Merge remote branch 'origin/master' into release/unstable

[lilypond.git] / Documentation / notation / vocal.itely

diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely
index 265374eb47012c00705ff227d9ebd20a7bb0ea39..013fabfd9b17b804d5a3be7d6b058c28f2bfb0ef 100644 (file)
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
     Guide, node Updating translation committishes..
 @end ignore
 

-@c \version "2.14.0"
+@c \version "2.19.2"

 
 @node Vocal music
 @section Vocal music
 
 @node Vocal music
 @section Vocal music


@@ -149,25 +149,6 @@ compile.  Instead, braces should always be surrounded with white space:
 \lyricmode @{ lah lah lah @}
 @end example
 
 \lyricmode @{ lah lah lah @}
 @end example
 

-@cindex overrides in lyric mode
-@funindex \override in \lyricmode
-
-Similarly, in lyric mode, a period will be included in the
-alphabetic sequence that it follows.  As a consequence, spaces
-must be inserted around the period in @code{\override} commands.
-Do @emph{not} write
-
-@example
-\override Score.LyricText #'font-shape = #'italic
-@end example
-
-@noindent
-but instead use
-
-@example
-\override Score . LyricText #'font-shape = #'italic
-@end example
-

 Punctuation, lyrics with accented characters, characters from
 non-English languages, or special characters (such as the heart
 symbol or slanted quotes), may simply be inserted directly
 Punctuation, lyrics with accented characters, characters from
 non-English languages, or special characters (such as the heart
 symbol or slanted quotes), may simply be inserted directly


@@ -175,7 +156,7 @@ into the input file, providing it is saved with UTF-8 encoding.
 For more information, see @ref{Special characters}.
 
 @lilypond[quote,verbatim]
 For more information, see @ref{Special characters}.
 
 @lilypond[quote,verbatim]

-\relative c'' { d8 c16 a bes8 f e' d c4 }
+\relative c'' { d8 c16 a bes8 f ees' d c4 }

 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 @end lilypond
 
 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
 @end lilypond
 


@@ -237,13 +218,22 @@ Snippets:
 @funindex \addlyrics
 @funindex \lyricsto
 
 @funindex \addlyrics
 @funindex \lyricsto
 

-Lyrics are printed by interpreting them in the context called
-@code{Lyrics}, see @ref{Contexts explained}.
+Lyrics are interpreted in @code{\lyricmode} and printed in a
+@code{Lyrics} context, see @ref{Contexts explained}.

 
 @example
 \new Lyrics \lyricmode @{ @dots{} @}
 @end example
 
 
 @example
 \new Lyrics \lyricmode @{ @dots{} @}
 @end example
 

+Two variants of @code{\lyricmode} additionally set an associated
+context used to synchronise the lyric syllables to music.  The more
+convenient @code{\addlyrics} immediately follows the musical content
+of the Voice context with which it should be synchronised, implicitly
+creating a Lyrics context of its own.  The more versatile
+@code{\lyricsto} requires both specifying the associated Voice context
+by name and explicitly creating a containing Lyrics context.  For
+details see @ref{Automatic syllable durations}.
+

 Lyrics can be aligned with melodies in two main ways:
 
 @itemize
 Lyrics can be aligned with melodies in two main ways:
 
 @itemize


@@ -328,11 +318,6 @@ see @ref{Manual syllable durations}.  This technique is also useful
 when setting dialogue over music; for examples showing this, see
 @ref{Dialogue over music}.
 
 when setting dialogue over music; for examples showing this, see
 @ref{Dialogue over music}.
 

-When entered in this way the words are left-aligned to the notes
-by default, but may be center-aligned to the notes of a melody by
-specifying an associated voice, if one exists.  For details, see
-@ref{Manual syllable durations}.
-

 @end itemize
 
 @seealso
 @end itemize
 
 @seealso


@@ -402,7 +387,7 @@ the named Voice context containing the melody with
 @lilypond[quote,verbatim,relative=2]
 <<
   \new Voice = "melody" {
 @lilypond[quote,verbatim,relative=2]
 <<
   \new Voice = "melody" {

-    a4 a a a
+    a1 a4. a8 a2

   }
   \new Lyrics \lyricsto "melody" {
     These are the words
   }
   \new Lyrics \lyricsto "melody" {
     These are the words


@@ -416,9 +401,9 @@ context, which must already exist.  Therefore normally the
 @code{Voice} context is specified first, followed by the
 @code{Lyrics} context.  The lyrics themselves follow the
 @code{\lyricsto} command.  The @code{\lyricsto} command
 @code{Voice} context is specified first, followed by the
 @code{Lyrics} context.  The lyrics themselves follow the
 @code{\lyricsto} command.  The @code{\lyricsto} command

-invokes lyric mode automatically, so the @code{\lyricmode} keyword
-may be omitted.  By default, the lyrics are placed underneath the
-notes.  For other placements, see @ref{Placing lyrics vertically}.
+invokes lyric mode automatically.  By default, the lyrics are placed
+underneath the notes.  For other placements, see
+@ref{Placing lyrics vertically}.

 
 @subheading Using @code{\addlyrics}
 
 
 @subheading Using @code{\addlyrics}
 


@@ -467,6 +452,7 @@ More stanzas can be added by adding more
 @end lilypond
 
 The command @code{\addlyrics} cannot handle polyphonic settings.
 @end lilypond
 
 The command @code{\addlyrics} cannot handle polyphonic settings.

+Also, it cannot be used to associate lyrics to a @code{TabVoice}.

 For these cases one should use @code{\lyricsto}.
 
 @subheading Using associatedVoice
 For these cases one should use @code{\lyricsto}.
 
 @subheading Using associatedVoice


@@ -527,8 +513,7 @@ completely independently of notes.  In this case do not use
 but with pitches replaced by text -- and the duration of each
 syllable is entered explicitly after the syllable.
 
 but with pitches replaced by text -- and the duration of each
 syllable is entered explicitly after the syllable.
 

-By default, syllables will be left-aligned to the corresponding
-musical moment.  Hyphenated lines may be drawn between syllables
+Hyphenated lines may be drawn between syllables

 as usual, but extender lines cannot be drawn when there is no
 associated voice.
 
 as usual, but extender lines cannot be drawn when there is no
 associated voice.
 


@@ -537,11 +522,10 @@ Here are two examples:
 @lilypond[relative=1,verbatim,quote]
 <<
   \new Voice = "melody" {
 @lilypond[relative=1,verbatim,quote]
 <<
   \new Voice = "melody" {

-    \time 3/4
-    c2 e4 g2 f
+    c'2 a f f e e

   }
   \new Lyrics \lyricmode {
   }
   \new Lyrics \lyricmode {

-    play1 the4 game4
+    c4. -- a -- f -- f -- e2. -- e

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -572,27 +556,22 @@ Here are two examples:
 This technique is useful when writing dialogue over music, see
 @ref{Dialogue over music}.
 
 This technique is useful when writing dialogue over music, see
 @ref{Dialogue over music}.
 

-To center-align syllables on the notes at the corresponding musical
-moments, set @code{associatedVoice} to the name of the Voice context
-containing those notes.  When @code{associatedVoice} is set, both
-double hyphens and double underscores can be used to draw
-hyphenated lines and extenders under melismata correctly.
+To change syllable alignment, simply override the @code{self-alignment-X}
+property:

 
 @lilypond[relative=1,verbatim,quote]
 <<
   \new Voice = "melody" {
     \time 3/4
 
 @lilypond[relative=1,verbatim,quote]
 <<
   \new Voice = "melody" {
     \time 3/4

-    c2 e4 g f g
+    c2 e4 g2 f

   }
   \new Lyrics \lyricmode {
   }
   \new Lyrics \lyricmode {

-    \set associatedVoice = #"melody"
-    play2 the4 game2. __
+    \override LyricText.self-alignment-X = #LEFT
+    play1 a4 game4

   }
 >>
 @end lilypond
 
   }
 >>
 @end lilypond
 

-@c TODO see also feature request 707 - show how to do this with manual durations
-

 @seealso
 Notation Reference:
 @ref{Dialogue over music}.
 @seealso
 Notation Reference:
 @ref{Dialogue over music}.


@@ -615,11 +594,16 @@ spaces between the syllables, you can surround the phrase with
 quotes or use a @code{_} character.  Alternatively, you can use
 the tilde symbol (@code{~}) to get a lyric tie.
 
 quotes or use a @code{_} character.  Alternatively, you can use
 the tilde symbol (@code{~}) to get a lyric tie.
 

-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,ragged-right,verbatim,relative=2]

 {
 {

-  \relative c'' { \autoBeamOff
-    r8 b c fis, fis c' b e, }
-  \addlyrics { Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da }
+  { \autoBeamOff
+    r8 b c fis, fis c' b e,
+  }
+  \addlyrics
+  {
+    \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
+    Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
+  }

   \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
   \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
 }
   \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
   \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
 }


@@ -639,12 +623,12 @@ Internals Reference:
 @funindex \melisma
 @funindex \melismaEnd
 
 @funindex \melisma
 @funindex \melismaEnd
 

-Sometimes, particularly in Medieval music, several notes are to be
-sung on one syllable; such vocalises are called melismata, or
-@rglos{melisma}s.  The syllable to a melisma is usually
+Sometimes, particularly in Medieval and baroque music, several notes are
+sung on one syllable; this is called melisma, see
+@rglos{melisma}.  The syllable to a melisma is usually

 left-aligned with the first note of the melisma.
 
 left-aligned with the first note of the melisma.
 

-When a melisma occurs on a syllable other that the last one in a
+When a melisma occurs on a syllable other than the last one in a

 word, that syllable is usually joined to the following one with a
 hyphenated line.  This is indicated by placing a double hyphen,
 @w{@code{--}}, immediately after the syllable.
 word, that syllable is usually joined to the following one with a
 hyphenated line.  This is indicated by placing a double hyphen,
 @w{@code{--}}, immediately after the syllable.


@@ -667,8 +651,8 @@ together:
   \new Voice = "melody" {
     \time 3/4
     f4 g2 ~ |
   \new Voice = "melody" {
     \time 3/4
     f4 g2 ~ |

-    g4 e2 ~ |
-    e8
+    4 e2 ~ |
+    8

   }
   \new Lyrics \lyricsto "melody" {
     Ky -- ri -- e __
   }
   \new Lyrics \lyricsto "melody" {
     Ky -- ri -- e __


@@ -768,7 +752,7 @@ without their indicating melismata.  To do this, set
     \time 3/4
     \set melismaBusyProperties = #'()
     c4 d ( e )
     \time 3/4
     \set melismaBusyProperties = #'()
     c4 d ( e )

-    g8 [ f ] f4 ~ f
+    g8 [ f ] f4 ~ 4

   }
   \new Lyrics \lyricsto "melody" {
     Ky -- ri -- e e -- le -- i -- son
   }
   \new Lyrics \lyricsto "melody" {
     Ky -- ri -- e e -- le -- i -- son


@@ -796,7 +780,7 @@ should be included in the melisma:
     \time 3/4
     \set melismaBusyProperties = #'()
     c4 d ( e )
     \time 3/4
     \set melismaBusyProperties = #'()
     c4 d ( e )

-    g8 [ f ] ~ f4 ~ f
+    g8 [ f ] ~ 4 ~ f

   }
   \new Lyrics \lyricsto "melody" {
     Ky -- ri -- _ e __ _ _ _
   }
   \new Lyrics \lyricsto "melody" {
     Ky -- ri -- _ e __ _ _ _


@@ -886,6 +870,7 @@ Internals Reference:
 * Placing syllables horizontally::
 * Lyrics and repeats::
 * Divisi lyrics::
 * Placing syllables horizontally::
 * Lyrics and repeats::
 * Divisi lyrics::

+* Polyphony with shared lyrics::

 @end menu
 
 
 @end menu
 
 


@@ -1033,7 +1018,7 @@ follows:
   <<
     \new Lyrics = "lyrics" \with {
       % lyrics above a staff should have this override
   <<
     \new Lyrics = "lyrics" \with {
       % lyrics above a staff should have this override

-      \override VerticalAxisGroup #'staff-affinity = #DOWN
+      \override VerticalAxisGroup.staff-affinity = #DOWN

     }
     \new Staff {
       \new Voice = "melody" {
     }
     \new Staff {
       \new Voice = "melody" {


@@ -1064,7 +1049,7 @@ is an example of the second method:
     \new Lyrics = "sopranos"
     \new Lyrics = "contraltos" \with {
       % lyrics above a staff should have this override
     \new Lyrics = "sopranos"
     \new Lyrics = "contraltos" \with {
       % lyrics above a staff should have this override

-      \override VerticalAxisGroup #'staff-affinity = #DOWN
+      \override VerticalAxisGroup.staff-affinity = #DOWN

     }
     \new Staff {
       \new Voice = "contraltos" {
     }
     \new Staff {
       \new Voice = "contraltos" {


@@ -1086,8 +1071,8 @@ is an example of the second method:
 @end lilypond
 
 Other combinations of lyrics and staves may be generated by
 @end lilypond
 
 Other combinations of lyrics and staves may be generated by

-elaborating these examples, or by examining the
-@rlearning{Vocal ensembles} templates in the Learning Manual.
+elaborating these examples, or by examining the templates in the
+Learning Manual, see @rlearning{Vocal ensembles templates}.

 
 @snippets
 @lilypondfile[verbatim,quote,texidoc,doctitle]
 
 @snippets
 @lilypondfile[verbatim,quote,texidoc,doctitle]


@@ -1095,11 +1080,11 @@ elaborating these examples, or by examining the
 
 @seealso
 Learning Manual:
 
 @seealso
 Learning Manual:

-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.

 
 Notation Reference:
 @ref{Context layout order},
 
 Notation Reference:
 @ref{Context layout order},

-@ref{Creating contexts}.
+@ref{Creating and referencing contexts}.

 
 
 @node Placing syllables horizontally
 
 
 @node Placing syllables horizontally


@@ -1114,7 +1099,7 @@ To increase the spacing between lyrics, set the
 @lilypond[relative=1,verbatim,quote,ragged-right]
 {
   c c c c
 @lilypond[relative=1,verbatim,quote,ragged-right]
 {
   c c c c

-  \override Lyrics.LyricSpace #'minimum-distance = #1.0
+  \override Lyrics.LyricSpace.minimum-distance = #1.0

   c c c c
 }
 \addlyrics {
   c c c c
 }
 \addlyrics {


@@ -1140,7 +1125,7 @@ To make this change for all lyrics in the score, set the property in the
   \layout {
     \context {
       \Lyrics
   \layout {
     \context {
       \Lyrics

-      \override LyricSpace #'minimum-distance = #1.0
+      \override LyricSpace.minimum-distance = #1.0

     }
   }
 }
     }
   }
 }


@@ -1157,7 +1142,7 @@ requires additional calculations.  To speed up processing slightly, this
 feature can be disabled:
 
 @example
 feature can be disabled:
 
 @example

-\override Score.PaperColumn #'keep-inside-line = ##f
+\override Score.PaperColumn.keep-inside-line = ##f

 @end example
 
 To make lyrics avoid bar lines as well, use
 @end example
 
 To make lyrics avoid bar lines as well, use


@@ -1168,7 +1153,7 @@ To make lyrics avoid bar lines as well, use
     \Lyrics
       \consists "Bar_engraver"
       \consists "Separating_line_group_engraver"
     \Lyrics
       \consists "Bar_engraver"
       \consists "Separating_line_group_engraver"

-      \override BarLine #'transparent = ##t
+      \hide BarLine

   @}
 @}
 @end example
   @}
 @}
 @end example


@@ -1647,6 +1632,106 @@ attaching lyrics to those specific contexts:
 }
 @end lilypond
 
 }
 @end lilypond
 

+It is common in choral music to have a voice part split for
+several measures.  The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
+construct, where the two (or more) musical expressions are
+separated by double backslashes, might seem the proper way to
+set the split voices.  This construct, however, will assign
+@strong{all} the expressions within it to @strong{NEW Voice
+contexts} which will result in @emph{no lyrics} being set for
+them since the lyrics will be set to the original voice context
+-- not, typically, what one wants.  The temporary polyphonic
+passage is the proper construct to use, see section
+@emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
+
+
+@node Polyphony with shared lyrics
+@unnumberedsubsubsec Polyphony with shared lyrics
+
+@cindex NullVoice
+@cindex polyphony, shared lyrics
+@cindex lyrics, shared among voices
+@cindex \partcombine and lyrics
+@funindex \partcombine
+
+When two voices with different rhythms share the same lyrics,
+aligning the lyrics to one of the voices may lead to problems in
+the other voice.  For example, the second lyric extender below is
+too short, since the lyrics are aligned only to the top voice:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+alto = \relative { g'2 b8( a g a) }
+words = \lyricmode { la __ la __ }
+
+\new Staff <<
+  \new Voice = "sopranoVoice" { \voiceOne \soprano }
+  \new Voice { \voiceTwo \alto }
+  \new Lyrics \lyricsto "sopranoVoice" \words
+>>
+@end lilypond
+
+To get the desired result, align the lyrics to a new
+@code{NullVoice} context containing a suitable combination of the
+two voices.  The notes of the @code{NullVoice} context do not
+appear on the printed page, but can be used to align the lyrics
+appropriately:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+alto = \relative { g'2 b8( a g a) }
+aligner = \relative { b'8( c d c) b( a g a) }
+words = \lyricmode { la __ la __ }
+
+\new Staff <<
+  \new Voice { \voiceOne \soprano }
+  \new Voice { \voiceTwo \alto }
+  \new NullVoice = "aligner" \aligner
+  \new Lyrics \lyricsto "aligner" \words
+>>
+@end lilypond
+
+This method also can be used with the @code{\partcombine}
+function, which does not allow lyrics on its own:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+alto = \relative { g'2 b8( a g a) }
+aligner = \relative { b'8( c d c) b( a g a) }
+words = \lyricmode { la __ la __ }
+
+\new Staff <<
+  \new Voice \partcombine \soprano \alto
+  \new NullVoice = "aligner" \aligner
+  \new Lyrics \lyricsto "aligner" \words
+>>
+@end lilypond
+
+@knownissues
+The @code{\addLyrics} function only works with @code{Voice} lyrics
+and so cannot be used with @code{NullVoice}.
+
+@noindent
+The @code{\partcombine} function is described in
+@ref{Automatic part combining}.
+
+Lastly, this method can be used even when the voices are in
+different staves, and is not limited to only two voices:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+altoOne = \relative { g'2 b8( a b4) }
+altoTwo = \relative { d'2 g4( fis8 g) }
+aligner = \relative { b'8( c d c) d( d d d) }
+words = \lyricmode { la __ la __ }
+
+\new ChoirStaff <<
+  \new Staff \soprano
+  \new NullVoice = "aligner" \aligner
+  \new Lyrics \lyricsto "aligner" \words
+  \new Staff \partcombine \altoOne \altoTwo
+>>
+@end lilypond

 
 @node Stanzas
 @subsection Stanzas
 
 @node Stanzas
 @subsection Stanzas


@@ -1820,7 +1905,7 @@ changed:
 <<
   \new Voice = melody \relative c' {
     f4 \appoggiatura a32 b4
 <<
   \new Voice = melody \relative c' {
     f4 \appoggiatura a32 b4

-    \grace { f16[ a16] } b2
+    \grace { f16 a16 } b2

     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
     \acciaccatura a8 b4
     \afterGrace b2 { f16[ a16] }
     \appoggiatura a32 b4
     \acciaccatura a8 b4


@@ -1849,7 +1934,7 @@ block:
 @lilypond[verbatim,ragged-right,quote]
 <<
   \new Voice = melody \relative c' {
 @lilypond[verbatim,ragged-right,quote]
 <<
   \new Voice = melody \relative c' {

-    \grace { c16[( d e f] }
+    \grace { c16( d e f }

     g1) f
   }
   \new Lyrics \with { includeGraceNotes = ##t }
     g1) f
   }
   \new Lyrics \with { includeGraceNotes = ##t }


@@ -1876,9 +1961,9 @@ within the lyrics by setting the @code{associatedVoice} property:
     <<
       \new Voice = "alternative" {
         \voiceOne
     <<
       \new Voice = "alternative" {
         \voiceOne

-        \times 2/3 {
+        \tuplet 3/2 {

           % show associations clearly.
           % show associations clearly.

-          \override NoteColumn #'force-hshift = #-3
+          \override NoteColumn.force-hshift = #-3

           f8 f g
         }
       }
           f8 f g
         }
       }


@@ -2016,7 +2101,7 @@ text = \lyricmode {
           "It has two lines."
         }
       }
           "It has two lines."
         }
       }

-      \vspace #0.1 % adds vertical spacing between verses
+      \combine \null \vspace #0.1 % adds vertical spacing between verses

       \line { \bold "3."
         \column {
           "This is verse three."
       \line { \bold "3."
         \column {
           "This is verse three."


@@ -2032,7 +2117,7 @@ text = \lyricmode {
           "It has two lines."
         }
       }
           "It has two lines."
         }
       }

-      \vspace #0.1 % adds vertical spacing between verses
+      \combine \null \vspace #0.1 % adds vertical spacing between verses

       \line { \bold "5."
         \column {
           "This is verse five."
       \line { \bold "5."
         \column {
           "This is verse five."


@@ -2161,8 +2246,8 @@ etc.
 Choral music is usually notated on two, three or four staves within
 a @code{ChoirStaff} group.  Accompaniment, if required, is placed
 beneath in a @code{PianoStaff} group, which is usually reduced in
 Choral music is usually notated on two, three or four staves within
 a @code{ChoirStaff} group.  Accompaniment, if required, is placed
 beneath in a @code{PianoStaff} group, which is usually reduced in

-size for @emph{a capella} choral works.  The notes for each vocal
-part are placed in a @code{Voice} context, with each staff
+size for rehearsal of @emph{a cappella} choral works.  The notes for
+each vocal part are placed in a @code{Voice} context, with each staff

 being given either a single vocal part (i.e., one @code{Voice}) or
 a pair of vocal parts (i.e., two @code{Voice}s).
 
 being given either a single vocal part (i.e., one @code{Voice}) or
 a pair of vocal parts (i.e., two @code{Voice}s).
 


@@ -2177,11 +2262,13 @@ Several common topics in choral music are described fully elsewhere:
 @item
 An introduction to creating an SATB vocal score can be found in
 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
 @item
 An introduction to creating an SATB vocal score can be found in
 the Learning Manual, see @rlearning{Four-part SATB vocal score}.

+There is also a built-in template which simplifies the entry of
+SATB vocal music, see @rlearning{Built-in templates}.

 
 @item
 Several templates suitable for various styles of choral music can
 also be found in the Learning Manual, see
 
 @item
 Several templates suitable for various styles of choral music can
 also be found in the Learning Manual, see

-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.

 
 @item
 For information about @code{ChoirStaff} and @code{PianoStaff} see
 
 @item
 For information about @code{ChoirStaff} and @code{PianoStaff} see


@@ -2197,6 +2284,11 @@ the higher part will be directed up and those of the lower part
 down.  To do this, use @code{\voiceOne} and @code{\voiceTwo}.  See
 @ref{Single-staff polyphony}.
 
 down.  To do this, use @code{\voiceOne} and @code{\voiceTwo}.  See
 @ref{Single-staff polyphony}.
 

+@item
+When a vocal part temporarily splits, you should use
+@emph{Temporary polyphonic passages}
+(see @ref{Single-staff polyphony}).
+

 @end itemize
 
 @predefined
 @end itemize
 
 @predefined


@@ -2207,7 +2299,7 @@ down.  To do this, use @code{\voiceOne} and @code{\voiceTwo}.  See
 @seealso
 Learning Manual:
 @rlearning{Four-part SATB vocal score},
 @seealso
 Learning Manual:
 @rlearning{Four-part SATB vocal score},

-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.

 
 Notation Reference:
 @ref{Context layout order},
 
 Notation Reference:
 @ref{Context layout order},


@@ -2287,8 +2379,8 @@ above their respective staves, as shown here:
   \layout {
     \context {
       \Score
   \layout {
     \context {
       \Score

-      \override DynamicText #'direction = #UP
-      \override DynamicLineSpanner #'direction = #UP
+      \override DynamicText.direction = #UP
+      \override DynamicLineSpanner.direction = #UP

     }
   }
 }
     }
   }
 }


@@ -2306,7 +2398,7 @@ Notation Reference:
 @ref{Score layout},
 @ref{Separating systems},
 @ref{Setting the staff size},
 @ref{Score layout},
 @ref{Separating systems},
 @ref{Setting the staff size},

-@ref{Using an extra voice for breaks},
+@ref{Breaks},

 @ref{Vertical spacing}.
 
 Internals Reference:
 @ref{Vertical spacing}.
 
 Internals Reference:


@@ -2489,52 +2581,43 @@ c4^\markup \fontsize #1 \smallCaps Kaspar
 c c c
 @end lilypond
 
 c c c
 @end lilypond
 

-Alternatively, if there are many character changes, it may be
-easier to set up @qq{instrument} definitions for each character at
-the top level so that @code{\instrumentSwitch} can be used to
-indicate each change.
+Alternatively, if there are many character changes, it may be easier
+to set up variables to hold the definitions for each character so
+that the switch of characters can be indicated easily and concisely.

 
 @lilypond[quote,verbatim]
 
 @lilypond[quote,verbatim]

-\addInstrumentDefinition #"kaspar"
-  #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
-     (shortInstrumentName . "Kas.")
-     (clefGlyph . "clefs.G")
-     (clefOctavation . -7)
-     (middleCPosition . 1)
-     (clefPosition . -2)
-     (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
-     (midiInstrument . "voice oohs"))
-
-\addInstrumentDefinition #"melchior"
-  #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
-     (shortInstrumentName . "Mel.")
-     (clefGlyph . "clefs.F")
-     (clefOctavation . 0)
-     (middleCPosition . 6)
-     (clefPosition . 2)
-     (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
-     (midiInstrument . "voice aahs"))
+kaspar = {
+  \clef "G_8"
+  \set Staff.shortVocalName = "Kas."
+  \set Staff.midiInstrument = "voice oohs"
+  <>^\markup \smallCaps "Kaspar"
+}
+
+melchior = {
+  \clef "bass"
+  \set Staff.shortVocalName = "Mel."
+  \set Staff.midiInstrument = "choir aahs"
+  <>^\markup \smallCaps "Melchior"
+}

 
 \relative c' {
 
 \relative c' {

-  \instrumentSwitch "kaspar"
+  \kaspar

   c4 c c c
   c4 c c c

-  \instrumentSwitch "melchior"
+  \melchior

   a4 a a a
   a4 a a a

-  \instrumentSwitch "kaspar"
+  \kaspar

   c4 c c c
 }
 @end lilypond
 
 @seealso
   c4 c c c
 }
 @end lilypond
 
 @seealso

+Learning Manual:
+@rlearning{Organizing pieces with variables}.
+

 Notation Reference:
 Notation Reference:

-@ref{Instrument names},
-@ref{Scheme functions},

 @ref{Text},
 @ref{Text markup commands}.
 
 @ref{Text},
 @ref{Text markup commands}.
 

-Extending LilyPond:
-@rextend{Markup construction in Scheme}.
-

 
 @node Musical cues
 @unnumberedsubsubsec Musical cues
 
 @node Musical cues
 @unnumberedsubsubsec Musical cues


@@ -2567,10 +2650,7 @@ pianoRH = \relative c'' {
   c4. g8
   % position name of cue-ing instrument just before the cue notes,
   % and above the staff
   c4. g8
   % position name of cue-ing instrument just before the cue notes,
   % and above the staff

-  \new CueVoice {
-    \override InstrumentSwitch #'self-alignment-X = #RIGHT
-    \set instrumentCueName = "Flute"
-  }
+  <>^\markup { \right-align { \tiny "Flute" } }

   \cueDuring "flute" #UP { g4 bes4 }
 }
 pianoLH = \relative c { c4 <c' e> e, <g c> }
   \cueDuring "flute" #UP { g4 bes4 }
 }
 pianoLH = \relative c { c4 <c' e> e, <g c> }


@@ -2593,11 +2673,7 @@ specify its key so the conversion of its cue notes will be done
 automatically.  The example below shows this transposition for a
 B-flat clarinet.  The notes in this example are low on the staff so
 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
 automatically.  The example below shows this transposition for a
 B-flat clarinet.  The notes in this example are low on the staff so
 @code{DOWN} is specified in @code{\cueDuring} (so the stems are

-down) and the instrument name is positioned below the staff.  Note
-also that the piano right-hand voice is explicitly declared.  This
-is because the cue notes in this example begin at the start of the
-first bar and this would otherwise cause the entire piano right-hand
-notes to be placed in a @code{CueVoice} context.
+down) and the instrument name is positioned below the staff.

 
 @lilypond[quote,verbatim]
 clarinet = \relative c' {
 
 @lilypond[quote,verbatim]
 clarinet = \relative c' {


@@ -2609,11 +2685,7 @@ clarinet = \relative c' {
 pianoRH = \relative c'' {
   \transposition c'
   % position name of cue-ing instrument below the staff
 pianoRH = \relative c'' {
   \transposition c'
   % position name of cue-ing instrument below the staff

-  \new CueVoice {
-    \override InstrumentSwitch #'self-alignment-X = #RIGHT
-    \override InstrumentSwitch #'direction = #DOWN
-    \set instrumentCueName = "Clar."
-  }
+  <>_\markup { \right-align { \tiny "Clar." } }

   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }
   \cueDuring "clarinet" #DOWN { c4. g8 }
   g4 bes4
 }


@@ -2661,7 +2733,6 @@ Snippets:
 @rlsr{Vocal music}.
 
 Internals Reference:
 @rlsr{Vocal music}.
 
 Internals Reference:

-@rinternals{InstrumentSwitch},

 @rinternals{CueVoice}.
 
 @knownissues
 @rinternals{CueVoice}.
 
 @knownissues


@@ -2745,8 +2816,8 @@ dialogue = \lyricmode {
 \score {
   <<
     \new Lyrics \with {
 \score {
   <<
     \new Lyrics \with {

-      \override LyricText #'font-shape = #'italic
-      \override LyricText #'self-alignment-X = #LEFT
+      \override LyricText.font-shape = #'italic
+      \override LyricText.self-alignment-X = #LEFT

     }
     { \dialogue }
     \new Staff {
     }
     { \dialogue }
     \new Staff {


@@ -2812,7 +2883,7 @@ Chants often use quarter notes without stems to indicate the pitch,
 with the rhythm being taken from the spoken rhythm of the words.
 
 @lilypond[verbatim,quote]
 with the rhythm being taken from the spoken rhythm of the words.
 
 @lilypond[verbatim,quote]

-stemOff = { \override Staff.Stem #'transparent = ##t }
+stemOff = { \hide Staff.Stem }

 
 \relative c' {
   \stemOff
 
 \relative c' {
   \stemOff


@@ -2846,7 +2917,7 @@ all staves remove the bar line engraver completely:
   \layout {
     \context {
       \Staff
   \layout {
     \context {
       \Staff

-      \remove Bar_engraver
+      \remove "Bar_engraver"

     }
   }
 }
     }
   }
 }


@@ -2858,7 +2929,7 @@ Bar lines can also be removed on a staff-by-staff basis:
 \score {
   \new ChoirStaff <<
     \new Staff
 \score {
   \new ChoirStaff <<
     \new Staff

-    \with { \remove Bar_engraver } {
+    \with { \remove "Bar_engraver" } {

       \relative c'' {
         a4 b c2 |
         a4 b c2 |
       \relative c'' {
         a4 b c2 |
         a4 b c2 |


@@ -2903,9 +2974,9 @@ a4 b c2
 \bar "'"
 a4 b c2
 a4 b c2
 \bar "'"
 a4 b c2
 a4 b c2

-\bar ":"
+\bar ";"

 a4 b c2
 a4 b c2

-\bar "dashed"
+\bar "!"

 a4 b c2
 \bar "||"
 @end lilypond
 a4 b c2
 \bar "||"
 @end lilypond


@@ -2916,23 +2987,23 @@ modern.  This uses a modified @code{\breathe} mark:
 
 @lilypond[verbatim,quote]
 divisioMinima = {
 
 @lilypond[verbatim,quote]
 divisioMinima = {

-  \once \override BreathingSign  #'stencil = #ly:breathing-sign::divisio-minima
-  \once \override BreathingSign  #'Y-offset = #0
+  \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
+  \once \override BreathingSign.Y-offset = #0

   \breathe
 }
 divisioMaior = {
   \breathe
 }
 divisioMaior = {

-  \once \override BreathingSign  #'stencil = #ly:breathing-sign::divisio-maior
-  \once \override BreathingSign  #'Y-offset = #0
+  \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
+  \once \override BreathingSign.Y-offset = #0

   \breathe
 }
 divisioMaxima = {
   \breathe
 }
 divisioMaxima = {

-  \once \override BreathingSign  #'stencil = #ly:breathing-sign::divisio-maxima
-  \once \override BreathingSign  #'Y-offset = #0
+  \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
+  \once \override BreathingSign.Y-offset = #0

   \breathe
 }
 finalis = {
   \breathe
 }
 finalis = {

-  \once \override BreathingSign  #'stencil = #ly:breathing-sign::finalis
-  \once \override BreathingSign  #'Y-offset = #0
+  \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
+  \once \override BreathingSign.Y-offset = #0

   \breathe
 }
 
   \breathe
 }
 


@@ -2950,7 +3021,7 @@ finalis = {
   \layout {
     \context {
       \Staff
   \layout {
     \context {
       \Staff

-      \remove Bar_engraver
+      \remove "Bar_engraver"

     }
   }
 }
     }
   }
 }


@@ -2970,9 +3041,9 @@ Chants usually omit the time signature and often omit the clef too.
   \layout {
     \context {
       \Staff
   \layout {
     \context {
       \Staff

-      \remove Bar_engraver
-      \remove Time_signature_engraver
-      \remove Clef_engraver
+      \remove "Bar_engraver"
+      \remove "Time_signature_engraver"
+      \remove "Clef_engraver"

     }
   }
 }
     }
   }
 }


@@ -3046,8 +3117,7 @@ global = {
       \layout {
         \context {
           \Score
       \layout {
         \context {
           \Score

-          \override SpacingSpanner
-          #'base-shortest-duration = #(ly:make-moment 1 2)
+          \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)

         }
         \context {
           \Staff
         }
         \context {
           \Staff


@@ -3079,7 +3149,7 @@ durations.
 @seealso
 Learning Manual:
 @rlearning{Visibility and color of objects},
 @seealso
 Learning Manual:
 @rlearning{Visibility and color of objects},

-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.

 
 Notation Reference:
 @ref{Ancient notation},
 
 Notation Reference:
 @ref{Ancient notation},


@@ -3238,11 +3308,12 @@ The use of markup to center text, and arrange lines in columns is
 described in @ref{Formatting text}.
 
 Most of these elements are shown in one or other of the two verses
 described in @ref{Formatting text}.
 
 Most of these elements are shown in one or other of the two verses

-in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
+in the template, see @rlearning{Psalms}.

 
 @seealso
 Learning Manual:
 
 @seealso
 Learning Manual:

-@rlearning{Vocal ensembles}.
+@rlearning{Psalms},
+@rlearning{Vocal ensembles templates}.

 
 Notation Reference:
 @ref{Fonts},
 
 Notation Reference:
 @ref{Fonts},