The principle of all text well composed, typographically speaking, is that

it should be possible to go with the view without the eye movement have
to be very broad. This also applies to the composition of scores. Should
not fear to use broad margins in the case of use formats like A4 or Letter.
To expand the topic we invite you to read the next treaty of typography,
and in general the other articles of the page:

Margin: For the preparation of the present score we will assume that
you will be working in a sheet of letter format (letter). To maintain the
rule that we explained above, or we can increase the margins, or the size
of the font. If you want, you can measure a printed text and apply rule of
three (including the due measurements for the size of the text). In this
case we will work with margins of 3 cm on each side.
Spacing: We will use the single spacing, except that for the line of
tetragrama, we will have a fixed size. To do this we will
Format/Paragraph tab and in the Indents and Spaces subsection Line
Spacing we activate the Fixed option and write 2,00cm. In the present
case the source Festa Dies will size 54; while the text, 12. Note in the
following illustration the change of distance between the text and the
tetragrama:
The reason for this procedure is that the source has signs in additional
lines both above and below of tetragrama. As in most of the scores are
not necessary, almost always will be required to reduce the size of the
"box" of the melodic line to one that is fixed. If you do not want to be
copying and pasting the line of tetragrama can also be saved as a class:
table style and format / New style from selection. See Figure 3

Proportion: There is a relative proportion between the text and the

tetragrama. Not any font size goes with any size of tetragrama. The rule
is simple:
The letter "O" lowercase must have the same size of a
"punctum quadratum".
From there we have chosen the size 54 in the Source Festa dies, because
for the text we will use the same of the body of this tutorial (Gentium
12).

Another aspect that cannot be overlooked is the positioning of the

syllables in respect to the neums. The general rule is that the first
vowel of the syllable is just below the first note of the neum.
Figure 3. Creation of the "class" to tetragrama

2. Capital Letters
We will use for the dropped capital letter of our score, the source
"Vatican Initials" that can be obtained from the same source page Festa
Dies:
2.1 Insert Table
Will the initial letter inside a box: insert/framework. Insert the frame to
the left, borderless, and anchored to the paragraph or page
(generlamente when I use anchored to paragraph hinders the format).
Also, by clicking with the right button on the framework, we activate the
option setting/in the background. Written once the initial letter with its
final size (see 2.3), both to the first two lines of tetragrama as to the first
two of text assign them an indent equal to the width of the text box of
the initial letter (in our case, 3.75cm); to do this we will
Format/Paragraph, in the tab "Indents and Spaces" wrote the measure
that we need in the box "Before text".

2.2 Indicators
We write "Introitus" and under "II" with the source that we are going to
use for text. Below these indications we wrote the letter "C" with the
power that we have chosen (in this case "Vatican Initials"), which in the
example has a size of 100 points. All three elements Iran centered. The
two first indications are part of their own which is going to sing and the
figure is the tone (from among the eight that has the Gregorian chant) of
the melody.

2.3 Proportion and Position

As in this case the initial letter will occupy two lines (both of melody as
text), as all initial letter, its low part must match that of the second line
of text:

Figure 4. Alignment of the initial letter with the text.

Beware that the indication of own ("Intritus" in the example) is not far
out of the limit imginario that determines the fourth top line of the first
tetragrama. Although very artisan the procedure that we recommend
then it will be easier to first write the beginning of the two tetragramas
and its texts to mark then some spaces and then insert the box and thus
to seek the appropriate proportion of the initial letter.

3.3 Construction of the Score

When using letter capital, unless the word is of three letters, the first
two are in uppercase (the first is the letter capital). If the word is three
letters, all three are in uppercase.
First line: Write the following text:
I-b-vit -os * ex di-pe frumn-ti, alle
It is worth to note that it is better to adhere to the syllabic division that
the books provide, because in Latin does not leave the words as in
Spanish. If the conditions require from the word the reader has to refer
to a Latin grammar to ensure do well; some old dictionaries bring the
words divided into syllables. We now examine the neums syllable by
syllable.
I-ba-vit: We use the source "Festa Dies A" with left alignment. First, we
wrote the key of FA in third line that is written with the character: .
From here we will make the characters between square brackets. The
syllable "I" (in reality "CI") applies the note to {to}, set up a space with
# # and wrote the following neum. The syllable "b" corresponds the
torculus do-re-do: dfd {dfd}. From here it is understood that after each
compound neume or simple continues to be a space that is written with
# #. Since according to the need can be inserted more spaces or any
small space {}. The syllable "vit" corresponds the note re {f}.
e-os: The syllable "" corresponds the torculus re-fa-re: fh6'f {F6h'f}; to
the syllable "i", the torculus do-re-do:{dfd}. On the asterisk * we wrote
the short pause: ae {AE}.

Ex adi-pe: The word "ex" corresponds the note re f {f}. The syllable
"d", the note fa h {h}; to the syllable "i", the tristropha fa-fa-fa
{hhh}.

Frumen-ti: The syllable "Fru" corresponds the note c d {D}; to the

syllable "mn", the compound neume {d5gf5gd}. Note that between
the torculus and the clivis marked a small space {}. As we stick to the
vatican edition, also marks the vertical episema {} that does not
necessarily appear in other editions. The syllable "ti" corresponds the
note with a punctum or mora {a}.
Alle: We mark a short pause {AE}. In the syllable "al" we have a podatus
liquescent; write it with the source "Festa Dies B", but the bar postponed
the write with "Festa Dies A", as follows: {6(}, where the sign is the
sidebar postponed that joins the podatus with the liquescent. The
syllable "le" is the porrectus flexus fa-mi-fa-re: {6 h'f}. Note that
between the sign and h there is a space; not checked the note fa would
fall within the porrectus, so: { 6h}. Close marking the indent or custos
that indicates the note with that begins the following system: {z}.
Finally we add the spaces or minors who have needed until you reach the
edge of the margin.

Second line. We write following text:

l-ia : et de p-tra, mlle sa-tu-r-vit -os, al

lu-ia: We wrote the clef {}. In "Lu" we have a torculus re-mi-re with
delayed episema {&f&g&f} where & is the character to write the
episema. As has already been made clear the basic procedure we recall
some guidelines for all clothing of neumas and scores in general:
1. Sometimes it would be necessary to resort to the source "Festa Dies
B" (see Manual of the source).
2. As needed will be marked or no spaces to superimpose symbols. For
example: fYh} is different from {fY h} by the space between the "Y" and
"h". {6 h} is different from {6h} but both cases were prepared with
the same characters.

3. In neums like clivis, climacus podatus, it is necessary to resort to bars

(envelopes), either to the left or to the right or on both sides of the
punctum quadratum. For aesthetic reasons (which is not superimposed
but that fits in with the punctum quadratum) got two sets of envelopes,
some prepended (to the left of the punctum) and other postponed (to the
right). For use please consult the manual of the source. In {6h'f} "6" and
"" are the same bar but should never be used by reversing the laterality
for which they were designed. Note the reader of near: the first and the
second not correct: {6h'f} {'h6f}.
4. It takes a lot of attention to transcribe. You must dial space large or
small as this affects the interpretation rhythmic. Please refer to the
effect the manuals of liturgy and music theory.
5. Trying to be faithful to the original, the necessary spaces will be
added until you reach the edge of the right margin. Though not always
accurate, the difference is not noticeable when printed.