\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
Making a lyric line run slower than the melody can be achieved by
inserting @code{\skip}s into the lyrics. For every @code{\skip},
-the text will be delayed another note. The @code{\skip} command
+the text will be delayed by another note. The @code{\skip} command
must be followed by a valid duration, but this is ignored when
-@code{\skip} is used in lyrics.
+@code{\skip} is used in lyrics which derive their durations from the
+notes in an associated melody through @code{\addlyrics} or
+@code{\lyricsto}.
@lilypond[verbatim,ragged-right,quote]
\relative c' { c c g' }
* Divisi lyrics::
* Lyrics independent of notes::
* Spacing out syllables::
-* Placement of lyrics between staves::
+* Placement of lyrics::
@end menu
@node Lyrics and repeats
@unnumberedsubsubsec Lyrics and repeats
-@c TODO New section. Add text
-TBC
+@cindex repeats and lyrics
+@cindex lyrics, repeating
+
+@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 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 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 volta 2 { Re -- peat -- ed twice. }
+ }
+ }
+ >>
+}
+@end lilypond
+
+The words will then be correctly expanded if the repeats are
+unfolded.
+
+@lilypond[verbatim,quote]
+\score {
+ \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 volta 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
+
+@cindex lyric skip
+@funindex \skip
+
+When the words to a repeated volta section are different the words
+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} 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{@bs{}skip} command must be followed by a number,
+but this number is ignored in lyrics which derive their durations
+from the notes in an associated melody through @code{\addlyrics} or
+@code{\lyricsto}. Each @code{@bs{}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
+
+@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 {
+ <<
+ \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
+
+@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
@end ignore
-@node Placement of lyrics between staves
-@unnumberedsubsubsec Placement of lyrics between staves
+@node Placement of lyrics
+@unnumberedsubsubsec Placement of lyrics
+
+@cindex placement of lyrics
+@cindex lyrics, positioning
@c TODO Add text from -user
-@c TODO Add new spacing properties, centering lyrics, etc
-TBC
+
+Lyrics are positioned above the staff, below the staff, or between
+staves, depending on the type of music. To place lyrics below the
+associated staff simply define the Lyrics context below the Staff
+context:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+To position lyrics above the staff, place the declaration of the
+Lyrics context before the Staff and Voice contexts, but the
+@code{\lyricsto} command must come after the Voice declaration it
+references, like this:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Lyrics = "lyrics"
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \context Lyrics = "lyrics" {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Alternatively, the position of the lyrics may be specified
+explicitly:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff = "staff" {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics \with { alignAboveContext = "staff" } {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+When there are two voices on separate staves the lyrics may be
+placed between the staves using either of these methods. Here
+is an example of the first method:
+
+@lilypond[quote,verbatim]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice = "sopranos" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics = "sopranos"
+ \new Lyrics = "contraltos"
+ \new Staff {
+ \new Voice = "contraltos" {
+ \relative c'' { a4 a a a }
+ }
+ }
+ \context Lyrics = "sopranos" {
+ \lyricsto "sopranos" {
+ Sop -- ra -- no words
+ }
+ }
+ \context Lyrics = "contraltos" {
+ \lyricsto "contraltos" {
+ Con -- tral -- to words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Other combinations of lyrics and staves may be generated by
+elaborating these examples, or by examining the SATB templates in
+the Learning Manual.
+
+@seealso
+Learning Manual:
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Aligning contexts},
+@ref{Creating contexts}.
@node Stanzas
@subsection Stanzas
@node References for songs
@unnumberedsubsubsec References for songs
-@c TODO chords, setting simple songs (LM), stanzas
-TBC
+Songs are usually written on three staves with the melody for the
+singer on the top staff and two staves of piano accompaniment at
+the bottom. The lyrics of the first stanza are printed immediately
+underneath the top staff. If there are just a small number of
+further stanzas these can be printed immediately under the first
+one, but if there are more stanzas than can be easily accommodated
+there the second and subsequent stanzas are printed after the music
+as stand-alone text.
+
+All the notational elements needed to write songs are fully described
+elsewhere:
+
+@itemize
+
+@item
+For constructing the staff layout, see @ref{Displaying staves}.
+
+@item
+For writing piano music, see
+@ref{Keyboard and other multi-staff instruments}.
+
+@item
+For writing the lyrics to a melody line, see
+@ref{Common notation for vocal music}.
+
+@item
+For placing the lyrics, see @ref{Placement of lyrics}.
+
+@item
+For entering stanzas, see @ref{Stanzas}.
+
+@item
+Songs are frequently printed with the chording indicated by chord
+names above the staves. This is described in
+@ref{Displaying chords}.
+
+@item
+To print fret diagrams of the chords for guitar accompaniment or
+accompaniment by other fretted instruments, see @qq{Fret diagram
+markups} in @ref{Common notation for fretted strings}.
+
+@end itemize
+
+@seealso
+Learning Manual:
+@rlearning{Songs}.
+
+Notation Reference:
+@ref{Common notation for vocal music},
+@ref{Displaying chords},
+@ref{Displaying staves},
+@ref{Keyboard and other multi-staff instruments},
+@ref{Placement of lyrics},
+@ref{Stanzas}.
@node Lead sheets
@unnumberedsubsubsec Lead sheets
@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:
-
-@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
+the two systems. See @ref{Separating systems}.
-@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::
+* Musical cues::
* 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}.
-
-@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}.
+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
-Musical cues can be inserted with the @code{\cueDuring} predefined
-command. For details of its use see @ref{Formatting cue notes}.
+For details of other page formatting properties, see
+@ref{Page formatting}.
@item
Dialogue cues and stage directions can be inserted with markup.
@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{Selecting font and font size},
-@ref{Text},
+@ref{Page formatting},
+@ref{Separating systems},
@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]
+\clef "G_8"
+c4^\markup \fontsize #1 \smallCaps Kaspar
+c c c
+\clef "bass"
+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{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
@unnumberedsubsubsec Spoken music
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}.
+the @qq{reciting note}. Chants are usually centered on the page.
+
+@lilypond[verbatim,quote]
+SopranoMusic = \relative g' {
+ g1 | c2 b | a1 | \bar "||"
+ a1 | d2 c | c b | c1 | \bar "||"
+}
+
+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 |
+}
+
+BassMusic = \relative c {
+ c1 | e2 e | f1 |
+ d1 | b2 c | g' g | c,1 |
+}
+
+global = {
+ \time 2/2
+}
-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}.
+% 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
@seealso
Learning Manual:
-@rlearning{Visibility and color of objects}.
+@rlearning{Visibility and color of objects},
+@rlearning{Vocal ensembles}.
Notation Reference:
@ref{Ancient notation},
@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}.
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