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.
* Manual syllable durations::
* Multiple syllables to one note::
* Multiple notes to one syllable::
-* Skipping notes::
* Extenders and hyphens::
@end menu
@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
-@notation{Ambitus} may be added at the beginning of vocal staves, as explained
-in @ref{Ambitus}.
+@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}.
@end itemize
Music Glossary:
@rglos{ambitus}.
+Learning Manual:
+@rlearning{Setting simple songs}.
+
+Notation Reference:
+@ref{Text markup introduction},
+@ref{Ambitus},
+@ref{Score layouts for choral}.
+
+Snippets:
+@rlsr{Vocal music}.
+
@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
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 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.
+@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:
For more information, see @ref{Text encoding}.
@lilypond[quote,verbatim]
-\relative c' { e4 f e d e f e2 }
-\addlyrics { He said: “Let my peo -- ple go.” }
+\relative c'' { d8 c16 a bes8 f e' d c4 }
+\addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
@end lilypond
Normal quotes may be used in lyrics, but they have to be preceded
@c " to balance double quotes for not-so-bright context-sensitive editors
+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}.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{formatting-lyrics-syllables.ly}
+
+
@seealso
Learning Manual:
@rlearning{Songs}.
Notation Reference:
@ref{Automatic syllable durations},
@ref{Fonts},
+@ref{Formatting text},
@ref{Input modes},
-@ref{Manual syllable durations}.
+@ref{Manual syllable durations},
+@ref{Text encoding}.
Internals Reference:
@rinternals{LyricText}.
+Snippets:
+@rlsr{Text}
@node Aligning lyrics to a melody
@unnumberedsubsubsec Aligning lyrics to a melody
c4 b8. a16 g4. f8 e4 d c2
}
-% uses default durations of 2;
+% uses previous explicit duration of 2;
\new Lyrics \lyricmode {
Joy to the earth!
}
@end lilypond
The first stanza is not aligned with the notes because the durations
-were not specified, and the default value of 2 is used for each
+were not specified, and the previous value of 2 is used for each
word.
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 technical is also useful
+see @ref{Manual syllable durations}. This technique is also useful
when setting dialogue over music; for examples showing this, see
@ref{Dialogue over music}.
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{Lyrics}.
@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 }
+@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
The command @code{\addlyrics} cannot handle polyphonic settings.
@seealso
Notation Reference:
-@ref{Extenders and hyphens}.
+@ref{Extenders and hyphens},
+@ref{Keeping contexts alive},
+@ref{Placing lyrics vertically}.
@node Manual syllable durations
@unnumberedsubsubsec Manual syllable durations
@seealso
Notation Reference:
-@ref{Dialogue over music},
-@ref{Keeping contexts alive}.
+@ref{Dialogue over music}.
Internals Reference:
@rinternals{Lyrics},
quotes or use a @code{_} character. Alternatively, you can use
code the tilde symbol (@code{~}) to get a lyric tie. The lyric
tie is implemented with the Unicode character U+203F, so be
-sure to have a font (like DejaVuLGC) installed that includes this
-glyph.
+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
e8
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e __
+ Ky -- ri -- e __
}
>>
@end lilypond
e8 ( d e2 )
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e __
+ Ky -- ri -- e __
}
>>
@end lilypond
e2.
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e
+ Ky -- ri -- e
}
>>
@end lilypond
-Clearly this is not suited to melisma over notes which are longer
+Clearly this is not suited to melismata over notes which are longer
than eighth notes.
@item
e2.
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e
+ Ky -- ri -- e
}
>>
@end lilypond
e8 d e2
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- _ _ _ e __ _ _
+ Ky -- ri -- _ _ _ e __ _ _
}
>>
@end lilypond
It is possible to have ties, slurs and manual beams in the melody
without their indicating melismata. To do this, set
-@code{melismaBusyProperties} and indicate the melismata with single
-underscores in the lyrics, one underscore for each extra note:
+@code{melismaBusyProperties}:
@lilypond[relative=1,verbatim,quote]
<<
\time 3/4
\set melismaBusyProperties = #'()
c4 d ( e )
- g8 [ f ] f4( e)
- d e ~ e
+ g8 [ f ] f4 ~ f
}
\new Lyrics \lyricsto "melody" {
- Ky -- _ _ _ _ ri -- _ _ e __ _
+ Ky -- ri -- e e -- le -- i -- son
}
>>
@end lilypond
Other settings for @code{melismaBusyProperties} can be used to
-include or exclude ties, slurs, and beams from the automatic
-detection of melismata; see @code{melismaBusyProperties} in
-@rinternals{Tunable context properties}.
+selectively include or exclude ties, slurs, and beams from the
+automatic detection of melismata; see @code{melismaBusyProperties}
+in @rinternals{Tunable context properties}.
+
+Alternatively, if all melismata indications are to be ignored,
+@code{ignoreMelismata} may be set true;
+see @ref{Stanzas with different rhythms}.
+
+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[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
Notation Reference:
@ref{Aligning lyrics to a melody},
@ref{Automatic syllable durations},
-@ref{Setting automatic beam behavior}.
+@ref{Setting automatic beam behavior},
+@ref{Stanzas with different rhythms}.
Internals Reference:
@rinternals{Tunable context properties}.
Extender lines under melismata are not created automatically; they
must be inserted manually with a double underscore.
-@node Skipping notes
-@unnumberedsubsubsec Skipping notes
-
-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 by another note. The @code{\skip} command
-must be followed by a valid duration, but this is ignored when
-@code{\skip} is used in lyrics which derive their durations from the
-notes in an associated melody through @code{\addlyrics} or
-@code{\lyricsto}.
-
-@lilypond[verbatim,ragged-right,quote]
-\relative c' { c c g' }
-\addlyrics {
- twin -- \skip 4
- kle
-}
-@end lilypond
-
@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
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 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:
+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[quote,verbatim]
sopranoMusic = \relative c'' { c4 c c c }
@end lilypond
Lyrics may be positioned above the staff using one of
-two methods. The simplest is to use the same syntax as
-above and explicitly specify the position of the lyrics:
+two methods. The simplest (and preferred) method
+is to use the same syntax as above and explicitly
+specify the position of the lyrics:
@lilypond[quote,verbatim]
\score {
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 comes after
-the Voice declaration it references, as follows:
+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"
+ \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 }
}
}
\new Lyrics = "sopranos"
- \new Lyrics = "contraltos"
+ \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 }
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}
+
@seealso
Learning Manual:
@rlearning{Vocal ensembles}.
@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 lilypond
-@cindex lyric skip
-@funindex \skip
-
When the words to a repeated volta section are different, the words
-to each repeat must be entered in separate @code{Lyrics} contexts.
-Earlier unrepeated sections must be skipped in the second and
-subsequent repeats. The easiest way to skip several notes is to
-use @code{\repeat unfold} around the @code{\skip} command.
-
-Note: do not use an underscore, @code{_}, to skip notes in this
-particular case. As this syntax indicates a melisma, it will cause
-the preceding syllable to be left-aligned.
-
-@warning{The @code{@bs{}skip} command must be followed by a number,
-but this number is ignored in lyrics which derive their durations
-from the notes in an associated melody through @code{\addlyrics} or
-@code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
-value, irrespective of the value of the following number.}
+to each repeat must be entered in separate @code{Lyrics} contexts,
+correctly nested in parallel sections:
@lilypond[verbatim,quote]
\score {
}
}
}
- \new Lyrics {
- \lyricsto "melody" {
- Not re -- peat -- ed.
- The first time words.
- }
- }
- \new Lyrics {
- \lyricsto "melody" {
- % skip 4 notes of any duration
- \repeat unfold 4 { \skip 1 }
- Sec -- ond time words.
- }
+ \new Lyrics \lyricsto "melody" {
+ Not re -- peat -- ed.
+ <<
+ { The first time words. }
+ \new Lyrics {
+ \set associatedVoice = "melody"
+ Sec -- ond time words.
+ }
+ >>
}
>>
}
@end lilypond
-@cindex lyrics, repeating with a temporary voice
-
-An alternative way, which avoids skips and having to count notes,
-is to use a temporary voice for the repeated section. This may be
-preferable if the earlier sections are still subject to change. A
-temporary voice can be inserted anywhere in the main music stream
-in parallel with it, as shown below, but it may be necessary to
-keep the main voice alive in complex scores when using this
-technique; see @ref{Keeping contexts alive}.
+More verses may be added in a similar way:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\score {
<<
\new Staff {
\new Voice = "singleVoice" {
- \relative c'' { a4 a a a }
- \new Voice = "repeatVoice" {
- \relative c'' \repeat volta 3 { b4 b b b }
- }
- \relative c'' { c4 c c c }
- }
- }
- \new Lyrics <<
- \lyricsto "singleVoice" {
- Not re -- peat -- ed.
- The end sec -- tion.
- }
- \lyricsto "repeatVoice" {
- The first time words.
- }
- >>
- \new Lyrics {
- \lyricsto "repeatVoice" {
- Sec -- ond time words.
+ \relative c'' {
+ a4 a a a
+ \repeat volta 3 { b4 b b b }
+ c4 c c c
+ }
}
}
- \new Lyrics {
- \lyricsto "repeatVoice" {
- The third time words.
- }
+ \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
-@c TODO lowering a common line of lyrics
+
+@c TODO positioning a common line of lyrics
@subheading Repeats with alternative endings
}
@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 as described in the previous section to
-skip over the notes in the alternative sections which do not apply.
+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 {
}
@end lilypond
+@seealso
+Notation Reference:
+@ref{Keeping contexts alive},
+@ref{Repeats}.
@node Divisi lyrics
Stanza numbers can be added by setting @code{stanza}, e.g.,
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2]
\new Voice {
\time 3/4 g2 e4 a2 f4 g2.
} \addlyrics {
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 {
@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
+
+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[ragged-right,quote]
+@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},
+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:
@example
-\new Lyrics \lyricsto "lahlah" @{
- Ju -- ras -- sic Park
-@}
-@end example
-
-
-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 { }
}
@item
Songs are frequently printed with the chording indicated by chord
-names above the staves. This is described in
-@ref{Displaying chords}.
+names above the staves. This is described in @ref{Displaying chords}.
@item
To print fret diagrams of the chords for guitar accompaniment or
@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]
@ref{Grouping staves}.
@item
-Shape noteheads, as used in Sacred Harp and similar notation, are
+Shape note heads, as used in Sacred Harp and similar notation, are
described in @ref{Shape note heads}.
@item
@ref{Shape note heads},
@ref{Single-staff polyphony}.
+Snippets:
+@rlsr{Vocal music}.
+
Internals Reference:
@rinternals{ChoirStaff},
@rinternals{Lyrics},
@item
For details of other page formatting properties, see
-@ref{Page formatting}.
+@ref{Page layout}.
@end itemize
@ref{Changing spacing},
@ref{Displaying spacing},
@ref{Fitting music onto fewer pages},
-@ref{Page formatting},
+@ref{Page layout},
@ref{Score layout},
@ref{Separating systems},
@ref{Setting the staff size},
@item
For details of other page formatting properties, see
-@ref{Page formatting}.
+@ref{Page layout}.
@item
Dialogue cues and stage directions can be inserted with markup.
@ref{Hiding staves},
@ref{Instrument transpositions},
@ref{Nested staff groups},
-@ref{Page formatting},
+@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 names, character
Character names are usually shown to the left of the staff when the
-staff is dedicated to that character alone. The instrument name can
-be used for this purpose.
+staff is dedicated to that character alone:
@lilypond[quote,verbatim,ragged-right]
\score {
<<
\new Staff {
- \set Staff.instrumentName = #"Kaspar"
- \set Staff.shortInstrumentName = #"Kas"
+ \set Staff.vocalName = \markup \smallCaps Kaspar
+ \set Staff.shortVocalName = \markup \smallCaps Kas.
\relative c' {
\clef "G_8"
c4 c c c
}
}
\new Staff {
- \set Staff.instrumentName = #"Melchior"
- \set Staff.shortInstrumentName = #"Mel"
+ \set Staff.vocalName = \markup \smallCaps Melchior
+ \set Staff.shortVocalName = \markup \smallCaps Mel
\clef "bass"
\relative c' {
a4 a a a
@ref{Formatting cue notes}. But when many cues have to be
inserted, for example, as an aid to a conductor in a vocal score,
the instrument name must be positioned carefully just before and
-close to the start of the cued notes. The following example shows
-how this is done. Note that the name of the grob for overriding
-the cued instrument name is @code{InstrumentSwitch}.
+close to the start of the cue notes. The following example shows
+how this is done.
@lilypond[quote,verbatim]
flute = \relative c'' {
pianoRH = \relative c'' {
c4. g8
- % position name of cued instrument just before the cued notes
- \once \override CueVoice.InstrumentSwitch
- #'self-alignment-X = #RIGHT
- % position name of cued instrument above the staff
- \once \override CueVoice.InstrumentSwitch #'direction = #UP
- \set CueVoice.instrumentCueName = "Flute"
+ % 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> }
}
@end lilypond
-If a transposing instrument is being cued the instrument part should
-specify its key so the conversion of its cued notes will be done
+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 cued notes in this example begin at the start of the
+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.
pianoRH = \relative c'' {
\transposition c'
- % position name of cued instrument just before the cued notes
- \once \override CueVoice.InstrumentSwitch
- #'self-alignment-X = #RIGHT
- % position name of cued instrument below the staff
- \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
- \set CueVoice.instrumentCueName = "Clar."
+ % position name of cue-ing instrument below the staff
+ s1*0_\markup { \right-align { \tiny "Clar." } }
\cueDuring "clarinet" #DOWN { c4. g8 }
g4 bes4
}
@end lilypond
From these two examples it is clear that inserting many cues in a
-Vocal Score would be extremely tedious, and the notes of the piano
-part would be obscured by the many overrides. However, as the
-following snippet shows, it is possible to define a music function
-to reduce the amount of typing and to make the piano notes clearer.
+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]
@ref{Using music functions}.
Snippets:
-@rlsr{vocal-music}.
+@rlsr{Vocal music}.
Internals Reference:
@rinternals{InstrumentSwitch},
@knownissues
@code{\cueDuring} automatically inserts a @code{CueVoice} context
and all cue notes are placed in that context. This means it is not
-possible to have two overlapping sequences of cued notes by this
+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 cued notes.
+@code{\quoteDuring} to extract and insert the cue notes.
@node 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
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 illustating how this might be done.
+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
Notation reference:
@ref{Ancient notation}.
+Snippets:
+@rlsr{Vocal music}.
+
@node Setting a chant
@unnumberedsubsubsec Setting a chant
To remove bar lines from just a section of music treat it as a
cadenza. If the section is long you may need to insert dummy
-barlines with @code{\bar ""} to show where the line should break.
+bar lines with @code{\bar ""} to show where the line should break.
@lilypond[verbatim,quote,relative=2]
a4 b c2 |
@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