@menu
* Common notation for vocal music::
-* Entering lyrics::
-* Aligning lyrics to a melody::
* Techniques specific to lyrics::
* Stanzas::
* Songs::
* Choral::
* Opera and stage musicals::
-* Chants hymns and psalms::
+* Chants psalms and hymns::
* Ancient vocal music::
@end menu
@node Common notation for vocal music
@subsection Common notation for 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.
+This section discusses issues common to most types of vocal music.
@menu
-* Common references for vocal music::
+* References for vocal music::
+* Entering lyrics::
+* Aligning lyrics to a melody::
+* Automatic syllable durations::
+* Manual syllable durations::
+* Multiple syllables to one note::
+* Multiple notes to one syllable::
+* Skipping notes::
+* Extenders and hyphens::
@end menu
-@node Common references for vocal music
-@unnumberedsubsubsec Common references for vocal music
+@node References for vocal music
+@unnumberedsubsubsec References for vocal music
This section indicates where to find details of notation issues
that may arise in any type of vocal music.
This syntax is described in @ref{Text markup introduction}.
@item
-@q{Ambitus} may be added at the beginning of vocal staves, as explained
+@notation{Ambitus} may be added at the beginning of vocal staves, as explained
in @ref{Ambitus}.
@end itemize
+@seealso
+Music Glossary:
+@rglos{ambitus}.
@node Entering lyrics
-@subsection Entering lyrics
+@unnumberedsubsubsec Entering lyrics
Lyrics are entered in lyric mode. This section explains how this
done.
-@menu
-* Lyrics explained::
-* Working with lyrics and variables::
-@end menu
-
-
-@node Lyrics explained
-@unnumberedsubsubsec Lyrics explained
-
@cindex lyrics
@funindex \lyricmode
@cindex punctuation
@rinternals{LyricSpace}.
-@node Working with lyrics and variables
-@unnumberedsubsubsec Working with lyrics and variables
-
-@cindex lyrics, variables
-
-To define variables containing lyrics, the function @code{\lyricmode}
-must be used. You do not have to enter durations though, if you add
-@code{\addlyrics} or @code{\lyricsto}
-when invoking your variable.
-
-@example
-verseOne = \lyricmode @{ Joy to the world the Lord is come @}
-\score @{
- <<
- \new Voice = "one" \relative c'' @{
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
- @}
- \addlyrics @{ \verseOne @}
- >>
-@}
-@end example
-
-For different or more complex orderings, the best way is to set up the
-hierarchy of staves and lyrics first, e.g.,
-@example
-\new ChoirStaff <<
- \new Voice = "soprano" @{ @emph{music} @}
- \new Lyrics = "sopranoLyrics" @{ s1 @}
- \new Lyrics = "tenorLyrics" @{ s1 @}
- \new Voice = "tenor" @{ @emph{music} @}
->>
-@end example
-
-@noindent
-and then combine the appropriate melodies and lyric lines
-
-@example
-\context Lyrics = sopranoLyrics \lyricsto "soprano"
-@emph{the lyrics}
-@end example
-
-@noindent
-The final input would resemble
-
-@example
-<<\new ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
-@emph{etc}
->>
-@end example
-
-@ignore
-@c TODO
-http://code.google.com/p/lilypond/issues/detail?id=329
-The problem cannot be reproduced.
-The following has no sense, because the issue seems to be fixed.
-A comment is in tracker waiting for response ---FV
-
-
-Be careful when defining a variable with lyrics that creates a new
-context, for example, using the deprecated @code{\lyrics} command. See
-the next erroneous example:
-
-@example
-words = \lyrics{ %warning: this creates a new context
- one two
-}
-<<
- \new Voice = "sop" { c1 }
- \new Lyrics \lyricsto "sop" { \words }
- \new Voice = "alt" { c2 c }
- \new Lyrics \lyricsto "alt" { \words }
->>
-@end example
-
-the problem is that \lyricsto will try to connect the "sop" melody with the context
-created by "\new Lyrics".
-
-Then \lyrics in \words creates another context, and the original "\new Lyrics" one
-remains empty.
-
-@end ignore
-
-
-@seealso
-@c TODO: document \new Staff << Voice \lyricsto >> bug
-Internals Reference:
-@rinternals{LyricCombineMusic},
-@rinternals{Lyrics}.
-
-
@node Aligning lyrics to a melody
-@subsection Aligning lyrics to a melody
+@unnumberedsubsubsec Aligning lyrics to a melody
@funindex \lyricmode
@funindex \addlyrics
@ref{Keeping contexts alive}.
-@menu
-* Automatic syllable durations::
-* Manual syllable durations::
-* Multiple syllables to one note::
-* Multiple notes to one syllable::
-* Skipping notes::
-* Extenders and hyphens::
-* Lyrics and repeats::
-@end menu
-
@node Automatic syllable durations
@unnumberedsubsubsec Automatic syllable durations
-@cindex automatic syllable durations
+@cindex syllable durations, automatic
@cindex lyrics and melodies
The lyrics can be aligned under a given melody
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}.
+@code{\lyricmode}, for details see @ref{Entering lyrics}.
@node Manual syllable durations
@unnumberedsubsubsec Manual syllable durations
@rinternals{LyricHyphen}.
-@node Lyrics and repeats
-@unnumberedsubsubsec Lyrics and repeats
-
-@c TODO New section. Add text
-TBC
-
-
@node Techniques specific to lyrics
@subsection Techniques specific to lyrics
@c TODO This whole section is to be reorganized. -vv
-Often, different stanzas of one song are put to one melody in slightly
-differing ways. Such variations can still be captured with
-@code{\lyricsto}.
-
@menu
+* Working with lyrics and variables::
+* Lyrics and repeats::
* Divisi lyrics::
* Lyrics independent of notes::
* Spacing out syllables::
+@node Working with lyrics and variables
+@unnumberedsubsubsec Working with lyrics and variables
+
+@cindex lyrics, variables
+
+To define variables containing lyrics, the function @code{\lyricmode}
+must be used. You do not have to enter durations though, if you add
+@code{\addlyrics} or @code{\lyricsto}
+when invoking your variable.
+
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
+
+For different or more complex orderings, the best way is to set up the
+hierarchy of staves and lyrics first, e.g.,
+@example
+\new ChoirStaff <<
+ \new Voice = "soprano" @{ @emph{music} @}
+ \new Lyrics = "sopranoLyrics" @{ s1 @}
+ \new Lyrics = "tenorLyrics" @{ s1 @}
+ \new Voice = "tenor" @{ @emph{music} @}
+>>
+@end example
+
+@noindent
+and then combine the appropriate melodies and lyric lines
+
+@example
+\context Lyrics = sopranoLyrics \lyricsto "soprano"
+@emph{the lyrics}
+@end example
+
+@noindent
+The final input would resemble
+
+@example
+<<\new ChoirStaff << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+@emph{etc}
+>>
+@end example
+
+@ignore
+@c TODO
+http://code.google.com/p/lilypond/issues/detail?id=329
+The problem cannot be reproduced.
+The following has no sense, because the issue seems to be fixed.
+A comment is in tracker waiting for response ---FV
+
+
+Be careful when defining a variable with lyrics that creates a new
+context, for example, using the deprecated @code{\lyrics} command. See
+the next erroneous example:
+
+@example
+words = \lyrics{ %warning: this creates a new context
+ one two
+}
+<<
+ \new Voice = "sop" { c1 }
+ \new Lyrics \lyricsto "sop" { \words }
+ \new Voice = "alt" { c2 c }
+ \new Lyrics \lyricsto "alt" { \words }
+>>
+@end example
+
+the problem is that \lyricsto will try to connect the "sop" melody with the context
+created by "\new Lyrics".
+
+Then \lyrics in \words creates another context, and the original "\new Lyrics" one
+remains empty.
+
+@end ignore
+
+
+@seealso
+@c TODO: document \new Staff << Voice \lyricsto >> bug
+Internals Reference:
+@rinternals{LyricCombineMusic},
+@rinternals{Lyrics}.
+
+
+@node Lyrics and repeats
+@unnumberedsubsubsec Lyrics and repeats
+
+@c TODO New section. Add text
+TBC
+
+
@node Divisi lyrics
@unnumberedsubsubsec Divisi lyrics
@node Stanzas with different rhythms
@unnumberedsubsubsec Stanzas with different rhythms
+Often, different stanzas of one song are put to one melody in slightly
+differing ways. Such variations can still be captured with
+@code{\lyricsto}.
+
@subsubheading Ignoring melismata
One possibility is that the text has a melisma in one stanza, but
@menu
* References for choral::
* Score layouts for choral::
+* Divided voices::
@end menu
@node References for choral
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.
+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).
Words are placed in @code{Lyrics} contexts, either underneath each
corresponding music staff, or one above and one below the music
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}.
+@item
+When two vocal parts share a staff the stems, ties, slurs, etc., of
+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}.
+
@end itemize
+@predefined
+@code{\oneVoice},
+@code{\voiceOne},
+@code{\voiceTwo}.
+
@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}.
+@ref{Grouping staves},
+@ref{Shape note heads},
+@ref{Single-staff polyphony}.
Internals Reference:
@rinternals{ChoirStaff},
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}.
+The dimensions of the vertical layout variables can be displayed as
+an aid to adjusting the vertical spacing. This and other
+possibilities for fitting the music onto fewer pages are described
+in @ref{Fitting music onto fewer pages}.
@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
+the two systems. See @ref{Separating systems}.
-@noindent
-For details of this and other page formatting properties, see
+@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 often placed above the staff in order to
+choral music they are usually 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:
+If there are many @code{Voice} contexts this predefined command
+would have to be placed in every one. Alternatively its expanded
+form can be used to place all dynamic markings in the entire score
+above their respective staves, as shown here:
-@example
-\layout @{
- \context @{
- \Score
- \override DynamicText #'direction = #UP
- \override DynamicLineSpanner #'direction = #UP
- @}
-@}
-@end example
+@lilypond[verbatim,quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice {
+ \relative c'' { g4\f g g g }
+ }
+ }
+ \new Staff {
+ \new Voice {
+ \relative c' { d4 d d\p d }
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override DynamicText #'direction = #UP
+ \override DynamicLineSpanner #'direction = #UP
+ }
+ }
+}
+@end lilypond
@predefined
-@code{\dynamicUp}.
+@code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
@seealso
Notation Reference:
-@ref{Setting the staff size},
-@ref{Vertical spacing},
-@ref{Displaying spacing},
@ref{Changing spacing},
+@ref{Displaying spacing},
+@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{Page formatting}.
+@ref{Vertical spacing}.
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{Expressive marks as lines}.
+
+
@node Opera and stage musicals
@subsection Opera and stage musicals
+The music, lyrics and dialogue to opera and stage musicals are
+usually set out in one or more of the following forms:
+
+@itemize
+
+@item
+A @emph{Conductors' Score} containing the full orchestral and vocal
+parts, together with libretto cues if there are spoken passages.
+
+@item
+@emph{Orchestral Parts} containing the music for the individual
+instruments of the orchestra or band.
+
+@item
+A @emph{Vocal Score} containing all vocal parts with piano
+accompaniment. The accompaniment is usually an orchestral
+reduction, and if so the name of the original orchestral instrument
+is often indicated. Vocal scores sometimes includes stage
+directions and libretto cues.
+
+@item
+A @emph{Vocal Book} containing just the vocal parts
+(no accompaniment), sometimes combined with the libretto.
+
+@item
+A @emph{Libretto} containing the extended passages of spoken
+dialogue usually found in musicals, together with the words to the
+sung parts. Stage directions are usually included. LilyPond can
+be used to typeset libretti but as they contain no music
+alternative methods may be preferable.
+
+@end itemize
+
+The sections in the LilyPond documentation which cover the topics
+needed to create scores in the styles commonly found in opera and
+musicals are indicated in the References below. This is followed
+by sections covering those techniques which are peculiar to
+typesetting opera and musical scores.
+
@menu
* References for opera and stage musicals::
* Spoken music::
@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
+@itemize
+
+@item
+A conductors' score contains many grouped staves and lyrics. Ways
+of grouping staves is shown in @ref{Grouping staves}. To nest
+groups of staves see @ref{Nested staff groups}.
+
+@item
+The printing of empty staves in conductors' scores and vocal scores
+is often suppressed. To create such a @qq{Frenched score} see
+@ref{Hiding staves}.
+
+@item
+Writing orchestral parts is covered in @ref{Writing parts}.
+Other sections in the Specialist notation chapter may be relevant,
+depending on the orchestration used. Many instruments are
+transposing instruments, see @ref{Instrument transpositions}.
+
+@item
+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
+For details of other page formatting properties, see
+@ref{Page formatting}.
+
+@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}.
+
+@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}.
+
+@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
+a section of stand-alone markup between two @code{\score} blocks.
+See @ref{Separate text}.
+
+@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}.
-TBC
@node Spoken music
@unnumberedsubsubsec Spoken music
TBC
-@node Chants hymns and psalms
-@subsection Chants hymns and psalms
+@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 hymns and psalms::
-* Partial measures::
-* Multiple syllables to a note::
-* Pointing::
+* References for chants and psalms::
+* Setting a chant::
+* Pointing a psalm::
+* Partial measures in hymn tunes::
@end menu
-@node References for chants hymns and psalms
-@unnumberedsubsubsec References for chants hymns and psalms
+@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}.
+
+@seealso
+Notation reference:
+@ref{Ancient notation}.
-@c TODO Add text from lsr and -user
-TBC
-@node Partial measures
-@unnumberedsubsubsec Partial measures
+@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 shown here.
+
+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]
+stemOff = { \override Staff.Stem #'transparent = ##t }
+
+\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
+
+Chants usually omit the time signature and often omit the clef too.
+
+@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
+
+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}.
+
+Some approaches to setting such a chant are shown in the first of
+the following snippets, and another example can be seen in the
+templates, see @qq{Psalms} in @rlearning{Vocal ensembles}.
+
+@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. 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}.
+
+Notation Reference:
+@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.
+
+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
{hymn-template.ly}
-@node Multiple syllables to a note
-@unnumberedsubsubsec Multiple syllables to a note
-
-TBC
-
-@node Pointing
-@unnumberedsubsubsec Pointing
-
-TBC
-
@node Ancient vocal music
@subsection Ancient vocal music
projects / lilypond.git / blobdiff