Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.6"
+@c \version "2.17.30"
@node Vocal music
@section Vocal music
@lilypond[quote,verbatim,relative=2]
<<
\new Voice = "melody" {
- a4 a a a
+ a1 a4. a8 a2
}
\new Lyrics \lyricsto "melody" {
These are the words
@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
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 }
}
@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.
-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.
* Placing syllables horizontally::
* Lyrics and repeats::
* Divisi lyrics::
+* Polyphony with shared lyrics::
@end menu
\Lyrics
\consists "Bar_engraver"
\consists "Separating_line_group_engraver"
- \override BarLine.transparent = ##t
+ \hide BarLine
@}
@}
@end example
}
@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
+
+The @code{NullVoice} context must be placed within a @code{Staff}
+context and contain notes that are already being displayed in that staff and that are also in the same octave. Otherwise the
+@code{NullVoice} may interact with the printed voices in
+unexpected ways. For example, arbitrary notes in the
+@code{NullVoice} may cause accidentals to appear (or disappear) on
+the staff.
+
+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
+
+However, note that in the second half of the measure above, the
+notes in the @code{NullVoice} context reflect the rhythm of the
+lower staff, but they do not deviate from the single pitch being
+displayed in the staff to which the @code{NullVoice} belongs.
+While not actually required in this particular example, it is a
+good idea in general to enter the notes in this way.
+
@node Stanzas
@subsection Stanzas
<<
\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
@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 }
<<
\new Voice = "alternative" {
\voiceOne
- \times 2/3 {
+ \tuplet 3/2 {
% show associations clearly.
\override NoteColumn.force-hshift = #-3
f8 f g
"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."
"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."
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).
@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
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
#`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
(shortInstrumentName . "Kas.")
(clefGlyph . "clefs.G")
- (clefOctavation . -7)
+ (clefTransposition . -7)
(middleCPosition . 1)
(clefPosition . -2)
(instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
#`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
(shortInstrumentName . "Mel.")
(clefGlyph . "clefs.F")
- (clefOctavation . 0)
+ (clefTransposition . 0)
(middleCPosition . 6)
(clefPosition . 2)
(instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
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
\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
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