\override Score . LyricText #'font-shape = #'italic
@end example
-@funindex _
-@cindex spaces, in lyrics
-@cindex quotes, in lyrics
-@cindex ties, in lyrics
-
-In order to assign more than one syllable to a single note, you can
-surround them with quotes or use a @code{_} character, to get spaces
-between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\time 3/4
-\relative c' { c2 e4 g2 e4 }
-\addlyrics { gran- de_a- mi- go }
-\addlyrics { pu- "ro y ho-" nes- to }
-\addlyrics { pu- ro~y~ho- nes- to }
-@end lilypond
-
-@noindent
-The lyric tie is implemented with the Unicode character
-@code{U+203F}; therefore a font that includes this glyph
-(such as DejaVuLGC) has to be used. More explanations about
-text and non-text fonts can be found in @ref{Fonts}.
-
-
To enter lyrics with characters from non-English languages, or with
accented and special characters (such as the heart symbol or slanted quotes),
simply insert the characters directly into the input file and save
@node Multiple syllables to one note
@unnumberedsubsubsec Multiple syllables to one note
-
@funindex _
+@cindex spaces, in lyrics
+@cindex quotes, in lyrics
@cindex ties, in lyrics
-In order to assign more than one syllable to a single note, you can
-surround them with quotes or use a @code{_} character, to get spaces
-between syllables, or use tilde symbol (@code{~}) to get a lyric
-tie.@footnote{The lyric ties is implemented with the Unicode character
-U+203F, so be
+In order to assign more than one syllable to a single note with
+spaces between the syllables, you can surround the phrase with
+quotes or use a @code{_} character. Alternatively, you can use
+code the tilde symbol (@code{~}) to get a lyric tie. The lyric
+tie is implemented with the Unicode character U+203F, so be
sure to have a font (like DejaVuLGC) installed that includes this
-glyph.}
+glyph.
@lilypond[quote,ragged-right,fragment,verbatim]
\time 3/4
@node Lyrics and repeats
@unnumberedsubsubsec Lyrics and repeats
-@c TODO New section. Add text
+@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
+
+@subheading Simple repeats
+
+Repeats in @emph{music} are fully described elsewhere; see
+@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.
+
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \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.
+ 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.
+
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat unfold 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat unfold 2 { Re -- peat -- ed twice. }
+ }
+ }
+ >>
+}
+@end lilypond
+
+If the repeated section has different words and is unfolded simply
+enter all the words:
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat unfold 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ The first time words.
+ Sec -- ond time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+When the words to a repeated volta section are different the words
+to each repeat must 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}.
+
+@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
+following number.}
+
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \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.
+ The first time words.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ % skip 4 notes of any duration
+ \repeat unfold 4 { \skip 1 }
+ Sec -- ond time words.
+ }
+ }
+ >>
+}
+@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}.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "singleVoice" {
+ \relative c'' { a4 a a a }
+ \new Voice = "repeatVoice" {
+ \relative c'' \repeat volta 3 { b4 b b b }
+ }
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics <<
+ \lyricsto "singleVoice" {
+ Not re -- peat -- ed.
+ The end sec -- tion.
+ }
+ \lyricsto "repeatVoice" {
+ The first time words.
+ }
+ >>
+ \new Lyrics {
+ \lyricsto "repeatVoice" {
+ Sec -- ond time words.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "repeatVoice" {
+ The third time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@c TODO lowering a common line of lyrics
+
+@subheading Repeats with alternative endings
+
TBC
@end itemize
@predefined
+@code{\oneVoice},
@code{\voiceOne},
@code{\voiceTwo}.
possibilities for fitting the music onto fewer pages are described
in @ref{Fitting music onto fewer pages}.
-@end itemize
-
-@c TODO change the following to a ref when system-separator-markup
-@c is well-documented elsewhere
-
+@item
If the number of systems per page changes from one to two it is
customary to indicate this with a system separator mark between
-the two systems. By default the system separator is blank. In
-this example the @code{system-separator-markup} in the @code{\paper}
-block is changed:
+the two systems. See @ref{Separating systems}.
-@lilypond[verbatim,quote]
-#(set-default-paper-size "a6" 'landscape)
-\book {
- \score {
- \new ChoirStaff <<
- \new Staff {
- \relative c'' {
- \repeat unfold 8 { c4 }
- \break
- \repeat unfold 8 { c4 }
- }
- }
- \new Staff {
- \relative c'' {
- \repeat unfold 8 { g4 }
- \break
- \repeat unfold 8 { g4 }
- }
- }
- >>
- }
- \paper {
- indent = 0\mm
- system-separator-markup = \slashSeparator
- }
-}
-@end lilypond
-
-@noindent
+@item
For details of other page formatting properties, see
@ref{Page formatting}.
+@end itemize
+
+
Dynamic markings by default are placed below the staff, but in
choral music they are usually placed above the staff in order to
avoid the lyrics. The predefined command @code{\dynamicUp} does
@ref{Fitting music onto fewer pages},
@ref{Page formatting},
@ref{Score layout},
+See @ref{Separating systems},
@ref{Setting the staff size},
@ref{Using an extra voice for breaks},
@ref{Vertical spacing}.
@menu
* References for opera and stage musicals::
+* Character names::
* Spoken music::
* Dialogue over music::
@end menu
transposing instruments, see @ref{Instrument transpositions}.
@item
-Character names are usually shown to the left of the staff when the
-staff is dedicated to that character alone. The instrument name can
-be used for this purpose. See @ref{Instrument names}.
+If the number of systems per page changes from page to page it is
+customary to separate the systems with a system separator mark.
+See @ref{Separating systems}.
@item
-When two or more characters share a staff the character's name is
-usually printed above the staff at the start of every section
-applying to that character. This can be done with markup. The use
-of markup is covered fully in @ref{Text}. Often a specific font is
-used for this purpose, see @ref{Selecting font and font size}.
+For details of other page formatting properties, see
+@ref{Page formatting}.
@item
Musical cues can be inserted with the @code{\cueDuring} predefined
@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}.
+@node Character names
+@unnumberedsubsubsec Character names
+
+@cindex character names
+@cindex names, character
+
+Character names are usually shown to the left of the staff when the
+staff is dedicated to that character alone. The instrument name can
+be used for this purpose.
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \set Staff.instrumentName = #"Kaspar"
+ \set Staff.shortInstrumentName = #"Kas"
+ \relative c' {
+ \clef "G_8"
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \set Staff.instrumentName = #"Melchior"
+ \set Staff.shortInstrumentName = #"Mel"
+ \clef "bass"
+ \relative c' {
+ a4 a a a
+ a4 a a a
+ }
+ }
+ >>
+}
+@end lilypond
+
+When two or more characters share a staff the character's name is
+usually printed above the staff at the start of every section
+applying to that character. This can be done with markup. Often a
+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
+c c c
+\clef "bass"
+a4^\markup Melchior
+a a a
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Instrument names},
+@ref{Selecting font and font size},
+@ref{Text}.
+
+
@node Spoken music
@unnumberedsubsubsec Spoken music
Typesetting Gregorian chant in various styles of ancient notation
is described in @ref{Ancient notation}.
+@seealso
+Notation reference:
+@ref{Ancient notation}.
+
+
+@node Setting a chant
+@unnumberedsubsubsec Setting a chant
+
Modern chant settings use modern notation with varying numbers of
elements taken from ancient notation. Some of the elements and
-methods to consider are these:
-
-@itemize
+methods to consider are shown here.
-@item
Chants often use quarter notes without stems to indicate the pitch,
-with the rhythm being taken from the spoken rhythm of the words. To
-remove the stem set the @code{transparent} property of the
-@code{Stem} grob to @code{#t}. See
-@rlearning{Visibility and color of objects} and
-@ref{Visibility of objects}. An alternative is set the
-@code{length} property to @code{0}.
+with the rhythm being taken from the spoken rhythm of the words.
-@item
-Chants usually omit the bar lines or use shortened or dotted bar
-lines to indicate pauses in the music. To omit bar lines
-completely use @code{\cadenzaOn} or remove the @code{Bar_engraver}.
-See @ref{Unmetered music} and @ref{Modifying context plug-ins}.
+@lilypond[verbatim,quote]
+stemOff = { \override Staff.Stem #'transparent = ##t }
-@item
-To use modified bar lines see the @emph{Bar lines} section in
-@ref{Bars}. Alternatively, the correct Gregorian chant notation
-for pauses or rests in the music are described in @emph{Divisiones}
-in @ref{Typesetting Gregorian chant}.
+\relative c' {
+ \stemOff
+ a'4 b c2 |
+}
+
+@end lilypond
+
+Chants often omit the bar lines or use shortened or dotted bar
+lines to indicate pauses in the music. To omit all bar lines from
+all staves remove the bar line engraver completely:
+
+@lilypond[verbatim,quote]
+\score {
+ \new StaffGroup <<
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
+ }
+}
+@end lilypond
+
+Bar lines can also be removed on a staff-by-staff basis:
+
+@lilypond[verbatim, quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff
+ \with { \remove Bar_engraver } {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
+}
+@end lilypond
+
+To remove bar lines from just a section of music treat it as a
+cadenza. If the section is long you may need to insert dummy
+barlines with @code{\bar ""} to show where the line should break.
+
+@lilypond[verbatim,quote,relative=2]
+a4 b c2 |
+\cadenzaOn
+a4 b c2
+a4 b c2
+\bar ""
+a4 b c2
+a4 b c2
+\cadenzaOff
+a4 b c2 |
+a4 b c2 |
+@end lilypond
+
+Rests or pauses in chants can be indicated by modified bar lines.
+
+@lilypond[verbatim, quote,relative=2]
+a4
+\cadenzaOn
+b c2
+a4 b c2
+\bar "'"
+a4 b c2
+a4 b c2
+\bar ":"
+a4 b c2
+\bar "dashed"
+a4 b c2
+\bar "||"
+@end lilypond
+
+Alternatively, the notation used in Gregorian chant for pauses or
+rests is sometimes used even though the rest of the notation is
+modern. This uses a modified @code{\breathe} mark:
+
+@lilypond[verbatim,quote]
+divisioMinima = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+divisioMaior = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+divisioMaxima = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+finalis = {
+ \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
+ \once \override BreathingSign #'Y-offset = #0
+ \breathe
+}
+
+\score {
+ \relative c'' {
+ g2 a4 g
+ \divisioMinima
+ g2 a4 g
+ \divisioMaior
+ g2 a4 g
+ \divisioMaxima
+ g2 a4 g
+ \finalis
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
+ }
+}
+@end lilypond
-@item
Chants usually omit the time signature and often omit the clef too.
-To omit these remove the @code{Time_signature_engraver} and
-@code{Clef_engraver} from the @code{Staff} context respectively.
-For details, see @ref{Modifying context plug-ins}.
-@end itemize
+@lilypond[verbatim,quote]
+\score {
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \remove Clef_engraver
+ }
+ }
+}
+@end lilypond
-@seealso
-Learning Manual:
-@rlearning{Visibility and color of objects}.
+Chants for psalms in the Anglican tradition are usually either
+@emph{single}, with 7 bars of music, or @emph{double}, with two lots
+of 7 bars. Each group of 7 bars is divided into two halves,
+corresponding to the two halves of each verse, usually separated by
+a double bar line. Only whole and half notes are used. The 1st bar
+in each half always contains a single chord of whole notes. This is
+the @qq{reciting note}. Chants are usually centered on the page.
-Notation reference:
-@ref{Ancient notation},
-@ref{Visibility of objects},
-@ref{Bars},
-@ref{Unmetered music},
-@ref{Modifying context plug-ins},
-@ref{Typesetting Gregorian chant}.
+@lilypond[verbatim,quote]
+SopranoMusic = \relative g' {
+ g1 | c2 b | a1 | \bar "||"
+ a1 | d2 c | c b | c1 | \bar "||"
+}
-@node Setting a chant
-@unnumberedsubsubsec Setting a chant
+AltoMusic = \relative c' {
+ e1 | g2 g | f1 |
+ f1 | f2 e | d d | e1 |
+}
+
+TenorMusic = \relative a {
+ c1 | c2 c | c1 |
+ d1 | g,2 g | g g | g1 |
+}
-Chants in the Anglican tradition are usually either single, with 7
-bars of music, or double, with two lots of 7 bars. Each group of 7
-bars is divided into two halves, corresponding to the two halves of
-each verse, usually separated by a double bar line. Only whole and
-half notes are used. The 1st bar in each half always contains a
-single chord of whole notes. This is the @qq{reciting note}.
+BassMusic = \relative c {
+ c1 | e2 e | f1 |
+ d1 | b2 c | g' g | c,1 |
+}
-Some approaches to setting a chant are shown in the following
-snippets.
+global = {
+ \time 2/2
+}
+
+% Use markup to center the chant on the page
+\markup {
+ \fill-line {
+ \score { % centered
+ <<
+ \new ChoirStaff <<
+ \new Staff <<
+ \global
+ \clef "treble"
+ \new Voice = "Soprano" <<
+ \voiceOne
+ \SopranoMusic
+ >>
+ \new Voice = "Alto" <<
+ \voiceTwo
+ \AltoMusic
+ >>
+ >>
+ \new Staff <<
+ \clef "bass"
+ \global
+ \new Voice = "Tenor" <<
+ \voiceOne
+ \TenorMusic
+ >>
+ \new Voice = "Bass" <<
+ \voiceTwo
+ \BassMusic
+ >>
+ >>
+ >>
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 2)
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+ }
+ } % End score
+ }
+} % End markup
+@end lilypond
+
+Some other approaches to setting such a chant are shown in the first
+of the following snippets.
@snippets
Canticles and other liturgical texts may be set more freely, and
may use notational elements from ancient music. Often the words
-are shown underneath and aligned with the notes.
+are shown underneath and aligned with the notes. If so, the notes
+are spaced in accordance with the syllables rather than the notes'
+durations.
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{ancient-notation-template----modern-transcription-of-gregorian-music.ly}
@seealso
+Learning Manual:
+@rlearning{Visibility and color of objects},
+@rlearning{Vocal ensembles}.
+
Notation Reference:
-@ref{Typesetting Gregorian chant}.
+@ref{Ancient notation},
+@ref{Bar lines},
+@ref{Modifying context plug-ins},
+@ref{Typesetting Gregorian chant},
+@ref{Unmetered music},
+@ref{Visibility of objects}.
@node Pointing a psalm
@unnumberedsubsubsec Pointing a psalm
-The words to a Anglican psalm are usually printed in separate
-verses underneath the chant. See the Anglican psalm template in
-the Learning Manual to see how to use mark-up to center the chant
-and place the verses centered underneath. Marks are inserted
-in the words to show how they should be fitted to the chant.
-Single chants (with 7 bars) are repeated for every verse. Double
-chants (with 14 bars) are repeated for every pair of verses.
+The words to an Anglican psalm are usually printed in separate
+verses centered underneath the chant.
-Each verse is divided into two halves. An asterisk or a colon
-is frequently used to indicate this division. This corresponds
-to the double bar line in the music. The words before the colon
-are sung to the first 3 bars of music; the words after the colon
-are sung to the last four bars.
+Single chants (with 7 bars) are repeated for every verse. Double
+chants (with 14 bars) are repeated for every pair of verses. Marks
+are inserted in the words to show how they should be fitted to the
+chant. Each verse is divided into two halves. A colon is usually
+used to indicate this division. This corresponds to the double bar
+line in the music. The words before the colon are sung to the first
+three bars of music; the words after the colon are sung to the last
+four bars.
Single bar lines (or in some psalters an inverted comma or similar
symbol) are inserted between words to indicate where the bar lines
in the music fall. In markup mode a single bar line can be entered
-with the bar check symbol, @code{|}. Other symbols may require
-glyphs from the @code{fetaMusic} fonts. For details, see
-@ref{Fonts}.
+with the bar check symbol, @code{|}.
+
+@lilypond[verbatim,quote]
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { O come let us sing | unto the | Lord : let }
+ \line { us heartily rejoice in the | strength of | our }
+ \line { sal- | -vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
+Other symbols may require glyphs from the @code{fetaMusic} fonts.
+For details, see @ref{Fonts}.
+
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { O come let us sing \tick unto the \tick Lord : let }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
+ }
+ \line { sal \tick vation. }
+ }
+ }
+ }
+}
+@end lilypond
Where there is one whole note in a bar all the words corresponding
to that bar are recited on that one note in speech rhythm. Where
corresponding syllables. If there are more that two syllables a
dot is usually inserted to indicate where the change in note occurs.
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us sing \tick unto \dot the \tick Lord : let
+ }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
+ }
+ \line { sal \tick vation. }
+ }
+ }
+ }
+}
+@end lilypond
+
In some psalters an asterisk is used to indicate a break in a
recited section instead of a comma, and stressed or slightly
-lengthened syllables are indicated in bold text. Others use an
-accent over the syllable to indicate stress.
+lengthened syllables are indicated in bold text.
+
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { Today if ye will hear his voice * }
+ \line {
+ \concat { \bold hard en }
+ | not your | hearts : as in the pro-
+ }
+ \line { vocation * and as in the \bold day of tempt- | }
+ \line { -ation | in the | wilderness. }
+ }
+ }
+ }
+}
+@end lilypond
+
+In other psalters an accent is placed over the syllable to indicate
+stress.
+
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us \concat {
+ si \combine \tick ng
+ }
+ | unto the | Lord : let
+ }
+ \line {
+ us heartily \concat {
+ rejo \combine \tick ice
+ }
+ in the | strength of | our
+ }
+ \line { sal- | -vation. }
+ }
+ }
+ }
+}
+@end lilypond
The use of markup to center text, and arrange lines in columns is
described in @ref{Formatting text}.
projects / lilypond.git / blobdiff