X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fvocal.itely;h=6597cd00dfbe1912eb3750295a6ee286faed3f8e;hb=058370efc7e9710f149d0f444328bb1fcd7bdec1;hp=5d5a188df6f508ea7a1b8af594bccc35f09ffd3c;hpb=26799c01fe399390afa086fce0dfebd577824e7b;p=lilypond.git diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely index 5d5a188df6..62600cf547 100644 --- a/Documentation/notation/vocal.itely +++ b/Documentation/notation/vocal.itely @@ -7,12 +7,12 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.12.0" +@c \version "2.19.2" @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. @@ -43,7 +43,6 @@ This section discusses issues common to most types of vocal music. * Manual syllable durations:: * Multiple syllables to one note:: * Multiple notes to one syllable:: -* Skipping notes:: * Extenders and hyphens:: @end menu @@ -57,17 +56,23 @@ 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 -@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 @@ -75,11 +80,25 @@ in @ref{Ambitus}. 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 @@ -90,10 +109,10 @@ Music Glossary: 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: @@ -130,34 +149,15 @@ compile. Instead, braces should always be surrounded with white space: \lyricmode @{ lah lah lah @} @end example -@cindex overrides in lyric mode -@funindex \override in \lyricmode - -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 -@end example - -@noindent -but instead use - -@example -\override Score . LyricText #'font-shape = #'italic -@end example - 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}. +For more information, see @ref{Special characters}. @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 @@ -180,6 +180,16 @@ combination of a backslash followed by one of @code{`}, @code{'}, @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,quote,ragged-right,texidoc,doctitle] +{formatting-lyrics-syllables.ly} + + @seealso Learning Manual: @rlearning{Songs}. @@ -187,17 +197,23 @@ Learning Manual: Notation Reference: @ref{Automatic syllable durations}, @ref{Fonts}, +@ref{Formatting text}, @ref{Input modes}, -@ref{Manual syllable durations}. +@ref{Manual syllable durations}, +@ref{Special characters}. Internals Reference: @rinternals{LyricText}. +Snippets: +@rlsr{Text}. + @node Aligning lyrics to a melody @unnumberedsubsubsec Aligning lyrics to a melody @cindex lyrics, aligning to a melody +@cindex @code{associatedVoice} @funindex \lyricmode @funindex \addlyrics @funindex \lyricsto @@ -214,74 +230,140 @@ Lyrics can be aligned with melodies in two main ways: @itemize @item -They can be aligned automatically, with the durations of the -syllables being taken from an associated melody or other voice -of music, using @code{\addlyrics} or @code{\lyricsto}. See -@ref{Automatic syllable durations}. +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}. -@item -They can be aligned independently of the duration of any notes -if the durations of the syllables are specified explicitly, -and entered with @code{\lyricmode}. See -@ref{Manual syllable durations}. +@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 + } + >> -@end itemize +% takes durations and alignment from notes in "one" + \new Lyrics \lyricsto "one" { + Life is __ _ love, live __ life. + } -The following example compares different ways to align lyrics. +% 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 + +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}. + +@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}. @lilypond[quote,ragged-right,verbatim] << \new Voice = "one" \relative c'' { - \autoBeamOff \time 2/4 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! } -% explicit durations; left-aligned by default +% explicit durations, set to a different rhythm \new Lyrics \lyricmode { - Joy4 to8. the16 world!4. the8 Lord4 is come.2 - } - -% takes durations and alignment from notes in "one" - \new Lyrics \lyricsto "one" { - No more let sins and sor -- rows grow. + Life4 is love,2. live4 life.2 } >> @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 -word. This can be useful for dialogue over music; for more, see +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 technique is also useful +when setting dialogue over music; for examples showing this, see @ref{Dialogue over music}. -The second stanza with explicitly specified durations is -aligned to the notes because the durations are the same as the -corresponding notes. The words are left-aligned to the notes by -default. Useful if the words to different stanzas fit the notes in -different ways. +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}. -The third stanza shows the normal way of entering lyrics. +@end itemize @seealso 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}. + @node Automatic syllable durations @unnumberedsubsubsec Automatic syllable durations @cindex syllable durations, automatic @cindex lyrics and melodies +@cindex associatedVoice +@funindex \addlyrics +@funindex \lyricsto + +Lyrics can be automatically aligned to the notes of a melody in +three ways: + +@itemize -Lyrics are aligned and typeset with the help of skips, hyphens and -extender lines. +@item +by specifying the named Voice context containing the melody with +@code{\lyricsto}, + +@item +by introducing the lyrics with @code{\addlyrics} and placing them +immediately after the Voice context containing the melody, + +@item +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 @@ -289,28 +371,44 @@ 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}. -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 +@subheading Using @code{\lyricsto} -@example -\new Lyrics \lyricsto @var{name} @{ @dots{} @} -@end example +@cindex \lyricsto +@funindex \lyricsto + +Lyrics can be aligned under a melody automatically by specifying +the named Voice context containing the melody with +@code{\lyricsto}: + +@lilypond[quote,verbatim,relative=2] +<< + \new Voice = "melody" { + a1 a4. a8 a2 + } + \new Lyrics \lyricsto "melody" { + These are the words + } +>> +@end lilypond @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. +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 shortcut -that can be used instead of having to set up the lyrics through a more -complicated LilyPond structure. +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 @} @@ -321,75 +419,165 @@ complicated LilyPond structure. 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 - -The command @code{\addlyrics} cannot handle polyphony settings. -For these cases one should use @code{\lyricsto} and -@code{\lyricmode}, for details see @ref{Entering lyrics}. -@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. +Also, it cannot be used to associate lyrics to a @code{TabVoice}. +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[relative=1,ragged-right,verbatim,fragment,quote] -<< \new Voice = "melody" { +@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}. + +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}, @@ -407,20 +595,23 @@ Internals Reference: In order to assign more than one syllable to a single note with spaces between the syllables, you can surround the phrase with quotes or use a @code{_} character. Alternatively, you can use -code the tilde symbol (@code{~}) to get a lyric tie. The lyric -tie is implemented with the Unicode character U+203F, so be -sure to have a font (like DejaVuLGC) installed that includes this -glyph. +the 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 } +@lilypond[quote,ragged-right,verbatim,relative=2] +{ + { \autoBeamOff + r8 b c fis, fis c' b e, + } + \addlyrics + { + \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible + Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da + } + \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da } + \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da } +} @end lilypond - @seealso Internals Reference: @rinternals{LyricCombineMusic}. @@ -435,15 +626,15 @@ Internals Reference: @funindex \melisma @funindex \melismaEnd -Sometimes, particularly in Medieval music, several notes are to be -sung on one syllable; such vocalises are called @rglos{melisma}s, or -melismata. The syllable to a melisma is usually left-aligned with -the first note of the melisma. +Sometimes, particularly in Medieval and baroque music, several notes are +sung on one syllable; this is called melisma, see +@rglos{melisma}. The syllable to a melisma is usually +left-aligned with the first note of the melisma. -When a melisma occurs on a syllable other that the last one in a +When a melisma occurs on a syllable other than 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. +@w{@code{--}}, immediately after the syllable. 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 @@ -463,11 +654,11 @@ together: \new Voice = "melody" { \time 3/4 f4 g2 ~ | - g4 e2 ~ | - e8 + 4 e2 ~ | + 8 } \new Lyrics \lyricsto "melody" { - Ki -- ri -- e __ + Ky -- ri -- e __ } >> @end lilypond @@ -485,11 +676,13 @@ entering lyrics: e8 ( d e2 ) } \new Lyrics \lyricsto "melody" { - Ki -- ri -- e __ + Ky -- ri -- e __ } >> @end lilypond +Note that phrasing slurs do not affect the creation of melismata. + @item Notes are considered a melisma if they are manually beamed, providing automatic beaming is switched off. See @@ -504,12 +697,12 @@ providing automatic beaming is switched off. See 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 @@ -527,14 +720,11 @@ are bracketed between @code{\melisma} and @code{\melismaEnd}. e2. } \new Lyrics \lyricsto "melody" { - Ki -- ri -- e + 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. - @item A melisma can be defined entirely in the lyrics by entering a single underscore character, @code{_}, for every extra note that has @@ -548,7 +738,7 @@ to be added to the melisma. e8 d e2 } \new Lyrics \lyricsto "melody" { - Ki -- ri -- _ _ _ e __ _ _ + Ky -- ri -- _ _ _ e __ _ _ } >> @end lilypond @@ -557,8 +747,7 @@ to be added to the melisma. 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] << @@ -566,19 +755,42 @@ underscores in the lyrics, one underscore for each extra note: \time 3/4 \set melismaBusyProperties = #'() c4 d ( e ) - g8 [ f ] f4( e) - d e ~ e + g8 [ f ] f4 ~ 4 } \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 ] ~ 4 ~ f + } + \new Lyrics \lyricsto "melody" { + Ky -- ri -- _ e __ _ _ _ + } +>> +@end lilypond + @predefined @@ -597,35 +809,16 @@ Learning Manual: 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}. @knownissues - 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 @@ -633,6 +826,8 @@ notes in an associated melody through @code{\addlyrics} or @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 @@ -649,16 +844,17 @@ typeset by default.} @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 Internals Reference: @@ -669,13 +865,15 @@ Internals Reference: @node Techniques specific to lyrics @subsection Techniques specific to lyrics +@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:: +* Polyphony with shared lyrics:: @end menu @@ -683,65 +881,286 @@ Internals Reference: @node Working with lyrics and variables @unnumberedsubsubsec Working with lyrics and variables -@c TODO rewrite this section +@cindex lyrics, using variables -@cindex lyrics, variables - -To define variables containing lyrics, the function @code{\lyricmode} -must be used. Durations do not need to be added if the variable is -to be invoked with @code{\addlyrics} or @code{\lyricsto}. +Variables containing lyrics can be created, but the lyrics must be +entered in lyric mode: @lilypond[quote,verbatim] -verseOne = \lyricmode { Joy to the world, the Lord is come. } +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" \relative c'' { - \autoBeamOff + \new Voice = "one" { \time 2/4 - c4 b8. a16 g4. f8 e4 d c2 + \musicOne + } + \new Lyrics \lyricsto "one" { + \verseOne } - \addlyrics { \verseOne } >> } @end lilypond -For different or more complex orderings, the best way is to set up the -hierarchy of staves and lyrics first, e.g., -@example -\new ChoirStaff << - \new Voice = "soprano" @{ @emph{music} @} - \new Lyrics = "sopranoLyrics" @{ s1 @} - \new Lyrics = "tenorLyrics" @{ s1 @} - \new Voice = "tenor" @{ @emph{music} @} ->> -@end example - -@noindent -and then combine the appropriate melodies and lyric lines: +Durations do not need to be added if the variable is to be invoked +with @code{\addlyrics} or @code{\lyricsto}. -@example -\context Lyrics = sopranoLyrics \lyricsto "soprano" -@emph{the lyrics} -@end example +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: -@noindent -The final input would resemble +@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 } -@example -<<\new ChoirStaff << @emph{setup the music} >> - \lyricsto "soprano" @emph{etc} - \lyricsto "alto" @emph{etc} -@emph{etc} ->> -@end example +\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 -@c TODO: document \new Staff << Voice \lyricsto >> bug +Notation Reference: +@ref{Placing lyrics vertically}. + Internals Reference: @rinternals{LyricCombineMusic}, @rinternals{Lyrics}. +@node Placing lyrics vertically +@unnumberedsubsubsec Placing lyrics vertically + +@cindex placement of lyrics +@cindex lyrics, positioning + +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] +\score { + << + \new Staff { + \new Voice = "melody" { + \relative c'' { c4 c c c } + } + } + \new Lyrics { + \lyricsto "melody" { + Here are the words + } + } + >> +} +@end lilypond + +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: + +@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 + +Other combinations of lyrics and staves may be generated by +elaborating these examples, or by examining the templates in the +Learning Manual, see @rlearning{Vocal ensembles templates}. + +@snippets +@lilypondfile[verbatim,quote,texidoc,doctitle] +{obtaining-2.12-lyrics-spacing-in-newer-versions.ly} + +@seealso +Learning Manual: +@rlearning{Vocal ensembles templates}. + +Notation Reference: +@ref{Context layout order}, +@ref{Creating and referencing contexts}. + + +@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}. + +@lilypond[relative=1,verbatim,quote,ragged-right] +{ + c c c c + \override Lyrics.LyricSpace.minimum-distance = #1.0 + c c c c +} +\addlyrics { + longtext longtext longtext longtext + longtext longtext longtext longtext +} +@end lilypond + +@noindent +To make this change for all lyrics in the score, set the property in the +@code{\layout} block. + +@lilypond[verbatim,quote,ragged-right] +\score { + \relative c' { + c c c c + c c c c + } + \addlyrics { + longtext longtext longtext longtext + longtext longtext longtext longtext + } + \layout { + \context { + \Lyrics + \override LyricSpace.minimum-distance = #1.0 + } + } +} +@end lilypond + +@snippets +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] +{lyrics-alignment.ly} + +@c TODO: move to LSR -vv + +Checking to make sure that text scripts and lyrics are within the margins +requires additional calculations. To speed up processing slightly, this +feature can be disabled: + +@example +\override Score.PaperColumn.keep-inside-line = ##f +@end example + +To make lyrics avoid bar lines as well, use + +@example +\layout @{ + \context @{ + \Lyrics + \consists "Bar_engraver" + \consists "Separating_line_group_engraver" + \hide BarLine + @} +@} +@end example + @node Lyrics and repeats @unnumberedsubsubsec Lyrics and repeats @@ -805,8 +1224,8 @@ unfolded. } @end lilypond -If the repeated section is unfolded with different words, simply -enter all the words: +If the repeated section is to be unfolded and has different words, +simply enter all the words: @lilypond[verbatim,quote,ragged-right] \score { @@ -830,99 +1249,118 @@ enter all the words: } @end lilypond -@cindex lyric skip -@funindex \skip - When the words to a repeated volta section are different, the words -to each repeat must be entered in separate @code{Lyrics} context. -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. +to each repeat must be entered in separate @code{Lyrics} contexts, +correctly nested in parallel sections: -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. +@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 -@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.} +More verses may be added in a similar way: @lilypond[verbatim,quote] \score { << \new Staff { - \new Voice = "melody" { + \new Voice = "singleVoice" { \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. + a4 a a a + \repeat volta 3 { b4 b b b } + c4 c c c + } } } - \new Lyrics { - \lyricsto "melody" { - % skip 4 notes of any duration - \repeat unfold 4 { \skip 1 } - Sec -- ond 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 -@cindex lyrics, repeating with a temporary voice +@cindex alignBelowContext +@funindex alignBelowContext -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}. +However, if this construct is embedded within a multi-staved +context such as a @code{ChoirStaff} the lyrics of the second and +third verses will appear beneath the bottom staff. -@lilypond[verbatim,quote,ragged-right] +To position them correctly use @code{alignBelowContext}: + +@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 Voice = "melody" { + \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 end sec -- tion. - } - \lyricsto "repeatVoice" { - The first time words. - } - >> - \new Lyrics { - \lyricsto "repeatVoice" { - Sec -- ond time words. - } + \new Lyrics = "firstVerse" \lyricsto "melody" { + Not re -- peat -- ed. + << + { The first time words. } + \new Lyrics = "secondVerse" + \with { alignBelowContext = #"firstVerse" } { + \set associatedVoice = "melody" + Sec -- ond time words. + } + \new Lyrics = "thirdVerse" + \with { alignBelowContext = #"secondVerse" } { + \set associatedVoice = "melody" + The third time words. + } + >> + The end sec -- tion. } - \new Lyrics { - \lyricsto "repeatVoice" { - The third time words. + \new Voice = "harmony" { + \relative c' { + f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2 } } >> } @end lilypond -@c TODO lowering a common line of lyrics + + +@c TODO positioning a common line of lyrics @subheading Repeats with alternative endings @@ -957,10 +1395,24 @@ same structure can be used for both the lyrics and music. } @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 { @@ -1109,6 +1561,10 @@ alternative sections these must be inserted manually. } @end lilypond +@seealso +Notation Reference: +@ref{Keeping contexts alive}, +@ref{Repeats}. @node Divisi lyrics @@ -1179,256 +1635,123 @@ attaching lyrics to those specific contexts: } @end lilypond +It is common in choral music to have a voice part split for +several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>} +construct, where the two (or more) musical expressions are +separated by double backslashes, might seem the proper way to +set the split voices. This construct, however, will assign +@strong{all} the expressions within it to @strong{NEW Voice +contexts} which will result in @emph{no lyrics} being set for +them since the lyrics will be set to the original voice context +-- not, typically, what one wants. The temporary polyphonic +passage is the proper construct to use, see section +@emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}. -@node Lyrics independent of notes -@unnumberedsubsubsec Lyrics independent of notes - -@c TODO remove this section? Don't use DevNull -@c should be all in Manual Syllable durations -@cindex Devnull context +@node Polyphony with shared lyrics +@unnumberedsubsubsec Polyphony with shared lyrics -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. - -@lilypond[quote,verbatim,ragged-right] -voice = { - c''2 - \tag #'music { c''2 } - \tag #'lyricrhythm { c''4. c''8 } - d''1 -} +@cindex NullVoice +@cindex polyphony, shared lyrics +@cindex lyrics, shared among voices +@cindex \partcombine and lyrics +@funindex \partcombine -lyr = \lyricmode { I like my cat! } +When two voices with different rhythms share the same lyrics, +aligning the lyrics to one of the voices may lead to problems in +the other voice. For example, the second lyric extender below is +too short, since the lyrics are aligned only to the top voice: -<< - \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] +soprano = \relative { b'8( c d c) d2 } +alto = \relative { g'2 b8( a g a) } +words = \lyricmode { la __ la __ } + +\new Staff << + \new Voice = "sopranoVoice" { \voiceOne \soprano } + \new Voice { \voiceTwo \alto } + \new Lyrics \lyricsto "sopranoVoice" \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. - -@c Conclusion: do not use devnull for lyrics -FV - -@c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248 - -@node Spacing out syllables -@unnumberedsubsubsec Spacing out syllables - -@c TODO move to second item - -@cindex Spacing lyrics -@cindex Lyrics, increasing space between - -To increase the spacing between lyrics, set the @code{minimum-distance} -property of @code{LyricSpace}. - -@lilypond[relative,verbatim,fragment,quote,ragged-right] -{ - c c c c - \override Lyrics.LyricSpace #'minimum-distance = #1.0 - c c c c -} -\addlyrics { - longtext longtext longtext longtext - longtext longtext longtext longtext -} -@end lilypond - -@noindent -To make this change for all lyrics in the score, set the property in the -layout. +To get the desired result, align the lyrics to a new +@code{NullVoice} context containing a suitable combination of the +two voices. The notes of the @code{NullVoice} context do not +appear on the printed page, but can be used to align the lyrics +appropriately: -@lilypond[verbatim,quote,ragged-right] -\score { - \relative c' { - c c c c - c c c c - } - \addlyrics { - longtext longtext longtext longtext - longtext longtext longtext longtext - } - \layout { - \context { - \Lyrics - \override LyricSpace #'minimum-distance = #1.0 - } - } -} +@lilypond[quote,verbatim] +soprano = \relative { b'8( c d c) d2 } +alto = \relative { g'2 b8( a g a) } +aligner = \relative { b'8( c d c) b( a g a) } +words = \lyricmode { la __ la __ } + +\new Staff << + \new Voice { \voiceOne \soprano } + \new Voice { \voiceTwo \alto } + \new NullVoice = "aligner" \aligner + \new Lyrics \lyricsto "aligner" \words +>> @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} - -@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 - -@example -\override Score.PaperColumn #'keep-inside-line = ##t -@end example - -To make lyrics avoid bar lines as well, use - -@example -\layout @{ - \context @{ - \Lyrics - \consists "Bar_engraver" - \consists "Separating_line_group_engraver" - \override BarLine #'transparent = ##t - @} -@} -@end example - -@c TODO Create and add lsr example of lyricMelismaAlignment -@c It's used like this to center-align all lyric syllables, -@c even when notes are tied. -td - -@ignore -\layout -{ - \context { \Score lyricMelismaAlignment = #0 } -} -@end ignore - +The @code{NullVoice} context must be placed within a @code{Staff} +context and contain notes that are already being displayed in that staff and that are also in the same octave. Otherwise the +@code{NullVoice} may interact with the printed voices in +unexpected ways. For example, arbitrary notes in the +@code{NullVoice} may cause accidentals to appear (or disappear) on +the staff. -@node Placement of lyrics -@unnumberedsubsubsec Placement of lyrics - -@cindex placement of lyrics -@cindex lyrics, positioning - -@c TODO Add text from -user - -Lyrics are positioned above the staff, below the staff, or between -staves, depending on the type of music. To place lyrics below the -associated staff simply define the Lyrics context below the Staff -context: +This method also can be used with the @code{\partcombine} +function, which does not allow lyrics on its own: @lilypond[quote,verbatim] -\score { - << - \new Staff { - \new Voice = "melody" { - \relative c'' { c4 c c c } - } - } - \new Lyrics { - \lyricsto "melody" { - Here are the words - } - } - >> -} +soprano = \relative { b'8( c d c) d2 } +alto = \relative { g'2 b8( a g a) } +aligner = \relative { b'8( c d c) b( a g a) } +words = \lyricmode { la __ la __ } + +\new Staff << + \new Voice \partcombine \soprano \alto + \new NullVoice = "aligner" \aligner + \new Lyrics \lyricsto "aligner" \words +>> @end lilypond -To position lyrics above the staff, place the declaration of the -Lyrics context before the Staff and Voice contexts, but the -@code{\lyricsto} command must come after the Voice declaration it -references, like this: +@knownissues +The @code{\addLyrics} function only works with @code{Voice} lyrics +and so cannot be used with @code{NullVoice}. -@lilypond[quote,verbatim] -\score { - << - \new Lyrics = "lyrics" - \new Staff { - \new Voice = "melody" { - \relative c'' { c4 c c c } - } - } - \context Lyrics = "lyrics" { - \lyricsto "melody" { - Here are the words - } - } - >> -} -@end lilypond +@noindent +The @code{\partcombine} function is described in +@ref{Automatic part combining}. -Alternatively, the position of the lyrics may be specified -explicitly: +Lastly, this method can be used even when the voices are in +different staves, and is not limited to only two voices: @lilypond[quote,verbatim] -\score { - << - \new Staff = "staff" { - \new Voice = "melody" { - \relative c'' { c4 c c c } - } - } - \new Lyrics \with { alignAboveContext = "staff" } { - \lyricsto "melody" { - Here are the words - } - } - >> -} -@end lilypond - -When there are two voices on separate staves the lyrics may be -placed between the staves using either of these methods. Here -is an example of the first method: +soprano = \relative { b'8( c d c) d2 } +altoOne = \relative { g'2 b8( a b4) } +altoTwo = \relative { d'2 g4( fis8 g) } +aligner = \relative { b'8( c d c) d( d d d) } +words = \lyricmode { la __ la __ } -@lilypond[quote,verbatim] -\score { - \new ChoirStaff << - \new Staff { - \new Voice = "sopranos" { - \relative c'' { c4 c c c } - } - } - \new Lyrics = "sopranos" - \new Lyrics = "contraltos" - \new Staff { - \new Voice = "contraltos" { - \relative c'' { a4 a a a } - } - } - \context Lyrics = "sopranos" { - \lyricsto "sopranos" { - Sop -- ra -- no words - } - } - \context Lyrics = "contraltos" { - \lyricsto "contraltos" { - Con -- tral -- to words - } - } +\new ChoirStaff << + \new Staff << + \soprano + \new NullVoice = "aligner" \aligner >> -} + \new Lyrics \lyricsto "aligner" \words + \new Staff \partcombine \altoOne \altoTwo +>> @end lilypond -Other combinations of lyrics and staves may be generated by -elaborating these examples, or by examining the SATB templates in -the Learning Manual. - -@seealso -Learning Manual: -@rlearning{Vocal ensembles}. +However, note that in the second half of the measure above, the +notes in the @code{NullVoice} context reflect the rhythm of the +lower staff, but they do not deviate from the single pitch being +displayed in the staff to which the @code{NullVoice} belongs. +While not actually required in this particular example, it is a +good idea in general to enter the notes in this way. -Notation Reference: -@ref{Aligning contexts}, -@ref{Creating contexts}. @node Stanzas @subsection Stanzas @@ -1450,7 +1773,7 @@ Notation Reference: 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 { @@ -1503,9 +1826,9 @@ stanzaOneThree = { 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 = { @@ -1532,9 +1855,10 @@ 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 { @@ -1556,7 +1880,7 @@ differing ways. Such variations can still be captured with @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. @@ -1590,32 +1914,38 @@ are to be ignored. @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} @@ -1624,7 +1954,7 @@ block: @lilypond[verbatim,ragged-right,quote] << \new Voice = melody \relative c' { - \grace { c16[( d e f] } + \grace { c16( d e f } g1) f } \new Lyrics \with { includeGraceNotes = ##t } @@ -1636,11 +1966,14 @@ block: @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 @@ -1648,9 +1981,9 @@ done by setting the @code{associatedVoice} property. In the example << \new Voice = "alternative" { \voiceOne - \times 2/3 { + \tuplet 3/2 { % show associations clearly. - \override NoteColumn #'force-hshift = #-3 + \override NoteColumn.force-hshift = #-3 f8 f g } } @@ -1667,56 +2000,43 @@ done by setting the @code{associatedVoice} property. In the example \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 @@ -1774,7 +2094,7 @@ output in LilyPond. @lilypond[ragged-right,quote,verbatim] melody = \relative c' { - c c c c | d d d d + c4 c c c | d d d d } text = \lyricmode { @@ -1782,17 +2102,18 @@ text = \lyricmode { It has two lines. } -\score{ << +\score { + << \new Voice = "one" { \melody } \new Lyrics \lyricsto "one" \text - >> + >> \layout { } } \markup { \fill-line { \hspace #0.1 % moves the column off the left margin; - % can be removed if space on the page is tight + % can be removed if space on the page is tight \column { \line { \bold "2." \column { @@ -1800,7 +2121,7 @@ text = \lyricmode { "It has two lines." } } - \hspace #0.1 % adds vertical spacing between verses + \combine \null \vspace #0.1 % adds vertical spacing between verses \line { \bold "3." \column { "This is verse three." @@ -1808,17 +2129,15 @@ text = \lyricmode { } } } - \hspace #0.1 % adds horizontal spacing between columns; - % if they are still too close, add more " " pairs - % until the result looks good - \column { + \hspace #0.1 % adds horizontal spacing between columns; + \column { \line { \bold "4." \column { "This is verse four." "It has two lines." } } - \hspace #0.1 % adds vertical spacing between verses + \combine \null \vspace #0.1 % adds vertical spacing between verses \line { \bold "5." \column { "This is verse five." @@ -1827,7 +2146,7 @@ text = \lyricmode { } } \hspace #0.1 % gives some extra space on the right margin; - % can be removed if page space is tight + % can be removed if page space is tight } } @end lilypond @@ -1876,15 +2195,14 @@ For writing the lyrics to a melody line, see @ref{Common notation for vocal music}. @item -For placing the lyrics, see @ref{Placement of lyrics}. +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}. +names above the staves. This is described in @ref{Displaying chords}. @item To print fret diagrams of the chords for guitar accompaniment or @@ -1902,17 +2220,21 @@ Notation Reference: @ref{Displaying chords}, @ref{Displaying staves}, @ref{Keyboard and other multi-staff instruments}, -@ref{Placement of lyrics}, +@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] +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] {simple-lead-sheet.ly} @seealso @@ -1944,8 +2266,8 @@ etc. Choral music is usually notated on two, three or four staves within a @code{ChoirStaff} group. Accompaniment, if required, is placed beneath in a @code{PianoStaff} group, which is usually reduced in -size for @emph{a capella} choral works. The notes for each vocal -part are placed in a @code{Voice} context, with each staff +size for rehearsal of @emph{a cappella} choral works. The notes for +each vocal 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). @@ -1960,18 +2282,20 @@ Several common topics in choral music are described fully elsewhere: @item An introduction to creating an SATB vocal score can be found in the Learning Manual, see @rlearning{Four-part SATB vocal score}. +There is also a built-in template which simplifies the entry of +SATB vocal music, see @rlearning{Built-in templates}. @item Several templates suitable for various styles of choral music can also be found in the Learning Manual, see -@rlearning{Vocal ensembles}. +@rlearning{Vocal ensembles templates}. @item For information about @code{ChoirStaff} and @code{PianoStaff} see @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 @@ -1980,6 +2304,11 @@ 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}. +@item +When a vocal part temporarily splits, you should use +@emph{Temporary polyphonic passages} +(see @ref{Single-staff polyphony}). + @end itemize @predefined @@ -1990,7 +2319,7 @@ down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See @seealso Learning Manual: @rlearning{Four-part SATB vocal score}, -@rlearning{Vocal ensembles}. +@rlearning{Vocal ensembles templates}. Notation Reference: @ref{Context layout order}, @@ -1998,11 +2327,15 @@ Notation Reference: @ref{Shape note heads}, @ref{Single-staff polyphony}. +Snippets: +@rlsr{Vocal music}. + Internals Reference: @rinternals{ChoirStaff}, @rinternals{Lyrics}, @rinternals{PianoStaff}. + @node Score layouts for choral @unnumberedsubsubsec Score layouts for choral @@ -2035,7 +2368,7 @@ the two systems. See @ref{Separating systems}. @item For details of other page formatting properties, see -@ref{Page formatting}. +@ref{Page layout}. @end itemize @@ -2066,8 +2399,8 @@ above their respective staves, as shown here: \layout { \context { \Score - \override DynamicText #'direction = #UP - \override DynamicLineSpanner #'direction = #UP + \override DynamicText.direction = #UP + \override DynamicLineSpanner.direction = #UP } } } @@ -2081,7 +2414,7 @@ Notation Reference: @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}, @@ -2098,7 +2431,7 @@ Internals Reference: @cindex voices, divided -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] {using-arpeggiobracket-to-make-divisi-more-visible.ly} @seealso @@ -2184,13 +2517,13 @@ See @ref{Separating systems}. @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. -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}. +Dialogue cues, stage directions and footnotes can be inserted, see +@ref{Creating footnotes} and @ref{Text}. Extensive stage directions +can also be added with a section of stand-alone markups between two +@code{\score} blocks, see @ref{Separate text}. @end itemize @@ -2201,16 +2534,20 @@ Musical Glossary: @rglos{transposing instrument}. Notation Reference: +@ref{Creating footnotes}, @ref{Grouping staves}, @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 @@ -2219,15 +2556,14 @@ Notation Reference: @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 @@ -2236,8 +2572,8 @@ be used for this purpose. } } \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 @@ -2275,7 +2611,7 @@ indicate each change. #`((instrumentTransposition . ,(ly:make-pitch -1 0 0)) (shortInstrumentName . "Kas.") (clefGlyph . "clefs.G") - (clefOctavation . -7) + (clefTransposition . -7) (middleCPosition . 1) (clefPosition . -2) (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar")) @@ -2285,11 +2621,11 @@ indicate each change. #`((instrumentTransposition . ,(ly:make-pitch 0 0 0)) (shortInstrumentName . "Mel.") (clefGlyph . "clefs.F") - (clefOctavation . 0) + (clefTransposition . 0) (middleCPosition . 6) (clefPosition . 2) (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior")) - (midiInstrument . "voice aahs")) + (midiInstrument . "choir aahs")) \relative c' { \instrumentSwitch "kaspar" @@ -2311,6 +2647,7 @@ Notation Reference: Extending LilyPond: @rextend{Markup construction in Scheme}. + @node Musical cues @unnumberedsubsubsec Musical cues @@ -2329,9 +2666,8 @@ main text, see @ref{Quoting other voices} and @ref{Formatting cue notes}. But when many cues have to be inserted, for example, as an aid to a conductor in a vocal score, the instrument name must be positioned carefully just before and -close to the start of the cued notes. The following example shows -how this is done. Note that the name of the grob for overriding -the cued instrument name is @code{InstrumentSwitch}. +close to the start of the cue notes. The following example shows +how this is done. @lilypond[quote,verbatim] flute = \relative c'' { @@ -2341,12 +2677,12 @@ 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 + \new CueVoice { + \override InstrumentSwitch.self-alignment-X = #RIGHT + \set instrumentCueName = "Flute" + } \cueDuring "flute" #UP { g4 bes4 } } pianoLH = \relative c { c4 e, } @@ -2364,14 +2700,14 @@ pianoLH = \relative c { c4 e, } } @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 +@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. @@ -2384,12 +2720,12 @@ clarinet = \relative c' { 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 + \new CueVoice { + \override InstrumentSwitch.self-alignment-X = #RIGHT + \override InstrumentSwitch.direction = #DOWN + \set instrumentCueName = "Clar." + } \cueDuring "clarinet" #DOWN { c4. g8 } g4 bes4 } @@ -2413,13 +2749,13 @@ pianoLH = \relative c { c4 e, } @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] +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] {adding-orchestral-cues-to-a-vocal-score.ly} @seealso @@ -2434,7 +2770,7 @@ Notation Reference: @ref{Using music functions}. Snippets: -@rlsr{vocal-music}. +@rlsr{Vocal music}. Internals Reference: @rinternals{InstrumentSwitch}, @@ -2443,10 +2779,10 @@ Internals Reference: @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 @@ -2454,8 +2790,8 @@ declaring separate @code{CueVoice} contexts and using @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 @@ -2497,7 +2833,7 @@ 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 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 @@ -2521,8 +2857,8 @@ dialogue = \lyricmode { \score { << \new Lyrics \with { - \override LyricText #'font-shape = #'italic - \override LyricText #'self-alignment-X = #LEFT + \override LyricText.font-shape = #'italic + \override LyricText.self-alignment-X = #LEFT } { \dialogue } \new Staff { @@ -2573,6 +2909,9 @@ is described in @ref{Ancient notation}. Notation reference: @ref{Ancient notation}. +Snippets: +@rlsr{Vocal music}. + @node Setting a chant @unnumberedsubsubsec Setting a chant @@ -2585,7 +2924,7 @@ Chants often use quarter notes without stems to indicate the pitch, with the rhythm being taken from the spoken rhythm of the words. @lilypond[verbatim,quote] -stemOff = { \override Staff.Stem #'transparent = ##t } +stemOff = { \hide Staff.Stem } \relative c' { \stemOff @@ -2619,7 +2958,7 @@ all staves remove the bar line engraver completely: \layout { \context { \Staff - \remove Bar_engraver + \remove "Bar_engraver" } } } @@ -2631,7 +2970,7 @@ Bar lines can also be removed on a staff-by-staff basis: \score { \new ChoirStaff << \new Staff - \with { \remove Bar_engraver } { + \with { \remove "Bar_engraver" } { \relative c'' { a4 b c2 | a4 b c2 | @@ -2651,7 +2990,7 @@ Bar lines can also be removed on a staff-by-staff basis: 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 | @@ -2676,9 +3015,9 @@ a4 b c2 \bar "'" a4 b c2 a4 b c2 -\bar ":" +\bar ";" a4 b c2 -\bar "dashed" +\bar "!" a4 b c2 \bar "||" @end lilypond @@ -2689,23 +3028,23 @@ 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 + \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 + \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 + \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 + \once \override BreathingSign.stencil = #ly:breathing-sign::finalis + \once \override BreathingSign.Y-offset = #0 \breathe } @@ -2723,7 +3062,7 @@ finalis = { \layout { \context { \Staff - \remove Bar_engraver + \remove "Bar_engraver" } } } @@ -2743,9 +3082,9 @@ Chants usually omit the time signature and often omit the clef too. \layout { \context { \Staff - \remove Bar_engraver - \remove Time_signature_engraver - \remove Clef_engraver + \remove "Bar_engraver" + \remove "Time_signature_engraver" + \remove "Clef_engraver" } } } @@ -2819,8 +3158,7 @@ global = { \layout { \context { \Score - \override SpacingSpanner - #'base-shortest-duration = #(ly:make-moment 1 2) + \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2) } \context { \Staff @@ -2837,7 +3175,7 @@ of the following snippets. @snippets -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] {chant-or-psalms-notation.ly} Canticles and other liturgical texts may be set more freely, and @@ -2846,13 +3184,13 @@ 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] +@lilypondfile[verbatim,quote,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}. +@rlearning{Vocal ensembles templates}. Notation Reference: @ref{Ancient notation}, @@ -3011,11 +3349,12 @@ 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}. +in the template, see @rlearning{Psalms}. @seealso Learning Manual: -@rlearning{Vocal ensembles}. +@rlearning{Psalms}, +@rlearning{Vocal ensembles templates}. Notation Reference: @ref{Fonts}, @@ -3031,14 +3370,15 @@ with a line of text. This requires a @code{\partial} command at the start of the music and @code{\bar "|"} or @code{\bar "||"} commands at the end of each line. -@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle] {hymn-template.ly} @node Ancient vocal music @subsection Ancient vocal music -Ancient vocal music is supported, as explained in @ref{Ancient notation}. +Ancient vocal music is supported, as explained in +@ref{Ancient notation}. @c TODO