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- Committer: Bazaar Package Importer
- Author(s): Roland Stigge
- Date: 2003-08-06 14:21:03 UTC
- mfrom: (1.1.1 upstream)
- Revision ID: james.westby@ubuntu.com-20030806142103-vhank6k8g536vqjt
Tags: 2.1c-1
* New maintainer
Date: Wed, 6 Aug 2003 19:28:18 +0800
From: Anthony Fok <foka@debian.org>
To: Roland Stigge <stigge@antcom.de>
Subject: Re: Roland Stigge (fwd)
Hello Roland,
The MusiXTeX family of packages are yours. You may become the official
maintainer for these Debian packages (musixtex, pmx, m-tx, musixlyr),
effective now. [...]
(Closes: #193901, #193900)
* Standards-Version: 3.6.0
Date: Wed, 6 Aug 2003 19:28:18 +0800
From: Anthony Fok <foka@debian.org>
To: Roland Stigge <stigge@antcom.de>
Subject: Re: Roland Stigge (fwd)
Hello Roland,
The MusiXTeX family of packages are yours. You may become the official
maintainer for these Debian packages (musixtex, pmx, m-tx, musixlyr),
effective now. [...]
(Closes: #193901, #193900)
* Standards-Version: 3.6.0
- files added:
- README.musixlyr
- doc
- doc/xmpl
- tex
- files removed:
- README
- files modified:
- debian/changelog
added
removed
doc/mxlyrdoc.tex
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%%
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%% mxlyrdoc.tex: Manual for the MusiXTeX lyrics package musixlyr
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%%
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%% Copyright (C) 1996-2003 Rainer Dunker
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%%
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%% This document is free software; you can redistribute it and/or modify
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%% it under the terms of the GNU General Public License as published by
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%% the Free Software Foundation; either version 2 of the License, or
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%% any later version.
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%%
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%% This document is distributed in the hope that it will be useful,
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%% but WITHOUT ANY WARRANTY; without even the implied warranty of
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%% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
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%% GNU General Public License for more details.
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%%
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%% You should have received a copy of the GNU General Public License
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%% along with this document; if not, write to the Free Software
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%% Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
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%%
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%% Author:
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%% Rainer Dunker
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%% Wachtelweg 31
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%% 85591 Vaterstetten
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%% Germany
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%%
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%% E-mail: rainer.dunker@web.de
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%%
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\documentclass[twoside]{article}
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\usepackage{musixtex,multicol,makeidx}
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\input musixlyr
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\textwidth210mm \advance\textwidth-2in % These format settings
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\textheight297mm \advance\textheight-2in % can be freely changed!
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\advance\textheight-\headheight \advance\textheight-\headsep
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\footskip0pt \topmargin0pt \evensidemargin0pt \oddsidemargin0pt
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\pagestyle{headings}
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\parskip0.5ex plus 0.25ex minus 0.25ex
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\parindent0pt
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\sloppy
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\nobarnumbers
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\smallmusicsize
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%
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% command index
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%
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\makeatletter
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\renewenvironment{theindex}
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{\let\item\@idxitem
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\begin{multicols}{2}
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\parskip0pt}
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{\end{multicols}}
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\def\printcmd#1{{\tt\char92 #1}}
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\def\ci#1{\printcmd{#1}\bci{#1}}
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\def\bci#1{\index{#1@\printcmd{#1}}} % "blind" command index entry
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\makeindex
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\let\myqnwidth\qn@width
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\makeatother
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\def\musixlyr{{\tt musixlyr}}
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\def\PMX{{\bf PMX}}
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\def\var#1{\hbox{$\langle$#1$\rangle$}}
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\def\oneversespace{\par\vspace*{2mm}}
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\def\twoversesspace{\par\vspace*{7mm}}
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\begin{document}
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\title{\musixlyr\ --- a \musixtex\ Extension Package for Lyrics Handling
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(Version 2.1c)}
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\author{\copyright\ Rainer Dunker 1996--2003\\
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{\tt rainer.dunker@web.de}}
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\maketitle
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\thispagestyle{empty}
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{\small\sl (The page layout of this document is tailored to A4 paper
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format, but the text width and height can be freely changed in order
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to meet other paper sizes; no part of the layout relies on a
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particlular size.)\/}
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{\parskip0pt\tableofcontents}
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\section{Introduction}
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\subsection{Basic concepts}
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\musixlyr\ is a set of \TeX\ macros to be used with Taupin \musixtex\
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(version T.52 or later) for typesetting vocal music. Its purpose is
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to compensate two drawbacks of \musixtex's lyrics handling:
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\begin{itemize}
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\item Typesetting lyrics with the ``native'' \musixtex\ commands
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\verb|\zcharnote|, \verb|\zsong| etc.\ tends to be quite
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inefficient, particularly if the lyrics have to be changed or
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corrected. The idea underlying \musixlyr\ is to separate lyrics
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coding from music coding and let \TeX\ weave them together with as
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little manual interference as possible. As a result you can enter
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and edit lyrics (nearly) as easily as normal text.
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\item \musixtex\ has no built-in mechanism for centering hyphens between
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syllables and for handling hyphenation at long melismas. This is
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implemented in \musixlyr\ following the example of engraved music.
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\end{itemize}
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\subsection{New since version~2.0}
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\musixlyr~2.0 provides the following major enhancements:
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\begin{itemize}
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\item Support for lyrics on multi-staff instruments
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$\longrightarrow$~section~\ref{multi-staff-instruments}
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%
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\item Melisma declaration as part of the lyrics definition,
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i.\,e.~within \ci{setlyrics}
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$\longrightarrow$~section~\ref{melismas}
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%
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\item Improved scheme for vertical lyrics positioning
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$\longrightarrow$~section~\ref{vertical-positioning}
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%
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\item Facility for posting lyrics anywhere on a staff, even where no
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notes are present at all
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$\longrightarrow$~section~\ref{lyric*-verse-numbers}
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\end{itemize}
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These new features are especially interesting when \musixlyr\ is used in
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conjunction with \PMX:
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\begin{itemize}
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\item Automatic detection of upper/lower voice context in
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a two-voice staff; explicitly addressing lyrics commands to
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auxiliary lyrics with \ci{auxlyr} is no longer required
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$\longrightarrow$~section~\ref{auxlyr-attachment}
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%
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\item Context-dependent lyrics settings that do not need to be
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adressed to absolute instrument/staff numbers, making lyrics
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assignment robust against part extraction
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$\longrightarrow$~section~\ref{assignment-by-context}
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\end{itemize}
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Finally, a few improvements have been made that do not bear explicit
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new features but work rather behind the scenes:
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\begin{itemize}
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\item No more \TeX\ register allocations for each verse name newly
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defined by \ci{setlyrics} or \ci{copylyrics}; the use
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of those registers has been replaced by macros.
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%
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\item Due to the abandoned per-verse register allocations, the
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\ci{enableauxlyrics} command is obsolete. It is retained for the
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sake of backward compatibility, but it has no effect.
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%
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\item Slightly more robust processing of undefined verses. An error
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is raised immediately when an undefined verse is assigned to a
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staff/instrument, and the undefined verse name is implicitly
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defined as having empty lyrics. This avoids obscure errors in later
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stages of \TeX\ processing.
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\end{itemize}
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The current version~2.1c is mainly a bugfix version of~2.0, with a few
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functional additions:
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\begin{itemize}
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\item Possibility to add additional lyrics to an existing lyrics
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definition without discarding the remainder of the current lyrics
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line contents; useful if lyrics are defined in several portions
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spread over the score (see~\ref{appendlyrics}).
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\item The \musixlyr\ version is identified by the predefined macro
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\verb|\musixlyrversion|, enabling other \TeX\ code to check for
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version compatibility (according to a suggestion by Dirk Laurie).
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\end{itemize}
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Suggestions for other useful things are welcome.
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\subsection{Backward incompatibility issues}
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The following properties make \musixlyr\ versions~2.$x$ incompatible
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to earlier versions:
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\begin{itemize}
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\item
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It is no longer possible to represent ``empty syllables'' by
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empty \TeX\ environments `\verb|{}|' within \ci{setlyrics}; see
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also section~\ref{empty-syllable}.
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%
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\item
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Within \ci{setlyrics}, the underscore character has got a
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special meaning and thus can no longer be used as usual; see
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section~\ref{melismas-by-underscores}.
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%
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\item
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By default, auxiliary lyrics are now placed vertically {\em
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above\/} (no longer below) the staff they are assigned to; see
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section~\ref{auxlyr-vertical-position-default}.
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\end{itemize}
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The following bugfix of \musixlyr~2.1b also implies a slight backward
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incompatibility:
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\begin{itemize}
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\item
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At the beginning of a music line (system), lyrics have often been
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right-shifted because \musixlyr\ has assumed MusiXTeX's horizontal
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``zero'' position as the left boundary for lyrics positioning. Now,
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lyrics are allowed to extend into the left margin as far as
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required for centered placement under/above the note.
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Although this is a more ``natural'' behaviour, it may lead to
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collisions between lyrics and other stuff (like dynamic marks) that
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have not occurred using older \musixlyr\ versions. In such a case,
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there are two ways to solve the problem:
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%
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\begin{itemize}
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\item Restore the former \musixlyr\ behaviour globally by saying
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\begin{quote}
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\ci{oldlyrlinestart}
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\end{quote}
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near the top of your score source.
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%
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\item Right-shift the colliding lyrics where necessary using
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\ci{lyroffset} (see~\ref{lyroffset}).
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\end{itemize}
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\end{itemize}
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\subsection{Restrictions}
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\begin{itemize}
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\item \musixlyr\ does not influence the \musixtex/{\tt musixflx}
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spacing algorithm in order to make the notes spacing dependent on
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the space requirements of the lyrics. See section~\ref{horizpos}
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about how spacing problems are handled.
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%
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\item \musixlyr\ seems to work correctly in my preferred working
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environment, but I cannot exclude problems in situations I have
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not undergone (especially concerning the use of \musixtex\
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preprocessors, the \musixtex\ extension library, and past or
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future \musixtex\ releases). Thus it is important that you point out
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encountered bugs and incompatibilities to me; there is little
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chance that I notice them on my own.
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Please do also bother me if you find this manual --- or parts of
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it --- incomprehensible or incomplete.
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\end{itemize}
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\section{Installation}
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Put the {\tt musixlyr.tex} file into a directory that is included in
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your \verb|TEXINPUTS| search path --- that's all. (Refer to your local \TeX\
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documentation for details on this.)
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\section{Usage}
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Before using \musixlyr\ macros, state
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\begin{quote}\verb|\input musixlyr|\end{quote}
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near the beginning of your source file but {\bf after} the
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\verb|\input musixtex| (\LaTeX: \verb|\usepackage{musixtex}|)
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command.
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\subsection{Entering lyrics}
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\subsubsection{Lyrics as lines of words}
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As opposed to the ``vertical'' music construction of
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\musixtex, \musixlyr\ treats lyrics ``horizontally'' as {\em lyrics
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lines.\/} Each separate ``thread'' of words is a separate lyrics
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line; thus, in the following example\footnote{Excerpt from
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``Tourdion'' by {\sc Pierre Attaignant} ({\sl ars
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musica\/} vol.\,4, M\"oseler Verlag Wolfenb\"uttel/Z\"urich)},
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\begin{music}
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\setlyrics{soprano}
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{Quand je bois du vin clai-ret, a-mi tout}
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\setlyrics{alto}{Le bon vin nous}
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\setlyrics{tenor}{Bu-vons bien, bu-vons mes a-mis,}
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\copylyrics{tenor}{bass}
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\assignlyrics4{soprano}
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\assignlyrics3{alto}
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\assignlyrics2{tenor}
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\assignlyrics1{bass}
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\setsongraise3{-1.5mm}
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\small
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\instrumentnumber4
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\generalsignature2
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\generalmeter{\meterfrac32}
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\setclef1\bass
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\songtop4
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\songbottom1
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\sepbarrules
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\startextract
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\NOtes\wh{`e}\sk\sk\sk\ha e&%
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\wh g\sk\sk\sk\ha e&%
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\wh b\sk\sk\sk\ha b&%
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\qa{efg'a!gf}\en\bar
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\NOTesp\wh{`e}&\wh{'b}&\wh e&\hup e\en
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\NOtes\sk\ha{`e}&\sk\ha{'b}&\sk\ha e&\qa{fg'a}\en
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% force hyphens of incomplete words:
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\def\atnextbar{\znotes\lyric{}&\lyric{}\en}%
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\endextract
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\end{music}
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\oneversespace
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there are four lyrics lines notwithstanding that two of them consist
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of the same words.
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Note that the number of lyrics lines does not depend on the number
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of staves: Any number of lyrics lines (including none) can be attached
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to each staff (more about multiple lyrics lines per staff in
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section~\ref{multilyrlines}).
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\subsubsection{Setting up a lyrics line}
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A lyrics line is set up using the command
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\begin{quote}
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\ci{setlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}|
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\end{quote}
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where \var{name} is a name\footnote{This name must not contain
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backslashes or commas. Most other characters do not cause problems;
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however, it is safer to use only letters and digits.} for the lyrics
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line (e.\,g.\ the name of the voice singing these lyrics) and
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\var{words} is the complete text where multi-syllable words must be
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given {\bf hyphenated.} For example, the soprano lyrics of the above
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example are set as follows:
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\begin{quote}
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\bci{setlyrics}
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\begin{verbatim}
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\setlyrics{soprano}{Quand je bois du vin clai-ret, a-mi tout}\end{verbatim}
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\end{quote}
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Important notes on using \ci{setlyrics}:
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\begin{itemize}
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\item
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Within the lyrics definition, spaces and hyphens are used to
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split the whole text into words or syllables. If you want a space
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or hyphen appear {\em within\/} a word/syllable, use the command
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\verb|\space| or \ci{lyrhyphenchar}, respectively, instead.
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\item
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\label{empty-syllable}%
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If you want the lyrics attachment to skip over a note,
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i.\,e.~a certain note shall not receive a syllable, you may
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achieve this by inserting an empty syllable in the \var{words}
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text. However, neither a ``really empty'' syllable (i.\,e.~two
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consecutive separating spaces) nor an empty environment \verb|{}|
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will work, but you may use either \verb|{\empty}| or
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\verb|\empty{}| for this.
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Normally, the \ci{nolyr} command (discussed later in this
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manual) should be used for this purpose, but an empty syllable may
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be more handy if it occurs in only one of multiple assigned
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verses; see also sections~\ref{melismas-by-underscores}
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and~\ref{multilyrlines}.
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\item
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Note that, since lyrics lines are cut into pieces which are
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processed separately, you cannot apply things like temporary font
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changes in the usual manner (i.\,e.~using \TeX\
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environments). See section~\ref{layoutpar} about how to accomplish
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layout changes.
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\item
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Applying \ci{setlyrics} to an already defined \var{name}
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redefines the lyrics line. This may be useful at very long pieces
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because setting up and applying lyrics in smaller portions
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(e.\,g.\ movement by movement) saves both time and memory.
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\item
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It is possible to specify melismas --- that shall occur later when
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a verse is attached to the music --- already within
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\ci{setlyrics}; see section~\ref{melismas-by-underscores} for
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details.
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\end{itemize}
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There are two variants of the \verb|\setlyrics| command available:
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\begin{itemize}
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\item
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If several voices have the same lyrics, you do not have to copy
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and paste the lyrics for each further voice; just say
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\begin{quote}\ci{copylyrics}\verb|{|\var{from name}%
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\verb|}{|\var{to name}\verb|}|\end{quote}
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to set up a lyrics line named \var{to name} with the same contents
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as \var{from name}.
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\item
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Applying \ci{setlyrics} to an already defined \var{name}
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has the effect of discarding all previous contents of \var{name},
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even if part of the lyrics is still pending for being
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processed. If you want to {\em append\/} further lyrics to an already
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existing lyrics line instead --- without interrupting the
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processing of the current lyrics contents ---, use the command
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\label{appendlyrics}
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\begin{quote}
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\ci{appendlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}|
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\end{quote}
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instead of \verb|\setlyrics|.
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% A warning about performance loss due to \appendlyrics's material
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% accumulation may be added here; it should occur only if \golyr
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% jumps to or near to the lyrics beginning are performed.
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\end{itemize}
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\subsubsection{Assigning lyrics lines to staves}
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{\bf Note:} During the following discussion, the term {\em staff\/} is
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used wherever \musixtex\ would precisely use the term {\em
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instrument\/} instead, assuming that lyrics are posted to single-staff
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instruments only. However, everything also applies to the assignment
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of lyrics to staves of multi-staff instruments; see
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section~\ref{multi-staff-instruments} about how to use lyrics in a
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multi-staff instrument context.
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To assign a lyrics line to a staff, say
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\begin{quote}\ci{assignlyrics}\verb|{|\var i%
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\verb|}{|\var{name}\verb|}|\end{quote}
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where \var i is the instrument number (counted as usual from bottom to
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top) and \var{name} the name of the lyrics line.
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The resulting assignment can be redefined everywhere. This is useful
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if the arrangement of voices on staves changes within the score; when
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a voice is continued on a different staff at the next system, use
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\ci{assignlyrics} (preferrably enclosed in \verb|\atnextline{...}|) to
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make the respective lyrics line follow this change without
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interrupting the flow of words.
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If a lyrics line is assigned to instrument \var i and you want it to be
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continued on a different instrument while assigning no other lyrics line
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to instrument \var i, you must explicitly cancel the former assignment by
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saying \ci{assignlyrics}\verb|{|\var i\verb|}{}|.
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{\bf Caution:} Never assign a lyrics line to more than one
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staff simultaneously; if the same lyrics are needed at
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several staves in parallel, use \ci{copylyrics} (see above).
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As a summary of this section, here is the complete ``lyrics
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definition section'' of the above example:
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\begin{quote}
448
\bci{setlyrics}
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\bci{copylyrics}
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\bci{assignlyrics}
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\begin{verbatim}
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\setlyrics {soprano}{Quand je bois du vin clai-ret, a-mi tout}
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\setlyrics {alto} {Le bon vin nous}
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\setlyrics {tenor} {Bu-vons bien, bu}
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\copylyrics{tenor} {bass}
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\assignlyrics4{soprano}
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\assignlyrics3{alto}
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\assignlyrics2{tenor}
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\assignlyrics1{bass}\end{verbatim}
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\end{quote}
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See also section~\ref{assignment-by-context} about an alternative way
463
to assign lyrics to staves.
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\subsection{Managing the attachment of lyrics to notes}
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\label{manipulation}
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\subsubsection{Automatic lyrics attachment}
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\label{auto-attachment}
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By default, the syllables of a lyrics line are consecutively attached to
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all {\em spacing\/} notes of the assigned staff. Chords thus receive only
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one syllable since they usually contain exactly one spacing note.
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However, this may be different if you are using auxiliary lyrics;
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see section~\ref{auxlyrics} for details.
479
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``Spacing'' in this context means: generated by one of the commands
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\verb|\qu|, \verb|\hu|, \verb|\wh|, etc.\ and not by \verb|\zqu|,
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\verb|\zhu|, \verb|\zq|, etc. Spacing or not does {\em not\/} depend on
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whether the note-generating command is enclosed in \verb|\znotes| or
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any other \verb|\notes| command. So if any note seems to have been
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left out by the attachment automatism, first make sure that this
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note is generated using a command not beginning with \verb|\z|.
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If the number of words of a lyrics line gets exhausted before all
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notes of the respective staff are processed, ``???'' is posted at all
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remaining notes.
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\subsubsection{Addressing manipulations to lyrics}
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In the ``ideal'' case, the attachment automatism perfectly distributes the
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lyrics over the music. In practice, however, situations in which the
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automatism must be ``helped'' manually are frequent. Such
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manipulations must be posted within the music code. Here are the
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basic rules:
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\begin{enumerate}
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\item All lyrics manipulations must be stated inside
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\verb|\notes...\enotes|.
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(Exception: melisma specifications within \verb|\setlyrics|, see
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section~\ref{melismas-by-underscores}).
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\item Lyrics manipulations solely refer to the lyrics line(s)
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attached to the current staff (``current'' with respect to the
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enclosing `\verb|&|' characters).
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\item Similar to many other \musixtex\ commands (e.\,g.\ for beams
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and slurs), lyrics manipulations must be issued before the
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corresponding note commands.
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\end{enumerate}
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Examples in the following sections will illustrate the application.
513
514
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\subsubsection{Melismas}
516
\label{melismas}
517
518
Regarding lyrics and music separately, melismas are no property of
519
either one; instead, they characterize the relation between both and
520
play a role only where music and lyrics occur together. Using
521
\musixlyr, however, lyrics coding and music coding are basically
522
unrelated, but melismas do have to be specified somewhere. You have to
523
decide yourself whether you regard melismas as an attribute rather of
524
the lyrics or rather of the music (this may vary according to the type
525
of score you are preparing, or may even differ within a score);
526
\musixlyr\ provides two corresponding styles of melisma specification
527
which are discussed in the following paragraphs.
528
529
\begin{description}
530
\item[Melismas as a music property.]
531
Within the music code, a melisma is initiated and terminated by the
532
command pair
533
\begin{quote}
534
\hspace*{\fill}\ci{beginmel}\hfill\ci{endmel}\hspace*{\fill}
535
\end{quote}
536
issued before the first and last note, respectively, of the melisma.
537
This left-justifies the current word/syllable, suspends lyrics until
538
after the melisma, and sets up a ``word extension
539
underline''\footnote{I am not sure whether this is the appropriate
540
term; it is taken from the {\sl Finale\/} reference manual.} unless
541
the current word is continued afterwards and thus has to be
542
hyphenated. For example,
543
544
\begin{music}
545
\resetlyrics
546
\instrumentnumber1
547
\small\scale{0.6}
548
\setlyrics{melismatic}{a me-lis-ma}
549
\assignlyrics1{melismatic}
550
\startextract
551
\NOtes\beginmel\qa{def}\endmel\qa e\en\bar
552
\NOtes\beginmel\qa{def}\endmel\qa g\en\bar
553
\NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar
554
\NOtes\beginmel\qa{defe}\en\bar
555
\NOTEs\endmel\wh d\en
556
\endextract
557
\end{music}
558
\oneversespace
559
560
has been coded as:
561
\begin{quote}
562
\bci{beginmel}
563
\bci{endmel}
564
\begin{verbatim}
565
...
566
\NOtes\beginmel\qa{def}\endmel\qa e\en\bar
567
\NOtes\beginmel\qa{def}\endmel\qa g\en\bar
568
\NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar
569
\NOtes\beginmel\qa{defe}\en\bar
570
\NOTEs\endmel\wh d\en
571
...\end{verbatim}
572
\end{quote}
573
If a system break occurs within the melisma, hyphenation or underline
574
is continued at the next system, thus automatic line breaking is
575
applicable.
576
577
\item[Melismas as a lyrics property.]
578
\label{melismas-by-underscores}
579
To specify a melisma within a lyrics definition (i.\,e.~within
580
\ci{setlyrics} or \ci{appendlyrics}), simply append an underscore
581
character to a syllable to make it span over an additional note,
582
two underscores to span over two additional notes, and so
583
on. Alternatively, you may append to a syllable a single underscore
584
followed by a number which denotes the number of {\em additional\/}
585
melisma notes: \verb|abc_| is equivalent to \verb|abc_1|,
586
\verb|abc__| to \verb|abc_2|, and so on.
587
588
No matter which of the two underscore appendix styles you use: If a
589
melismatic syllable is hyphenated to the following one, the melisma
590
denotation must {\bf precede} the hyphen --- for example:
591
\verb|abc__-def| ({\bf not:} \verb|abc-__def|).
592
593
All melisma properties mentioned above (lyrics suspension, left
594
justification of syllable, word extension underline, system break
595
support) also apply to melismas specified this way. For reference,
596
here is the lyrics definition section of the example above, this time
597
utilizing the underscore melisma technique (note that, in this case,
598
all \ci{beginmel} and \ci{endmel} commands must be omitted in the
599
music section):
600
601
\begin{quote}
602
\ci{setlyrics}\verb|{melismatic}{a___ me_3-lis___-ma_4}|
603
\end{quote}
604
605
\item[Comparing both points of view.]
606
The music-oriented melisma view (using \ci{beginmel}/\ci{endmel}) is
607
advantageous for music with a rather loose binding to certain lyrics,
608
e.\,g.~folk songs that are to be printed with various verse compilations
609
or in different languages. You may then enter each verse without
610
taking care of melismas because they are coded just once as part of
611
the music.
612
613
On the other hand, the lyrics-focused melisma style (using
614
underscores) is best suited to pieces with a fixed lyrics-to-music
615
binding; it is easier to type and to read, but less flexible as
616
regards combining the same lyrics with different music. It is
617
especially advantageous for multiple verses (see
618
section~\ref{multilyrlines}) with different syllables-to-notes
619
distribution (see verse~3 of the ``Drunken sailor'' example in
620
section~\ref{versenumbers}); it is much easier to code each verse's
621
melismas individually than tracking all melismas in parallel using
622
the \ci{verses} command (see again section~\ref{multilyrlines}).
623
624
\item[Note.]
625
You may use both styles within the same score but you should avoid
626
activating both melisma types simultaneously at the same lyrics line;
627
the result of such an occurrence is undefined.
628
\end{description}
629
630
631
\subsubsection{Turning automatic lyrics attachment on/off}
632
633
If the attachment automatism is unsuitable for some
634
situation --- e.\,g.\ at complex polyphonic voicings or wherever you
635
want to place all syllables manually --- you can turn it off using
636
\begin{quote}\ci{lyricsoff}\end{quote}
637
after the last note that shall get a syllable. (If your piece begins
638
with a lyrics-less section, state \ci{lyricsoff} before the first
639
note of a staff.) To re-enable automatic lyrics attachment, use
640
\begin{quote}\ci{lyricson}\end{quote}
641
before the first note that shall get a syllable.
642
643
If automatic lyrics attachment shall skip over certain single notes
644
only, the \ci{nolyr} command is more suitable (see
645
section~\ref{nolyr-command}).
646
647
648
\subsubsection{Lyrics repetition and skipping}
649
650
As in the following example of a polyphonic piece,
651
652
\begin{music}
653
\resetlyrics
654
\instrumentnumber2
655
\setclef1\bass
656
\songtop2
657
\songbottom1
658
\small
659
\setlyrics{amen1}
660
{\llabel{amenlabel}A-men!} \assignlyrics1{amen1}
661
\copylyrics{amen1}{amen2} \assignlyrics2{amen2}
662
\startextract
663
\NOtes% lower staff:
664
\itenu0K\beginmel\wh K\sk\sk\sk
665
\midslur2\tten0\endmel\hlp K&%
666
% upper staff:
667
\qa f\lyrnop\lyrpt,\qa g%
668
\golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}%
669
\golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}%
670
\tslur1f\endmel\qa f\en
671
\NOTEs\wh N&\wh g\en
672
\endextract
673
\end{music}
674
\oneversespace
675
676
it often happens that some lyrics phrases are repeated by some but
677
not all voices, or that each voice has its individual arrangement of
678
lyrics repetitions. Nevertheless, you do not have to enter
679
these repetitions directly within \ci{setlyrics}; instead, you
680
enter the lyrics as if they were performed in an unbroken
681
sequence. Repetitions and skips are then handled using a ``go to''
682
technique involving the following steps:
683
\begin{description}
684
\item[Labelling ``go to'' targets.] A syllable which has to be jumped at
685
must be preceded (without spaces in between) by
686
\begin{quote}\ci{llabel}\verb|{|\var{label name}\verb|}|\end{quote}
687
within \ci{setlyrics}.
688
\item[Performing jumps.] Within the music code, say
689
\begin{quote}\ci{golyr}\verb|{|\var{label name}\verb|}|\end{quote}
690
before the note at which the jump has to be performed.
691
692
{\bf Caution:} If you try to jump to an undefined lyrics label, no
693
meaningful error message is produced. However, if \TeX\ reports an
694
error at a \ci{golyr} command, you should check conformity of
695
defined and used labels.
696
\end{description}
697
The following actions must be taken in special cases:
698
\begin{description}
699
\item[Adding punctuation marks.] Usually a comma or period is
700
appended to the word preceding a jump; this is done by the command
701
\begin{quote}\ci{lyrpt}\var{punctuation char}\end{quote}
702
where \var{punctuation char} can be any single punctuation
703
character.
704
\item[Removing punctuation marks.] Before adding a punctuation mark
705
to a word as said above, an already existing punctuation mark
706
should be removed by the command:
707
\begin{quote}\ci{lyrnop}\end{quote}
708
\item[Lower case letters.] Words at jump targets often begin with a
709
capital letter which should appear lower case after a jump;
710
this can be forced by the command:
711
\begin{quote}\ci{lclyr}\end{quote}
712
\end{description}
713
Here is a code excerpt from the above example, summarizing the use of
714
all mentioned commands:
715
\begin{quote}\small
716
\bci{llabel}
717
\bci{copylyrics}
718
\bci{setlyrics}
719
\bci{lyrnop}
720
\bci{lyrpt}
721
\bci{golyr}
722
\bci{lclyr}
723
\bci{beginmel}
724
\bci{endmel}
725
\begin{verbatim}
726
\setlyrics{amen1}
727
{\llabel{amenlabel}A-men!} \assignlyrics1{amen1}
728
\copylyrics{amen1}{amen2} \assignlyrics2{amen2}
729
\startextract
730
\NOtes% lower staff:
731
\itenu0K\beginmel\wh K\sk\sk\sk
732
\midslur2\tten0\endmel\hlp K&%
733
% upper staff:
734
\qa f\lyrnop\lyrpt,\qa g%
735
\golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}%
736
\golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}%
737
\tslur1f\endmel\qa f\en
738
\NOTEs\wh N&\wh g\en
739
\endextract\end{verbatim}
740
\end{quote}
741
Note that the ``go to'' technique is recommendable mainly if different
742
voices perform different repetitions or skips on the same lyrics; if
743
all voices perform the same sequence of repetitions, however, it is
744
easier to hard-code them within \ci{setlyrics}.
745
746
747
\subsubsection{Miscellaneous}
748
\label{miscmanip}
749
750
\begin{description}
751
\item[Excluding single notes.]
752
\label{nolyr-command}%
753
In the following situation,
754
755
\begin{music}
756
\resetlyrics
757
\instrumentnumber1
758
\setlyrics1{ca-den-za}
759
\assignlyrics11
760
\startextract
761
\NOtes\zqlp{'c}\qu e\en
762
\Notes\qu{'d}\nolyr\cl b\en
763
\bar
764
\NOTes\zhl{'c}\hu c\en
765
\endextract
766
\end{music}
767
\oneversespace
768
769
the eighth note must be excluded from receiving a syllable. This
770
can be accomplished saying
771
\begin{quote}\ci{nolyr}\end{quote}
772
before the command generating this note.
773
\item[Manual lyrics posting.] When automatic lyrics attaching is
774
switched off, a word or syllable can be placed manually saying
775
\begin{quote}\ci{lyr}\end{quote}
776
before the command generating the note that shall get this
777
word/syllable.
778
779
This command also works independently from a following note command;
780
you can issue it before a rest, a \verb|\sk| or even alone for
781
itself in order to place a word/syllable wherever you want (no
782
matter whether the attachment automatism is on or off).
783
784
Manipulations to the posted word/syllable have to be placed {\em
785
before\/} the \ci{lyr} command.
786
\item[Left justification.] Say
787
\begin{quote}\ci{llyr}\end{quote}
788
in order to have the next word/syllable left-justified to the
789
notehead instead of centered.
790
791
If you prefer to have left justification as the default, say
792
\begin{quote}\ci{leftlyrtrue}\end{quote}
793
before your piece begins (\ci{leftlyrfalse} to restore centered
794
lyrics).
795
\item[Word extension underlines.] The melisma commands (see
796
\ref{melismas}) automatically manage word extension underlines;
797
however, they can be set manually: Say
798
\begin{quote}\ci{lyrrule}\end{quote}
799
before the respective note command to initiate an underline {\em
800
after\/} the word, and
801
\begin{quote}\ci{lyrruleend}\end{quote}
802
before the note where the underline shall be terminated.
803
804
Note that no underline will be drawn if the word is continued
805
afterwards so that the underline would interfere with the
806
hyphenation.
807
\item[Horizontal offset.]\label{lyroffset}%
808
To shift a word/syllable out of its default
809
horizontal position, say
810
\begin{quote}\ci{lyroffset}\verb|{|\var n\verb|}|\end{quote}
811
which --- similar to \verb|\roffset| --- moves the next word/syllable
812
\var n quarter note head widths to the right (left if \var n
813
is negative).
814
815
Note that the effect of \ci{lyroffset} may be overridden by
816
automatic lyrics shifting. If you want to gain complete manual
817
control over the positioning, you have to disable the shifting
818
automatism; see section \ref{horizpos} for details.
819
\item[Extra lyrics.] If, as in the following
820
example\footnote{Excerpt from ``In the town where I was born''
821
({\sl Eine kleine Melodie,\/} Strube, M\"unchen 1989)},
822
823
\begin{music}
824
\resetlyrics
825
\instrumentnumber2
826
\generalsignature1
827
\setclef1\bass
828
\songtop2
829
\songbottom1
830
\interinstrument=6mm
831
\setsongraise2{-0.5mm}
832
\scale{1.5}
833
\forcelyrhyphenstrue
834
\small
835
\setlyrics{lower}{yel-low sub-ma-rine,} \assignlyrics1{lower}
836
\copylyrics{lower}{upper} \assignlyrics2{upper}
837
\startextract
838
\Notes\ibl0N0\zqbp0N\ibu1N0\qbp1b&%
839
\ibl2f0\zqbp2d\ibu3g0\qbp3g\en
840
\notes\tbbl0\tbl0\zqb0N\tbbu1\tbu1\qb1b&%
841
\tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en
842
\Notes\ibl0M0\zqbp0M\ibu1N0\qbp1b&%
843
\ibl2f0\zqbp2d\ibu3g0\qbp3g\en
844
\notes\tbbl0\tbl0\zqb0M\tbbu1\tbu1\qb1b&%
845
\tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en
846
\Notes\ibl0L{-1}\zqbp0L\hu b&\zhl d\hu g\en
847
\notes\tbbl0\tbl0\lyric{ya,}\qb0K\en
848
\Notes\ibl0L1\lyric{ya,}\qbp0L\en
849
\notes\tbbl0\tbl0\lyric{ya,}\qb0M\en
850
\endextract
851
\end{music}
852
\oneversespace
853
854
a voice has ``extra'' lyrics (such as ``hmm'', ``ah'', ``ya'', etc.)
855
in addition to the ``main'' lyrics, you need not enter them within
856
\ci{setlyrics} (which would inhibit using \ci{copylyrics});
857
instead, you can enter them directly within the music code using
858
the command
859
\begin{quote}\ci{lyric}\verb|{|\var{extra syllable}\verb|}|\end{quote}
860
before the note where they shall appear. (Note that the effect is
861
different from using \verb|\csong| which would not apply automatic
862
hyphenation, horizontal positioning control, and \musixlyr's
863
vertical positioning scheme.) Automatic lyrics attaching --- if
864
active --- is suspended at that note. All manipulations can be
865
applied; they must be given before the \ci{lyric} command.
866
867
If you want the syllable linked to the following one by a hyphen,
868
use \ci{lyrich} instead of \ci{lyric}.
869
870
It may sometimes be necessary to post lyrics where no note is
871
present at all, i.\,e.~in the empty space between notes. This is,
872
however, possible with \verb|\lyric|, but is is unsuitable because
873
automatic lyrics attachment shall {\em not\/} be suspended at the
874
next note. In this case one of the commands \ci{lyric*} or --- for
875
hyphenated syllables --- \ci{lyrich*} should rather be used; they
876
have no effect on the ``regular'' flow of lyrics.
877
\label{lyric*-verse-numbers}%
878
One application for this are vertically aligned verse numbers. For
879
example,
880
881
\begin{quote}
882
\bci{lyric*}
883
\bci{verses}
884
\begin{verbatim}
885
\setlyrics1{Spring time}
886
\setlyrics2{Au-tumn}
887
\assignlyrics1{1,2}
888
...
889
\znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en
890
\hardspace{4mm}%
891
\NOTes\hu{ee}\en
892
...\end{verbatim}
893
\end{quote}
894
895
yields:
896
897
\begin{music}
898
\resetlyrics
899
\setlyrics1{Spring time}
900
\setlyrics2{Au-tumn}
901
\assignlyrics1{1,2}
902
\lyrraise1{b -1.5mm}
903
\scale{1.2}
904
\startextract
905
\znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en
906
\hardspace{4mm}%
907
\NOTes\hu{ee}\en
908
\endextract
909
\twoversesspace
910
\end{music}
911
912
(See section~\ref{multilyrlines} about attaching multiple verses
913
to a single staff, a feature that has not been introduced so far.)
914
915
You may even obtain verse numbers that are repeated at the
916
beginning of each system by enclosing the \verb|\znotes...| command
917
for setting the numbers in \verb|\def\everystaff{...}|.
918
919
Another possible application --- combined with empty syllables ---
920
is coping with unusual lyrics situations at voltas; for example,
921
922
\begin{music}
923
\twoversesspace
924
\setlyrics1{first pass}
925
\setlyrics2{se-cond pass}
926
\assignlyrics1{1,2}
927
\resetlyrics
928
\scale{2}
929
\startextract
930
\NOTEs\wh g\en
931
\Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar
932
\NOTEs\wh g\en
933
\znotes\verses{,\lyrich*{}}\en \Setvolta2\setendvoltabox\rightrepeat
934
\NOTEs\verses\lyricsoff\pause\en\bar
935
\NOTEs\ha{gg}\en\setendvolta
936
\endextract
937
\twoversesspace
938
\end{music}
939
940
is accomplished by:
941
942
\begin{quote}
943
\bci{verses}
944
\bci{lyric}
945
\bci{lyrich*}
946
\begin{verbatim}
947
\setlyrics1{first pass}
948
\setlyrics2{se-cond pass}
949
\assignlyrics1{1,2}
950
\startextract
951
\NOTEs\wh g\en
952
\Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar
953
\NOTEs\wh g\en
954
\znotes\verses{,\lyrich*{}}\en
955
\Setvolta2\setendvoltabox\rightrepeat
956
\NOTEs\verses\lyricsoff\pause\en\bar
957
\NOTEs\ha{gg}\en\setendvolta
958
\endextract\end{verbatim}
959
\end{quote}
960
961
The trick used here is to inject empty syllables into the second
962
verse at the barlines around the first volta; they serve as anchors
963
for the hyphenation suspended under this volta.
964
965
Note that the \ci{lyric}, \ci{lyric*}, \ci{lyrich}, and
966
\ci{lyrich*} commands cannot be used at staves without assigned
967
lyrics lines.
968
\end{description}
969
970
971
972
\subsection{Horizontal positioning}
973
\label{horizpos}
974
975
\musixlyr\ takes care of blank space between words. If a word --- at
976
its default position --- would come too close to or overlap the
977
previous word, it is shifted right in order to ensure a minimum of
978
blank space. This minimal interword space can be set by
979
\begin{quote}\ci{minlyrspace}\verb|=|\var{any \TeX\ dimension}\end{quote}
980
and is initially set to~3\,pt.
981
982
%The situation is different if two syllables belong to the same
983
%word. Such syllables are allowed to close up; only overlapping is
984
%inhibited by shifting. If the space between such syllables is
985
%narrower than a hyphen, the hyphen is omitted unless you force
986
%hyphens in every spatial situation saying
987
%\begin{quote}\verb|\forcelyrhyphenstrue|\end{quote}
988
%(to restore the default behaviour: \verb|\forcelyrhyphensfalse|). In
989
%this case, enough room is made for the hyphen by shifting the right
990
%syllable if necessary.
991
992
\leavevmode\label{nicerhyphens}%
993
The situation is different if two syllables belong to the same
994
word. Such syllables are allowed to close up; only overlapping is
995
inhibited by shifting. If the ``natural'' space between such syllables is
996
narrower than a hyphen, the hyphen is omitted and the two syllables
997
close up completely (eventually by left-shifting the second syllable
998
to prevent a small gap). You may though force
999
hyphens in every spatial situation saying
1000
\begin{quote}\ci{forcelyrhyphenstrue}\end{quote}
1001
(to restore the default behaviour: \ci{forcelyrhyphensfalse}). In
1002
this case, enough room is made for the hyphen by right-shifting the
1003
second syllable if necessary.
1004
1005
If the note spacing is quite narrow, lyrics shifting may get
1006
accumulated within a system. In order to prevent shifting words too
1007
far out of their original position, a wider note spacing should be
1008
considered. The command
1009
\begin{quote}\ci{showlyrshifttrue}\end{quote}
1010
marks each lyric shift with a black rectangle of the respective
1011
width, thus making it easy to detect questionable positionings.
1012
1013
If you prefer to completely disable lyrics shifting, set
1014
\ci{minlyrspace} to a large negative value (e.\,g.~$-10$\,cm).
1015
1016
1017
1018
\subsection{Vertical positioning}
1019
\label{vertical-positioning}
1020
1021
By default, \musixlyr\ places lyrics vertically centered between the
1022
two adjacent staves. Lyrics below the lowest or above the topmost
1023
staff of a system are centered around the system's bottom or top
1024
margin line.%
1025
\footnote{This is not necessarily the most reasonable way, but it is
1026
compatible to \musixtex's \printcmd{csong} behaviour.}
1027
1028
In most scores, you will have to deviate from this standard and
1029
manually adjust the lyrics' vertical position. This can be done per
1030
staff with the command
1031
\begin{quote}
1032
\ci{lyrraise}\verb|{|\var n\verb|}|\verb|{|\var{pos}\var{raise}\verb|}|
1033
\end{quote}
1034
which applies the following setting to the lyrics attached to staff
1035
number~\var n: \var{pos} is one of the letters \verb|a|
1036
and~\verb|b|. \verb|a| sets the lyrics above the staff, \verb|b| below
1037
the staff. \var{raise} is a dimension value by which the lyrics are
1038
lifted above (or lowered under, if it is negative) the default
1039
position as mentioned above. \ci{lyrraise}\verb|{|\var n\verb|}{b0pt}|
1040
is the initial setting for all staves.
1041
1042
It is possible to apply changes to the vertical position at any place
1043
within the score, but in most cases it is most reasonable to do so
1044
within \verb|\atnextline{...}| which ensures consistent, even spacing
1045
within each system.
1046
1047
For the sake of backward compatibility, applying \musixtex's command
1048
\ci{setsongraise}\verb|{|\var n\verb|}{|\var{raise}\verb|}|
1049
implicitly performs a
1050
\ci{lyrraise}\verb|{|\var n\verb|}|\verb|{b|\var{raise}\verb|}|,
1051
but not vice versa --- i.\,e.~\ci{lyrraise} has no effect on lyrics
1052
set with \musixtex's lyrics commands \verb|\csong|,
1053
\verb|\zsong|,~etc. Likewise, the obsolete \musixlyr\ command
1054
\ci{auxsetsongraise} implies \verb|\auxlyr{\lyrraise...{b...}}|, but
1055
not vice versa (see section~\ref{auxlyrics} to learn about the meaning
1056
of \verb|\auxlyr|).
1057
1058
1059
1060
\subsection{Setting lyrics layout parameters}
1061
\label{layoutpar}
1062
1063
1064
\subsubsection{Available parameters}
1065
1066
\begin{description}
1067
\item[Font:] There is no special font command; the current font is
1068
used for lyrics. It can be changed using the usual \TeX/\LaTeX\
1069
commands.
1070
\item[Minimum length of word extension underlines:] A word extension
1071
underline is omitted if it would become too short. The minimum
1072
length can be set by
1073
\begin{quote}\ci{minlyrrulelength}\verb|=|\var{any \TeX\ dimension}
1074
\end{quote}
1075
and is initially set to~2\,mm. If you prefer to completely inhibit
1076
the underlines, set this parameter to an unsurpassably high value
1077
(e.\,g.~the width of your paper).
1078
\item[Minimum inter-syllable distance for multiple hyphens:] If the
1079
space between two hyphenated syllables (or between one of the
1080
syllables and the respective system margin) is wider than this
1081
distance, it is filled with a line of hyphens instead of a single
1082
hyphen. The minimum distance to be filled with more than one
1083
hyphen can be set by
1084
\begin{quote}\ci{minmulthyphens}\verb|=|\var{any \TeX\ dimension}\end{quote}
1085
and is initially set to~15\,mm. If you prefer to completely inhibit
1086
filling with multiple hyphens, set this parameter to an
1087
unsurpassably high value.
1088
\item[Hyphen character:] This can be redefined by:
1089
\begin{quote}\verb|\def|\ci{lyrhyphenchar}\verb|{|\dots\verb|}|\end{quote}
1090
\end{description}
1091
Further layout parameters discussed elsewhere are: vertical
1092
positioning (section \ref{vertical-positioning}), word justification
1093
(section \ref{miscmanip}), minimum interword distance, and forcing
1094
hyphens (section \ref{horizpos}).
1095
1096
{\bf Note:} In order to change the mentioned parameters globally, the
1097
respective commands must be issued {\em outside\/}
1098
\verb|\notes...\enotes|.
1099
1100
\subsubsection{Individual settings per staff}
1101
\label{indivlayout}
1102
1103
All layout parameters can be set either globally (applying to all
1104
lyrics lines) or individually, i.\,e.\ valid for a single specified staff.
1105
An individual change is accomplished by enclosing the proper command
1106
in
1107
\begin{quote}\ci{lyrlayout}\verb|{|\dots\verb|}|\end{quote}
1108
and issuing this within \verb|\notes...\enotes| in the section of the
1109
referred-to staff. For example,
1110
\begin{quote}
1111
\verb|\notes...&|\ci{lyrlayout}\verb|{\it\leftlyrtrue}...&...\en|
1112
\end{quote}
1113
applies italic font and left justification to the lyrics line(s)
1114
assigned to the second staff.
1115
1116
Applying \ci{lyrlayout} to the same staff again overrides
1117
{\em all\/} previous individual settings for this staff;
1118
pay attention to this if you have made several individual settings and
1119
want to reset some but retain others. Saying \ci{lyrlayout}\verb|{}|
1120
restores the global settings for a staff.
1121
1122
The \ci{lyrlayout} command can also be used within
1123
\ci{setlyrics}; this is useful if an individual setting
1124
(especially a font change) should apply to a particular
1125
portion of lyrics rather than to a portion of music. For example,
1126
\begin{quote}
1127
\ci{setlyrics}\verb|{x}{An |\ci{lyrlayout}%
1128
\verb|{\it}em-pha-sized\lyrlayout{} phrase}|
1129
\end{quote}
1130
causes the word ``emphasized'' to appear italic wherever it is posted
1131
within the music. (Be sure to attach \ci{lyrlayout} commands to
1132
the corresponding lyrics portions {\em without\/} blank spaces in
1133
between.)
1134
1135
{\bf As an exception,} the {\bf vertical positioning of lyrics} cannot be
1136
changed within \ci{lyrlayout}; instead, it is handled staff-wise
1137
using the special commands discussed in
1138
section~\ref{vertical-positioning}.
1139
1140
1141
1142
\subsection{Multiple verses per staff}
1143
\label{multilyrlines}
1144
1145
An arbitrary number of verses can be assigned to a staff
1146
straightforwardly by saying
1147
\begin{quote}\ci{assignlyrics}\verb|{|\var n\verb|}{|%
1148
\var{names}\verb|}|\end{quote}
1149
where \var{names} is a {\bf comma-separated list} of the desired
1150
lyrics line names, listed from top to bottom. In the following
1151
example\footnote{Excerpt from: ``Non moriar sed vivam'', motet by
1152
{\sc Martin Luther}},
1153
1154
\begin{music}
1155
\resetlyrics
1156
\generalmeter\allabreve
1157
\generalsignature2
1158
\scale{0.9}
1159
\setlyrics{latin} {Non mo-ri-ar sed}
1160
\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern}
1161
\assignlyrics1{latin,german}
1162
\small
1163
\setsongraise1{-1.5mm}
1164
\startextract
1165
\znotes\verses{,\lyrlayout{\footnotesize\it}}\en
1166
\NOTEs\wh{'a}\en\bar
1167
\NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar
1168
\NOtesp\beginmel\qup{'a}\en
1169
\Notes\ca{'b}\en
1170
\NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar
1171
\NOtes\ttie0\qa{'d}\endmel\qa c\en
1172
\NOtes\verses{\beginmel}\ha{'d}\en\bar
1173
\NOTes\verses{\endmel}\ha{'ee}\en
1174
\endextract
1175
\end{music}
1176
\twoversesspace
1177
1178
the lyrics lines have been set up as follows:
1179
\begin{quote}
1180
\bci{assignlyrics}
1181
\begin{verbatim}
1182
\setlyrics{latin} {Non mo-ri-ar sed}
1183
\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern}
1184
\assignlyrics1{latin,german}\end{verbatim}
1185
\end{quote}
1186
1187
1188
\subsubsection{Handling verses individually}
1189
1190
If you code lyrics attachment manipulations the way
1191
described in section~\ref{manipulation}, these manipulations apply
1192
{\em to all lyrics lines\/} of the referred staff {\em
1193
simultaneously.\/} In order to address each lyrics line separately,
1194
use the command
1195
\begin{quote}
1196
\ci{verses}\verb|{|\var{man1}\verb|,|\var{man2}\verb|,|\dots\verb|}|
1197
\end{quote}
1198
where \var{man1} is a sequence of commands to manipulate the upper
1199
lyrics line, \var{man2} to manipulate the second lyrics line from
1200
above, and so on. These command sequences may be empty. Delimiting
1201
commas after the last non-empty list entry can be omitted. For example,
1202
\begin{quote}
1203
\ci{verses}\verb|{,,\beginmel,\golyr{abc}}|
1204
\end{quote}
1205
leaves the upper two lyrics lines unaltered, initiates a melisma at
1206
the third, performs a jump to label {\tt abc} at the fourth, and
1207
leaves all further ones (whatever their number may be) unaltered. As
1208
another example, the font change for the german lyrics of the above
1209
excerpt is accomplished by
1210
\begin{quote}
1211
\verb|\znotes|\ci{verses}\verb|{,\lyrlayout{\footnotesize\it}}\en|
1212
\end{quote}
1213
before the first note is coded.
1214
1215
1216
\subsubsection{Vertical positioning}
1217
\label{multiple-vert-pos}
1218
1219
A block of multiple lyrics lines is vertically centered around the position
1220
which a single lyrics line would have taken; thus you can do things
1221
like
1222
1223
{\small\setlyrstrut
1224
\resetlyrics
1225
\setlyrics{Winter1}{Win-ter a-de\rlap{,} a-ber dein Schei-den macht\rlap{,}}
1226
\setlyrics{Winter2}{schei-den tut weh\rlap,}
1227
\assignlyrics1{Winter1,Winter2}
1228
\generalmeter{\meterfrac34}
1229
\generalsignature2
1230
\setsongraise1{-2mm}
1231
\startextract
1232
\NOtes\qa{ffe}\en\bar
1233
\NOTesp\hup d\en\rightrepeat
1234
\assignlyrics1{Winter1}%
1235
\NOtes\qa{fgh}\en\bar
1236
\NOtes\qa h\en
1237
\Notes\beginmel\Ibu0gf1\qb0g\endmel\tqh0f\en
1238
\NOtes\qa g\en
1239
\endextract}
1240
\twoversesspace
1241
1242
without having to adjust the vertical position within the
1243
piece. (See the source of this manual for the coding of this
1244
example.)
1245
1246
\leavevmode\label{lyrstrut}%
1247
The vertical distance between the baselines of multiple verses is
1248
appropriate for the default 10~points font size of plain \TeX.
1249
However, the size-switching commands \verb|\smalltype|,
1250
\verb|\medtype|~etc.\ do not implicitly adjust the vertical distance
1251
to the chosen font size. Since the vertical distance of lyrics is
1252
controlled by the concept of a {\em lyrics strut\/}\footnote{In
1253
analogy to \TeX's {\tt\char92 strut}; see {\sl The \TeX book\/} by
1254
{\sc D.~E.~Knuth.}}, you should perform this adjustment explicitly with
1255
the command
1256
\begin{quote}\ci{setlyrstrut}\end{quote}
1257
directly after each ``global'' font size change (i.\,e.~after each size
1258
change not issued within \verb|\lyrlayout{...}|;
1259
see~\ref{indivlayout}) unless you do not want the spacing to be
1260
adjusted. (\TeX perts only: If you like to define your own vertical
1261
spacing, you may redefine the \ci{lyrstrutbox} yourself.)
1262
1263
1264
1265
\subsection{Auxiliary lyrics}
1266
\label{auxlyrics}
1267
1268
If you have typeset two voices of a polyphonic arrangement within one
1269
staff, you normally want to give each voice its own lyrics lines.
1270
Usually, the two voices are distinguished by means of the notes' stem
1271
direction; the lyrics of the up-stemmed voice are typeset above,
1272
those of the down-stemmed voice below the staff. \musixlyr\
1273
provides the facility to maintain such two lyrics ``streams'' per
1274
staff; one of them --- which is handled exactly as described so
1275
far --- will be called {\em main lyrics,\/} the second one {\em
1276
auxiliary lyrics.\/}
1277
1278
1279
\subsubsection{Addressing auxiliary lyrics}
1280
1281
Only two rules are to be obeyed for directing commands to auxiliary lyrics:
1282
\begin{enumerate}
1283
\item Enclose everything concerning auxiliary lyrics in:
1284
\begin{quote}\ci{auxlyr}\verb|{...}|\end{quote}
1285
For example, assign lyrics line~{\tt verse1} to staff~2 as
1286
auxiliary lyrics by:
1287
\begin{quote}\ci{auxlyr}\verb|{\assignlyrics{2}{verse1}}|\end{quote}
1288
For example, begin a melisma at the next note of the ``auxiliary'' voice by:
1289
\begin{quote}\ci{auxlyr}\verb|{\beginmel}|\end{quote}
1290
(For \TeX perts: If the argument of \ci{auxlyr} consists of
1291
only one token, the braces can be omitted, so that
1292
\verb|\auxlyr\beginmel| does the same.)
1293
\item There are exactly two exceptions to the first rule. The first
1294
one are the \ci{setlyrics}, \ci{appendlyrics}, and \ci{copylyrics}
1295
commands which need not be enclosed in \ci{auxlyr}\verb|{...}|;
1296
their function is independent of the later use of the defined
1297
lyrics lines as either main or auxiliary lyrics.
1298
1299
The second exception concerns lyrics commands issued as type-1
1300
\TeX\ strings in a \PMX\ source; see below for details.
1301
\end{enumerate}
1302
1303
\label{auxlyr-vertical-position-default}%
1304
Auxiliary lyrics are lifted above the staff by default, i.\,e.~they have
1305
the same vertical position as main lyrics belonging to the staff above
1306
the current staff. If this causes collisions with the main lyrics of
1307
the upper staff, you have to shift the lyrics away from each other
1308
using the vertical spacing commands discussed in
1309
section~\ref{vertical-positioning}.
1310
1311
1312
\subsubsection{Automatic attachment of auxiliary lyrics}
1313
\label{auxlyr-attachment}
1314
1315
While it is easy to attach only one lyrics ``stream'' to a single
1316
voice within a system automatically, the attachment of both main and
1317
auxiliary lyrics involves the task of determining which note belongs
1318
to which voice. Unfortunately, \musixtex\ does not explicitly state a
1319
note's membership of a particular voice; therefore, a heuristic
1320
method has to be used to gather this information. However,
1321
the situation is completely different if you prepare your scores with
1322
the \PMX%
1323
\footnote{If you don't know what \PMX\ is, have a look at:
1324
{\tt http://icking-music-archive.sunsite.dk/musixtex/software/pmx/}}
1325
preprocessor. The following paragraphs explain managing the lyrics
1326
attachment automatism for both cases --- \PMX\ and
1327
non-\PMX\ --- separately.
1328
1329
1330
\paragraph{Using \PMX.}
1331
\label{pmx-autodetection}
1332
1333
(This paragraph requires some \PMX\ knowledge.) For \PMX-prepared
1334
scores (which \musixlyr\ detects automagically\footnote{%
1335
This automatic \PMX\ detection may cause problems for processing
1336
\PMX\ scores prepared with the \PMX-unaware \musixlyr\
1337
version~1.0. See section~\ref{no-pmx-autodetection} about how to
1338
solve this backward-incompatibility issue.
1339
}), the distinction
1340
between the two voices of a staff works fully automatic. This applies
1341
to both the automatic lyrics attachment as well as explicit lyrics
1342
manipulations --- i.\,e.,~you do not have to use \ci{auxlyr}\verb|{...}| for
1343
manipulating auxiliary lyrics. (This only applies to manipulations
1344
that appear in a voice's context, i.\,e.~within a type-1 \TeX\ string.)
1345
For reference, see the following example\footnote{Excerpt from
1346
``Waldesnacht, du wunderk\"uhle'' by {\sc Johannes Brahms} ({\sl Eine
1347
kleine Melodie,\/} Strube, M\"unchen 1989)},
1348
1349
\oneversespace
1350
\begin{music}
1351
\resetlyrics\small
1352
\setlyrics{soprano}{all der ir-ren Qua-len los.}
1353
\auxlyr{\assignlyrics1{soprano}}
1354
\copylyrics{soprano}{alto}
1355
\assignlyrics1{alto}
1356
1357
\auxlyr{\lyrraise1{a -3\internote}}
1358
\staffbotmarg5.5\Interligne
1359
\stafftopmarg5\Interligne
1360
\generalsignature2
1361
\lyrmodealter0
1362
1363
\startextract\addspace\afterruleskip
1364
\scale{1.2}%
1365
\NOtes\zhu{=j}\lower6\internote\qp\lifthpause{-3}\sk\qu h\en
1366
\bar
1367
\NOtes\auxlyr\beginmel\roffset{.8}{\isluru2j}\zhup f\lower8\internote\qp\en
1368
\NOTes\hl{^d}\en
1369
\NOTes\zql e\itieu0e\qu e\en
1370
\bar
1371
\NOtes\beginmel\islurd1c\zql c\ttie0\tslur2h\auxlyr\endmel\qu e%
1372
\roff{\endmel\tsslur1d\zhl d}\qu{=d}%
1373
\auxlyr\beginmel\itieu0d\hu d%
1374
\ql d\en
1375
\bar
1376
\NOTes\zhl d\ttie0\auxlyr\endmel\hu d%
1377
\zhl a\hu c\en
1378
\bar
1379
\NOTes\zhl a\fermataup l\hu d\hpause\en
1380
\setdoubleBAR\endextract
1381
\end{music}
1382
\oneversespace
1383
1384
which can be obtained by the following \PMX\ code (processed with
1385
\PMX\ version~2.3):
1386
\begin{quote}
1387
\bci{auxlyr}
1388
\begin{verbatim}
1389
---
1390
\input musixtex % These commands are necessary
1391
\input pmx % because pmx.tex MUST be \input
1392
\input musixlyr % before musixlyr.tex!
1393
1394
\setlyrics{soprano} % \setlyrics and \copylyrics
1395
{all der ir-ren Qua-len los.} % need not be enclosed in
1396
\copylyrics{soprano}{alto} % \auxlyr{...}.
1397
1398
\assignlyrics1{alto}
1399
\auxlyr{\assignlyrics1{soprano}
1400
\lyrraise1{a 3\Interligne}}
1401
1402
\let\BM\beginmel % For brevity within the subsequent
1403
\let\EM\endmel % music coding recommended.
1404
---
1405
1 1 4 4 0 0 3 2 0 5 20 0
1406
1407
t
1408
./
1409
1410
% 1st and 2nd bar:
1411
r4-6 r2-6 | r4-8 d24s e4 //
1412
c25n a4 | \BM\ f2d s+4 \isu0e{.8}\ e4 /
1413
% 3rd bar:
1414
\BM\ c s \EM\ d2r s d4 //
1415
\ts0e0\EM\ e s+3 dn \BM\ d2 s /
1416
% 4th bar:
1417
d2 a // % Note that \BM and \EM
1418
\EM\ d s c / % apply either to main
1419
% 5th bar: % or to auxiliary lyrics,
1420
a r+0 // % depending on which voice
1421
d of rb / % they appear in.\end{verbatim}
1422
\end{quote}
1423
1424
By default, main lyrics are attached to the lower voice (whose
1425
lines end with \verb|//| in the \PMX\ source), auxiliary lyrics to the
1426
upper voice; due to \PMX\ internals, this ensures that if only one
1427
voice is present, main lyrics are attached to it. However, situations
1428
exist in which it is desirable to have main lyrics attached to the
1429
upper voice, e.\,g.~when you have only main lyrics and want to
1430
synchronize them with the soprano voice instead of the alto voice
1431
(both of them set on the same staff). In this case, you can toggle the
1432
attachment of lyrics to voices with the command
1433
\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote} for
1434
staff number \var n; the command
1435
\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote}
1436
restores the default behaviour. If $\hbox{\var n}=0$ then the change
1437
affects all staves.
1438
1439
1440
\paragraph{Using ``plain'' \musixtex\ without \PMX.}
1441
1442
In this context, there are two basically different modes for lyrics
1443
attachment:
1444
\begin{enumerate}
1445
\item In {\em normal mode\/} (which is active by default) only main
1446
lyrics are provided automatically as described in
1447
section~\ref{auto-attachment}. All auxiliary lyrics must be issued
1448
manually by saying \ci{auxlyr}\ci{lyr} before the respective note.
1449
This mode is useful when you do not have auxiliary lyrics at all
1450
or when auxiliary lyrics occur only occasionally within the piece.
1451
\item In {\em alternative mode\/}, both main and auxiliary lyrics
1452
are provided automatically. The two voices of a staff are
1453
distinguished by means of their notes' stem direction; the lower
1454
voice gets main lyrics, the upper one auxiliary lyrics. This
1455
implies that the automatism fails at stemless
1456
notes\footnote{Ancient notes, namely breve, longa, and maxima, are
1457
also treated as stemless notes by \musixtex's internals.}, thus you
1458
have to provide lyrics manually by saying \ci{lyr} or
1459
\ci{auxlyr}\ci{lyr}, respectively, before such notes. This mode is
1460
meant for staves which continuously contain two polyphonic voices
1461
with separate lyrics.
1462
\end{enumerate}
1463
1464
The appropriate mode can be chosen staff-wise: The command
1465
\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote}
1466
enables alternative mode for staff number \var n; the command
1467
\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote}
1468
restores normal mode. As stated above, $\hbox{\var n}=0$ performs the
1469
choice affecting all staves.
1470
1471
For illustration, have a look at the following
1472
example\footnote{Excerpt from ``Audite nova'' by {\sc Orlando di
1473
Lasso} ({\sl ars musica\/} vol.\,4, M\"oseler Verlag
1474
Wolfenb\"uttel/Z\"urich)}:
1475
1476
\oneversespace
1477
\begin{music}
1478
\resetlyrics \small
1479
\lyrmodealter0
1480
\setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
1481
\copylyrics{soprano}{alto} \assignlyrics1{alto}
1482
1483
\generalsignature{-2}
1484
\advance\stafftopmarg3\Interligne
1485
\advance\staffbotmarg2\Interligne
1486
1487
\startextract\addspace\afterruleskip
1488
\NOtes\zqu g\ql e\en
1489
\bar
1490
\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en
1491
\Notes\qb0e\en
1492
\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
1493
\Notes\tqb0e\en
1494
\Notes\endmel\tbslurd0e\ql c\en
1495
\notes\ibbu0h{-1}\qb0h\en
1496
\notes\tqh0g\en
1497
\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
1498
\bar
1499
\NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
1500
\lyr\wh b\en % must be given manually.
1501
\endextract
1502
\lyrmodenormal0
1503
\end{music}
1504
\oneversespace
1505
1506
The lyrics were defined as follows:
1507
\begin{quote}
1508
\bci{auxlyr}
1509
\bci{assignlyrics}
1510
\begin{verbatim}
1511
\setlyrics{soprano}{bring her die Gans,}
1512
\copylyrics{soprano}{alto}
1513
1514
\assignlyrics1{alto}
1515
\auxlyr{\assignlyrics1{soprano}}
1516
1517
\lyrmodealter0 % provide main + aux. lyrics automatically\end{verbatim}
1518
\end{quote}
1519
1520
This is the complete notes section:
1521
\begin{quote}
1522
\bci{auxlyr}
1523
\begin{verbatim}
1524
\NOtes\zqu g\ql e\en
1525
\bar
1526
\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en
1527
\Notes\qb0e\en
1528
\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
1529
\Notes\tqb0e\en
1530
\Notes\endmel\tbslurd0e\ql c\en
1531
\notes\ibbu0h{-1}\qb0h\en
1532
\notes\tqh0g\en
1533
\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
1534
\bar
1535
\NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
1536
\lyr\wh b\en % must be given manually.\end{verbatim}
1537
\end{quote}
1538
1539
Note that, as opposed to using \PMX, there is no special provision
1540
for attaching main lyrics to the upper voice. If you desire a single
1541
lyrics ``thread'' synchronized with the upper voice, please use
1542
auxiliary lyrics instead and position them below the staff (see
1543
section~\ref{vertical-positioning}).
1544
Alternatively, you may use main lyrics in normal lyrics mode and code
1545
the lower voice completely non-spacing (in the sense explained
1546
in~\ref{auto-attachment}), the upper voice completely spacing; this
1547
should not be too complicated for mainly homophonic pieces.
1548
1549
1550
1551
\subsection{Lyrics at multi-staff instruments}
1552
\label{multi-staff-instruments}
1553
1554
So far in this manual, the term {\em staff\/} has always been used for
1555
what \musixtex\ precisely calls an {\em instrument\/}. This section,
1556
however, correctly adopts the \musixtex\ terminology.
1557
1558
Lyrics can be assigned to staves of a multi-staff instrument. To do
1559
so, use
1560
\begin{quote}
1561
\ci{assignlyricsmulti}\verb|{|\var i\verb|}{|\var s\verb|}{...}|
1562
\end{quote}
1563
instead of \verb|\assignlyrics...|; here, \var s~addresses the desired
1564
staff number (counted from bottom to top) of instrument~\var i.
1565
1566
Nevertheless,
1567
\ci{assignlyrics}\verb|{|\var i\verb|}{...}|
1568
can be used as well if instrument~\var i has multiple staves; in this
1569
case, it is equivalent to
1570
\verb|\assignlyricsmulti{|\var i\verb|}{1}{...}|,
1571
i.\,e.~it affects only the first staff (and not all staves, as may be
1572
presumed).
1573
1574
In the same spirit, the following ``multi'' commands replace the
1575
standard ones within a multi-staff instrument context:
1576
\begin{quote}
1577
\ci{lyrraisemulti}\\
1578
\ci{lyrmodenormalmulti}\\
1579
\ci{lyrmodealtermulti}
1580
\end{quote}
1581
1582
All other \musixlyr\ commands or features can be used the same way as
1583
within a single-staff instrument context.
1584
1585
Using lyrics at multi-staff instruments can be useful, for example,
1586
for typesetting songs with piano accompaniment:%
1587
\footnote{Example taken from songbook {\sl Am Brunnen vor dem Tore\/},
1588
Delphin Verlag M\"unchen/Z\"urich 1981}
1589
1590
\begin{music}
1591
\resetlyrics
1592
\setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le}
1593
\assignlyricsmulti11{}
1594
\assignlyricsmulti12{verse}
1595
\lyrraisemulti12{b 2\internote}
1596
\setstaffs12
1597
\generalsignature{-1}
1598
\generalmeter\meterC
1599
\setclef1\bass
1600
\interstaff{13}
1601
\scale{1.3}
1602
\startextract
1603
\Notes\qp|\ibl0j{-2}\qb0j\tqb0i\en
1604
\bar\hardspace{1.7\myqnwidth}%
1605
\NOtes\isluru1d\lq c\zq M\ql d|\qa h\en
1606
\NOtes\zq c\zq M\ql e|\qa h\en
1607
\Notes\lq c\zq M\ql d|\islurd0h\ibu0h2\qb0h\tslur0i\tqh0i\en
1608
\Notes\tslur1e\zq c\zq M\ql e|\isluru0j\ibl0j2\qb0j\tslur0k\tqb0k\en
1609
\bar\hardspace\myqnwidth
1610
\Notes\isluru1d\lq c\zq M\ql d|\isluru0j\ibl0j{-2}\qb0j\tslur0i\tqb0i\en
1611
\NOtes\zq c\zq M\ql e|\qa g\en
1612
\NOtes\lq c\zq M\ql d|\qp\en
1613
\znotes\midslur2\tsslur1d\en
1614
\zendextract
1615
\end{music}
1616
1617
The lyrics of this example are defined as follows:
1618
\begin{quote}
1619
\bci{assignlyricsmulti}
1620
\bci{lyrraisemulti}
1621
\begin{verbatim}
1622
\setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le}
1623
\assignlyricsmulti{1}{2}{verse}
1624
\lyrraisemulti {1}{2}{b \internote}\end{verbatim}
1625
\end{quote}
1626
1627
1628
1629
\subsection{Managing lyrics assignment according to current context}
1630
\label{assignment-by-context}
1631
1632
Managing the properties of lyrics lines assignment to instruments by
1633
absolute instrument numbers --- as it is done with the
1634
\ci{assignlyrics}, \ci{lyrraise}, and \ci{lyrmodealter}
1635
commands --- may cause difficulties whenever the score's number and
1636
order of instruments shall be rearranged; in this case instrument
1637
numbers change, thus the instrument number parameters of the
1638
mentioned lyrics-related commands have to be adjusted.
1639
1640
This is especially unpleasant where such a rearrangement is done
1641
automatically, e.\,g.~by \PMX's part extraction facility {\em
1642
scor2prt\/}; this is intended to work without any manual editing
1643
of the generated part files.
1644
1645
To address this issue, \musixlyr\ provides {\em context-dependent\/}
1646
variants of the commands mentioned above. For example: Instead of
1647
\verb|\assignlyrics{2}{soprano}|, you may say something like:
1648
\begin{quote}
1649
\verb|\notes...&|\ci{assignlyricshere}\verb|{soprano}...\en|
1650
\end{quote}
1651
\ci{assignlyricshere}\verb|{|\var{name(s)}\verb|}| assigns the given verse
1652
\var{name(s)} to the instrument/staff whose context it occurs in within the
1653
\verb|\notes...\en| construct; no absolute instrument/staff number needs to
1654
be specified.
1655
1656
For example, the following two code fragments are equivalent:
1657
1658
\begin{quote}
1659
\footnotesize
1660
\hfill
1661
\def\arraystretch{1}%
1662
\begin{tabular}{l@{\qquad}|@{\qquad}l}
1663
\begin{tabular}[t]{@{}l@{}}
1664
\ci{assignlyrics}\verb| {1} {acct}%|\\
1665
\ci{assignlyricsmulti}\verb|{2}{2}{verse}%|\\
1666
\verb.\NOtes\qa c&\qa e|\qa g\en.
1667
\end{tabular}
1668
&
1669
\begin{tabular}[t]{@{}l@{}}
1670
\verb|\NOtes|\ci{assignlyricshere}\verb|{acct}\qa c%|\\
1671
\verb| &\qa e%|\\
1672
\verb. |.\ci{assignlyricshere}\verb|{verse}\qa g\en|
1673
\end{tabular}
1674
\end{tabular}
1675
\hfill\strut
1676
\end{quote}
1677
1678
Using \PMX, the context-dependent commands must be given as type-1
1679
inline \TeX\ strings. Here is the same example, coded as \PMX input:
1680
1681
\begin{quote}
1682
\footnotesize
1683
\hfill
1684
\def\arraystretch{1}%
1685
\begin{tabular}{l@{\qquad}|@{\qquad}l}
1686
\begin{tabular}[t]{@{}l@{}}
1687
\ci{assignlyrics}\verb| {1} {acct}\|\\
1688
\ci{assignlyricsmulti}\verb|{2}{2}{verse}\|\\
1689
\verb|c44 /|\\
1690
\verb|e44 /|\\
1691
\verb|g44 /|\\
1692
\end{tabular}
1693
&
1694
\begin{tabular}[t]{@{}l@{}}
1695
\hphantom{\tt .NOtes.assignlyricshere.acct..qa cg.en}\\
1696
\\
1697
\ci{assignlyricshere}\verb|{acct}\ c44 /|\\
1698
\verb| e44 /|\\
1699
\ci{assignlyricshere}\verb|{verse}\ g44 /|\\
1700
\end{tabular}
1701
\end{tabular}
1702
\hfill\strut
1703
\end{quote}
1704
1705
The first one (left) results in wrong lyrics assignments in {\em
1706
scor2prt\/} output; the second one (right) is robust against part
1707
extraction.
1708
1709
This is the complete set of ``here'' commands that can be applied the
1710
same way:
1711
\begin{quote}
1712
\ci{assignlyricshere}\\
1713
\ci{lyrraisehere}\\
1714
\ci{lyrmodenormalhere}\\
1715
\ci{lyrmodealterhere}
1716
\end{quote}
1717
1718
All other \musixlyr\ commands are context-driven anyway, i.\,e.~using
1719
the mentioned ``here'' commands you can completely omit any absolute
1720
instrument/staff number assignment.
1721
1722
1723
1724
\subsection{Miscellaneous}
1725
1726
\subsubsection{Avoiding problems after {\tt\char92
1727
endpiece...\char92 startpiece}}
1728
1729
Sometimes, after having suspended the music with \verb|\endpiece| and
1730
restarted it with \verb|\startpiece| (or the respective
1731
\verb|\...extract| commands), the lyrics lines are totally misaligned
1732
because the internal lyrics positioning parameters are not reset
1733
properly. Saying
1734
\begin{quote}\ci{resetlyrics}\end{quote}
1735
before the beginning of the new music section should solve this
1736
problem.
1737
1738
1739
\subsubsection{Improved centering of words with punctuation marks}
1740
1741
Centered words with an attached punctuation mark often seem a bit
1742
left-shifted since the punctuation mark also counts for the
1743
centering. To have a word centered solely with respect to its
1744
letters, enclose the punctuation mark in \verb|\rlap{...}| as it is
1745
done in the example of section~\ref{multiple-vert-pos}. Unfortunately,
1746
this circumvents the lyrics shifting automatism, and is incompatible
1747
with the use of \ci{lyrnop}.
1748
1749
1750
\subsubsection{Verse numbers}
1751
\label{versenumbers}
1752
1753
There is no special command for this topic. See the following example:
1754
1755
\begin{music}
1756
\resetlyrics
1757
\generalmeter{\meterfrac24}
1758
\scale{1.8}
1759
\setlyrics{sailor1}
1760
{\llap{1.} What shall we do with a drun-ken sail-or\rlap{?}}
1761
\setlyrics{sailor2}
1762
{\llap{2.} Take him and shake him and try to\lyrlink a-wake him,}
1763
\setlyrics{sailor3}{\llap{3.} Give him a dose of_ salt and wa-ter,}
1764
\setlyrics{sailor4}{\llap{4.} Give him a dash with a bo-som's rub-ber,}
1765
\assignlyrics1{sailor1,sailor2,sailor3,sailor4}
1766
\small\setlyrstrut
1767
\setsongraise1{-6mm}
1768
\startextract
1769
\znotes\llyr\lyroffset{-2}% make the numbers stand off to the left
1770
\lyr% post the numbers
1771
\en
1772
\Notes\ibu0h0\qb0h\en
1773
\notes\nbbu0\qb0h\tqh0h\en
1774
\Notes\ibu0h0\qb0h\en
1775
\notes\nbbu0\qb0h\tqh0h\en\bar
1776
\Notes\Dqbu hd\Dqbu fh\en
1777
\endextract
1778
\end{music}
1779
\oneversespace
1780
\twoversesspace
1781
1782
To see how this is accomplished, look for the example's coding within
1783
{\tt mxlyrdoc.tex}.
1784
1785
Section~\ref{lyric*-verse-numbers} explains an alternative method for
1786
setting vertically aligned verse numbers.
1787
1788
1789
\subsubsection{``Lyrics slurs''}
1790
1791
If two consecutive syllables of a lyrics line share the same note (as
1792
in the second verse of the above example), you may want to link them
1793
together with a small slur under them \mbox{like\lyrlink this.} To do
1794
this, use the command \ci{lyrlink} instead of the respective blank
1795
space within the \verb|\setlyrics| definition.
1796
1797
If any of the adjacent characters extend under their \TeX\ baseline
1798
(like `g', `j', `p', etc.), use \ci{lowlyrlink} which lowers the
1799
slur accordingly (e.\,g.: \mbox{sing\lowlyrlink gladly}).
1800
1801
1802
\subsubsection{Restoring the \PMX-unaware behaviour of \musixlyr~1.0}
1803
\label{no-pmx-autodetection}
1804
1805
As stated in section~\ref{pmx-autodetection}, \musixlyr\ distinguishes
1806
between main and auxiliary lyrics context in a special way when it
1807
detects that the score has been set up using \PMX. However, this
1808
automatic \PMX\ detection may cause problems for processing \PMX\
1809
scores prepared with the \PMX-unaware \musixlyr\ version~1.0. To solve
1810
this, you can force the old \musixlyr\ behaviour by an explicit macro
1811
redefinition as follows:
1812
1813
Within {\tt musixlyr.tex}, find the code fragment
1814
\begin{quote}\begin{verbatim}
1815
\ifx\nextvoice\undefined
1816
\def\decide@lyrmode{%
1817
\call@lyrmode
1818
...
1819
\fi\fi\fi\fi\fi\fi\fi}
1820
\else\end{verbatim}\end{quote}
1821
(which is about 25 lines long). Copy it, exluding the first and the
1822
last line, to your score source and surround it by the
1823
\verb|\makeatletter...\makeatother| command pair. This
1824
should then look like this:
1825
\begin{quote}\begin{verbatim}
1826
\makeatletter
1827
\def\decide@lyrmode{%
1828
\call@lyrmode
1829
...
1830
\fi\fi\fi\fi\fi\fi\fi}
1831
\makeatother\end{verbatim}\end{quote}
1832
1833
To restore the \PMX-aware \musixlyr\ behaviour of version~1.1 and
1834
newer, copy the {\em second\/} \verb|\decide@lyrmode| definition
1835
from {\tt musixlyr.tex} to the desired place in your score and
1836
surround it with \verb|\makeatletter...\makeatother|.
1837
1838
To do these redefinitions within a \PMX\ input file, it is probably
1839
always best to wrap them in macro definitions within the \PMX\ file
1840
preamble. This way, you can switch between the ``old'' and ``new''
1841
\musixlyr\ behaviour by simply calling these macros in \PMX's
1842
inline-\TeX\ style.
1843
1844
\pagebreak[4]
1845
\section{Command index}
1846
\printindex
1847
1848
1849
1850
\section{Software license}
1851
1852
\musixlyr\ (including this manual) is free software; you can
1853
redistribute it and/or modify it under the terms of the GNU General
1854
Public License as published by the Free Software Foundation; either
1855
version~2 of the License, or any later version.
1856
1857
\musixlyr\ is distributed in the hope that it will be useful,
1858
but WITHOUT ANY WARRANTY; without even the implied warranty of
1859
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
1860
GNU General Public License for more details.
1861
1862
You should have received a copy of the GNU General Public License
1863
along with \musixlyr; if not, write to the Free Software
1864
Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
1865
1866
\medskip
1867
Author:
1868
\begin{tabular}[t]{l}
1869
Rainer Dunker\\
1870
Wachtelweg 31\\
1871
85\,591 Vaterstetten\\[0.5ex]
1872
Germany\\[1ex]
1873
E-mail: \tt rainer.dunker@web.de
1874
\end{tabular}
1875
1876
\end{document}
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