From e2e752fbce9e939cb905f52cd9e3b5c02b90e692 Mon Sep 17 00:00:00 2001 From: Trevor Daniels Date: Fri, 17 Sep 2010 23:31:51 +0100 Subject: [PATCH] Doc: NR 2.1 Vocal: make Musical cues a section --- Documentation/notation/vocal.itely | 150 ++++++++++++++++++++++++++--- 1 file changed, 138 insertions(+), 12 deletions(-) diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely index 671db19355..f1ae8ebd14 100644 --- a/Documentation/notation/vocal.itely +++ b/Documentation/notation/vocal.itely @@ -1720,6 +1720,7 @@ typesetting opera and musical scores. @menu * References for opera and stage musicals:: * Character names:: +* Musical cues:: * Spoken music:: * Dialogue over music:: @end menu @@ -1754,10 +1755,6 @@ See @ref{Separating systems}. For details of other page formatting properties, see @ref{Page formatting}. -@item -Musical cues can be inserted with the @code{\cueDuring} predefined -command. For details of its use see @ref{Formatting cue notes}. - @item Dialogue cues and stage directions can be inserted with markup. See @ref{Text}. Extensive stage directions can be inserted with @@ -1766,13 +1763,8 @@ See @ref{Separate text}. @end itemize -@predefined -@code{\cueDuring}, -@code{\quoteDuring}. - @seealso Musical Glossary: -@rglos{cue-notes}, @rglos{Frenched score}, @rglos{Frenched staves}, @rglos{transposing instrument}. @@ -1780,13 +1772,10 @@ Musical Glossary: Notation Manual: @ref{Grouping staves}, @ref{Hiding staves}, -@ref{Instrument names}, @ref{Instrument transpositions}, @ref{Nested staff groups}, @ref{Page formatting}, -@ref{Selecting font and font size}, @ref{Separating systems}, -@ref{Text}, @ref{Transpose}, @ref{Writing parts}, @ref{Writing text}. @@ -1850,6 +1839,143 @@ Notation Reference: @ref{Selecting font and font size}, @ref{Text}. +@node Musical cues +@unnumberedsubsubsec Musical cues + +@cindex musical cues +@cindex cues, musical + +Musical cues can be inserted in Vocal Scores, Vocal Books and +Orchestral Parts to indicate what music in another part +immediately precedes an entry. Also, cues are often inserted in the +piano reduction in Vocal Scores to indicate what each orchestral +instrument is playing. This aids the conductor when a full +Conductors' Score is not available. + +The basic mechanism for inserting cues is fully explained in the +main text, see @ref{Quoting other voices} and +@ref{Formatting cue notes}. But when many cues have to be +inserted, for example, as an aid to a conductor in a vocal score, +the instrument name must be positioned carefully just before and +close to the start of the 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}. + +@lilypond[quote,verbatim] +flute = \relative c'' { + s4 s4 e g +} +\addQuote "flute" { \flute } + +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" + \cueDuring "flute" #UP { g4 bes4 } +} +pianoLH = \relative c { c4 e, } + +\score { + \new PianoStaff << + \new Staff { + \pianoRH + } + \new Staff { + \clef "bass" + \pianoLH + } + >> +} +@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 +automatically. The example below shows this transposition for a +B-flat clarinet. The notes in this example are low on the staff so +@code{#DOWN} is specified in @code{\cueDuring} (so the stems are +down) and the instrument name is positioned below the staff. Note +also that the piano right-hand voice is explicitly declared. This +is because the cued notes in this example begin at the start of the +first bar and this would otherwise cause the entire piano right-hand +notes to be placed in a @code{CueVoice} context. + +@lilypond[quote,verbatim] +clarinet = \relative c' { + \transposition bes + fis4 d d c +} +\addQuote "clarinet" { \clarinet } + +pianoRH = \relative c'' { + \transposition c' + % position name of 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." + \cueDuring "clarinet" #DOWN { c4. g8 } + g4 bes4 +} +pianoLH = \relative c { c4 e, } + +\score { + << + \new PianoStaff << + \new Staff { + \new Voice { + \pianoRH + } + } + \new Staff { + \clef "bass" + \pianoLH + } + >> + >> +} +@end lilypond + +From these two examples it is clear that inserting many cues in a +Vocal Score would be 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. + +@snippets +@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +{adding-orchestral-cues-to-a-vocal-score.ly} + +@seealso +Musical Glossary: +@rglos{cue-notes}. + +Notation Reference: +@ref{Aligning objects}, +@ref{Direction and placement}, +@ref{Formatting cue notes}, +@ref{Quoting other voices}, +@ref{Using music functions}. + +Snippets: +@rlsr{vocal-music}. + +Internals Reference: +@rinternals{InstrumentSwitch}, +@rinternals{CueVoice}. + +@knownissues +@code{\cueDuring} automatically inserts a @code{CueVoice} context +and all cue notes are placed in that context. This means it is not +possible to have two overlapping sequences of cued 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. + @node Spoken music @unnumberedsubsubsec Spoken music -- 2.39.2