color Ior every gorgon, digorgon, trigorgon, Ithora, elxis, tempo
mark, martyria, isokratema, and Ior all the older Byzantine music symbols (such as the isaki,
tromikon, lygisma, etc.). No harm is done iI you run this macro more than once in the same
document. However, beIore running the "MakeNotesRed" macro, you should run the
"PolishNotes" macro Iirst, because otherwise it will miss making several notes red.

The two macros "ExpandLine" and "CompressLine" increase or decrease all the spaces
between the notes in a given line. These macros will only work aIter the "JustiIy" macro has
been run. When the "JustiIy" macro is run, it will expand the spacing in all lines except the last
line. This can make the spacing between notes in the second to last line noticeably greater than
that in the last line. So by running the "ExpandLine" macro a Iew times (you must Iirst position
the cursor in the last line) you can quickly make the spacing in this line match the spacing in the
previous line. And iI you expanded the line too much, you can compress it again by running the
"CompressLine" macro. These macros are also useIul when the words in the lyrics are too wide
to Iit beneath their corresponding notes, which sometimes happens in heirmological melodies,
10
especially in English (which sometimes has syllables containing 7 or 8 letters!). Another trick Ior
expanding the spacing between notes is to insert a manual line break (SHIFT-ENTER) beIore the
second-to-last note in a line oI music. Since the music is Iorced-justiIied, Word will Iorce the
notes beIore this manual line break to Iill that entire line, thus creating more space between each
note in that line.

The macros "MakeIsonBlue" and "MakeIsonGreen" are other optional macros that make the
color oI all isokratema markings blue or green. The traditional color Ior writing the isokratema is
red (this is accomplished when the "MakeNotesRed" macro is run). But my experience has
shown that a red isokratema does not stand out very well when many other symbols in the
melody are red. So iI you would like a diIIerent color Ior your isokratema markings, you can
instantly make all oI them blue or green by running these macros. Although a blue isokratema
looks better on the screen, a green isokratema usually stands out better when printed by a color
printer. (back to top)

The other two text box buttons are Ior inserting and Iormatting a text box. As mentioned
above, using text boxes is an easy way to ensure that the vertical space between the notes and the
lyrics is constant Ior each line. The second text box button (which Iormats it) will work only iI
the cursor is placed inside the text box.
$) &sing the (eyboard Shortcuts
You can save even more time by using a keyboard shortcut to run each macro instead oI
pressing each macro's button on the toolbar. These keyboard shortcuts are listed in the chart on
page 5 oI these instructions. The keyboard shortcuts Ior the macros that manually adjust the
position oI individual symbols are especially handy Ior quickly putting notes exactly where you
want them.
There are also keyboard shortcuts to change Ionts that are not listed in that chart. They are as
Iollows:
11
4utton on
)oolbar
5ont 2a!e (eyboard
Shortcut
EZ Psaltica CTRL-SHIFT-q
EZ Fthora CTRL-SHIFT-w
EZ Special-I CTRL-SHIFT-e
EZ Special-II CTRL-SHIFT-r
EZ Oxeia CTRL-SHIFT-t
EZ Omega CTRL-SHIFT-y
I guarantee you will Iind these keyboard shortcuts to be great time-savers when you are
typing up the music. (back to top)
') )he *+ ,saltica *ditor
Thanks to Nicolae in Romania, the EZ package now comes with an auxilliary program that
allows you to enter characters by clicking on a chart on the screen with your mouse rather than
entering them with the keyboard. The advantage oI this is that a person can instantly begin
writing music without Iirst investing the time necessary to become acquainted with the keyboard
layout oI each Iont. In the long run, however, entering characters with the mouse will end up
consuming much more time than entering them with the keyboard would. This is due to the Iact
that actions with the mouse are inherently slower than actions with the keyboard. ThereIore, iI
you think you will be writing many pages oI Byzantine music, I urge you to learn how to type
the characters rather than relying on the EZ Psaltica Editor. (back to top)
-) .rder of .#erations
My experience has shown that doing things in the Iollowing order will save you the most
time:
1. Write all the music without the lyrics, highlighting any notes that you think might not be
automatically aligned by the macros.
12
2. Add the ison (optional)
3. Add vertical measure lines and "3's" and "4's" (optional)
4. Run the "PolishNotes" macro
5. Run the "MakeNotesRed" macro (optional)
6. Run the "MakeIsonBlue" or "MakeIsonGreen" macro (optional)
7. Run the "JustiIy" macro
8. Insert the initial martyria by copying the appropriate one Irom the Iile "martyrias.doc"
(which is a part oI this Iont package) and pasting it into your document.
9. Insert the drop cap
*
and adjust the indentation oI the Iirst line oI music so that it is not too
close or too Iar Irom the drop cap. II the drop cap is not a graphic, it should be inserted in its own
transparent text box that Iloats above everything else. (optional)
10. II any oI the notes you highlighted in step #1 need adjustment, remove the highlighting
and then Iine tune their position using the macros: "MoveUp", "MoveDown", "MoveLeIt", and
"MoveRight".
11. And iI you are a perIectionist, you may wish to position the cursor in the last line and run
the macro "ExpandLine" a Iew times in order to adjust the spacing between notes in this line. II
you expand it too much, you can run the "CompressLine" macro.
12. Create a text box that Iloats in Iront oI the music and type in the lyrics.
13. II you need to edit the notes later, Iirst change the lyrics' text box so that it Iloats behind
the text, and then edit the notes. (back to top)
/) 0fterord
During the past two years, several people have thought oI ways to improve the macros and
the Ionts. II you also have any suggestions or encounter any problems using them, please contact
me at: byzmusicyahoo.com and I will do my best to help you. To see iI this Iont package has
been updated since you obtained your version, check the dates at the bottom oI the Iollowing
webpage: http://www.stanthonysmonastery.org/music/ByzMusicFonts.html
the least among Hieromonks
Fr. Ephraim
*
An elaborate set oI drop caps in both color and grayscale that look sort oI like ones Iound in Byzantine
manuscripts may be downloaded Ior Iree Irom:
http://www.stanthonysmonastery.org/music /Byz DropCaps.zip (The Iile is 1.4 megabytes)
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Jan. 5, 2005 Dec. 15, 2006
P.S. I have compiled a list oI 106 rules oI orthography Ior Byzantine music notation that may
be downloaded Irom:
http://www.stanthonysmonastery.org/music /ByzOrthography.pdI (550 Kb) (English)
http://www.stanthonysmonastery.org/music /ByzOrthographyGreek.pdI (550 Kb) (Greek)
I urge you to read these rules careIully beIore you begin writing Byzantine music, because
there are many orthography rules that even experienced chanters are unaware oI.
I have also compiled several thousand Byzantine music Iormulas and posted them at:
http://www.stanthonysmonastery.org/music/Formula.html
II you are composing new melodies oI Byzantine music, you will Iind these lists or Iormulas
to be a tremendous aid that enables you to Iind exactly the right melodic phrase to match your
text (in any language), without breaking any oI the complicated Iormulaic rules oI Byzantine
music.
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