* Common notation for vocal music::
* Entering lyrics::
* Aligning lyrics to a melody::
-* Specific uses of lyrics::
+* Techniques specific to lyrics::
* Stanzas::
+* Songs::
+* Choral::
+* Opera and stage musicals::
+* Chants psalms and hymns::
+* Ancient vocal music::
+
@end menu
@node Common notation for vocal music
@subsection Common notation for vocal music
-This section discusses issues related to vocal music in general, and
-to some particular styles of vocal music.
+This section and sections 2.1.2 to 2.1.5 discuss issues common to
+all types of vocal music. Issues specific to certain types of
+vocal music are covered in section 2.1.6 on.
@menu
-* References for vocal music and lyrics::
-* Opera::
-* Song books::
-* Spoken music::
-* Chants::
-* Ancient vocal music::
+* Common references for vocal music::
@end menu
-@node References for vocal music and lyrics
-@unnumberedsubsubsec References for vocal music and lyrics
-
-@c TODO: split this section in two parts? -vv
+@node Common references for vocal music
+@unnumberedsubsubsec Common references for vocal music
-Various issues may arise when engraving vocal music. Some of these
-are discussed in this section, while others are explained elsewhere:
+This section indicates where to find details of notation issues
+that may arise in any type of vocal music.
@itemize
+
@item
Most styles of vocal music use written text as lyrics. An introduction
to this notation is to be found in @rlearning{Setting simple songs}.
for lyrics of for other text elements (character's names, etc.).
This syntax is described in @ref{Text markup introduction}.
-@item
-Lead sheets may be printed by combining vocal parts and @q{chord mode};
-this syntax is explained in @ref{Chord notation}.
-
@item
@q{Ambitus} may be added at the beginning of vocal staves, as explained
in @ref{Ambitus}.
-@item
-Vocal parts may be printed using traditional clefs, as shown in @ref{Clef}.
-
-@item
-Ancient vocal music is supported, as explained in @ref{Ancient notation}.
@end itemize
-@node Opera
-@unnumberedsubsubsec Opera
-
-@c TODO
-TBC
-
-@c add characters names snippet -vv
-
-@node Song books
-@unnumberedsubsubsec Song books
-
-@c TODO
-TBC
-
-@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{simple-lead-sheet.ly}
-
-
-@seealso
-Notation Reference:
-@ref{Chord notation}.
-
-
-@node Spoken music
-@unnumberedsubsubsec Spoken music
-@cindex parlato
-@cindex Sprechgesang
-Such effects as @q{parlato} or @q{Sprechgesang} require perfomers to speak
-without pitch but still with rhythm; these are notated by cross
-note heads, as demonstrated in @ref{Special note heads}.
-
-@c TODO add "marking-notes-on-spoken-parts" snippet -vv
-@c add "showing the rhythm of a melody" snip
-@c add "one staff-line notation"
-@c add "improvisation" ref
-@c add "lyrics independents of notes" ref
-
-@node Chants
-@unnumberedsubsubsec Chants
-
-@c TODO Add text from lsr and -user
-TBC
-
-@node Ancient vocal music
-@unnumberedsubsubsec Ancient vocal music
-
-@c TODO
-TBC
-
-@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
-@c and "Transcription of Ancient music with incipit" snippet. -vv
-
-
-@seealso
-Notation Reference:
-@ref{Ancient notation}.
-
-
@node Entering lyrics
@subsection Entering lyrics
-@c TODO add one sentence here. -vv
+Lyrics are entered in lyric mode. This section explains how this
+done.
@menu
* Lyrics explained::
-* Setting simple songs::
* Working with lyrics and variables::
@end menu
@rinternals{LyricSpace}.
-@c TODO: this title has to be changed (possible confusion with LM) -vv
-@node Setting simple songs
-@unnumberedsubsubsec Setting simple songs
-
-@cindex \addlyrics
-
-The easiest way to add lyrics to a melody is to append
-
-@example
-\addlyrics @{ @var{the lyrics} @}
-@end example
-
-@noindent
-to a melody. Here is an example,
-
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative c' { c2 e4 g2. }
-\addlyrics { play the game }
-@end lilypond
-
-More stanzas can be added by adding more
-@code{\addlyrics} sections
-
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative c' { c2 e4 g2. }
-\addlyrics { play the game }
-\addlyrics { speel het spel }
-\addlyrics { joue le jeu }
-@end lilypond
-
-The command @code{\addlyrics} cannot handle polyphony settings. For these
-cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
-introduced in @ref{Lyrics explained}.
-
-@c TODO: one additional section may be needed here,
-@c such as "advanced lyric syntax" or whatever -vv
-
@node Working with lyrics and variables
@unnumberedsubsubsec Working with lyrics and variables
Be careful when defining a variable with lyrics that creates a new
-context, for example, using the deprecated @code{\lyrics} command. See
+context, for example, using the deprecated @code{\lyrics} command. See
the next erroneous example:
@example
The second stanza is not properly aligned because the durations
were not specified. A solution for that would be to use @code{\lyricsto}.
+@cindex \addlyrics
+
The @code{\addlyrics} command is actually just a convenient way
to write a more complicated LilyPond structure that sets up the
lyrics.
\new Lyrics \lyricsto "blah" @{ LYRICS @}
@end example
+Here is an example,
+
+@lilypond[ragged-right,verbatim,fragment,quote]
+\time 3/4
+\relative c' { c2 e4 g2. }
+\addlyrics { play the game }
+@end lilypond
+
+More stanzas can be added by adding more
+@code{\addlyrics} sections
+
+@lilypond[ragged-right,verbatim,fragment,quote]
+\time 3/4
+\relative c' { c2 e4 g2. }
+\addlyrics { play the game }
+\addlyrics { speel het spel }
+\addlyrics { joue le jeu }
+@end lilypond
+
+The command @code{\addlyrics} cannot handle polyphony settings.
+For these cases you should use @code{\lyricsto} and
+@code{\lyricmode}, for details see@ref{Lyrics explained}.
+
@node Manual syllable durations
@unnumberedsubsubsec Manual syllable durations
@c verbose! --FV
@c duplicated: TODO fix
-Additionaly, you can make an extender line to be typeset to indicate
+Additionally, you can make an extender line to be typeset to indicate
the melisma in the score, writing a double underscore next to the
-first syllable of the melisma. This example shows the three elements
+first syllable of the melisma. This example shows the three elements
that are used for this purpose (all of them surrounded by spaces):
double hyphens to separate syllables in a word, underscores to add
notes to a melisma, and a double underscore to put an extender line.
-@c wrong: extender line only on last syllable of a word. Change example
+@c wrong: extender line only on last syllable of a word. Change example
@lilypond[relative=1,verbatim,fragment,quote]
{ \set melismaBusyProperties = #'()
c d( e) f f( e) e e }
>>
@end lilypond
-@c FIXME: this now links to LM -vv
+@c TODO: this now links to LM -vv
+@c umm, yeah... so what? -gp
@cindex SATB
@cindex choral score
TBC
-@node Specific uses of lyrics
-@subsection Specific uses of lyrics
+@node Techniques specific to lyrics
+@subsection Techniques specific to lyrics
@c TODO This whole section is to be reorganized. -vv
* Divisi lyrics::
* Lyrics independent of notes::
* Spacing out syllables::
-* Centering lyrics between staves::
+* Placement of lyrics between staves::
@end menu
This method is recommended only if the music in the @code{Devnull}
context does not contain melismata. Melismata are defined by the
-@code{Voice} context. Connecting lyrics to a @code{Devnull} context
+@code{Voice} context. Connecting lyrics to a @code{Devnull} context
makes the voice/lyrics links to get lost, and so does the info on
melismata. Therefore, if you link lyrics to a @code{Devnull} context,
the implicit melismata get ignored.
@end ignore
-@node Centering lyrics between staves
-@unnumberedsubsubsec Centering lyrics between staves
+@node Placement of lyrics between staves
+@unnumberedsubsubsec Placement of lyrics between staves
@c TODO Add text from -user
+@c TODO Add new spacing properties, centering lyrics, etc
TBC
@node Stanzas
@code{\set} and @code{\unset} to bracket the lyrics where melismata
are to be ignored.
+@subsubheading Adding syllables to grace notes
+
+By default, grace notes (e.g. via @code{\grace}) do not get assigned
+syllables when using @code{\lyricsto}, but this behavior can be
+changed:
+
+@lilypond[verbatim,ragged-right,quote]
+\relative c' {
+ f4 \appoggiatura a32 b4
+ \grace { f16[ a16] } b2
+ \afterGrace b2 { f16[ a16] }
+ \appoggiatura a32 b4
+ \acciaccatura a8 b4
+}
+\addlyrics {
+ normal
+ \set includeGraceNotes = ##t
+ case,
+ gra -- ce case,
+ after -- grace case,
+ \set ignoreMelismata = ##t
+ app. case,
+ acc. case.
+}
+@end lilypond
+
+@knownissues
+Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
+set at latest one syllable before the one which is to be put under a
+grace note. For the case of a grace note at the very beginning of a
+piece of music, consider using a @code{\with} or @code{\context}
+block:
+
+@lilypond[verbatim,ragged-right,quote]
+<<
+ \new Voice = melody \relative c' {
+ \grace { c16[( d e f] }
+ g1) f
+ }
+ \new Lyrics \with { includeGraceNotes = ##t }
+ \lyricsto melody {
+ Ah __ fa
+ }
+>>
+@end lilypond
+
@subsubheading Switching to an alternative melody
More complex variations in text underlay are possible. It is possible
@rinternals{StanzaNumber}.
+@node Songs
+@subsection Songs
+
+@menu
+* References for songs::
+* Lead sheets::
+@end menu
+
+@node References for songs
+@unnumberedsubsubsec References for songs
+
+@c TODO chords, setting simple songs (LM), stanzas
+TBC
+
+@node Lead sheets
+@unnumberedsubsubsec Lead sheets
+
+Lead sheets may be printed by combining vocal parts and @q{chord mode};
+this syntax is explained in @ref{Chord notation}.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
+
+@seealso
+Notation Reference:
+@ref{Chord notation}.
+
+
+@node Choral
+@subsection Choral
+
+@cindex anthems
+@cindex part songs
+@cindex oratorio
+@cindex SATB
+
+This section discusses notation issues that relate most directly
+to choral music. This includes anthems, part songs, oratorio,
+etc.
+
+@menu
+* References for choral::
+* Score layouts for choral::
+* Divided voices::
+@end menu
+
+@node References for choral
+@unnumberedsubsubsec References for choral
+
+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 either on a
+staff of its own or grouped in pairs on a single staff.
+
+Words are placed in @code{Lyrics} contexts, either underneath each
+corresponding music staff, or one above and one below the music
+staff if this contains the music for two parts.
+
+Several common topics in choral music are described fully elsewhere:
+
+@itemize
+
+@item
+An introduction to creating an SATB vocal score can be found in
+the Learning Manual, see @rlearning{Four-part SATB vocal score}.
+
+@item
+Several templates suitable for various styles of choral music can
+also be found in the Learning Manual, see
+@rlearning{Vocal ensembles}.
+
+@item
+For information about @code{ChoirStaff} and @code{PianoStaff} see
+@ref{Grouping staves}.
+
+@item
+General information about entering the words (i.e. @qq{lyrics}) to
+vocal music is described in sections 2.1.2 to 2.1.5 of this manual.
+All these sections are relevant to choral music.
+
+@item
+Shape noteheads, as used in Sacred Harp and similar notation, are
+described in @ref{Shape note heads}.
+
+@end itemize
+
+@seealso
+Learning Manual:
+@rlearning{Four-part SATB vocal score},
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Grouping staves},
+@ref{Context layout order},
+@ref{Shape note heads}.
+
+Internals Reference:
+@rinternals{ChoirStaff},
+@rinternals{Lyrics},
+@rinternals{PianoStaff}.
+
+@node Score layouts for choral
+@unnumberedsubsubsec Score layouts for choral
+
+Choral music containing four staves, with or without piano
+accompaniment, is usually laid out with two systems per page.
+Depending on the page size, achieving this may require changes
+to several default settings. The following settings should be
+considered:
+
+@itemize
+
+@item
+The global staff size can be modified to change the overall size
+of the elements of the score. See @ref{Setting the staff size}.
+
+@item
+The distances between the systems, the staves and the lyrics can
+all be adjusted independently. See @ref{Vertical spacing}.
+
+@item
+Setting @code{annotate-spacing = ##t} in the layout block will
+display the dimensions of the vertical layout variables. This
+may help in adjusting them. For details, see
+@ref{Displaying spacing}.
+
+@item
+Other possibilities for fitting the music onto fewer pages are
+described in @ref{Changing spacing}.
+
+@end itemize
+
+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. It
+may be activated with
+
+@example
+\paper @{
+ system-separator-markup = \slashSeparator
+@}
+@end example
+
+@noindent
+For details of this and other page formatting properties, see
+@ref{Page formatting}.
+
+Dynamic markings by default are placed below the staff, but in
+choral music they are often placed above the staff in order to
+avoid the lyrics. The predefined command @code{\dynamicUp} does
+this for the dynamic markings in a single @code{Voice} context.
+To place all dynamic markings in the score above their respective
+staves use the following in a @code{\layout} block within the
+@code{\score} block:
+
+@example
+\layout @{
+ \context @{
+ \Score
+ \override DynamicText #'direction = #UP
+ \override DynamicLineSpanner #'direction = #UP
+ @}
+@}
+@end example
+
+@predefined
+@code{\dynamicUp}.
+
+@seealso
+Notation Reference:
+@ref{Setting the staff size},
+@ref{Vertical spacing},
+@ref{Displaying spacing},
+@ref{Changing spacing},
+@ref{Score layout},
+@ref{Using an extra voice for breaks},
+@ref{Page formatting}.
+
+Internals Reference:
+@rinternals{VerticalAxisGroup},
+@rinternals{StaffGrouper}.
+
+
+@node Divided voices
+@unnumberedsubsubsec Divided voices
+
+@cindex voices, divided
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-arpeggiobracket-to-make-divisi-more-visible.ly}
+
+@seealso
+Notation Reference:
+@ref{Lines}.
+
+
+@node Opera and stage musicals
+@subsection Opera and stage musicals
+
+@menu
+* References for opera and stage musicals::
+* Spoken music::
+* Dialogue over music::
+@end menu
+
+@node References for opera and stage musicals
+@unnumberedsubsubsec References for opera and stage musicals
+
+@c TODO Choral, cues, character names, French staves
+@c vocal/conductor scores
+@c add characters names snippet -vv
+
+TBC
+
+@node Spoken music
+@unnumberedsubsubsec Spoken music
+
+@cindex parlato
+@cindex Sprechgesang
+Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
+without pitch but still with rhythm; these are notated by cross
+note heads, as demonstrated in @ref{Special note heads}.
+
+@c TODO add "marking-notes-on-spoken-parts" snippet -vv
+@c add "showing the rhythm of a melody" snip
+@c add "one staff-line notation"
+@c add "improvisation" ref
+@c add "lyrics independents of notes" ref
+
+@node Dialogue over music
+@unnumberedsubsubsec Dialogue over music
+
+TBC
+
+
+@node Chants psalms and hymns
+@subsection Chants psalms and hymns
+
+@cindex chants
+@cindex psalms
+@cindex hymns
+@cindex religious music
+
+The music and words for chants, psalms and hymns usually follow a
+well-established format in any particular church. Although the
+formats may differ from church to church the type-setting problems
+which arise are broadly similar, and are covered in this section.
+
+@menu
+* References for chants and psalms::
+* Setting a chant::
+* Pointing a psalm::
+* Partial measures in hymn tunes::
+@end menu
+
+@node References for chants and psalms
+@unnumberedsubsubsec References for chants and psalms
+
+Typesetting Gregorian chant in various styles of ancient notation
+is described in @ref{Ancient notation}.
+
+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
+
+@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}.
+
+@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}.
+
+@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}.
+
+@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
+
+@seealso
+Learning Manual:
+@rlearning{Visibility and color of objects}.
+
+Notation reference:
+@ref{Ancient notation},
+@ref{Visibility of objects},
+@ref{Bars},
+@ref{Unmetered music},
+@ref{Modifying context plug-ins},
+@ref{Typesetting Gregorian chant}.
+
+@node Setting a chant
+@unnumberedsubsubsec Setting a chant
+
+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}.
+
+Some approaches to setting a chant are shown in the following
+snippets.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{chant-or-psalms-notation.ly}
+
+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.
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{ancient-notation-template----modern-transcription-of-gregorian-music.ly}
+
+@seealso
+Notation Reference:
+@ref{Typesetting Gregorian chant}.
+
+
+@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.
+
+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 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}.
+
+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
+there are two notes in a bar there will usually be only one or two
+corresponding syllables. If there are more that two syllables a
+dot is usually inserted to indicate where the change in note occurs.
+
+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.
+
+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
+in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
+
+@seealso
+Learning Manual:
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Fonts},
+@ref{Formatting text}.
+
+
+@node Partial measures in hymn tunes
+@unnumberedsubsubsec Partial measures in hymn tunes
+
+Hymn tunes frequently start and end every line of music with
+partial measures so that each line of music corresponds exactly
+with a line of text. This requires a @code{\partial} command at
+the start of the music and @code{\bar "|"} or @code{\bar "||"}
+commands at the end of each line.
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{hymn-template.ly}
+
+
+@node Ancient vocal music
+@subsection Ancient vocal music
+
+Ancient vocal music is supported, as explained in @ref{Ancient notation}.
+
+@c TODO
+
+@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
+@c and "Transcription of Ancient music with incipit" snippet. -vv
+
+@seealso
+Notation Reference:
+@ref{Ancient notation}.
+
+
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