X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Finstrument-notation.itely;h=cd8f1e473abc783569641c4764fa2b06d1428a24;hb=cc4370c05c005e07a81ab6ec2ec8657a6d361787;hp=62322491e83d38e72777c5350e23ba6cc3e0a21d;hpb=680cfb9e7b94cc4da0b2e25c60a2d4f4485cb17f;p=lilypond.git diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely index 62322491e8..cd8f1e473a 100644 --- a/Documentation/user/instrument-notation.itely +++ b/Documentation/user/instrument-notation.itely @@ -358,14 +358,17 @@ The mode is introduced by the keyword @code{\chordmode}. Other chords may be entered by suffixing a colon and introducing a modifier (which may include a number if desired) + @lilypond[quote,fragment,verbatim] \chordmode { e1:m e1:7 e1:m7 } @end lilypond + The first number following the root is taken to be the @q{type} of the chord, thirds are added to the root until it reaches the specified -number +number. The exception is @code{c:13}, for which the 11 is omitted. + @lilypond[quote,fragment,verbatim] -\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 } +\chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 c:13 } @end lilypond @cindex root of chord @@ -375,16 +378,21 @@ number More complex chords may also be constructed adding separate steps to a chord. Additions are added after the number following the colon and are separated by dots + @lilypond[quote,verbatim,fragment] \chordmode { c:5.6 c:3.7.8 c:3.6.13 } @end lilypond + Chord steps can be altered by suffixing a @code{-} or @code{+} sign to the number + @lilypond[quote,verbatim,fragment] \chordmode { c:7+ c:5+.3- c:3-.5-.7- } @end lilypond + Removals are specified similarly and are introduced by a caret. They must come after the additions + @lilypond[quote,verbatim,fragment] \chordmode { c^3 c:7^5 c:9^3.5 } @end lilypond @@ -512,7 +520,6 @@ for showing repeats. @lilypond[ragged-right,verbatim] \new ChordNames \with { \override BarLine #'bar-size = #4 - voltaOnThisStaff = ##t \consists Bar_engraver \consists "Volta_engraver" } @@ -827,7 +834,7 @@ between syllables, or use tilde symbol (@code{~}) to get a lyric tie. \addlyrics { pu- ro~y~ho- nes- to } @end lilypond -The lyric ties is implemented with the Unicode character U+203F, so be +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. @@ -927,10 +934,8 @@ explicitly, using @code{\lyricmode} @cindex automatic syllable durations @cindex lyrics and melodies -This will place the lyrics according to the durations that were -entered. The lyrics can also be aligned under a given melody -automatically. In this case, it is no longer necessary to enter the -correct duration for each syllable. This is achieved by combining the +The lyrics can be aligned under a given melody +automatically. This is achieved by combining the melody and the lyrics with the @code{\lyricsto} expression @example @@ -982,39 +987,45 @@ is the same as @node Another way of entering lyrics @subsubsection Another way of entering lyrics -For different or more complex orderings, the best way is to setup the -hierarchy of staves and lyrics first, e.g., +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: + @example -\new ChoirStaff << - \new Voice = "soprano" @{ @emph{music} @} - \new Lyrics = "sopranoLyrics" @{ s1 @} - \new Lyrics = "tenorLyrics" @{ s1 @} - \new Voice = "tenor" @{ @emph{music} @} ->> +play2 the4 game2. +sink2 or4 swim2. @end example - -and then combine the appropriate melodies and lyric lines - + +The alignment to a melody can be specified with the +@code{associatedVoice} property, + @example -\context Lyrics = sopranoLyrics \lyricsto "soprano" - @emph{the lyrics} +\set associatedVoice = #"lala" @end example - + @noindent -The final input would resemble - -@example -<<\new ChoirStaff << @emph{setup the music} >> - \lyricsto "soprano" @emph{etc} - \lyricsto "alto" @emph{etc} - @emph{etc} ->> -@end example +The value of the property (here: @code{"lala"}) should be the name of +a @internalsref{Voice} context. Without this setting, extender lines +will not be formatted properly. + +Here is an example demonstrating manual lyric durations, + +@lilypond[relative=1,ragged-right,verbatim,fragment,quote] +<< \new Voice = "melody" { + \time 3/4 + c2 e4 g2. + } + \new Lyrics \lyricmode { + \set associatedVoice = #"melody" + play2 the4 game2. + } >> +@end lilypond @seealso + +Program reference: @internalsref{Lyrics}. -Program reference: @internalsref{LyricCombineMusic}, -@internalsref{Lyrics}. @node Assigning more than one syllable to a single note @subsubsection Assigning more than one syllable to a single note @@ -1023,7 +1034,25 @@ Program reference: @internalsref{LyricCombineMusic}, @funindex _ @cindex ties, in lyrics +In order to assign more than one syllable to a single note, you can +surround them with quotes or use a @code{_} character, to get spaces +between syllables, or use tilde symbol (@code{~}) to get a lyric +tie@footnote{The lyric ties is implemented with the Unicode character +U+203F, so be +sure to have a font (Like DejaVuLGC) installed that includes this +glyph.}. + +@lilypond[quote,relative=2,ragged-right,fragment,verbatim] +\time 3/4 +\relative { 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 + +@seealso +Program reference: @internalsref{LyricCombineMusic}. @c Here come the section which used to be "Melismata" @c the new title might be more self-explanatory @@ -1034,8 +1063,30 @@ Program reference: @internalsref{LyricCombineMusic}, @cindex melisma @cindex melismata +@cindex phrasing, in lyrics + +Sometimes, particularly in Medieval music, several notes are to be sung on one +single syllable; such vocalises are called melismas, or melismata. + +@c this method seems to be the simplest; therefore +@c it might be better to present it first - vv + +You can define melismata entirely in the lyrics, by entering @code{_} +for every note +that is part of the melisma. + +@lilypond[relative=1,verbatim,fragment,quote] +{ \set melismaBusyProperties = #'() + c d( e) f f( e) e e } +\addlyrics + { Ky -- _ _ ri __ _ _ _ e } +@end lilypond + +In this case, you can also have ties and slurs in the melody if you +set @code{melismaBusyProperties}, as is done in the example above. -The @code{\lyricsto} command detects melismata: it only puts one +However, the @code{\lyricsto} command can also +detect melismata automatically: it only puts one syllable under a tied or slurred group of notes. If you want to force an unslurred group of notes to be a melisma, insert @code{\melisma} after the first note of the group, and @code{\melismaEnd} after the @@ -1061,6 +1112,9 @@ In addition, notes are considered a melisma if they are manually beamed, and automatic beaming (see @ref{Setting automatic beam behavior}) is switched off. +@c TODO: there might be some more relevant place for +@c the following link (?) + @cindex SATB @cindex choral score @@ -1091,16 +1145,17 @@ inserted by hand. @cindex melisma @cindex extender -Melismata are indicated with a horizontal line centered between a -syllable and the -next one. Such a line is called an extender line, and it is entered as -@samp{__}. +Melismata are indicated with a horizontal line centered between a syllable +and the next one. Such a line is called an extender line, and it is entered +as @samp{ __ } (note the spaces before and after the two underscore +characters). @cindex hyphens -Centered hyphens are entered as @samp{--} between syllables of a same -word. 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 tighly engraved music, hyphens can be removed. Whether this happens can be controlled with the @code{minimum-distance} (minimum @@ -1117,41 +1172,61 @@ Program reference: @internalsref{LyricExtender}, @subsection Working with lyrics and identifiers @cindex lyrics, identifiers -Lyrics can also be entered without @code{\lyricsto}. In this case the -duration of each syllable must be entered explicitly, for example, - +To define identifiers containing lyrics, the function @code{\lyricmode} +must be used. You do not have to enter durations though, if you add +@code{\addlyrics} or @code{\lyricsto} +when invoking your identifier. + @example -play2 the4 game2. -sink2 or4 swim2. +verseOne = \lyricmode @{ Joy to the world the Lord is come @} +\score @{ + << + \new Voice = "one" \relative c'' @{ + \autoBeamOff + \time 2/4 + c4 b8. a16 g4. f8 e4 d c2 + @} + \addlyrics @{ \verseOne @} + >> +@} @end example - -The alignment to a melody can be specified with the -@code{associatedVoice} property, - + +For different or more complex orderings, the best way is to setup the +hierarchy of staves and lyrics first, e.g., @example -\set associatedVoice = #"lala" +\new ChoirStaff << + \new Voice = "soprano" @{ @emph{music} @} + \new Lyrics = "sopranoLyrics" @{ s1 @} + \new Lyrics = "tenorLyrics" @{ s1 @} + \new Voice = "tenor" @{ @emph{music} @} +>> @end example - + +and then combine the appropriate melodies and lyric lines + +@example +\context Lyrics = sopranoLyrics \lyricsto "soprano" +@emph{the lyrics} +@end example + @noindent -The value of the property (here: @code{"lala"}) should be the name of -a @internalsref{Voice} context. Without this setting, extender lines -will not be formatted properly. - -Here is an example demonstrating manual lyric durations, - -@lilypond[relative=1,ragged-right,verbatim,fragment,quote] -<< \new Voice = "melody" { - \time 3/4 - c2 e4 g2. - } - \new Lyrics \lyricmode { - \set associatedVoice = #"melody" - play2 the4 game2. - } >> -@end lilypond - +The final input would resemble + +@example +<<\new ChoirStaff << @emph{setup the music} >> + \lyricsto "soprano" @emph{etc} + \lyricsto "alto" @emph{etc} +@emph{etc} +>> +@end example + +@seealso + @c TODO: document \new Staff << Voice \lyricsto >> bug +Program reference: @internalsref{LyricCombineMusic}, +@internalsref{Lyrics}. + @node Flexibility in placement @subsection Flexibility in placement @@ -1167,10 +1242,10 @@ differing ways. Such variations can still be captured with * Lyrics independent of notes:: @end menu + @node Lyrics to multiple notes of a melisma @subsubsection Lyrics to multiple notes of a melisma - 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 voice ignore the melisma. This is done by setting @@ -1427,9 +1502,6 @@ layout. @node More about stanzas @subsection More about stanzas -@c what's this doing here? -@cindex phrasing, in lyrics - @cindex stanza number @subsubsection Adding stanza numbers @@ -1443,7 +1515,7 @@ Stanza numbers can be added by setting @code{stanza}, e.g., Hi, my name is Bert. } \addlyrics { \set stanza = "2. " - Oh, che -- ri, je t'aime + Oh, ché -- ri, je t'aime } @end lilypond @@ -2146,6 +2218,22 @@ Chords are not handled in a special way, and hence the automatic string selector may easily select the same string to two notes in a chord. +In order to handle @code{\partcombine}, a @code{TabStaff} must use +specially-created voices: + +@lilypond[quote,ragged-right,verbatim] +melodia = \partcombine { e4 g g g }{ e4 e e e } +<< + \new TabStaff << + \new TabVoice = "one" s1 + \new TabVoice = "two" s1 + \new TabVoice = "shared" s1 + \new TabVoice = "solo" s1 + { \melodia } + >> +>> +@end lilypond + @node Non-guitar tablatures @subsection Non-guitar tablatures @@ -2154,10 +2242,10 @@ chord. You can change the tuning of the strings. A string tuning is given as a Scheme list with one integer number for each string, the number being the pitch (measured in semitones relative to middle C) of an -open string. The numbers specified for @code{stringTuning} are the +open string. The numbers specified for @code{stringTunings} are the numbers of semitones to subtract or add, starting the specified pitch by default middle C, in string order. LilyPond automatically calculates -the number of strings by looking at @code{stringTuning}. +the number of strings by looking at @code{stringTunings}. In the next example, @code{stringTunings} is set for the pitches e, a, d, and g @@ -2335,7 +2423,7 @@ The letters used for the fingerings are contained in the property @seealso -Internalls: @internalsref{StrokeFinger} +Program reference: @internalsref{StrokeFinger} @@ -2349,7 +2437,7 @@ barring indications. \clef "G_8" b16 d16 g16 b16 e16 \textSpannerDown -\override TextSpanner #'bound-details #'left #'text = "XII " +\override TextSpanner #'bound-details #'left #'text = #"XII " g16\startTextSpan b16 e16 g16 e16 b16 g16\stopTextSpan e16 b16 g16 d16 @@ -2395,7 +2483,7 @@ write @code{\taor} instead of @end example @code{bagpipe.ly} also contains pitch definitions for the bagpipe -notes in the appropiate octaves, so you do not need to worry about +notes in the appropriate octaves, so you do not need to worry about @code{\relative} or @code{\transpose}. @lilypond[ragged-right,verbatim,quote,notime] @@ -2538,7 +2626,7 @@ up during the baroque period. @ref{Figured bass} @end itemize -Here are all suptopics at a glance: +Here are all subtopics at a glance: @menu * Ancient note heads:: @@ -3125,7 +3213,7 @@ Editio Vaticana style. @refbugs Some articulations are vertically placed too closely to the -correpsonding note heads. +corresponding note heads. The episem line is not displayed in many cases. If it is displayed, the right end of the episem line is often too far to the right.