Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.13.36"
@node Vocal music
@section Vocal music
-@c TODO: inspirational headword
+@lilypondfile[quote]{vocal-headword.ly}
This section explains how to typeset vocal music, and make sure
that the lyrics will be aligned with the notes of their melody.
@menu
* Common notation for vocal music::
-* Entering lyrics::
-* Aligning lyrics to a melody::
* Techniques specific to lyrics::
* Stanzas::
* Songs::
@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::
+* 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.
@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}.
+Most styles of vocal music use written text as lyrics. An
+introduction to this notation is to be found in
+@rlearning{Setting simple songs}.
@item
-Vocal music is likely to require the use of @code{markup} mode, either
-for lyrics of for other text elements (character's names, etc.).
-This syntax is described in @ref{Text markup introduction}.
+Vocal music is likely to require the use of @code{markup} mode,
+either for lyrics or for other text elements (characters' names,
+etc.) This syntax is described in @ref{Text markup introduction}.
@item
-@q{Ambitus} may be added at the beginning of vocal staves, as explained
-in @ref{Ambitus}.
-
-@end itemize
+@notation{Ambitus} may be added at the beginning of vocal staves,
+as explained in @ref{Ambitus}.
+@item
+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, as explained in @ref{Score layouts for choral}.
-@node Entering lyrics
-@subsection Entering lyrics
+@end itemize
-Lyrics are entered in lyric mode. This section explains how this
-done.
+@seealso
+Music Glossary:
+@rglos{ambitus}.
-@menu
-* Lyrics explained::
-* Working with lyrics and variables::
-@end menu
+Learning Manual:
+@rlearning{Setting simple songs}.
+Notation Reference:
+@ref{Text markup introduction},
+@ref{Ambitus},
+@ref{Score layouts for choral}.
-@node Lyrics explained
-@unnumberedsubsubsec Lyrics explained
+Snippets:
+@rlsr{Vocal music}.
-@cindex lyrics
+@node Entering lyrics
+@unnumberedsubsubsec Entering lyrics
+
+@cindex lyrics, entering
+@cindex entering lyrics
+@cindex formatting in lyrics
+@cindex lyrics, formatting
+@cindex punctuation in lyrics
+@cindex lyrics punctuation
+@cindex spaces in lyrics
+@cindex quotes in lyrics
@funindex \lyricmode
-@cindex punctuation
-@cindex spaces, in lyrics
-@cindex quotes, in lyrics
-@c TODO: this section is to be rewritten.
-Since LilyPond input files are text, there is at least one
-issue to consider when working with vocal music:
-song texts must be interpreted as text, not notes. For example, the
-input@tie{}@code{d} should be interpreted as a one letter syllable,
-not the note@tie{}D.
-Therefore, a special lyric mode has to be used, either explicitly
-or using some abbreviated methods.
+@c TODO should we explain hyphens here
Lyrics are entered in a special input mode, which can be introduced
by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
-@code{\lyricsto}. In this mode you can enter lyrics,
-with punctuation and accents, and the input @code{d} is not parsed as
-a pitch, but rather as a one letter syllable. Syllables are entered
-like notes, but with pitches replaced by text. For example,
+@code{\lyricsto}. In this special input mode, the input @code{d}
+is not parsed as the pitch @notation{D}, but rather as a one-letter
+syllable of text. In other words, syllables are entered like notes
+but with pitches replaced by text.
+
+For example:
@example
-\lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
+\lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
@end example
-There are two main methods to specify the horizontal placement
+There are two main methods for specifying the horizontal placement
of the syllables, either by specifying the duration of each syllable
-explicitly, like in the example above, or by automatically aligning
-the lyrics to a melody or other voice of music, using @code{\addlyrics}
-or @code{\lyricsto}.
-@c TODO: broken
-@c For more details see @ref{The Lyrics context}.
+explicitly, as in the example above, or by leaving the lyrics to be
+aligned automatically to a melody or other voice of music, using
+@code{\addlyrics} or @code{\lyricsto}. The former method is
+described below in @ref{Manual syllable durations}. The latter
+method is described in @ref{Automatic syllable durations}.
-A word or syllable of lyrics begins with an alphabetic character, and ends
-with
-any space or digit. The following characters can be any character
-that is not a digit or white space.
+A word or syllable of lyrics begins with an alphabetic character
+(plus some other characters, see below) and is terminated by any
+white space or a digit. Later characters in the syllable can be any
+character that is not a digit or white space.
-Any character that is not a digit or white space will be regarded as
-part of the syllable; one important consequence of this is that a word
-can end with @code{@}}, which often leads to the following mistake:
+Because any character that is not a digit or white space is regarded
+as part of the syllable, a word is valid even if it ends with
+@code{@}}, which often leads to the following mistake:
@example
-\lyricmode @{ lah- lah@}
+\lyricmode @{ lah lah lah@}
@end example
In this example, the @code{@}} is included in the final syllable, so the
opening brace is not balanced and the input file will probably not
-compile.
+compile. Instead, braces should always be surrounded with white space:
+@example
+\lyricmode @{ lah lah lah @}
+@end example
-@funindex \property in \lyricmode
+@cindex overrides in lyric mode
+@funindex \override in \lyricmode
-@noindent
-Similarly, a period which follows an alphabetic sequence is included in
-the resulting string. As a consequence, spaces must be inserted around
-property commands: do @emph{not} write
+Similarly, in lyric mode, a period will be included in the
+alphabetic sequence that it follows. As a consequence, spaces
+must be inserted around the period in @code{\override} commands.
+Do @emph{not} write
@example
\override Score.LyricText #'font-shape = #'italic
\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}.
-
+Punctuation, lyrics with accented characters, characters from
+non-English languages, or special characters (such as the heart
+symbol or slanted quotes), may simply be inserted directly
+into the input file, providing it is saved with UTF-8 encoding.
+For more information, see @ref{Text encoding}.
-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
-it with UTF-8 encoding. See @ref{Text encoding}, for more info.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c' { e4 f e d e f e2 }
-\addlyrics { He said: “Let my peo ple go”. }
+@lilypond[quote,verbatim]
+\relative c'' { d8 c16 a bes8 f e' d c4 }
+\addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
@end lilypond
-To use normal quotes in lyrics, add a backslash before the
-quotes. For example,
+Normal quotes may be used in lyrics, but they have to be preceded
+with a backslash character and the whole syllable has to be
+enclosed between additional quotes. For example,
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,verbatim]
\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
-\addlyrics { "\"I" am so lone- "ly\"" said she }
+\addlyrics { "\"I" am so lone -- "ly,\"" said she }
@end lilypond
-The full definition of a word start in Lyrics mode is somewhat more
-complex.
-
-A word in Lyrics mode begins with: an alphabetic character, @code{_},
-@code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
-through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
-any 8-bit character with ASCII code over 127, or a two-character
+The full definition of a word start in lyrics mode is somewhat more
+complex. A word in lyrics mode is one that begins with an
+alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
+@code{'}, the control characters @code{^A} through @code{^F},
+@code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
+character with an ASCII code over 127, or a two-character
combination of a backslash followed by one of @code{`}, @code{'},
@code{"}, or @code{^}.
@c " to balance double quotes for not-so-bright context-sensitive editors
-To define variables containing lyrics, the function @code{lyricmode}
-must be used.
+Great control over the appearance of lyrics comes from using
+@code{\markup} inside the lyrics themselves. For explanation of many
+options, see @ref{Formatting text}.
-@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
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{formatting-lyrics-syllables.ly}
@seealso
+Learning Manual:
+@rlearning{Songs}.
+
Notation Reference:
-@ref{Fonts}.
+@ref{Automatic syllable durations},
+@ref{Fonts},
+@ref{Formatting text},
+@ref{Input modes},
+@ref{Manual syllable durations},
+@ref{Text encoding}.
Internals Reference:
-@rinternals{LyricText},
-@rinternals{LyricSpace}.
+@rinternals{LyricText}.
+Snippets:
+@rlsr{Text}
-@node Working with lyrics and variables
-@unnumberedsubsubsec Working with lyrics and variables
+@node Aligning lyrics to a melody
+@unnumberedsubsubsec Aligning lyrics to a melody
-@cindex lyrics, variables
+@cindex lyrics, aligning to a melody
+@cindex @code{associatedVoice}
+@funindex \lyricmode
+@funindex \addlyrics
+@funindex \lyricsto
-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.
+Lyrics are printed by interpreting them in the context called
+@code{Lyrics}, see @ref{Contexts explained}.
@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 @}
- >>
-@}
+\new Lyrics \lyricmode @{ @dots{} @}
@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
+Lyrics can be aligned with melodies in two main ways:
-@noindent
-and then combine the appropriate melodies and lyric lines
+@itemize
-@example
-\context Lyrics = sopranoLyrics \lyricsto "soprano"
-@emph{the lyrics}
-@end example
+@item
+Lyrics can be aligned automatically, with the durations of the
+syllables being taken from another voice of music or (in special
+circumstances) an associated melody, using @code{\addlyrics},
+@code{\lyricsto}, or by setting the @code{associatedVoice} property.
+For more details, see @ref{Automatic syllable durations}.
-@noindent
-The final input would resemble
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \new Staff <<
+ \time 2/4
+ \new Voice = "one" \relative c'' {
+ \voiceOne
+ c4 b8. a16 g4. r8 a4 ( b ) c2
+ }
+ \new Voice = "two" \relative c' {
+ \voiceTwo
+ s2 s4. f8 e4 d c2
+ }
+ >>
-@example
-<<\new ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
-@emph{etc}
+% takes durations and alignment from notes in "one"
+ \new Lyrics \lyricsto "one" {
+ Life is __ _ love, live __ life.
+ }
+
+% takes durations and alignment from notes in "one" initially
+% then switches to "two"
+ \new Lyrics \lyricsto "one" {
+ No more let
+ \set associatedVoice = "two" % must be set one syllable early
+ sins and sor -- rows grow.
+ }
>>
-@end example
+@end lilypond
-@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
+The first stanza shows the normal way of entering lyrics.
+The second stanza shows how the voice from which the lyric
+durations are taken can be changed. This is useful if the words to
+different stanzas fit the notes in different ways and all the
+durations are available in Voice contexts. For more details, see
+@ref{Stanzas}.
-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:
+@item
+Lyrics can be aligned independently of the duration of any notes
+if the durations of the syllables are specified explicitly,
+and entered with @code{\lyricmode}.
-@example
-words = \lyrics{ %warning: this creates a new context
- one two
-}
+@lilypond[quote,ragged-right,verbatim]
<<
- \new Voice = "sop" { c1 }
- \new Lyrics \lyricsto "sop" { \words }
- \new Voice = "alt" { c2 c }
- \new Lyrics \lyricsto "alt" { \words }
+ \new Voice = "one" \relative c'' {
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ }
+
+% uses previous explicit duration of 2;
+ \new Lyrics \lyricmode {
+ Joy to the earth!
+ }
+
+% explicit durations, set to a different rhythm
+ \new Lyrics \lyricmode {
+ Life4 is love,2. live4 life.2
+ }
>>
-@end example
+@end lilypond
-the problem is that \lyricsto will try to connect the "sop" melody with the context
-created by "\new Lyrics".
+The first stanza is not aligned with the notes because the durations
+were not specified, and the previous value of 2 is used for each
+word.
-Then \lyrics in \words creates another context, and the original "\new Lyrics" one
-remains empty.
+The second stanza shows how the words can be aligned quite
+independently from the notes. This is useful if the words to
+different stanzas fit the notes in different ways and the required
+durations are not available in a music context. For more details
+see @ref{Manual syllable durations}. This technique is also useful
+when setting dialogue over music; for examples showing this, see
+@ref{Dialogue over music}.
-@end ignore
+When entered in this way the words are left-aligned to the notes
+by default, but may be center-aligned to the notes of a melody by
+specifying an associated voice, if one exists. For details, see
+@ref{Manual syllable durations}.
+@end itemize
@seealso
-@c TODO: document \new Staff << Voice \lyricsto >> bug
+Learning Manual:
+@rlearning{Aligning lyrics to a melody}.
+
+Notation Reference:
+@ref{Contexts explained},
+@ref{Automatic syllable durations}.
+@ref{Stanzas},
+@ref{Manual syllable durations},
+@ref{Dialogue over music},
+@ref{Manual syllable durations}.
+
Internals Reference:
-@rinternals{LyricCombineMusic},
@rinternals{Lyrics}.
+@node Automatic syllable durations
+@unnumberedsubsubsec Automatic syllable durations
-@node Aligning lyrics to a melody
-@subsection Aligning lyrics to a melody
-
-@funindex \lyricmode
+@cindex syllable durations, automatic
+@cindex lyrics and melodies
+@cindex associatedVoice
@funindex \addlyrics
@funindex \lyricsto
-@c TODO: this stuff is to be rewritten. -vv
-
-Aligning of text with melodies can be made automatically, but if you
-specify the durations of the syllables it can also be made manually.
-Lyrics aligning and typesetting are prepared with the help of skips,
-hyphens and extender lines.
-
-Lyrics are printed by interpreting them in the context called
-@code{Lyrics}; see @rinternals{Lyrics}, for more.
+Lyrics can be automatically aligned to the notes of a melody in
+three ways:
-@example
-\new Lyrics \lyricmode @dots{}
-@end example
+@itemize
-There are two main methods to specify the horizontal placement
-of the syllables:
+@item
+by specifying the named Voice context containing the melody with
+@code{\lyricsto},
-@itemize
@item
-by automatically aligning
-the lyrics to a melody or other voice of music, using @code{\addlyrics}
-or @code{\lyricsto}
+by introducing the lyrics with @code{\addlyrics} and placing them
+immediately after the Voice context containing the melody,
@item
-or by specifying the duration of each syllable
-explicitly, using @code{\lyricmode}
+by setting the @code{associatedVoice} property, the alignment of
+the lyrics may be switched to a different named Voice context at
+any musical moment.
+
@end itemize
+In all three methods hyphens can be drawn between the syllables of
+a word and extender lines can be drawn beyond the end of a word. For
+details, see @ref{Extenders and hyphens}.
+
The @code{Voice} context containing the melody to which the lyrics
are being aligned must not have @qq{died}, or the lyrics after that
point will be lost. This can happen if there are periods when that
voice has nothing to do. For methods of keeping contexts alive, see
@ref{Keeping contexts alive}.
+@subheading Using @code{\lyricsto}
-@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 lyrics and melodies
-
-The lyrics can be aligned under a given melody
-automatically. This is achieved by combining the
-melody and the lyrics with the @code{\lyricsto} expression
-
-@example
-\new Lyrics \lyricsto @var{name} @dots{}
-@end example
-
-@noindent
-This aligns the lyrics to the
-notes of the @code{Voice} context called @var{name}, which must
-already exist. Therefore normally the @code{Voice} is specified first, and
-then the lyrics are specified with @code{\lyricsto}. The command
-@code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
-@code{\lyricmode} keyword may be omitted.
+@cindex \lyricsto
+@funindex \lyricsto
-The following example uses different commands for entering lyrics.
+Lyrics can be aligned under a melody automatically by specifying
+the named Voice context containing the melody with
+@code{\lyricsto}:
-@lilypond[quote,fragment,ragged-right,verbatim]
+@lilypond[quote,verbatim,relative=2]
<<
- \new Voice = "one" \relative c'' {
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
+ \new Voice = "melody" {
+ a4 a a a
+ }
+ \new Lyrics \lyricsto "melody" {
+ These are the words
}
-
-% not recommended: left-aligned syllables
- \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
-
-% wrong: durations needed
- \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
-
-%correct
- \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
>>
@end lilypond
-The second stanza is not properly aligned because the durations
-were not specified. A solution for that would be to use @code{\lyricsto}.
+@noindent
+This aligns the lyrics to the notes of the named @code{Voice}
+context, which must already exist. Therefore normally the
+@code{Voice} context is specified first, followed by the
+@code{Lyrics} context. The lyrics themselves follow the
+@code{\lyricsto} command. The @code{\lyricsto} command
+invokes lyric mode automatically, so the @code{\lyricmode} keyword
+may be omitted. By default, the lyrics are placed underneath the
+notes. For other placements, see @ref{Placing lyrics vertically}.
+
+@subheading Using @code{\addlyrics}
@cindex \addlyrics
+@funindex \addlyrics
-The @code{\addlyrics} command is actually just a convenient way
-to write a more complicated LilyPond structure that sets up the
-lyrics.
+The @code{\addlyrics} command is just a convenient shortcut that
+can sometimes be used instead of having to set up the lyrics
+through a more complicated LilyPond structure.
@example
@{ MUSIC @}
is the same as
@example
-\new Voice = "blah" @{ music @}
+\new Voice = "blah" @{ MUSIC @}
\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 }
+@lilypond[verbatim,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
+@code{\addlyrics} sections:
-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
+@lilypond[ragged-right,verbatim,quote]
+{
+ \time 3/4
+ \relative c' { c2 e4 g2. }
+ \addlyrics { play the game }
+ \addlyrics { speel het spel }
+ \addlyrics { joue le jeu }
+}
+@end lilypond
-Lyrics can also be entered without @code{\addlyrics} or
-@code{\lyricsto}. In this case,
-syllables are entered like notes -- but with pitches replaced by text -- and the
-duration of each syllable must be entered explicitly. For example:
+The command @code{\addlyrics} cannot handle polyphonic settings.
+For these cases one should use @code{\lyricsto}.
-@example
-play2 the4 game2.
-sink2 or4 swim2.
-@end example
+@subheading Using associatedVoice
-The alignment to a melody can be specified with the
-@code{associatedVoice} property,
+The melody to which the lyrics are being aligned can be changed by
+setting the @code{associatedVoice} property,
@example
\set associatedVoice = #"lala"
@end example
@noindent
-The value of the property (here: @code{"lala"}) should be the name of
-a @code{Voice} context. Without this setting, extender lines
-will not be formatted properly.
-Here is an example demonstrating manual lyric durations,
+The value of the property (here: @code{"lala"}) should be the name
+of a @code{Voice} context. For technical reasons, the @code{\set}
+command must be placed one syllable before the one to which the
+change in voice is to apply.
+
+Here is an example demonstrating its use:
+
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \new Staff <<
+ \time 2/4
+ \new Voice = "one" \relative c'' {
+ \voiceOne
+ c4 b8. a16 g4. r8 a4 ( b ) c2
+ }
+ \new Voice = "two" \relative c' {
+ \voiceTwo
+ s2 s4. f8 e8 d4. c2
+ }
+ >>
+% takes durations and alignment from notes in "one" initially
+% then switches to "two"
+ \new Lyrics \lyricsto "one" {
+ No more let
+ \set associatedVoice = "two" % must be set one syllable early
+ sins and sor -- rows grow.
+ }
+>>
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Extenders and hyphens},
+@ref{Keeping contexts alive},
+@ref{Placing lyrics vertically}.
+
+@node Manual syllable durations
+@unnumberedsubsubsec Manual syllable durations
+
+In some complex vocal music, it may be desirable to place lyrics
+completely independently of notes. In this case do not use
+@code{\lyricsto} or @code{\addlyrics} and do not set
+@code{associatedVoice}. Syllables are entered like notes --
+but with pitches replaced by text -- and the duration of each
+syllable is entered explicitly after the syllable.
+
+By default, syllables will be left-aligned to the corresponding
+musical moment. Hyphenated lines may be drawn between syllables
+as usual, but extender lines cannot be drawn when there is no
+associated voice.
+
+Here are two examples:
+
+@lilypond[relative=1,verbatim,quote]
+<<
+ \new Voice = "melody" {
+ \time 3/4
+ c2 e4 g2 f
+ }
+ \new Lyrics \lyricmode {
+ play1 the4 game4
+ }
+>>
+@end lilypond
+
+
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \new Staff {
+ \relative c'' {
+ c2 c2
+ d1
+ }
+ }
+ \new Lyrics {
+ \lyricmode {
+ I2 like4. my8 cat!1
+ }
+ }
+ \new Staff {
+ \relative c' {
+ c8 c c c c c c c
+ c8 c c c c c c c
+ }
+ }
+>>
+@end lilypond
+
+This technique is useful when writing dialogue over music, see
+@ref{Dialogue over music}.
-@lilypond[relative=1,ragged-right,verbatim,fragment,quote]
-<< \new Voice = "melody" {
+To center-align syllables on the notes at the corresponding musical
+moments, set @code{associatedVoice} to the name of the Voice context
+containing those notes. When @code{associatedVoice} is set, both
+double hyphens and double underscores can be used to draw
+hyphenated lines and extenders under melismata correctly.
+
+@lilypond[relative=1,verbatim,quote]
+<<
+ \new Voice = "melody" {
\time 3/4
- c2 e4 g2.
- }
- \new Lyrics \lyricmode {
- \set associatedVoice = #"melody"
- play2 the4 game2.
- } >>
+ c2 e4 g f g
+ }
+ \new Lyrics \lyricmode {
+ \set associatedVoice = #"melody"
+ play2 the4 game2. __
+ }
+>>
@end lilypond
+@c TODO see also feature request 707 - show how to do this with manual durations
@seealso
Notation Reference:
-@ref{Keeping contexts alive}.
+@ref{Dialogue over music}.
Internals Reference:
@rinternals{Lyrics},
@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
-sure to have a font (like DejaVuLGC) installed that includes this
-glyph.}
+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 use a font for this glyph which actually contains it.
+Freely available fonts with a lyric tie are, for example,
+`FreeSerif' (a Times clone), `DejaVuSans' (but not
+`DejaVuSerif'), or `TeXGyreSchola' (a Century Schoolbook
+clone).
-@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 }
+@lilypond[quote,ragged-right,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
@rinternals{LyricCombineMusic}.
-@c Here come the section which used to be "Melismata"
-@c the new title might be more self-explanatory
-
-
@node Multiple notes to one syllable
@unnumberedsubsubsec Multiple notes to one syllable
@cindex melisma
@cindex melismata
@cindex phrasing, in lyrics
+@funindex \melisma
+@funindex \melismaEnd
+
+Sometimes, particularly in Medieval music, several notes are to be
+sung on one syllable; such vocalises are called melismata, or
+@rglos{melisma}s. The syllable to a melisma is usually
+left-aligned with the first note of the melisma.
-Sometimes, particularly in Medieval music, several notes are to be sung on one
-single syllable; such vocalises are called melismas, or melismata.
+When a melisma occurs on a syllable other that the last one in a
+word, that syllable is usually joined to the following one with a
+hyphenated line. This is indicated by placing a double hyphen,
+@code{--}, immediately after the syllable.
-@c this method seems to be the simplest; therefore
-@c it might be better to present it first - vv
+Alternatively, when a melisma occurs on the last or only syllable in
+a word an extender line is usually drawn from the end of the syllable
+to the last note of the melisma. This is indicated by placing a
+double underscore, @code{__}, immediately after the word.
-You can define melismata entirely in the lyrics, by entering @code{_}
-for every extra note that has to be added to the melisma.
+There are five ways in which melismata can be indicated:
-@c TODO: clarify: __ is used to crate a lyric extender,
-@c _ is used to add a note to a melisma, so both __ and _ are needed.
+@itemize
-@c verbose! --FV
-@c duplicated: TODO fix
-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
-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.
+@item
+Melismata are created automatically over notes which are tied
+together:
-@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 }
-\addlyrics
- { Ky -- _ _ ri __ _ _ _ e }
+@lilypond[quote,relative=2,verbatim]
+<<
+ \new Voice = "melody" {
+ \time 3/4
+ f4 g2 ~ |
+ g4 e2 ~ |
+ e8
+ }
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- e __
+ }
+>>
@end lilypond
-In this case, you can also have ties and slurs in the melody if you
-set @code{melismaBusyProperties}, as is done in the example above.
-
-However, the @code{\lyricsto} command can also
-detect melismata automatically: it only puts one
-syllable under a tied or slurred group of notes. If you want to force
-an unslurred group of notes to be a melisma, insert @code{\melisma}
-after the first note of the group, and @code{\melismaEnd} after the
-last one, e.g.,
+@item
+Melismata can be created automatically from the music by placing
+slurs over the notes of each melisma. This is the usual way of
+entering lyrics:
-@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
<<
- \new Voice = "lala" {
+ \new Voice = "melody" {
\time 3/4
- f4 g8
- \melisma
- f e f
- \melismaEnd
- e2
+ f4 g8 ( f e f )
+ e8 ( d e2 )
}
- \new Lyrics \lyricsto "lala" {
- la di __ daah
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- e __
}
>>
@end lilypond
-In addition, notes are considered a melisma if they are manually
-beamed, and automatic beaming (see @ref{Setting automatic beam
-behavior}) is switched off.
+@item
+Notes are considered a melisma if they are manually beamed,
+providing automatic beaming is switched off. See
+@ref{Setting automatic beam behavior}.
-@lilypond[quote,relative=2,ragged-right,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
<<
- \new Voice = "lala" {
+ \new Voice = "melody" {
\time 3/4
\autoBeamOff
f4 g8[ f e f]
- e2
+ e2.
}
- \new Lyrics \lyricsto "lala" {
- la di __ daah
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- e
}
>>
@end lilypond
-@c TODO: this now links to LM -vv
-@c umm, yeah... so what? -gp
+Clearly this is not suited to melismata over notes which are longer
+than eighth notes.
-@cindex SATB
-@cindex choral score
+@item
+An unslurred group of notes will be treated as a melisma if they
+are bracketed between @code{\melisma} and @code{\melismaEnd}.
-A complete example of a SATB score setup is in
-@rlearning{Vocal ensembles}.
+@lilypond[quote,relative=2,verbatim]
+<<
+ \new Voice = "melody" {
+ \time 3/4
+ f4 g8
+ \melisma
+ f e f
+ \melismaEnd
+ e2.
+ }
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- e
+ }
+>>
+@end lilypond
+Note that this method cannot be used to indicate two melismata if
+the first one is immediately followed by another.
-@predefined
-@funindex \melisma
-@code{\melisma},
-@funindex \melismaEnd
-@code{\melismaEnd}.
-@endpredefined
+@item
+A melisma can be defined entirely in the lyrics by entering a
+single underscore character, @code{_}, for every extra note that has
+to be added to the melisma.
+@lilypond[verbatim, quote, relative=2]
+<<
+ \new Voice = "melody" {
+ \time 3/4
+ f4 g8 f e f
+ e8 d e2
+ }
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- _ _ _ e __ _ _
+ }
+>>
+@end lilypond
-@c @seealso
-@c @lsr{vocal,lyric@/-combine.ly}.
+@end itemize
+It is possible to have ties, slurs and manual beams in the melody
+without their indicating melismata. To do this, set
+@code{melismaBusyProperties}:
-@knownissues
+@lilypond[relative=1,verbatim,quote]
+<<
+ \new Voice = "melody" {
+ \time 3/4
+ \set melismaBusyProperties = #'()
+ c4 d ( e )
+ g8 [ f ] f4 ~ f
+ }
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- e e -- le -- i -- son
+ }
+>>
+@end lilypond
-Melismata are not detected automatically, and extender lines must be
-inserted by hand.
+Other settings for @code{melismaBusyProperties} can be used to
+selectively include or exclude ties, slurs, and beams from the
+automatic detection of melismata; see @code{melismaBusyProperties}
+in @rinternals{Tunable context properties}.
-@node Skipping notes
-@unnumberedsubsubsec Skipping notes
+Alternatively, if all melismata indications are to be ignored,
+@code{ignoreMelismata} may be set true;
+see @ref{Stanzas with different rhythms}.
-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
-must be followed by a valid duration, but this is ignored when
-@code{\skip} is used in lyrics.
+If a melisma is required during a passage in which
+@code{melismaBusyProperties} is active, it may be indicated by
+placing a single underscore in the lyrics for each note which
+should be included in the melisma:
-@lilypond[verbatim,ragged-right,quote]
-\relative c' { c c g' }
-\addlyrics {
- twin -- \skip 4
- kle
-}
+@lilypond[relative=1,verbatim,quote]
+<<
+ \new Voice = "melody" {
+ \time 3/4
+ \set melismaBusyProperties = #'()
+ c4 d ( e )
+ g8 [ f ] ~ f4 ~ f
+ }
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- _ e __ _ _ _
+ }
+>>
@end lilypond
+@predefined
+
+@code{\autoBeamOff},
+@code{\autoBeamOn},
+@code{\melisma},
+@code{\melismaEnd}.
+
+@seealso
+Musical Glossary:
+@rglos{melisma}.
+
+Learning Manual:
+@rlearning{Aligning lyrics to a melody}.
+
+Notation Reference:
+@ref{Aligning lyrics to a melody},
+@ref{Automatic syllable durations},
+@ref{Setting automatic beam behavior},
+@ref{Stanzas with different rhythms}.
+
+Internals Reference:
+@rinternals{Tunable context properties}.
+
+@knownissues
+
+Extender lines under melismata are not created automatically; they
+must be inserted manually with a double underscore.
+
+
@node Extenders and hyphens
@unnumberedsubsubsec Extenders and hyphens
@cindex melisma
@cindex extender
+@c TODO cf Multiple notes to one syllable; should this be merged in?
+
@c leave this as samp. -gp
In the last syllable of a word, melismata are sometimes indicated with
a long horizontal line starting in the melisma syllable, and ending in
@cindex hyphens
@c leave this as samp. -gp
-Centered hyphens are entered as @samp{ -- } between syllables of a same word
-(note the spaces before and after the two hyphen characters). The hyphen
-will be centered between the syllables, and its length will be adjusted
-depending on the space between the syllables.
+Centered hyphens are entered as @samp{ -- } between syllables of a
+same word (note the spaces before and after the two hyphen
+characters). The hyphen will be centered between the syllables, and
+its length will be adjusted depending on the space between the
+syllables.
In tightly engraved music, hyphens can be removed. Whether this
happens can be controlled with the @code{minimum-distance} (minimum
distance between two syllables) and the @code{minimum-length}
-(threshold below which hyphens are removed).
+(threshold below which hyphens are removed) properties of
+@code{LyricHyphen}.
@seealso
@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}.
+@c TODO this whole section is to be reorganised
@menu
+* Working with lyrics and variables::
+* Placing lyrics vertically::
+* Placing syllables horizontally::
+* Lyrics and repeats::
* Divisi lyrics::
-* Lyrics independent of notes::
-* Spacing out syllables::
-* Placement of lyrics between staves::
@end menu
-@node Divisi lyrics
-@unnumberedsubsubsec Divisi lyrics
+@node Working with lyrics and variables
+@unnumberedsubsubsec Working with lyrics and variables
-You can display alternate (or divisi) lyrics by naming voice
-contexts and attaching lyrics to those specific contexts.
+@cindex lyrics, using variables
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" {
- \relative c' {
- c4
- <<
- { \voiceOne c8 e }
- \new Voice = "splitpart" { \voiceTwo c4 }
- >>
- \oneVoice c4 c | c
+Variables containing lyrics can be created, but the lyrics must be
+entered in lyric mode:
+
+@lilypond[quote,verbatim]
+musicOne = \relative c'' {
+ c4 b8. a16 g4. f8 e4 d c2
+}
+verseOne = \lyricmode {
+ Joy to the world, the Lord is come.
+}
+\score {
+ <<
+ \new Voice = "one" {
+ \time 2/4
+ \musicOne
}
- }
- \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
- \new Lyrics \lyricsto "splitpart" { will }
->> }
+ \new Lyrics \lyricsto "one" {
+ \verseOne
+ }
+ >>
+}
@end lilypond
+Durations do not need to be added if the variable is to be invoked
+with @code{\addlyrics} or @code{\lyricsto}.
-You can use this trick to display different lyrics for a repeated
-section.
+For different or more complex orderings, the best way is to define
+the music and lyric variables first, then set up the hierarchy of
+staves and lyrics, omitting the lyrics themselves, and then add the
+lyrics using @code{\context} underneath. This ensures that the
+voices referenced by @code{\lyricsto} have always been defined
+earlier. For example:
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" \relative c' {
- c2 e | g e | c1 |
- \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
- a2 b | c1}
- \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
- do mi sol mi do
- la si do }
- \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
- do re mi fa sol }
- \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
- dodo rere mimi fafa solsol }
->>
+@lilypond[quote,verbatim]
+sopranoMusic = \relative c'' { c4 c c c }
+contraltoMusic = \relative c'' { a4 a a a }
+sopranoWords = \lyricmode { Sop -- ra -- no words }
+contraltoWords = \lyricmode { Con -- tral -- to words }
+
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice = "sopranos" {
+ \sopranoMusic
+ }
+ }
+ \new Lyrics = "sopranos"
+ \new Lyrics = "contraltos"
+ \new Staff {
+ \new Voice = "contraltos" {
+ \contraltoMusic
+ }
+ }
+ \context Lyrics = "sopranos" {
+ \lyricsto "sopranos" {
+ \sopranoWords
+ }
+ }
+ \context Lyrics = "contraltos" {
+ \lyricsto "contraltos" {
+ \contraltoWords
+ }
+ }
+ >>
}
@end lilypond
+@seealso
+Notation Reference:
+@ref{Placing lyrics vertically}.
+
+Internals Reference:
+@rinternals{LyricCombineMusic},
+@rinternals{Lyrics}.
+
-@node Lyrics independent of notes
-@unnumberedsubsubsec Lyrics independent of notes
+@node Placing lyrics vertically
+@unnumberedsubsubsec Placing lyrics vertically
-@cindex Devnull context
+@cindex placement of lyrics
+@cindex lyrics, positioning
-In some complex vocal music, it may be desirable to place
-lyrics completely independently of notes. Music defined
-inside @code{lyricrhythm} disappears into the
-@code{Devnull} context, but the rhythms can still be used
-to place the lyrics.
+Depending on the type of music, lyrics may be positioned
+above the staff, below the staff, or between staves. Placing
+lyrics below the associated staff is the easiest, and can be
+achieved by simply defining the Lyrics context below the Staff
+context:
-@lilypond[quote,verbatim,ragged-right]
-voice = {
- c''2
- \tag #'music { c''2 }
- \tag #'lyricrhythm { c''4. c''8 }
- d''1
+@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
-lyr = \lyricmode { I like my cat! }
+Lyrics may be positioned above the staff using one of
+two methods. The simplest (and preferred) method
+is to use the same syntax as above and explicitly
+specify the position of the lyrics:
-<<
- \new Staff \keepWithTag #'music \voice
- \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
- \new Lyrics \lyricsto "nowhere" \lyr
- \new Staff { c'8 c' c' c' c' c' c' c'
- c' c' c' c' c' c' c' c' }
->>
+@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
+
+Alternatively, a two-step process may be used. First the Lyrics
+context is declared (without any content) before the Staff and
+Voice contexts, then the @code{\lyricsto} command is placed after
+the Voice declaration it references by using @code{\context}, as
+follows:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Lyrics = "lyrics" \with {
+ % lyrics above a staff should have this override
+ \override VerticalAxisGroup #'staff-affinity = #DOWN
+ }
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \context Lyrics = "lyrics" {
+ \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 second method:
+
+@lilypond[quote,verbatim]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice = "sopranos" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics = "sopranos"
+ \new Lyrics = "contraltos" \with {
+ % lyrics above a staff should have this override
+ \override VerticalAxisGroup #'staff-affinity = #DOWN
+ }
+ \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
-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
-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.
+Other combinations of lyrics and staves may be generated by
+elaborating these examples, or by examining the
+@rlearning{Vocal ensembles} templates in the Learning Manual.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{lyrics-old-spacing-settings.ly}
-@c Conclusion: do not use devnull for lyrics -FV
+@seealso
+Learning Manual:
+@rlearning{Vocal ensembles}.
-@c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
+Notation Reference:
+@ref{Aligning contexts},
+@ref{Creating contexts}.
-@node Spacing out syllables
-@unnumberedsubsubsec Spacing out syllables
+@node Placing syllables horizontally
+@unnumberedsubsubsec Placing syllables horizontally
@cindex Spacing lyrics
@cindex Lyrics, increasing space between
-To increase the spacing between lyrics, set the @code{minimum-distance}
-property of @code{LyricSpace}.
+To increase the spacing between lyrics, set the
+@code{minimum-distance} property of @code{LyricSpace}.
-@lilypond[relative,verbatim,fragment,quote,ragged-right]
+@lilypond[relative=1,verbatim,quote,ragged-right]
{
c c c c
\override Lyrics.LyricSpace #'minimum-distance = #1.0
@noindent
To make this change for all lyrics in the score, set the property in the
-layout.
+@code{\layout} block.
@lilypond[verbatim,quote,ragged-right]
\score {
}
@end lilypond
-@c @snippets
-@c This snippet has been renamed to "lyrics-alignment.ly"
-@c update as soon as lsr/is updated -vv
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-@c {lyrics-alignment.ly}
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{lyrics-alignment.ly}
@c TODO: move to LSR -vv
-@snippets
-Checking to make sure that text scripts and lyrics are within the margins is
-a relatively large computational task. To speed up processing, LilyPond does
-not perform such calculations by default; to enable it, use
+Checking to make sure that text scripts and lyrics are within the margins
+required additional calculations. To speed up processing slighty, this
+feature can be disabled:
@example
-\override Score.PaperColumn #'keep-inside-line = ##t
+\override Score.PaperColumn #'keep-inside-line = ##f
@end example
To make lyrics avoid bar lines as well, use
@end ignore
-@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 Lyrics and repeats
+@unnumberedsubsubsec Lyrics and repeats
-@node Stanzas
-@subsection Stanzas
+@cindex repeats and lyrics
+@cindex lyrics, repeating
-@menu
-* Adding stanza numbers::
-* Adding dynamics marks to stanzas::
-* Adding singers' names to stanzas::
-* Stanzas with different rhythms::
-* Printing stanzas at the end::
-* Printing stanzas at the end in multiple columns::
-@end menu
+@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.
-@node Adding stanza numbers
-@unnumberedsubsubsec Adding stanza numbers
+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.
-@cindex stanza 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.
+ \repeat volta 2 { Re -- peat -- ed twice. }
+ }
+ }
+ >>
+}
+@end lilypond
-Stanza numbers can be added by setting @code{stanza}, e.g.,
+The words will then be correctly expanded if the repeats are
+unfolded.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
-} \addlyrics {
- \set stanza = #"1. "
- Hi, my name is Bert.
-} \addlyrics {
- \set stanza = #"2. "
- Oh, ché -- ri, je t'aime
+@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 is to be unfolded and has different words,
+simply enter all the words:
-@noindent
-These numbers are put just before the start of the first syllable.
+@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
-@c TODO Create and add snippet to show how two lines of a
-@c stanza can be grouped together, along these lines:
-@c (might need improving a bit) -td
+When the words to a repeated volta section are different, the words
+to each repeat must be entered in separate @code{Lyrics} contexts,
+correctly nested in parallel sections:
-@ignore
-leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
-#"brace105" }
+@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 {
+ \set associatedVoice = "melody"
+ Sec -- ond time words.
+ }
+ >>
+ }
+ >>
+}
+@end lilypond
-stanzaOneOne = {
- \set stanza = \markup { "1. " \leftbrace }
- \lyricmode { Child, you're mine and I love you.
- Lend thine ear to what I say.
+More verses may be added in a similar way:
- }
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "singleVoice" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 3 { b4 b b b }
+ c4 c c c
+ }
+ }
+ }
+ \new Lyrics \lyricsto "singleVoice" {
+ Not re -- peat -- ed.
+ <<
+ { The first time words. }
+ \new Lyrics {
+ \set associatedVoice = "singleVoice"
+ Sec -- ond time words.
+ }
+ \new Lyrics {
+ \set associatedVoice = "singleVoice"
+ The third time words.
+ }
+ >>
+ The end sec -- tion.
+ }
+ >>
}
+@end lilypond
-stanzaOneThree = {
-% \set stanza = \markup { " "}
- \lyricmode { Child, I have no great -- er joy
- Than to have you walk in truth.
- }
-}
+@c TODO positioning a common line of lyrics
-\new Voice {
- \repeat volta 2 { c'8 c' c' c' c' c' c'4
- c'8 c' c' c' c' c' c'4 }
-} \addlyrics { \stanzaOneOne }
- \addlyrics { \stanzaOneThree }
+@subheading Repeats with alternative endings
-@end ignore
+@cindex lyrics, repeats with alternative endings
+@cindex repeating lyrics with alternative endings
+@cindex alternative endings and lyrics
-@node Adding dynamics marks to stanzas
-@unnumberedsubsubsec Adding dynamics marks to stanzas
+If the words of the repeated section are the same, exactly the
+same structure can be used for both the lyrics and music.
-Stanzas differing in loudness may be indicated by putting a
+@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
+
+@funindex \skip
+@cindex skipping notes in lyrics
+@cindex lyrics, skipping notes
+
+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 to skip over the notes in the
+alternative sections which do not apply.
+
+Note: do not use an underscore, @code{_}, to skip notes -- an
+underscore indicates a melisma, causing 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,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
+
+@seealso
+Notation Reference:
+@ref{Keeping contexts alive},
+@ref{Repeats}.
+
+
+@node Divisi lyrics
+@unnumberedsubsubsec Divisi lyrics
+
+@cindex divided lyrics
+@cindex lyrics, divided
+
+When just the words and rhythms of the two parts differ with the
+pitches remaining the same, temporarily turning off the automatic
+detection of melismata and indicating the melisma in the lyrics
+may be the appropriate method to use:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Voice = "melody" {
+ \relative c' {
+ \set melismaBusyProperties = #'()
+ \slurDown
+ \slurDashed
+ e4 e8 ( e ) c4 c |
+ \unset melismaBusyProperties
+ c
+ }
+ }
+ \new Lyrics \lyricsto "melody" {
+ They shall not o -- ver -- come
+ }
+ \new Lyrics \lyricsto "melody" {
+ We will _
+ }
+ >>
+}
+@end lilypond
+
+When both music and words differ it may be better to display
+the differing music and lyrics by naming voice contexts and
+attaching lyrics to those specific contexts:
+
+@lilypond[verbatim,ragged-right,quote]
+\score {
+ <<
+ \new Voice = "melody" {
+ \relative c' {
+ <<
+ {
+ \voiceOne
+ e4 e8 e
+ }
+ \new Voice = "splitpart" {
+ \voiceTwo
+ c4 c
+ }
+ >>
+ \oneVoice
+ c4 c |
+ c
+ }
+ }
+ \new Lyrics \lyricsto "melody" {
+ They shall not o -- ver -- come
+ }
+ \new Lyrics \lyricsto "splitpart" {
+ We will
+ }
+ >>
+}
+@end lilypond
+
+
+@node Stanzas
+@subsection Stanzas
+
+@menu
+* Adding stanza numbers::
+* Adding dynamics marks to stanzas::
+* Adding singers' names to stanzas::
+* Stanzas with different rhythms::
+* Printing stanzas at the end::
+* Printing stanzas at the end in multiple columns::
+@end menu
+
+
+@node Adding stanza numbers
+@unnumberedsubsubsec Adding stanza numbers
+
+@cindex stanza number
+
+Stanza numbers can be added by setting @code{stanza}, e.g.,
+
+@lilypond[quote,ragged-right,verbatim,relative=2]
+\new Voice {
+ \time 3/4 g2 e4 a2 f4 g2.
+} \addlyrics {
+ \set stanza = #"1. "
+ Hi, my name is Bert.
+} \addlyrics {
+ \set stanza = #"2. "
+ Oh, ché -- ri, je t'aime
+}
+@end lilypond
+
+
+@noindent
+These numbers are put just before the start of the first syllable.
+
+@c TODO Create and add snippet to show how two lines of a
+@c stanza can be grouped together, along these lines:
+@c (might need improving a bit) -td
+
+@ignore
+leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
+#"brace105" }
+
+stanzaOneOne = {
+ \set stanza = \markup { "1. " \leftbrace }
+ \lyricmode { Child, you're mine and I love you.
+ Lend thine ear to what I say.
+
+ }
+}
+
+stanzaOneThree = {
+% \set stanza = \markup { " "}
+ \lyricmode { Child, I have no great -- er joy
+ Than to have you walk in truth.
+
+ }
+}
+
+\new Voice {
+ \repeat volta 2 { c'8 c' c' c' c' c' c'4
+ c'8 c' c' c' c' c' c'4 }
+} \addlyrics { \stanzaOneOne }
+ \addlyrics { \stanzaOneThree }
+
+@end ignore
+
+@node Adding dynamics marks to stanzas
+@unnumberedsubsubsec Adding dynamics marks to stanzas
+
+Stanzas differing in loudness may be indicated by putting a
dynamics mark before each stanza. In LilyPond, everything coming in
-front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
-are no different. For technical reasons, you have to set the stanza
-outside @code{\lyricmode}:
+front of a stanza goes into the @code{StanzaNumber} object; dynamics
+marks are no different. For technical reasons, you have to set the
+stanza outside @code{\lyricmode}:
@lilypond[quote,ragged-right,verbatim]
text = {
Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
-@code{vocalName}. A short version may be entered as @code{shortVocalName}.
+@code{vocalName}. A short version may be entered as
+@code{shortVocalName}.
-@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
+@lilypond[ragged-right,quote,verbatim,relative=2]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
@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
-multiple syllables in another one. One solution is to make the faster
+multiple syllables in another. One solution is to make the faster
voice ignore the melisma. This is done by setting
@code{ignoreMelismata} in the Lyrics context.
@subsubheading Adding syllables to grace notes
+@cindex grace notes and lyrics
+@cindex lyrics on 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.
-}
+<<
+ \new Voice = melody \relative c' {
+ f4 \appoggiatura a32 b4
+ \grace { f16[ a16] } b2
+ \afterGrace b2 { f16[ a16] }
+ \appoggiatura a32 b4
+ \acciaccatura a8 b4
+ }
+ \new Lyrics
+ \lyricsto melody {
+ 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
+Like @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}
@subsubheading Switching to an alternative melody
-More complex variations in text underlay are possible. It is possible
-to switch the melody for a line of lyrics during the text. This is
-done by setting the @code{associatedVoice} property. In the example
+@cindex associatedVoice
+@cindex alternative melody, switching to
-@lilypond[ragged-right,quote]
+More complex variations in setting lyrics to music are possible.
+The melody to which the lyrics are being set can be changed from
+within the lyrics by setting the @code{associatedVoice} property:
+
+@lilypond[verbatim,quote]
<<
\relative c' \new Voice = "lahlah" {
\set Staff.autoBeaming = ##f
\new Lyrics \lyricsto "lahlah" {
% Tricky: need to set associatedVoice
% one syllable too soon!
- \set associatedVoice = alternative % applies to "ran"
+ \set associatedVoice = "alternative" % applies to "ran"
Ty --
ran --
no --
- \set associatedVoice = lahlah % applies to "rus"
+ \set associatedVoice = "lahlah" % applies to "rus"
sau -- rus Rex
} >>
@end lilypond
@noindent
-the text for the first stanza is set to a melody called @q{lahlah},
-
-@example
-\new Lyrics \lyricsto "lahlah" @{
- Ju -- ras -- sic Park
-@}
-@end example
-
+The text for the first stanza is set to the melody called
+@q{lahlah} in the usual way, but the second stanza is set initally
+to the @code{lahlah} context and is then switched to the
+@code{alternative} melody for the syllables @q{ran} to @q{sau} by
+the lines:
-The second stanza initially is set to the @code{lahlah} context, but
-for the syllable @q{ran}, it switches to a different melody.
-This is achieved with
@example
-\set associatedVoice = alternative
+\set associatedVoice = "alternative" % applies to "ran"
+Ty --
+ran --
+no --
+\set associatedVoice = "lahlah" % applies to "rus"
+sau -- rus Rex
@end example
@noindent
Here, @code{alternative} is the name of the @code{Voice} context
containing the triplet.
-@c TODO: make this easier to understand -vv
-This command must be one syllable too early, before @q{Ty} in this
-case. In other words, changing the associatedVoice happens one step
-later than expected. This is for technical reasons, and it is not a
-bug.
-
-@example
-\new Lyrics \lyricsto "lahlah" @{
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
-@}
-@end example
+Note the placement of the @code{\set associatedVoice} command --
+it appears to be one syllable too early, but this is correct.
-@noindent
-The underlay is switched back to the starting situation by assigning
-@code{lahlah} to @code{associatedVoice}.
+@warning{The @code{\set associatedVoice} command must be placed
+one syllable @emph{before} the one at which the switch to the new
+voice is to occur. In other words, changing the associated Voice
+happens one syllable later than expected. This is for technical
+reasons, and it is not a bug.}
@node Printing stanzas at the end
It has two lines.
}
-\score{ <<
+\score {
+ <<
\new Voice = "one" { \melody }
\new Lyrics \lyricsto "one" \text
- >>
+ >>
\layout { }
}
@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{Placing lyrics vertically}.
+
+@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{Placing lyrics vertically},
+@ref{Stanzas}.
+
+Snippets:
+@rlsr{Vocal music}.
@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}.
+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]
@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
@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.
+Shape note heads, as used in Sacred Harp and similar notation, are
+described in @ref{Shape note heads}.
@item
-Shape noteheads, as used in Sacred Harp and similar notation, are
-described in @ref{Shape note heads}.
+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}.
+
+Snippets:
+@rlsr{Vocal music}.
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
+the two systems. See @ref{Separating systems}.
-@example
-\paper @{
- system-separator-markup = \slashSeparator
-@}
-@end example
+@item
+For details of other page formatting properties, see
+@ref{Page layout}.
+
+@end itemize
-@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
+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 layout},
@ref{Score layout},
+@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::
+* Character names::
+* Musical cues::
* 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
+@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 layout}.
+
+@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
+
+@seealso
+Musical Glossary:
+@rglos{Frenched score},
+@rglos{Frenched staves},
+@rglos{transposing instrument}.
+
+Notation Reference:
+@ref{Grouping staves},
+@ref{Hiding staves},
+@ref{Instrument transpositions},
+@ref{Nested staff groups},
+@ref{Page layout},
+@ref{Separating systems},
+@ref{Transpose},
+@ref{Writing parts},
+@ref{Writing text}.
+
+Snippets:
+@rlsr{Vocal music}.
+
+
+@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:
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \set Staff.vocalName = \markup \smallCaps Kaspar
+ \set Staff.shortVocalName = \markup \smallCaps Kas.
+ \relative c' {
+ \clef "G_8"
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \set Staff.vocalName = \markup \smallCaps Melchior
+ \set Staff.shortVocalName = \markup \smallCaps 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 cue notes. The following example shows
+how this is done.
+
+@lilypond[quote,verbatim]
+flute = \relative c'' {
+ s4 s4 e g
+}
+\addQuote "flute" { \flute }
+
+pianoRH = \relative c'' {
+ c4. g8
+ % position name of cue-ing instrument just before the cue notes,
+ % and above the staff
+ s1*0^\markup { \right-align { \tiny "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 quoted the instrument part should
+specify its key so the conversion of its cue 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 cue 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 cue-ing instrument below the staff
+ s1*0_\markup { \right-align { \tiny "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 tedious, and the notes of the piano part would
+become obscured. 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 cue 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 cue notes.
-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
+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
@node Dialogue over music
@unnumberedsubsubsec Dialogue over music
-TBC
+Dialogue over music is usually printed over the staves in an italic
+font, with the start of each phrase keyed in to a particular music
+moment.
+
+For short interjections a simple markup suffices.
+
+@lilypond[quote,verbatim,relative=2]
+a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
+a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
+a4 a a a
+@end lilypond
+
+For longer phrases it may be necessary to expand the music to make
+the words fit neatly. There is no provision in LilyPond to do this
+fully automatically, and some manual intervention to layout the
+page will be necessary.
+
+For long phrases or for passages with a lot of closely packed
+dialogue, using a Lyrics context will give better results. The
+Lyrics context should not be associated with a music Voice; instead
+each section of dialogue should be given an explicit duration. If
+there is a gap in the dialogue, the final word should be separated
+from the rest and the duration split between them so that the
+underlying music spaces out smoothly.
+
+If the dialogue extends for more than one line it will be necessary
+to manually insert @code{\break}s and adjust the placing of the
+dialogue to avoid running into the right margin. The final word of
+the last measure on a line should also be separated out, as above.
+
+Here is an example illustrating how this might be done.
+
+@c This should be a snippet, but it can't be as it needs to be
+@c manually adjusted to suit the imposed line length. -td
+
+@lilypond[quote,verbatim,ragged-right]
+music = \relative c'' {
+ \repeat unfold 3 { a4 a a a }
+}
+
+dialogue = \lyricmode {
+ \markup {
+ \fontsize #1 \upright \smallCaps Abe:
+ "Say this over measures one and"
+ }4*7
+ "two"4 |
+ \break
+ "and this over measure"4*3
+ "three"4 |
+}
+
+\score {
+ <<
+ \new Lyrics \with {
+ \override LyricText #'font-shape = #'italic
+ \override LyricText #'self-alignment-X = #LEFT
+ }
+ { \dialogue }
+ \new Staff {
+ \new Voice { \music }
+ }
+ >>
+}
+@end lilypond
+
+@c TODO show use of \column to produce dialogue on two lines
+
+@seealso
+Notation Reference:
+@ref{Manual syllable durations},
+@ref{Text}.
+
+Internal Reference:
+@rinternals{LyricText}.
@node Chants psalms and hymns
Typesetting Gregorian chant in various styles of ancient notation
is described in @ref{Ancient notation}.
+@seealso
+Notation reference:
+@ref{Ancient notation}.
+
+Snippets:
+@rlsr{Vocal music}.
+
+
+@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
+bar lines 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.
+
+@lilypond[verbatim,quote]
+SopranoMusic = \relative g' {
+ g1 | c2 b | a1 | \bar "||"
+ a1 | d2 c | c b | c1 | \bar "||"
+}
-Notation reference:
-@ref{Ancient notation},
-@ref{Visibility of objects},
-@ref{Bars},
-@ref{Unmetered music},
-@ref{Modifying context plug-ins},
-@ref{Typesetting Gregorian chant}.
+AltoMusic = \relative c' {
+ e1 | g2 g | f1 |
+ f1 | f2 e | d d | e1 |
+}
-@node Setting a chant
-@unnumberedsubsubsec Setting a chant
+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 |
+}
-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
+
@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},
+@rlearning{Vocal ensembles}.
+
+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
-TBC
+The words to an Anglican psalm are usually printed in separate
+verses centered underneath the chant.
+
+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{|}.
+
+@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
+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.
+
+@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.
+
+@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}.
+
+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
@node Ancient vocal music
@subsection Ancient vocal music
-Ancient vocal music is supported, as explained in @ref{Ancient notation}.
+Ancient vocal music is supported, as explained in
+@ref{Ancient notation}.
@c TODO
projects / lilypond.git / blobdiff