From 2db58b21b7123b59931ba3540cd7302973542786 Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Fri, 28 Sep 2007 14:09:41 -0700 Subject: [PATCH] More tutorial improvements from Trevor Daniels. --- Documentation/user/tutorial.itely | 204 ++++++++++++++++++++++++++---- 1 file changed, 177 insertions(+), 27 deletions(-) diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 2f121cc6e7..6f65af792c 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -1160,23 +1160,27 @@ See @ruser{Basic polyphony}. This section introduces vocal music and simple song sheets. @menu -* Printing lyrics:: +* Setting simple songs:: +* Aligning lyrics to a melody:: +* Lyrics to multiple staves:: * A lead sheet:: @end menu -@node Printing lyrics -@subsection Printing lyrics +@node Setting simple songs +@subsection Setting simple songs @cindex Lyrics @cindex Songs -Consider a simple melody: +Here is the start of the melody to a nursery +rhyme, @qq{Girls and boys come out to play}: @lilypond[verbatim,quote,ragged-right] -\relative c'' { - a4 e c8 e r4 - b2 c4( d) -} + \relative c'' { + \key g \major + \time 6/8 + d4 b8 c4 a8 d4 b8 g4 + } @end lilypond The lyrics can be set to these notes, combining both with the @@ -1185,48 +1189,194 @@ syllable with a space. @lilypond[verbatim,quote,ragged-right] << - \relative c'' { - a4 e c8 e r4 - b2 c4( d) - } - \addlyrics { One day this shall be free } + \relative c'' { + \key g \major + \time 6/8 + d4 b8 c4 a8 d4 b8 g4 + } + \addlyrics { + Girls and boys come out to play, + } >> @end lilypond +Note the curly brackets delimiting both the music and the lyrics, +and the angle brackets @code{<< ... >>} around the whole piece to +show that the music and lyrics are to occur at the same time. + +@node Aligning lyrics to a melody +@subsection Aligning lyrics to a melody + @cindex melisma @cindex extender line -This melody ends on a @rglos{melisma}, a single syllable -(@q{free}) sung to more than one note. This is indicated with an -@emph{extender line}. It is entered as two underscores @code{__}: +@cindex hyphens +@cindex underscore + +The next line in the nursery rhyme is @q{The moon doth shine as +bright as day}. Let's extend it: +@lilypond[verbatim,quote,ragged-right] +<< + \relative c'' { + \key g \major + \time 6/8 + d4 b8 c4 a8 d4 b8 g4 g8 + a4 b8 c b a + d4 b8 g4. + } + \addlyrics { + Girls and boys come out to play, + The moon doth shine as bright as day; + } +>> +@end lilypond + +We see the extra lyrics do not align properly with the notes. The +word @q{shine} should be sung on two notes, not one. This is +called a @rglos{melisma}, a single syllable sung to more than one +note. There are several ways to spread a syllable over multiple +notes, the simplest being to add a slur across them (see @ref{Ties +and slurs}): + +@lilypond[verbatim,quote,ragged-right] +<< + \relative c'' { + \key g \major + \time 6/8 + d4 b8 c4 a8 d4 b8 g4 g8 + a4 b8 c([ b)] a + d4 b8 g4. + } + \addlyrics { + Girls and boys come out to play, + The moon doth shine as bright as day; + } +>> +@end lilypond + +Here we have also used manual beaming (the square brackets @code{[ +]} ) to generate the beaming which is customarily used with lyrics. + +If a syllable extends over several notes or a single very long +note an @emph{extender line} is usually drawn from the syllable +extending under all the notes for that syllable. It is entered as +two underscores @code{__}. Here is an example from the first +three bars of Dido's Lament, from Purcell's Dido and Æneas: + @lilypond[verbatim,quote,ragged-right] << \relative c'' { - a4 e c8 e r4 - b2 c4( d) + \key g \minor + \time 3/2 + g2 a bes + bes( a) b + c4.( bes8 a4. g8 fis4.) g8 + fis1 + } + \addlyrics { + When I am laid, am laid __ in earth, } - \addlyrics { One day this shall be free __ } >> @end lilypond -Similarly, hyphens between words can be entered as two dashes, -resulting in a centered hyphen between two syllables +None of the examples so far have involved words containing more +than one syllable. Such words are usually split one syllable to a +note, with hyphens between syllables. Such hyphens are entered as +two dashes, resulting in a centered hyphen between the syllables. +Here is an example showing this and everything we have learned so +far about aligning lyrics to notes. -@c no ragged-right here because otherwise the hypens get lost. +@c no ragged-right here because otherwise the hyphens get lost, +@c but the example is long enough to avoid looking strange. @lilypond[quote,verbatim] << \relative c' { - \time 2/4 - f4 f c c + \key g \major + \time 3/4 + \partial 4 + d4 + g4 g a8( b) g4 + g4 b8( c) d4 d + e4 c2 + } + \addlyrics { + A -- way in a __ man -- ger, no __ crib for a bed, __ } - \addlyrics { A -- le -- gri -- a } >> @end lilypond +Some lyrics, especially those in Italian, require the opposite: +setting more than one syllable to a single note. This is +achieved by linking the syllables together with a single +underscore @code{_} (with no spaces), or enclosing them in +quotes. Here's an example from Rossini's Figaro, where +@q{al} has to be sung on the same note as the @q{go} of +@q{Largo} in Figaro's aria @q{Largo al factotum}: + +@c no ragged-right here because otherwise the hyphens get lost, +@c but the example is long enough to avoid looking strange. +@lilypond[quote,verbatim] +<< + \relative c' { + \clef bass + \key c \major + \time 6/8 + c4.~ c8 d b c([ d)] b c d b c + } + \addlyrics { + Lar -- go_al fac -- to -- tum del -- la cit -- tà + } +>> +@end lilypond + + +@seealso +@quotation +More options, such as inserting explicit rhythms into lyrics, +inserting lyric ties (e.g., between @q{go al} above, +alternative ways of handling melismata, +and adding extra verses, +are discussed in @ruser{Vocal music}. +@end quotation + +@node Lyrics to multiple staves +@subsection Lyrics to multiple staves + +The simple approach using @code{\addlyrics} can be used for +placing lyrics under more than one staff. Here is an +example from Handel's Judas Maccabæus: + +@lilypond[verbatim,quote,ragged-right] +<< + { + \time 6/8 + \partial 8 + } + \relative c'' { \key f \major + c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4 + } + \addlyrics { + Let flee -- cy flocks the hills a -- dorn, __ + } + \relative c' { \key f \major + r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4 + } + \addlyrics { + Let flee -- cy flocks the hills a -- dorn, + } +>> +@end lilypond + +but scores any more complex than this simple example are +better produced by separating out the staff structure +from the notes and lyrics with identifiers. These are +discussed later (see @ref{Organizing pieces with identifiers}). + @seealso @quotation -More options, such as putting multiple stanzas below a melody, are -discussed in @ruser{Vocal music}. +More options, such as putting multiple stanzas below the score, +setting choral music, and lyrics to divided voices, +are discussed in @ruser{Vocal music}. @end quotation -- 2.39.5