@unnumberedsubsubsec Lyrics and repeats
@cindex repeats and lyrics
-
-@c see http://lists.gnu.org/archive/html/lilypond-user/2010-07/msg00022.html
-@c see http://lists.gnu.org/archive/html/lilypond-user/2010-06/msg00472.html
+@cindex lyrics, repeating
@subheading Simple repeats
@ref{Repeats}. This section explains how to add lyrics to repeated
sections of music.
-Lyrics to a volta repeat can be written exactly as if the music was
-not repeated, if the words are unchanged.
+Lyrics to a section of music that is repeated should be surrounded
+by exactly the same repeat construct as the music, if the words are
+unchanged.
@lilypond[verbatim,quote]
\score {
\new Lyrics {
\lyricsto "melody" {
Not re -- peat -- ed.
- Re -- peat -- ed twice.
+ \repeat volta 2 { Re -- peat -- ed twice. }
}
}
>>
}
@end lilypond
-But if an unfold repeat is used, both the lyrics and the music must
-be repeated (assuming the repeated words are the same), otherwise
-the repeated section will have no lyrics.
+The words will then be correctly expanded if the repeats are
+unfolded.
@lilypond[verbatim,quote]
\score {
- <<
- \new Staff {
- \new Voice = "melody" {
- \relative c'' {
- a4 a a a
- \repeat unfold 2 { b4 b b b }
+ \unfoldRepeats {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b b b }
+ }
}
}
- }
- \new Lyrics {
- \lyricsto "melody" {
- Not re -- peat -- ed.
- \repeat unfold 2 { Re -- peat -- ed twice. }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- ed twice. }
+ }
}
- }
- >>
+ >>
+ }
}
@end lilypond
}
@end lilypond
+@cindex lyric skip
+@funindex \skip
+
When the words to a repeated volta section are different the words
-to each repeat must entered in separate @code{Lyrics} contexts.
+to each repeat must be entered in separate @code{Lyrics} contexts.
Earlier unrepeated sections must be skipped in the second and
subsequent repeats. The easiest way to skip several notes is to
-use @code{\repeat unfold} around the @code{\skip}.
+use @code{\repeat unfold} around the @code{\skip} command.
+
+Note: do not use an underscore, @code{_}, to skip notes as this
+indicates a melisma and will cause the preceding syllable to be
+left-aligned.
-@warning{The @code{\skip} command must be followed by a number,
-but this number is ignored in lyric mode. Each @code{\skip} skips
-a single note of any value, irrespective of the value of the
+@warning{The @code{@bs{}skip} command must be followed by a number,
+but this number is ignored in lyric mode. Each @code{@bs{}skip}
+skips a single note of any value, irrespective of the value of the
following number.}
@lilypond[verbatim,quote]
}
@end lilypond
-An alternative way, which avoids having to count notes, is to use a
-temporary voice for the repeated section. This may be useful if
-the earlier sections are still subject to change. A temporary voice
-can be inserted anywhere in the main music stream in parallel with
-it, as shown below, but it may be necessary to keep the main voice
-alive in complex scores when using this technique; see
-@ref{Keeping contexts alive}.
+@cindex lyrics, repeating with a temporary voice
+
+An alternative way, which avoids skips and having to count notes,
+is to use a temporary voice for the repeated section. This may be
+preferable if the earlier sections are still subject to change. A
+temporary voice can be inserted anywhere in the main music stream
+in parallel with it, as shown below, but it may be necessary to
+keep the main voice alive in complex scores when using this
+technique; see @ref{Keeping contexts alive}.
@lilypond[verbatim,quote,ragged-right]
\score {
@subheading Repeats with alternative endings
-TBC
+@cindex lyrics, repeats with alternative endings
+@cindex repeating lyrics with alternative endings
+@cindex alternative endings and lyrics
+
+If the words of the repeated section are the same, exactly the
+same structure can be used for both the lyrics and music.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- }
+ \alternative { { ed twice. } { ed twice. } }
+ }
+ }
+ >>
+}
+@end lilypond
+
+But when the repeated section has different words, a repeat
+construct cannot be used around the words and @code{\skip} commands
+have to be inserted manually as described in the previous section to
+skip over the notes in the alternative sections which do not apply.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ The first time words.
+ \repeat unfold 2 { \skip 1 }
+ End here.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Sec -- ond
+ \repeat unfold 2 { \skip 1 }
+ time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@cindex lyrics and tied notes
+@funindex \repeatTie
+
+When a note is tied over into two or more alternative endings a
+tie is used to carry the note into the first alternative ending and
+a @code{\repeatTie} is used in the second and subsequent endings.
+This structure causes difficult alignment problems when lyrics are
+involved and increasing the length of the alternative sections so
+the tied notes are contained wholly within them may give a more
+acceptable result.
+
+The tie creates a melisma into the first alternative, but not into
+the second and subsequent alternatives, so to align the lyrics
+correctly it is necessary to disable the automatic creation of
+melismata over the volta section and insert manual skips.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \set melismaBusyProperties = #'()
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ \unset melismaBusyProperties
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ \repeat volta 2 { Here's a __ }
+ \alternative {
+ { \skip 1 verse }
+ { \skip 1 sec }
+ }
+ ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
+Note that if @code{\unfoldRepeats} is used around a section
+containing @code{\repeatTie}, the @code{\repeatTie} should be
+removed to avoid both types of tie being printed.
+
+When the repeated section has different words a @code{\repeat}
+cannot be used around the lyrics and @code{\skip} commands need to
+be inserted manually, as before.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's one
+ \repeat unfold 2 { \skip 1 }
+ more to sing.
+ }
+ }
+ >>
+}
+@end lilypond
+
+If you wish to show extenders and hyphens into and out of
+alternative sections these must be inserted manually.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's "a_"
+ \skip 1
+ "_" sec -- ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
@node Divisi lyrics
@menu
* References for opera and stage musicals::
* Character names::
+* Musical cues::
* Spoken music::
* Dialogue over music::
@end menu
For details of other page formatting properties, see
@ref{Page formatting}.
-@item
-Musical cues can be inserted with the @code{\cueDuring} predefined
-command. For details of its use see @ref{Formatting cue notes}.
-
@item
Dialogue cues and stage directions can be inserted with markup.
See @ref{Text}. Extensive stage directions can be inserted with
@end itemize
-@predefined
-@code{\cueDuring},
-@code{\quoteDuring}.
-
@seealso
Musical Glossary:
-@rglos{cue-notes},
@rglos{Frenched score},
@rglos{Frenched staves},
@rglos{transposing instrument}.
Notation Manual:
@ref{Grouping staves},
@ref{Hiding staves},
-@ref{Instrument names},
@ref{Instrument transpositions},
@ref{Nested staff groups},
@ref{Page formatting},
-@ref{Selecting font and font size},
@ref{Separating systems},
-@ref{Text},
@ref{Transpose},
@ref{Writing parts},
@ref{Writing text}.
specific font is used for this purpose.
@lilypond[quote,verbatim,relative=1]
-\override TextScript #'font-family = #'typewriter
-\override TextScript #'font-size = #2
\clef "G_8"
-c4^\markup Kaspar
+c4^\markup \fontsize #1 \smallCaps Kaspar
c c c
\clef "bass"
-a4^\markup Melchior
+a4^\markup \fontsize #1 \smallCaps Melchior
a a a
+\clef "G_8"
+c4^\markup \fontsize #1 \smallCaps Kaspar
+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.
+
+@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"))
+
+\relative c' {
+ \instrumentSwitch "kaspar"
+ c4 c c c
+ \instrumentSwitch "melchior"
+ a4 a a a
+ \instrumentSwitch "kaspar"
+ c4 c c c
+}
@end lilypond
@seealso
Notation Reference:
@ref{Instrument names},
-@ref{Selecting font and font size},
-@ref{Text}.
+@ref{Scheme functions},
+@ref{Text},
+@ref{Text markup commands}.
+
+Extending LilyPond:
+@rextend{Markup construction in Scheme}.
+
+@node Musical cues
+@unnumberedsubsubsec Musical cues
+
+@cindex musical cues
+@cindex cues, musical
+
+Musical cues can be inserted in Vocal Scores, Vocal Books and
+Orchestral Parts to indicate what music in another part
+immediately precedes an entry. Also, cues are often inserted in the
+piano reduction in Vocal Scores to indicate what each orchestral
+instrument is playing. This aids the conductor when a full
+Conductors' Score is not available.
+
+The basic mechanism for inserting cues is fully explained in the
+main text, see @ref{Quoting other voices} and
+@ref{Formatting cue notes}. But when many cues have to be
+inserted, for example, as an aid to a conductor in a vocal score,
+the instrument name must be positioned carefully just before and
+close to the start of the cued notes. The following example shows
+how this is done. Note that the name of the grob for overriding
+the cued instrument name is @code{InstrumentSwitch}.
+
+@lilypond[quote,verbatim]
+flute = \relative c'' {
+ s4 s4 e g
+}
+\addQuote "flute" { \flute }
+
+pianoRH = \relative c'' {
+ c4. g8
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument above the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #UP
+ \set CueVoice.instrumentCueName = "Flute"
+ \cueDuring "flute" #UP { g4 bes4 }
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ \new PianoStaff <<
+ \new Staff {
+ \pianoRH
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+}
+@end lilypond
+
+If a transposing instrument is being cued the instrument part should
+specify its key so the conversion of its cued 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
+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 cued 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.
+
+@lilypond[quote,verbatim]
+clarinet = \relative c' {
+ \transposition bes
+ fis4 d d c
+}
+\addQuote "clarinet" { \clarinet }
+
+pianoRH = \relative c'' {
+ \transposition c'
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument below the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
+ \set CueVoice.instrumentCueName = "Clar."
+ \cueDuring "clarinet" #DOWN { c4. g8 }
+ g4 bes4
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
+
+\score {
+ <<
+ \new PianoStaff <<
+ \new Staff {
+ \new Voice {
+ \pianoRH
+ }
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+ >>
+}
+@end lilypond
+
+From these two examples it is clear that inserting many cues in a
+Vocal Score would be extremely tedious, and the notes of the piano
+part would be obscured by the many overrides. However, as the
+following snippet shows, it is possible to define a music function
+to reduce the amount of typing and to make the piano notes clearer.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{adding-orchestral-cues-to-a-vocal-score.ly}
+
+@seealso
+Musical Glossary:
+@rglos{cue-notes}.
+
+Notation Reference:
+@ref{Aligning objects},
+@ref{Direction and placement},
+@ref{Formatting cue notes},
+@ref{Quoting other voices},
+@ref{Using music functions}.
+
+Snippets:
+@rlsr{vocal-music}.
+
+Internals Reference:
+@rinternals{InstrumentSwitch},
+@rinternals{CueVoice}.
+
+@knownissues
+@code{\cueDuring} automatically inserts a @code{CueVoice} context
+and all cue notes are placed in that context. This means it is not
+possible to have two overlapping sequences of cued notes by this
+technique. Overlapping sequences could be entered by explicitly
+declaring separate @code{CueVoice} contexts and using
+@code{\quoteDuring} to extract and insert the cued notes.
@node Spoken music
projects / lilypond.git / blobdiff