1877 lines
68 KiB
TeX
1877 lines
68 KiB
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
|
||
|
|
manual) should be used for this purpose, but an empty syllable may
|
||
|
|
be more handy if it occurs in only one of multiple assigned
|
||
|
|
verses; see also sections~\ref{melismas-by-underscores}
|
||
|
|
and~\ref{multilyrlines}.
|
||
|
|
\item
|
||
|
|
Note that, since lyrics lines are cut into pieces which are
|
||
|
|
processed separately, you cannot apply things like temporary font
|
||
|
|
changes in the usual manner (i.\,e.~using \TeX\
|
||
|
|
environments). See section~\ref{layoutpar} about how to accomplish
|
||
|
|
layout changes.
|
||
|
|
\item
|
||
|
|
Applying \ci{setlyrics} to an already defined \var{name}
|
||
|
|
redefines the lyrics line. This may be useful at very long pieces
|
||
|
|
because setting up and applying lyrics in smaller portions
|
||
|
|
(e.\,g.\ movement by movement) saves both time and memory.
|
||
|
|
\item
|
||
|
|
It is possible to specify melismas --- that shall occur later when
|
||
|
|
a verse is attached to the music --- already within
|
||
|
|
\ci{setlyrics}; see section~\ref{melismas-by-underscores} for
|
||
|
|
details.
|
||
|
|
|
||
|
|
\end{itemize}
|
||
|
|
|
||
|
|
There are two variants of the \verb|\setlyrics| command available:
|
||
|
|
\begin{itemize}
|
||
|
|
\item
|
||
|
|
If several voices have the same lyrics, you do not have to copy
|
||
|
|
and paste the lyrics for each further voice; just say
|
||
|
|
\begin{quote}\ci{copylyrics}\verb|{|\var{from name}%
|
||
|
|
\verb|}{|\var{to name}\verb|}|\end{quote}
|
||
|
|
to set up a lyrics line named \var{to name} with the same contents
|
||
|
|
as \var{from name}.
|
||
|
|
\item
|
||
|
|
Applying \ci{setlyrics} to an already defined \var{name}
|
||
|
|
has the effect of discarding all previous contents of \var{name},
|
||
|
|
even if part of the lyrics is still pending for being
|
||
|
|
processed. If you want to {\em append\/} further lyrics to an already
|
||
|
|
existing lyrics line instead --- without interrupting the
|
||
|
|
processing of the current lyrics contents ---, use the command
|
||
|
|
\label{appendlyrics}
|
||
|
|
\begin{quote}
|
||
|
|
\ci{appendlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}|
|
||
|
|
\end{quote}
|
||
|
|
instead of \verb|\setlyrics|.
|
||
|
|
% A warning about performance loss due to \appendlyrics's material
|
||
|
|
% accumulation may be added here; it should occur only if \golyr
|
||
|
|
% jumps to or near to the lyrics beginning are performed.
|
||
|
|
\end{itemize}
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Assigning lyrics lines to staves}
|
||
|
|
|
||
|
|
{\bf Note:} During the following discussion, the term {\em staff\/} is
|
||
|
|
used wherever \musixtex\ would precisely use the term {\em
|
||
|
|
instrument\/} instead, assuming that lyrics are posted to single-staff
|
||
|
|
instruments only. However, everything also applies to the assignment
|
||
|
|
of lyrics to staves of multi-staff instruments; see
|
||
|
|
section~\ref{multi-staff-instruments} about how to use lyrics in a
|
||
|
|
multi-staff instrument context.
|
||
|
|
|
||
|
|
To assign a lyrics line to a staff, say
|
||
|
|
\begin{quote}\ci{assignlyrics}\verb|{|\var i%
|
||
|
|
\verb|}{|\var{name}\verb|}|\end{quote}
|
||
|
|
where \var i is the instrument number (counted as usual from bottom to
|
||
|
|
top) and \var{name} the name of the lyrics line.
|
||
|
|
|
||
|
|
The resulting assignment can be redefined everywhere. This is useful
|
||
|
|
if the arrangement of voices on staves changes within the score; when
|
||
|
|
a voice is continued on a different staff at the next system, use
|
||
|
|
\ci{assignlyrics} (preferrably enclosed in \verb|\atnextline{...}|) to
|
||
|
|
make the respective lyrics line follow this change without
|
||
|
|
interrupting the flow of words.
|
||
|
|
|
||
|
|
If a lyrics line is assigned to instrument \var i and you want it to be
|
||
|
|
continued on a different instrument while assigning no other lyrics line
|
||
|
|
to instrument \var i, you must explicitly cancel the former assignment by
|
||
|
|
saying \ci{assignlyrics}\verb|{|\var i\verb|}{}|.
|
||
|
|
|
||
|
|
{\bf Caution:} Never assign a lyrics line to more than one
|
||
|
|
staff simultaneously; if the same lyrics are needed at
|
||
|
|
several staves in parallel, use \ci{copylyrics} (see above).
|
||
|
|
|
||
|
|
As a summary of this section, here is the complete ``lyrics
|
||
|
|
definition section'' of the above example:
|
||
|
|
\begin{quote}
|
||
|
|
\bci{setlyrics}
|
||
|
|
\bci{copylyrics}
|
||
|
|
\bci{assignlyrics}
|
||
|
|
\begin{verbatim}
|
||
|
|
\setlyrics {soprano}{Quand je bois du vin clai-ret, a-mi tout}
|
||
|
|
\setlyrics {alto} {Le bon vin nous}
|
||
|
|
\setlyrics {tenor} {Bu-vons bien, bu}
|
||
|
|
\copylyrics{tenor} {bass}
|
||
|
|
\assignlyrics4{soprano}
|
||
|
|
\assignlyrics3{alto}
|
||
|
|
\assignlyrics2{tenor}
|
||
|
|
\assignlyrics1{bass}\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
See also section~\ref{assignment-by-context} about an alternative way
|
||
|
|
to assign lyrics to staves.
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Managing the attachment of lyrics to notes}
|
||
|
|
\label{manipulation}
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Automatic lyrics attachment}
|
||
|
|
\label{auto-attachment}
|
||
|
|
|
||
|
|
By default, the syllables of a lyrics line are consecutively attached to
|
||
|
|
all {\em spacing\/} notes of the assigned staff. Chords thus receive only
|
||
|
|
one syllable since they usually contain exactly one spacing note.
|
||
|
|
However, this may be different if you are using auxiliary lyrics;
|
||
|
|
see section~\ref{auxlyrics} for details.
|
||
|
|
|
||
|
|
``Spacing'' in this context means: generated by one of the commands
|
||
|
|
\verb|\qu|, \verb|\hu|, \verb|\wh|, etc.\ and not by \verb|\zqu|,
|
||
|
|
\verb|\zhu|, \verb|\zq|, etc. Spacing or not does {\em not\/} depend on
|
||
|
|
whether the note-generating command is enclosed in \verb|\znotes| or
|
||
|
|
any other \verb|\notes| command. So if any note seems to have been
|
||
|
|
left out by the attachment automatism, first make sure that this
|
||
|
|
note is generated using a command not beginning with \verb|\z|.
|
||
|
|
|
||
|
|
If the number of words of a lyrics line gets exhausted before all
|
||
|
|
notes of the respective staff are processed, ``???'' is posted at all
|
||
|
|
remaining notes.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Addressing manipulations to lyrics}
|
||
|
|
|
||
|
|
In the ``ideal'' case, the attachment automatism perfectly distributes the
|
||
|
|
lyrics over the music. In practice, however, situations in which the
|
||
|
|
automatism must be ``helped'' manually are frequent. Such
|
||
|
|
manipulations must be posted within the music code. Here are the
|
||
|
|
basic rules:
|
||
|
|
\begin{enumerate}
|
||
|
|
\item All lyrics manipulations must be stated inside
|
||
|
|
\verb|\notes...\enotes|.
|
||
|
|
(Exception: melisma specifications within \verb|\setlyrics|, see
|
||
|
|
section~\ref{melismas-by-underscores}).
|
||
|
|
\item Lyrics manipulations solely refer to the lyrics line(s)
|
||
|
|
attached to the current staff (``current'' with respect to the
|
||
|
|
enclosing `\verb|&|' characters).
|
||
|
|
\item Similar to many other \musixtex\ commands (e.\,g.\ for beams
|
||
|
|
and slurs), lyrics manipulations must be issued before the
|
||
|
|
corresponding note commands.
|
||
|
|
\end{enumerate}
|
||
|
|
Examples in the following sections will illustrate the application.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Melismas}
|
||
|
|
\label{melismas}
|
||
|
|
|
||
|
|
Regarding lyrics and music separately, melismas are no property of
|
||
|
|
either one; instead, they characterize the relation between both and
|
||
|
|
play a role only where music and lyrics occur together. Using
|
||
|
|
\musixlyr, however, lyrics coding and music coding are basically
|
||
|
|
unrelated, but melismas do have to be specified somewhere. You have to
|
||
|
|
decide yourself whether you regard melismas as an attribute rather of
|
||
|
|
the lyrics or rather of the music (this may vary according to the type
|
||
|
|
of score you are preparing, or may even differ within a score);
|
||
|
|
\musixlyr\ provides two corresponding styles of melisma specification
|
||
|
|
which are discussed in the following paragraphs.
|
||
|
|
|
||
|
|
\begin{description}
|
||
|
|
\item[Melismas as a music property.]
|
||
|
|
Within the music code, a melisma is initiated and terminated by the
|
||
|
|
command pair
|
||
|
|
\begin{quote}
|
||
|
|
\hspace*{\fill}\ci{beginmel}\hfill\ci{endmel}\hspace*{\fill}
|
||
|
|
\end{quote}
|
||
|
|
issued before the first and last note, respectively, of the melisma.
|
||
|
|
This left-justifies the current word/syllable, suspends lyrics until
|
||
|
|
after the melisma, and sets up a ``word extension
|
||
|
|
underline''\footnote{I am not sure whether this is the appropriate
|
||
|
|
term; it is taken from the {\sl Finale\/} reference manual.} unless
|
||
|
|
the current word is continued afterwards and thus has to be
|
||
|
|
hyphenated. For example,
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\instrumentnumber1
|
||
|
|
\small\scale{0.6}
|
||
|
|
\setlyrics{melismatic}{a me-lis-ma}
|
||
|
|
\assignlyrics1{melismatic}
|
||
|
|
\startextract
|
||
|
|
\NOtes\beginmel\qa{def}\endmel\qa e\en\bar
|
||
|
|
\NOtes\beginmel\qa{def}\endmel\qa g\en\bar
|
||
|
|
\NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar
|
||
|
|
\NOtes\beginmel\qa{defe}\en\bar
|
||
|
|
\NOTEs\endmel\wh d\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\oneversespace
|
||
|
|
|
||
|
|
has been coded as:
|
||
|
|
\begin{quote}
|
||
|
|
\bci{beginmel}
|
||
|
|
\bci{endmel}
|
||
|
|
\begin{verbatim}
|
||
|
|
...
|
||
|
|
\NOtes\beginmel\qa{def}\endmel\qa e\en\bar
|
||
|
|
\NOtes\beginmel\qa{def}\endmel\qa g\en\bar
|
||
|
|
\NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar
|
||
|
|
\NOtes\beginmel\qa{defe}\en\bar
|
||
|
|
\NOTEs\endmel\wh d\en
|
||
|
|
...\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
If a system break occurs within the melisma, hyphenation or underline
|
||
|
|
is continued at the next system, thus automatic line breaking is
|
||
|
|
applicable.
|
||
|
|
|
||
|
|
\item[Melismas as a lyrics property.]
|
||
|
|
\label{melismas-by-underscores}
|
||
|
|
To specify a melisma within a lyrics definition (i.\,e.~within
|
||
|
|
\ci{setlyrics} or \ci{appendlyrics}), simply append an underscore
|
||
|
|
character to a syllable to make it span over an additional note,
|
||
|
|
two underscores to span over two additional notes, and so
|
||
|
|
on. Alternatively, you may append to a syllable a single underscore
|
||
|
|
followed by a number which denotes the number of {\em additional\/}
|
||
|
|
melisma notes: \verb|abc_| is equivalent to \verb|abc_1|,
|
||
|
|
\verb|abc__| to \verb|abc_2|, and so on.
|
||
|
|
|
||
|
|
No matter which of the two underscore appendix styles you use: If a
|
||
|
|
melismatic syllable is hyphenated to the following one, the melisma
|
||
|
|
denotation must {\bf precede} the hyphen --- for example:
|
||
|
|
\verb|abc__-def| ({\bf not:} \verb|abc-__def|).
|
||
|
|
|
||
|
|
All melisma properties mentioned above (lyrics suspension, left
|
||
|
|
justification of syllable, word extension underline, system break
|
||
|
|
support) also apply to melismas specified this way. For reference,
|
||
|
|
here is the lyrics definition section of the example above, this time
|
||
|
|
utilizing the underscore melisma technique (note that, in this case,
|
||
|
|
all \ci{beginmel} and \ci{endmel} commands must be omitted in the
|
||
|
|
music section):
|
||
|
|
|
||
|
|
\begin{quote}
|
||
|
|
\ci{setlyrics}\verb|{melismatic}{a___ me_3-lis___-ma_4}|
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
\item[Comparing both points of view.]
|
||
|
|
The music-oriented melisma view (using \ci{beginmel}/\ci{endmel}) is
|
||
|
|
advantageous for music with a rather loose binding to certain lyrics,
|
||
|
|
e.\,g.~folk songs that are to be printed with various verse compilations
|
||
|
|
or in different languages. You may then enter each verse without
|
||
|
|
taking care of melismas because they are coded just once as part of
|
||
|
|
the music.
|
||
|
|
|
||
|
|
On the other hand, the lyrics-focused melisma style (using
|
||
|
|
underscores) is best suited to pieces with a fixed lyrics-to-music
|
||
|
|
binding; it is easier to type and to read, but less flexible as
|
||
|
|
regards combining the same lyrics with different music. It is
|
||
|
|
especially advantageous for multiple verses (see
|
||
|
|
section~\ref{multilyrlines}) with different syllables-to-notes
|
||
|
|
distribution (see verse~3 of the ``Drunken sailor'' example in
|
||
|
|
section~\ref{versenumbers}); it is much easier to code each verse's
|
||
|
|
melismas individually than tracking all melismas in parallel using
|
||
|
|
the \ci{verses} command (see again section~\ref{multilyrlines}).
|
||
|
|
|
||
|
|
\item[Note.]
|
||
|
|
You may use both styles within the same score but you should avoid
|
||
|
|
activating both melisma types simultaneously at the same lyrics line;
|
||
|
|
the result of such an occurrence is undefined.
|
||
|
|
\end{description}
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Turning automatic lyrics attachment on/off}
|
||
|
|
|
||
|
|
If the attachment automatism is unsuitable for some
|
||
|
|
situation --- e.\,g.\ at complex polyphonic voicings or wherever you
|
||
|
|
want to place all syllables manually --- you can turn it off using
|
||
|
|
\begin{quote}\ci{lyricsoff}\end{quote}
|
||
|
|
after the last note that shall get a syllable. (If your piece begins
|
||
|
|
with a lyrics-less section, state \ci{lyricsoff} before the first
|
||
|
|
note of a staff.) To re-enable automatic lyrics attachment, use
|
||
|
|
\begin{quote}\ci{lyricson}\end{quote}
|
||
|
|
before the first note that shall get a syllable.
|
||
|
|
|
||
|
|
If automatic lyrics attachment shall skip over certain single notes
|
||
|
|
only, the \ci{nolyr} command is more suitable (see
|
||
|
|
section~\ref{nolyr-command}).
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Lyrics repetition and skipping}
|
||
|
|
|
||
|
|
As in the following example of a polyphonic piece,
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\instrumentnumber2
|
||
|
|
\setclef1\bass
|
||
|
|
\songtop2
|
||
|
|
\songbottom1
|
||
|
|
\small
|
||
|
|
\setlyrics{amen1}
|
||
|
|
{\llabel{amenlabel}A-men!} \assignlyrics1{amen1}
|
||
|
|
\copylyrics{amen1}{amen2} \assignlyrics2{amen2}
|
||
|
|
\startextract
|
||
|
|
\NOtes% lower staff:
|
||
|
|
\itenu0K\beginmel\wh K\sk\sk\sk
|
||
|
|
\midslur2\tten0\endmel\hlp K&%
|
||
|
|
% upper staff:
|
||
|
|
\qa f\lyrnop\lyrpt,\qa g%
|
||
|
|
\golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}%
|
||
|
|
\golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}%
|
||
|
|
\tslur1f\endmel\qa f\en
|
||
|
|
\NOTEs\wh N&\wh g\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\oneversespace
|
||
|
|
|
||
|
|
it often happens that some lyrics phrases are repeated by some but
|
||
|
|
not all voices, or that each voice has its individual arrangement of
|
||
|
|
lyrics repetitions. Nevertheless, you do not have to enter
|
||
|
|
these repetitions directly within \ci{setlyrics}; instead, you
|
||
|
|
enter the lyrics as if they were performed in an unbroken
|
||
|
|
sequence. Repetitions and skips are then handled using a ``go to''
|
||
|
|
technique involving the following steps:
|
||
|
|
\begin{description}
|
||
|
|
\item[Labelling ``go to'' targets.] A syllable which has to be jumped at
|
||
|
|
must be preceded (without spaces in between) by
|
||
|
|
\begin{quote}\ci{llabel}\verb|{|\var{label name}\verb|}|\end{quote}
|
||
|
|
within \ci{setlyrics}.
|
||
|
|
\item[Performing jumps.] Within the music code, say
|
||
|
|
\begin{quote}\ci{golyr}\verb|{|\var{label name}\verb|}|\end{quote}
|
||
|
|
before the note at which the jump has to be performed.
|
||
|
|
|
||
|
|
{\bf Caution:} If you try to jump to an undefined lyrics label, no
|
||
|
|
meaningful error message is produced. However, if \TeX\ reports an
|
||
|
|
error at a \ci{golyr} command, you should check conformity of
|
||
|
|
defined and used labels.
|
||
|
|
\end{description}
|
||
|
|
The following actions must be taken in special cases:
|
||
|
|
\begin{description}
|
||
|
|
\item[Adding punctuation marks.] Usually a comma or period is
|
||
|
|
appended to the word preceding a jump; this is done by the command
|
||
|
|
\begin{quote}\ci{lyrpt}\var{punctuation char}\end{quote}
|
||
|
|
where \var{punctuation char} can be any single punctuation
|
||
|
|
character.
|
||
|
|
\item[Removing punctuation marks.] Before adding a punctuation mark
|
||
|
|
to a word as said above, an already existing punctuation mark
|
||
|
|
should be removed by the command:
|
||
|
|
\begin{quote}\ci{lyrnop}\end{quote}
|
||
|
|
\item[Lower case letters.] Words at jump targets often begin with a
|
||
|
|
capital letter which should appear lower case after a jump;
|
||
|
|
this can be forced by the command:
|
||
|
|
\begin{quote}\ci{lclyr}\end{quote}
|
||
|
|
\end{description}
|
||
|
|
Here is a code excerpt from the above example, summarizing the use of
|
||
|
|
all mentioned commands:
|
||
|
|
\begin{quote}\small
|
||
|
|
\bci{llabel}
|
||
|
|
\bci{copylyrics}
|
||
|
|
\bci{setlyrics}
|
||
|
|
\bci{lyrnop}
|
||
|
|
\bci{lyrpt}
|
||
|
|
\bci{golyr}
|
||
|
|
\bci{lclyr}
|
||
|
|
\bci{beginmel}
|
||
|
|
\bci{endmel}
|
||
|
|
\begin{verbatim}
|
||
|
|
\setlyrics{amen1}
|
||
|
|
{\llabel{amenlabel}A-men!} \assignlyrics1{amen1}
|
||
|
|
\copylyrics{amen1}{amen2} \assignlyrics2{amen2}
|
||
|
|
\startextract
|
||
|
|
\NOtes% lower staff:
|
||
|
|
\itenu0K\beginmel\wh K\sk\sk\sk
|
||
|
|
\midslur2\tten0\endmel\hlp K&%
|
||
|
|
% upper staff:
|
||
|
|
\qa f\lyrnop\lyrpt,\qa g%
|
||
|
|
\golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}%
|
||
|
|
\golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}%
|
||
|
|
\tslur1f\endmel\qa f\en
|
||
|
|
\NOTEs\wh N&\wh g\en
|
||
|
|
\endextract\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
Note that the ``go to'' technique is recommendable mainly if different
|
||
|
|
voices perform different repetitions or skips on the same lyrics; if
|
||
|
|
all voices perform the same sequence of repetitions, however, it is
|
||
|
|
easier to hard-code them within \ci{setlyrics}.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Miscellaneous}
|
||
|
|
\label{miscmanip}
|
||
|
|
|
||
|
|
\begin{description}
|
||
|
|
\item[Excluding single notes.]
|
||
|
|
\label{nolyr-command}%
|
||
|
|
In the following situation,
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\instrumentnumber1
|
||
|
|
\setlyrics1{ca-den-za}
|
||
|
|
\assignlyrics11
|
||
|
|
\startextract
|
||
|
|
\NOtes\zqlp{'c}\qu e\en
|
||
|
|
\Notes\qu{'d}\nolyr\cl b\en
|
||
|
|
\bar
|
||
|
|
\NOTes\zhl{'c}\hu c\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\oneversespace
|
||
|
|
|
||
|
|
the eighth note must be excluded from receiving a syllable. This
|
||
|
|
can be accomplished saying
|
||
|
|
\begin{quote}\ci{nolyr}\end{quote}
|
||
|
|
before the command generating this note.
|
||
|
|
\item[Manual lyrics posting.] When automatic lyrics attaching is
|
||
|
|
switched off, a word or syllable can be placed manually saying
|
||
|
|
\begin{quote}\ci{lyr}\end{quote}
|
||
|
|
before the command generating the note that shall get this
|
||
|
|
word/syllable.
|
||
|
|
|
||
|
|
This command also works independently from a following note command;
|
||
|
|
you can issue it before a rest, a \verb|\sk| or even alone for
|
||
|
|
itself in order to place a word/syllable wherever you want (no
|
||
|
|
matter whether the attachment automatism is on or off).
|
||
|
|
|
||
|
|
Manipulations to the posted word/syllable have to be placed {\em
|
||
|
|
before\/} the \ci{lyr} command.
|
||
|
|
\item[Left justification.] Say
|
||
|
|
\begin{quote}\ci{llyr}\end{quote}
|
||
|
|
in order to have the next word/syllable left-justified to the
|
||
|
|
notehead instead of centered.
|
||
|
|
|
||
|
|
If you prefer to have left justification as the default, say
|
||
|
|
\begin{quote}\ci{leftlyrtrue}\end{quote}
|
||
|
|
before your piece begins (\ci{leftlyrfalse} to restore centered
|
||
|
|
lyrics).
|
||
|
|
\item[Word extension underlines.] The melisma commands (see
|
||
|
|
\ref{melismas}) automatically manage word extension underlines;
|
||
|
|
however, they can be set manually: Say
|
||
|
|
\begin{quote}\ci{lyrrule}\end{quote}
|
||
|
|
before the respective note command to initiate an underline {\em
|
||
|
|
after\/} the word, and
|
||
|
|
\begin{quote}\ci{lyrruleend}\end{quote}
|
||
|
|
before the note where the underline shall be terminated.
|
||
|
|
|
||
|
|
Note that no underline will be drawn if the word is continued
|
||
|
|
afterwards so that the underline would interfere with the
|
||
|
|
hyphenation.
|
||
|
|
\item[Horizontal offset.]\label{lyroffset}%
|
||
|
|
To shift a word/syllable out of its default
|
||
|
|
horizontal position, say
|
||
|
|
\begin{quote}\ci{lyroffset}\verb|{|\var n\verb|}|\end{quote}
|
||
|
|
which --- similar to \verb|\roffset| --- moves the next word/syllable
|
||
|
|
\var n quarter note head widths to the right (left if \var n
|
||
|
|
is negative).
|
||
|
|
|
||
|
|
Note that the effect of \ci{lyroffset} may be overridden by
|
||
|
|
automatic lyrics shifting. If you want to gain complete manual
|
||
|
|
control over the positioning, you have to disable the shifting
|
||
|
|
automatism; see section \ref{horizpos} for details.
|
||
|
|
\item[Extra lyrics.] If, as in the following
|
||
|
|
example\footnote{Excerpt from ``In the town where I was born''
|
||
|
|
({\sl Eine kleine Melodie,\/} Strube, M\"unchen 1989)},
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\instrumentnumber2
|
||
|
|
\generalsignature1
|
||
|
|
\setclef1\bass
|
||
|
|
\songtop2
|
||
|
|
\songbottom1
|
||
|
|
\interinstrument=6mm
|
||
|
|
\setsongraise2{-0.5mm}
|
||
|
|
\scale{1.5}
|
||
|
|
\forcelyrhyphenstrue
|
||
|
|
\small
|
||
|
|
\setlyrics{lower}{yel-low sub-ma-rine,} \assignlyrics1{lower}
|
||
|
|
\copylyrics{lower}{upper} \assignlyrics2{upper}
|
||
|
|
\startextract
|
||
|
|
\Notes\ibl0N0\zqbp0N\ibu1N0\qbp1b&%
|
||
|
|
\ibl2f0\zqbp2d\ibu3g0\qbp3g\en
|
||
|
|
\notes\tbbl0\tbl0\zqb0N\tbbu1\tbu1\qb1b&%
|
||
|
|
\tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en
|
||
|
|
\Notes\ibl0M0\zqbp0M\ibu1N0\qbp1b&%
|
||
|
|
\ibl2f0\zqbp2d\ibu3g0\qbp3g\en
|
||
|
|
\notes\tbbl0\tbl0\zqb0M\tbbu1\tbu1\qb1b&%
|
||
|
|
\tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en
|
||
|
|
\Notes\ibl0L{-1}\zqbp0L\hu b&\zhl d\hu g\en
|
||
|
|
\notes\tbbl0\tbl0\lyric{ya,}\qb0K\en
|
||
|
|
\Notes\ibl0L1\lyric{ya,}\qbp0L\en
|
||
|
|
\notes\tbbl0\tbl0\lyric{ya,}\qb0M\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\oneversespace
|
||
|
|
|
||
|
|
a voice has ``extra'' lyrics (such as ``hmm'', ``ah'', ``ya'', etc.)
|
||
|
|
in addition to the ``main'' lyrics, you need not enter them within
|
||
|
|
\ci{setlyrics} (which would inhibit using \ci{copylyrics});
|
||
|
|
instead, you can enter them directly within the music code using
|
||
|
|
the command
|
||
|
|
\begin{quote}\ci{lyric}\verb|{|\var{extra syllable}\verb|}|\end{quote}
|
||
|
|
before the note where they shall appear. (Note that the effect is
|
||
|
|
different from using \verb|\csong| which would not apply automatic
|
||
|
|
hyphenation, horizontal positioning control, and \musixlyr's
|
||
|
|
vertical positioning scheme.) Automatic lyrics attaching --- if
|
||
|
|
active --- is suspended at that note. All manipulations can be
|
||
|
|
applied; they must be given before the \ci{lyric} command.
|
||
|
|
|
||
|
|
If you want the syllable linked to the following one by a hyphen,
|
||
|
|
use \ci{lyrich} instead of \ci{lyric}.
|
||
|
|
|
||
|
|
It may sometimes be necessary to post lyrics where no note is
|
||
|
|
present at all, i.\,e.~in the empty space between notes. This is,
|
||
|
|
however, possible with \verb|\lyric|, but is is unsuitable because
|
||
|
|
automatic lyrics attachment shall {\em not\/} be suspended at the
|
||
|
|
next note. In this case one of the commands \ci{lyric*} or --- for
|
||
|
|
hyphenated syllables --- \ci{lyrich*} should rather be used; they
|
||
|
|
have no effect on the ``regular'' flow of lyrics.
|
||
|
|
\label{lyric*-verse-numbers}%
|
||
|
|
One application for this are vertically aligned verse numbers. For
|
||
|
|
example,
|
||
|
|
|
||
|
|
\begin{quote}
|
||
|
|
\bci{lyric*}
|
||
|
|
\bci{verses}
|
||
|
|
\begin{verbatim}
|
||
|
|
\setlyrics1{Spring time}
|
||
|
|
\setlyrics2{Au-tumn}
|
||
|
|
\assignlyrics1{1,2}
|
||
|
|
...
|
||
|
|
\znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en
|
||
|
|
\hardspace{4mm}%
|
||
|
|
\NOTes\hu{ee}\en
|
||
|
|
...\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
yields:
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\setlyrics1{Spring time}
|
||
|
|
\setlyrics2{Au-tumn}
|
||
|
|
\assignlyrics1{1,2}
|
||
|
|
\lyrraise1{b -1.5mm}
|
||
|
|
\scale{1.2}
|
||
|
|
\startextract
|
||
|
|
\znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en
|
||
|
|
\hardspace{4mm}%
|
||
|
|
\NOTes\hu{ee}\en
|
||
|
|
\endextract
|
||
|
|
\twoversesspace
|
||
|
|
\end{music}
|
||
|
|
|
||
|
|
(See section~\ref{multilyrlines} about attaching multiple verses
|
||
|
|
to a single staff, a feature that has not been introduced so far.)
|
||
|
|
|
||
|
|
You may even obtain verse numbers that are repeated at the
|
||
|
|
beginning of each system by enclosing the \verb|\znotes...| command
|
||
|
|
for setting the numbers in \verb|\def\everystaff{...}|.
|
||
|
|
|
||
|
|
Another possible application --- combined with empty syllables ---
|
||
|
|
is coping with unusual lyrics situations at voltas; for example,
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\twoversesspace
|
||
|
|
\setlyrics1{first pass}
|
||
|
|
\setlyrics2{se-cond pass}
|
||
|
|
\assignlyrics1{1,2}
|
||
|
|
\resetlyrics
|
||
|
|
\scale{2}
|
||
|
|
\startextract
|
||
|
|
\NOTEs\wh g\en
|
||
|
|
\Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar
|
||
|
|
\NOTEs\wh g\en
|
||
|
|
\znotes\verses{,\lyrich*{}}\en \Setvolta2\setendvoltabox\rightrepeat
|
||
|
|
\NOTEs\verses\lyricsoff\pause\en\bar
|
||
|
|
\NOTEs\ha{gg}\en\setendvolta
|
||
|
|
\endextract
|
||
|
|
\twoversesspace
|
||
|
|
\end{music}
|
||
|
|
|
||
|
|
is accomplished by:
|
||
|
|
|
||
|
|
\begin{quote}
|
||
|
|
\bci{verses}
|
||
|
|
\bci{lyric}
|
||
|
|
\bci{lyrich*}
|
||
|
|
\begin{verbatim}
|
||
|
|
\setlyrics1{first pass}
|
||
|
|
\setlyrics2{se-cond pass}
|
||
|
|
\assignlyrics1{1,2}
|
||
|
|
\startextract
|
||
|
|
\NOTEs\wh g\en
|
||
|
|
\Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar
|
||
|
|
\NOTEs\wh g\en
|
||
|
|
\znotes\verses{,\lyrich*{}}\en
|
||
|
|
\Setvolta2\setendvoltabox\rightrepeat
|
||
|
|
\NOTEs\verses\lyricsoff\pause\en\bar
|
||
|
|
\NOTEs\ha{gg}\en\setendvolta
|
||
|
|
\endextract\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
The trick used here is to inject empty syllables into the second
|
||
|
|
verse at the barlines around the first volta; they serve as anchors
|
||
|
|
for the hyphenation suspended under this volta.
|
||
|
|
|
||
|
|
Note that the \ci{lyric}, \ci{lyric*}, \ci{lyrich}, and
|
||
|
|
\ci{lyrich*} commands cannot be used at staves without assigned
|
||
|
|
lyrics lines.
|
||
|
|
\end{description}
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Horizontal positioning}
|
||
|
|
\label{horizpos}
|
||
|
|
|
||
|
|
\musixlyr\ takes care of blank space between words. If a word --- at
|
||
|
|
its default position --- would come too close to or overlap the
|
||
|
|
previous word, it is shifted right in order to ensure a minimum of
|
||
|
|
blank space. This minimal interword space can be set by
|
||
|
|
\begin{quote}\ci{minlyrspace}\verb|=|\var{any \TeX\ dimension}\end{quote}
|
||
|
|
and is initially set to~3\,pt.
|
||
|
|
|
||
|
|
%The situation is different if two syllables belong to the same
|
||
|
|
%word. Such syllables are allowed to close up; only overlapping is
|
||
|
|
%inhibited by shifting. If the space between such syllables is
|
||
|
|
%narrower than a hyphen, the hyphen is omitted unless you force
|
||
|
|
%hyphens in every spatial situation saying
|
||
|
|
%\begin{quote}\verb|\forcelyrhyphenstrue|\end{quote}
|
||
|
|
%(to restore the default behaviour: \verb|\forcelyrhyphensfalse|). In
|
||
|
|
%this case, enough room is made for the hyphen by shifting the right
|
||
|
|
%syllable if necessary.
|
||
|
|
|
||
|
|
\leavevmode\label{nicerhyphens}%
|
||
|
|
The situation is different if two syllables belong to the same
|
||
|
|
word. Such syllables are allowed to close up; only overlapping is
|
||
|
|
inhibited by shifting. If the ``natural'' space between such syllables is
|
||
|
|
narrower than a hyphen, the hyphen is omitted and the two syllables
|
||
|
|
close up completely (eventually by left-shifting the second syllable
|
||
|
|
to prevent a small gap). You may though force
|
||
|
|
hyphens in every spatial situation saying
|
||
|
|
\begin{quote}\ci{forcelyrhyphenstrue}\end{quote}
|
||
|
|
(to restore the default behaviour: \ci{forcelyrhyphensfalse}). In
|
||
|
|
this case, enough room is made for the hyphen by right-shifting the
|
||
|
|
second syllable if necessary.
|
||
|
|
|
||
|
|
If the note spacing is quite narrow, lyrics shifting may get
|
||
|
|
accumulated within a system. In order to prevent shifting words too
|
||
|
|
far out of their original position, a wider note spacing should be
|
||
|
|
considered. The command
|
||
|
|
\begin{quote}\ci{showlyrshifttrue}\end{quote}
|
||
|
|
marks each lyric shift with a black rectangle of the respective
|
||
|
|
width, thus making it easy to detect questionable positionings.
|
||
|
|
|
||
|
|
If you prefer to completely disable lyrics shifting, set
|
||
|
|
\ci{minlyrspace} to a large negative value (e.\,g.~$-10$\,cm).
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Vertical positioning}
|
||
|
|
\label{vertical-positioning}
|
||
|
|
|
||
|
|
By default, \musixlyr\ places lyrics vertically centered between the
|
||
|
|
two adjacent staves. Lyrics below the lowest or above the topmost
|
||
|
|
staff of a system are centered around the system's bottom or top
|
||
|
|
margin line.%
|
||
|
|
\footnote{This is not necessarily the most reasonable way, but it is
|
||
|
|
compatible to \musixtex's \printcmd{csong} behaviour.}
|
||
|
|
|
||
|
|
In most scores, you will have to deviate from this standard and
|
||
|
|
manually adjust the lyrics' vertical position. This can be done per
|
||
|
|
staff with the command
|
||
|
|
\begin{quote}
|
||
|
|
\ci{lyrraise}\verb|{|\var n\verb|}|\verb|{|\var{pos}\var{raise}\verb|}|
|
||
|
|
\end{quote}
|
||
|
|
which applies the following setting to the lyrics attached to staff
|
||
|
|
number~\var n: \var{pos} is one of the letters \verb|a|
|
||
|
|
and~\verb|b|. \verb|a| sets the lyrics above the staff, \verb|b| below
|
||
|
|
the staff. \var{raise} is a dimension value by which the lyrics are
|
||
|
|
lifted above (or lowered under, if it is negative) the default
|
||
|
|
position as mentioned above. \ci{lyrraise}\verb|{|\var n\verb|}{b0pt}|
|
||
|
|
is the initial setting for all staves.
|
||
|
|
|
||
|
|
It is possible to apply changes to the vertical position at any place
|
||
|
|
within the score, but in most cases it is most reasonable to do so
|
||
|
|
within \verb|\atnextline{...}| which ensures consistent, even spacing
|
||
|
|
within each system.
|
||
|
|
|
||
|
|
For the sake of backward compatibility, applying \musixtex's command
|
||
|
|
\ci{setsongraise}\verb|{|\var n\verb|}{|\var{raise}\verb|}|
|
||
|
|
implicitly performs a
|
||
|
|
\ci{lyrraise}\verb|{|\var n\verb|}|\verb|{b|\var{raise}\verb|}|,
|
||
|
|
but not vice versa --- i.\,e.~\ci{lyrraise} has no effect on lyrics
|
||
|
|
set with \musixtex's lyrics commands \verb|\csong|,
|
||
|
|
\verb|\zsong|,~etc. Likewise, the obsolete \musixlyr\ command
|
||
|
|
\ci{auxsetsongraise} implies \verb|\auxlyr{\lyrraise...{b...}}|, but
|
||
|
|
not vice versa (see section~\ref{auxlyrics} to learn about the meaning
|
||
|
|
of \verb|\auxlyr|).
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Setting lyrics layout parameters}
|
||
|
|
\label{layoutpar}
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Available parameters}
|
||
|
|
|
||
|
|
\begin{description}
|
||
|
|
\item[Font:] There is no special font command; the current font is
|
||
|
|
used for lyrics. It can be changed using the usual \TeX/\LaTeX\
|
||
|
|
commands.
|
||
|
|
\item[Minimum length of word extension underlines:] A word extension
|
||
|
|
underline is omitted if it would become too short. The minimum
|
||
|
|
length can be set by
|
||
|
|
\begin{quote}\ci{minlyrrulelength}\verb|=|\var{any \TeX\ dimension}
|
||
|
|
\end{quote}
|
||
|
|
and is initially set to~2\,mm. If you prefer to completely inhibit
|
||
|
|
the underlines, set this parameter to an unsurpassably high value
|
||
|
|
(e.\,g.~the width of your paper).
|
||
|
|
\item[Minimum inter-syllable distance for multiple hyphens:] If the
|
||
|
|
space between two hyphenated syllables (or between one of the
|
||
|
|
syllables and the respective system margin) is wider than this
|
||
|
|
distance, it is filled with a line of hyphens instead of a single
|
||
|
|
hyphen. The minimum distance to be filled with more than one
|
||
|
|
hyphen can be set by
|
||
|
|
\begin{quote}\ci{minmulthyphens}\verb|=|\var{any \TeX\ dimension}\end{quote}
|
||
|
|
and is initially set to~15\,mm. If you prefer to completely inhibit
|
||
|
|
filling with multiple hyphens, set this parameter to an
|
||
|
|
unsurpassably high value.
|
||
|
|
\item[Hyphen character:] This can be redefined by:
|
||
|
|
\begin{quote}\verb|\def|\ci{lyrhyphenchar}\verb|{|\dots\verb|}|\end{quote}
|
||
|
|
\end{description}
|
||
|
|
Further layout parameters discussed elsewhere are: vertical
|
||
|
|
positioning (section \ref{vertical-positioning}), word justification
|
||
|
|
(section \ref{miscmanip}), minimum interword distance, and forcing
|
||
|
|
hyphens (section \ref{horizpos}).
|
||
|
|
|
||
|
|
{\bf Note:} In order to change the mentioned parameters globally, the
|
||
|
|
respective commands must be issued {\em outside\/}
|
||
|
|
\verb|\notes...\enotes|.
|
||
|
|
|
||
|
|
\subsubsection{Individual settings per staff}
|
||
|
|
\label{indivlayout}
|
||
|
|
|
||
|
|
All layout parameters can be set either globally (applying to all
|
||
|
|
lyrics lines) or individually, i.\,e.\ valid for a single specified staff.
|
||
|
|
An individual change is accomplished by enclosing the proper command
|
||
|
|
in
|
||
|
|
\begin{quote}\ci{lyrlayout}\verb|{|\dots\verb|}|\end{quote}
|
||
|
|
and issuing this within \verb|\notes...\enotes| in the section of the
|
||
|
|
referred-to staff. For example,
|
||
|
|
\begin{quote}
|
||
|
|
\verb|\notes...&|\ci{lyrlayout}\verb|{\it\leftlyrtrue}...&...\en|
|
||
|
|
\end{quote}
|
||
|
|
applies italic font and left justification to the lyrics line(s)
|
||
|
|
assigned to the second staff.
|
||
|
|
|
||
|
|
Applying \ci{lyrlayout} to the same staff again overrides
|
||
|
|
{\em all\/} previous individual settings for this staff;
|
||
|
|
pay attention to this if you have made several individual settings and
|
||
|
|
want to reset some but retain others. Saying \ci{lyrlayout}\verb|{}|
|
||
|
|
restores the global settings for a staff.
|
||
|
|
|
||
|
|
The \ci{lyrlayout} command can also be used within
|
||
|
|
\ci{setlyrics}; this is useful if an individual setting
|
||
|
|
(especially a font change) should apply to a particular
|
||
|
|
portion of lyrics rather than to a portion of music. For example,
|
||
|
|
\begin{quote}
|
||
|
|
\ci{setlyrics}\verb|{x}{An |\ci{lyrlayout}%
|
||
|
|
\verb|{\it}em-pha-sized\lyrlayout{} phrase}|
|
||
|
|
\end{quote}
|
||
|
|
causes the word ``emphasized'' to appear italic wherever it is posted
|
||
|
|
within the music. (Be sure to attach \ci{lyrlayout} commands to
|
||
|
|
the corresponding lyrics portions {\em without\/} blank spaces in
|
||
|
|
between.)
|
||
|
|
|
||
|
|
{\bf As an exception,} the {\bf vertical positioning of lyrics} cannot be
|
||
|
|
changed within \ci{lyrlayout}; instead, it is handled staff-wise
|
||
|
|
using the special commands discussed in
|
||
|
|
section~\ref{vertical-positioning}.
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Multiple verses per staff}
|
||
|
|
\label{multilyrlines}
|
||
|
|
|
||
|
|
An arbitrary number of verses can be assigned to a staff
|
||
|
|
straightforwardly by saying
|
||
|
|
\begin{quote}\ci{assignlyrics}\verb|{|\var n\verb|}{|%
|
||
|
|
\var{names}\verb|}|\end{quote}
|
||
|
|
where \var{names} is a {\bf comma-separated list} of the desired
|
||
|
|
lyrics line names, listed from top to bottom. In the following
|
||
|
|
example\footnote{Excerpt from: ``Non moriar sed vivam'', motet by
|
||
|
|
{\sc Martin Luther}},
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\generalmeter\allabreve
|
||
|
|
\generalsignature2
|
||
|
|
\scale{0.9}
|
||
|
|
\setlyrics{latin} {Non mo-ri-ar sed}
|
||
|
|
\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern}
|
||
|
|
\assignlyrics1{latin,german}
|
||
|
|
\small
|
||
|
|
\setsongraise1{-1.5mm}
|
||
|
|
\startextract
|
||
|
|
\znotes\verses{,\lyrlayout{\footnotesize\it}}\en
|
||
|
|
\NOTEs\wh{'a}\en\bar
|
||
|
|
\NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar
|
||
|
|
\NOtesp\beginmel\qup{'a}\en
|
||
|
|
\Notes\ca{'b}\en
|
||
|
|
\NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar
|
||
|
|
\NOtes\ttie0\qa{'d}\endmel\qa c\en
|
||
|
|
\NOtes\verses{\beginmel}\ha{'d}\en\bar
|
||
|
|
\NOTes\verses{\endmel}\ha{'ee}\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\twoversesspace
|
||
|
|
|
||
|
|
the lyrics lines have been set up as follows:
|
||
|
|
\begin{quote}
|
||
|
|
\bci{assignlyrics}
|
||
|
|
\begin{verbatim}
|
||
|
|
\setlyrics{latin} {Non mo-ri-ar sed}
|
||
|
|
\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern}
|
||
|
|
\assignlyrics1{latin,german}\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Handling verses individually}
|
||
|
|
|
||
|
|
If you code lyrics attachment manipulations the way
|
||
|
|
described in section~\ref{manipulation}, these manipulations apply
|
||
|
|
{\em to all lyrics lines\/} of the referred staff {\em
|
||
|
|
simultaneously.\/} In order to address each lyrics line separately,
|
||
|
|
use the command
|
||
|
|
\begin{quote}
|
||
|
|
\ci{verses}\verb|{|\var{man1}\verb|,|\var{man2}\verb|,|\dots\verb|}|
|
||
|
|
\end{quote}
|
||
|
|
where \var{man1} is a sequence of commands to manipulate the upper
|
||
|
|
lyrics line, \var{man2} to manipulate the second lyrics line from
|
||
|
|
above, and so on. These command sequences may be empty. Delimiting
|
||
|
|
commas after the last non-empty list entry can be omitted. For example,
|
||
|
|
\begin{quote}
|
||
|
|
\ci{verses}\verb|{,,\beginmel,\golyr{abc}}|
|
||
|
|
\end{quote}
|
||
|
|
leaves the upper two lyrics lines unaltered, initiates a melisma at
|
||
|
|
the third, performs a jump to label {\tt abc} at the fourth, and
|
||
|
|
leaves all further ones (whatever their number may be) unaltered. As
|
||
|
|
another example, the font change for the german lyrics of the above
|
||
|
|
excerpt is accomplished by
|
||
|
|
\begin{quote}
|
||
|
|
\verb|\znotes|\ci{verses}\verb|{,\lyrlayout{\footnotesize\it}}\en|
|
||
|
|
\end{quote}
|
||
|
|
before the first note is coded.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Vertical positioning}
|
||
|
|
\label{multiple-vert-pos}
|
||
|
|
|
||
|
|
A block of multiple lyrics lines is vertically centered around the position
|
||
|
|
which a single lyrics line would have taken; thus you can do things
|
||
|
|
like
|
||
|
|
|
||
|
|
{\small\setlyrstrut
|
||
|
|
\resetlyrics
|
||
|
|
\setlyrics{Winter1}{Win-ter a-de\rlap{,} a-ber dein Schei-den macht\rlap{,}}
|
||
|
|
\setlyrics{Winter2}{schei-den tut weh\rlap,}
|
||
|
|
\assignlyrics1{Winter1,Winter2}
|
||
|
|
\generalmeter{\meterfrac34}
|
||
|
|
\generalsignature2
|
||
|
|
\setsongraise1{-2mm}
|
||
|
|
\startextract
|
||
|
|
\NOtes\qa{ffe}\en\bar
|
||
|
|
\NOTesp\hup d\en\rightrepeat
|
||
|
|
\assignlyrics1{Winter1}%
|
||
|
|
\NOtes\qa{fgh}\en\bar
|
||
|
|
\NOtes\qa h\en
|
||
|
|
\Notes\beginmel\Ibu0gf1\qb0g\endmel\tqh0f\en
|
||
|
|
\NOtes\qa g\en
|
||
|
|
\endextract}
|
||
|
|
\twoversesspace
|
||
|
|
|
||
|
|
without having to adjust the vertical position within the
|
||
|
|
piece. (See the source of this manual for the coding of this
|
||
|
|
example.)
|
||
|
|
|
||
|
|
\leavevmode\label{lyrstrut}%
|
||
|
|
The vertical distance between the baselines of multiple verses is
|
||
|
|
appropriate for the default 10~points font size of plain \TeX.
|
||
|
|
However, the size-switching commands \verb|\smalltype|,
|
||
|
|
\verb|\medtype|~etc.\ do not implicitly adjust the vertical distance
|
||
|
|
to the chosen font size. Since the vertical distance of lyrics is
|
||
|
|
controlled by the concept of a {\em lyrics strut\/}\footnote{In
|
||
|
|
analogy to \TeX's {\tt\char92 strut}; see {\sl The \TeX book\/} by
|
||
|
|
{\sc D.~E.~Knuth.}}, you should perform this adjustment explicitly with
|
||
|
|
the command
|
||
|
|
\begin{quote}\ci{setlyrstrut}\end{quote}
|
||
|
|
directly after each ``global'' font size change (i.\,e.~after each size
|
||
|
|
change not issued within \verb|\lyrlayout{...}|;
|
||
|
|
see~\ref{indivlayout}) unless you do not want the spacing to be
|
||
|
|
adjusted. (\TeX perts only: If you like to define your own vertical
|
||
|
|
spacing, you may redefine the \ci{lyrstrutbox} yourself.)
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Auxiliary lyrics}
|
||
|
|
\label{auxlyrics}
|
||
|
|
|
||
|
|
If you have typeset two voices of a polyphonic arrangement within one
|
||
|
|
staff, you normally want to give each voice its own lyrics lines.
|
||
|
|
Usually, the two voices are distinguished by means of the notes' stem
|
||
|
|
direction; the lyrics of the up-stemmed voice are typeset above,
|
||
|
|
those of the down-stemmed voice below the staff. \musixlyr\
|
||
|
|
provides the facility to maintain such two lyrics ``streams'' per
|
||
|
|
staff; one of them --- which is handled exactly as described so
|
||
|
|
far --- will be called {\em main lyrics,\/} the second one {\em
|
||
|
|
auxiliary lyrics.\/}
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Addressing auxiliary lyrics}
|
||
|
|
|
||
|
|
Only two rules are to be obeyed for directing commands to auxiliary lyrics:
|
||
|
|
\begin{enumerate}
|
||
|
|
\item Enclose everything concerning auxiliary lyrics in:
|
||
|
|
\begin{quote}\ci{auxlyr}\verb|{...}|\end{quote}
|
||
|
|
For example, assign lyrics line~{\tt verse1} to staff~2 as
|
||
|
|
auxiliary lyrics by:
|
||
|
|
\begin{quote}\ci{auxlyr}\verb|{\assignlyrics{2}{verse1}}|\end{quote}
|
||
|
|
For example, begin a melisma at the next note of the ``auxiliary'' voice by:
|
||
|
|
\begin{quote}\ci{auxlyr}\verb|{\beginmel}|\end{quote}
|
||
|
|
(For \TeX perts: If the argument of \ci{auxlyr} consists of
|
||
|
|
only one token, the braces can be omitted, so that
|
||
|
|
\verb|\auxlyr\beginmel| does the same.)
|
||
|
|
\item There are exactly two exceptions to the first rule. The first
|
||
|
|
one are the \ci{setlyrics}, \ci{appendlyrics}, and \ci{copylyrics}
|
||
|
|
commands which need not be enclosed in \ci{auxlyr}\verb|{...}|;
|
||
|
|
their function is independent of the later use of the defined
|
||
|
|
lyrics lines as either main or auxiliary lyrics.
|
||
|
|
|
||
|
|
The second exception concerns lyrics commands issued as type-1
|
||
|
|
\TeX\ strings in a \PMX\ source; see below for details.
|
||
|
|
\end{enumerate}
|
||
|
|
|
||
|
|
\label{auxlyr-vertical-position-default}%
|
||
|
|
Auxiliary lyrics are lifted above the staff by default, i.\,e.~they have
|
||
|
|
the same vertical position as main lyrics belonging to the staff above
|
||
|
|
the current staff. If this causes collisions with the main lyrics of
|
||
|
|
the upper staff, you have to shift the lyrics away from each other
|
||
|
|
using the vertical spacing commands discussed in
|
||
|
|
section~\ref{vertical-positioning}.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Automatic attachment of auxiliary lyrics}
|
||
|
|
\label{auxlyr-attachment}
|
||
|
|
|
||
|
|
While it is easy to attach only one lyrics ``stream'' to a single
|
||
|
|
voice within a system automatically, the attachment of both main and
|
||
|
|
auxiliary lyrics involves the task of determining which note belongs
|
||
|
|
to which voice. Unfortunately, \musixtex\ does not explicitly state a
|
||
|
|
note's membership of a particular voice; therefore, a heuristic
|
||
|
|
method has to be used to gather this information. However,
|
||
|
|
the situation is completely different if you prepare your scores with
|
||
|
|
the \PMX%
|
||
|
|
\footnote{If you don't know what \PMX\ is, have a look at:
|
||
|
|
{\tt http://icking-music-archive.sunsite.dk/musixtex/software/pmx/}}
|
||
|
|
preprocessor. The following paragraphs explain managing the lyrics
|
||
|
|
attachment automatism for both cases --- \PMX\ and
|
||
|
|
non-\PMX\ --- separately.
|
||
|
|
|
||
|
|
|
||
|
|
\paragraph{Using \PMX.}
|
||
|
|
\label{pmx-autodetection}
|
||
|
|
|
||
|
|
(This paragraph requires some \PMX\ knowledge.) For \PMX-prepared
|
||
|
|
scores (which \musixlyr\ detects automagically\footnote{%
|
||
|
|
This automatic \PMX\ detection may cause problems for processing
|
||
|
|
\PMX\ scores prepared with the \PMX-unaware \musixlyr\
|
||
|
|
version~1.0. See section~\ref{no-pmx-autodetection} about how to
|
||
|
|
solve this backward-incompatibility issue.
|
||
|
|
}), the distinction
|
||
|
|
between the two voices of a staff works fully automatic. This applies
|
||
|
|
to both the automatic lyrics attachment as well as explicit lyrics
|
||
|
|
manipulations --- i.\,e.,~you do not have to use \ci{auxlyr}\verb|{...}| for
|
||
|
|
manipulating auxiliary lyrics. (This only applies to manipulations
|
||
|
|
that appear in a voice's context, i.\,e.~within a type-1 \TeX\ string.)
|
||
|
|
For reference, see the following example\footnote{Excerpt from
|
||
|
|
``Waldesnacht, du wunderk\"uhle'' by {\sc Johannes Brahms} ({\sl Eine
|
||
|
|
kleine Melodie,\/} Strube, M\"unchen 1989)},
|
||
|
|
|
||
|
|
\oneversespace
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics\small
|
||
|
|
\setlyrics{soprano}{all der ir-ren Qua-len los.}
|
||
|
|
\auxlyr{\assignlyrics1{soprano}}
|
||
|
|
\copylyrics{soprano}{alto}
|
||
|
|
\assignlyrics1{alto}
|
||
|
|
|
||
|
|
\auxlyr{\lyrraise1{a -3\internote}}
|
||
|
|
\staffbotmarg5.5\Interligne
|
||
|
|
\stafftopmarg5\Interligne
|
||
|
|
\generalsignature2
|
||
|
|
\lyrmodealter0
|
||
|
|
|
||
|
|
\startextract\addspace\afterruleskip
|
||
|
|
\scale{1.2}%
|
||
|
|
\NOtes\zhu{=j}\lower6\internote\qp\lifthpause{-3}\sk\qu h\en
|
||
|
|
\bar
|
||
|
|
\NOtes\auxlyr\beginmel\roffset{.8}{\isluru2j}\zhup f\lower8\internote\qp\en
|
||
|
|
\NOTes\hl{^d}\en
|
||
|
|
\NOTes\zql e\itieu0e\qu e\en
|
||
|
|
\bar
|
||
|
|
\NOtes\beginmel\islurd1c\zql c\ttie0\tslur2h\auxlyr\endmel\qu e%
|
||
|
|
\roff{\endmel\tsslur1d\zhl d}\qu{=d}%
|
||
|
|
\auxlyr\beginmel\itieu0d\hu d%
|
||
|
|
\ql d\en
|
||
|
|
\bar
|
||
|
|
\NOTes\zhl d\ttie0\auxlyr\endmel\hu d%
|
||
|
|
\zhl a\hu c\en
|
||
|
|
\bar
|
||
|
|
\NOTes\zhl a\fermataup l\hu d\hpause\en
|
||
|
|
\setdoubleBAR\endextract
|
||
|
|
\end{music}
|
||
|
|
\oneversespace
|
||
|
|
|
||
|
|
which can be obtained by the following \PMX\ code (processed with
|
||
|
|
\PMX\ version~2.3):
|
||
|
|
\begin{quote}
|
||
|
|
\bci{auxlyr}
|
||
|
|
\begin{verbatim}
|
||
|
|
---
|
||
|
|
\input musixtex % These commands are necessary
|
||
|
|
\input pmx % because pmx.tex MUST be \input
|
||
|
|
\input musixlyr % before musixlyr.tex!
|
||
|
|
|
||
|
|
\setlyrics{soprano} % \setlyrics and \copylyrics
|
||
|
|
{all der ir-ren Qua-len los.} % need not be enclosed in
|
||
|
|
\copylyrics{soprano}{alto} % \auxlyr{...}.
|
||
|
|
|
||
|
|
\assignlyrics1{alto}
|
||
|
|
\auxlyr{\assignlyrics1{soprano}
|
||
|
|
\lyrraise1{a 3\Interligne}}
|
||
|
|
|
||
|
|
\let\BM\beginmel % For brevity within the subsequent
|
||
|
|
\let\EM\endmel % music coding recommended.
|
||
|
|
---
|
||
|
|
1 1 4 4 0 0 3 2 0 5 20 0
|
||
|
|
|
||
|
|
t
|
||
|
|
./
|
||
|
|
|
||
|
|
% 1st and 2nd bar:
|
||
|
|
r4-6 r2-6 | r4-8 d24s e4 //
|
||
|
|
c25n a4 | \BM\ f2d s+4 \isu0e{.8}\ e4 /
|
||
|
|
% 3rd bar:
|
||
|
|
\BM\ c s \EM\ d2r s d4 //
|
||
|
|
\ts0e0\EM\ e s+3 dn \BM\ d2 s /
|
||
|
|
% 4th bar:
|
||
|
|
d2 a // % Note that \BM and \EM
|
||
|
|
\EM\ d s c / % apply either to main
|
||
|
|
% 5th bar: % or to auxiliary lyrics,
|
||
|
|
a r+0 // % depending on which voice
|
||
|
|
d of rb / % they appear in.\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
By default, main lyrics are attached to the lower voice (whose
|
||
|
|
lines end with \verb|//| in the \PMX\ source), auxiliary lyrics to the
|
||
|
|
upper voice; due to \PMX\ internals, this ensures that if only one
|
||
|
|
voice is present, main lyrics are attached to it. However, situations
|
||
|
|
exist in which it is desirable to have main lyrics attached to the
|
||
|
|
upper voice, e.\,g.~when you have only main lyrics and want to
|
||
|
|
synchronize them with the soprano voice instead of the alto voice
|
||
|
|
(both of them set on the same staff). In this case, you can toggle the
|
||
|
|
attachment of lyrics to voices with the command
|
||
|
|
\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote} for
|
||
|
|
staff number \var n; the command
|
||
|
|
\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote}
|
||
|
|
restores the default behaviour. If $\hbox{\var n}=0$ then the change
|
||
|
|
affects all staves.
|
||
|
|
|
||
|
|
|
||
|
|
\paragraph{Using ``plain'' \musixtex\ without \PMX.}
|
||
|
|
|
||
|
|
In this context, there are two basically different modes for lyrics
|
||
|
|
attachment:
|
||
|
|
\begin{enumerate}
|
||
|
|
\item In {\em normal mode\/} (which is active by default) only main
|
||
|
|
lyrics are provided automatically as described in
|
||
|
|
section~\ref{auto-attachment}. All auxiliary lyrics must be issued
|
||
|
|
manually by saying \ci{auxlyr}\ci{lyr} before the respective note.
|
||
|
|
This mode is useful when you do not have auxiliary lyrics at all
|
||
|
|
or when auxiliary lyrics occur only occasionally within the piece.
|
||
|
|
\item In {\em alternative mode\/}, both main and auxiliary lyrics
|
||
|
|
are provided automatically. The two voices of a staff are
|
||
|
|
distinguished by means of their notes' stem direction; the lower
|
||
|
|
voice gets main lyrics, the upper one auxiliary lyrics. This
|
||
|
|
implies that the automatism fails at stemless
|
||
|
|
notes\footnote{Ancient notes, namely breve, longa, and maxima, are
|
||
|
|
also treated as stemless notes by \musixtex's internals.}, thus you
|
||
|
|
have to provide lyrics manually by saying \ci{lyr} or
|
||
|
|
\ci{auxlyr}\ci{lyr}, respectively, before such notes. This mode is
|
||
|
|
meant for staves which continuously contain two polyphonic voices
|
||
|
|
with separate lyrics.
|
||
|
|
\end{enumerate}
|
||
|
|
|
||
|
|
The appropriate mode can be chosen staff-wise: The command
|
||
|
|
\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote}
|
||
|
|
enables alternative mode for staff number \var n; the command
|
||
|
|
\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote}
|
||
|
|
restores normal mode. As stated above, $\hbox{\var n}=0$ performs the
|
||
|
|
choice affecting all staves.
|
||
|
|
|
||
|
|
For illustration, have a look at the following
|
||
|
|
example\footnote{Excerpt from ``Audite nova'' by {\sc Orlando di
|
||
|
|
Lasso} ({\sl ars musica\/} vol.\,4, M\"oseler Verlag
|
||
|
|
Wolfenb\"uttel/Z\"urich)}:
|
||
|
|
|
||
|
|
\oneversespace
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics \small
|
||
|
|
\lyrmodealter0
|
||
|
|
\setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
|
||
|
|
\copylyrics{soprano}{alto} \assignlyrics1{alto}
|
||
|
|
|
||
|
|
\generalsignature{-2}
|
||
|
|
\advance\stafftopmarg3\Interligne
|
||
|
|
\advance\staffbotmarg2\Interligne
|
||
|
|
|
||
|
|
\startextract\addspace\afterruleskip
|
||
|
|
\NOtes\zqu g\ql e\en
|
||
|
|
\bar
|
||
|
|
\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en
|
||
|
|
\Notes\qb0e\en
|
||
|
|
\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
|
||
|
|
\Notes\tqb0e\en
|
||
|
|
\Notes\endmel\tbslurd0e\ql c\en
|
||
|
|
\notes\ibbu0h{-1}\qb0h\en
|
||
|
|
\notes\tqh0g\en
|
||
|
|
\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
|
||
|
|
\bar
|
||
|
|
\NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
|
||
|
|
\lyr\wh b\en % must be given manually.
|
||
|
|
\endextract
|
||
|
|
\lyrmodenormal0
|
||
|
|
\end{music}
|
||
|
|
\oneversespace
|
||
|
|
|
||
|
|
The lyrics were defined as follows:
|
||
|
|
\begin{quote}
|
||
|
|
\bci{auxlyr}
|
||
|
|
\bci{assignlyrics}
|
||
|
|
\begin{verbatim}
|
||
|
|
\setlyrics{soprano}{bring her die Gans,}
|
||
|
|
\copylyrics{soprano}{alto}
|
||
|
|
|
||
|
|
\assignlyrics1{alto}
|
||
|
|
\auxlyr{\assignlyrics1{soprano}}
|
||
|
|
|
||
|
|
\lyrmodealter0 % provide main + aux. lyrics automatically\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
This is the complete notes section:
|
||
|
|
\begin{quote}
|
||
|
|
\bci{auxlyr}
|
||
|
|
\begin{verbatim}
|
||
|
|
\NOtes\zqu g\ql e\en
|
||
|
|
\bar
|
||
|
|
\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en
|
||
|
|
\Notes\qb0e\en
|
||
|
|
\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
|
||
|
|
\Notes\tqb0e\en
|
||
|
|
\Notes\endmel\tbslurd0e\ql c\en
|
||
|
|
\notes\ibbu0h{-1}\qb0h\en
|
||
|
|
\notes\tqh0g\en
|
||
|
|
\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
|
||
|
|
\bar
|
||
|
|
\NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
|
||
|
|
\lyr\wh b\en % must be given manually.\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
Note that, as opposed to using \PMX, there is no special provision
|
||
|
|
for attaching main lyrics to the upper voice. If you desire a single
|
||
|
|
lyrics ``thread'' synchronized with the upper voice, please use
|
||
|
|
auxiliary lyrics instead and position them below the staff (see
|
||
|
|
section~\ref{vertical-positioning}).
|
||
|
|
Alternatively, you may use main lyrics in normal lyrics mode and code
|
||
|
|
the lower voice completely non-spacing (in the sense explained
|
||
|
|
in~\ref{auto-attachment}), the upper voice completely spacing; this
|
||
|
|
should not be too complicated for mainly homophonic pieces.
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Lyrics at multi-staff instruments}
|
||
|
|
\label{multi-staff-instruments}
|
||
|
|
|
||
|
|
So far in this manual, the term {\em staff\/} has always been used for
|
||
|
|
what \musixtex\ precisely calls an {\em instrument\/}. This section,
|
||
|
|
however, correctly adopts the \musixtex\ terminology.
|
||
|
|
|
||
|
|
Lyrics can be assigned to staves of a multi-staff instrument. To do
|
||
|
|
so, use
|
||
|
|
\begin{quote}
|
||
|
|
\ci{assignlyricsmulti}\verb|{|\var i\verb|}{|\var s\verb|}{...}|
|
||
|
|
\end{quote}
|
||
|
|
instead of \verb|\assignlyrics...|; here, \var s~addresses the desired
|
||
|
|
staff number (counted from bottom to top) of instrument~\var i.
|
||
|
|
|
||
|
|
Nevertheless,
|
||
|
|
\ci{assignlyrics}\verb|{|\var i\verb|}{...}|
|
||
|
|
can be used as well if instrument~\var i has multiple staves; in this
|
||
|
|
case, it is equivalent to
|
||
|
|
\verb|\assignlyricsmulti{|\var i\verb|}{1}{...}|,
|
||
|
|
i.\,e.~it affects only the first staff (and not all staves, as may be
|
||
|
|
presumed).
|
||
|
|
|
||
|
|
In the same spirit, the following ``multi'' commands replace the
|
||
|
|
standard ones within a multi-staff instrument context:
|
||
|
|
\begin{quote}
|
||
|
|
\ci{lyrraisemulti}\\
|
||
|
|
\ci{lyrmodenormalmulti}\\
|
||
|
|
\ci{lyrmodealtermulti}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
All other \musixlyr\ commands or features can be used the same way as
|
||
|
|
within a single-staff instrument context.
|
||
|
|
|
||
|
|
Using lyrics at multi-staff instruments can be useful, for example,
|
||
|
|
for typesetting songs with piano accompaniment:%
|
||
|
|
\footnote{Example taken from songbook {\sl Am Brunnen vor dem Tore\/},
|
||
|
|
Delphin Verlag M\"unchen/Z\"urich 1981}
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le}
|
||
|
|
\assignlyricsmulti11{}
|
||
|
|
\assignlyricsmulti12{verse}
|
||
|
|
\lyrraisemulti12{b 2\internote}
|
||
|
|
\setstaffs12
|
||
|
|
\generalsignature{-1}
|
||
|
|
\generalmeter\meterC
|
||
|
|
\setclef1\bass
|
||
|
|
\interstaff{13}
|
||
|
|
\scale{1.3}
|
||
|
|
\startextract
|
||
|
|
\Notes\qp|\ibl0j{-2}\qb0j\tqb0i\en
|
||
|
|
\bar\hardspace{1.7\myqnwidth}%
|
||
|
|
\NOtes\isluru1d\lq c\zq M\ql d|\qa h\en
|
||
|
|
\NOtes\zq c\zq M\ql e|\qa h\en
|
||
|
|
\Notes\lq c\zq M\ql d|\islurd0h\ibu0h2\qb0h\tslur0i\tqh0i\en
|
||
|
|
\Notes\tslur1e\zq c\zq M\ql e|\isluru0j\ibl0j2\qb0j\tslur0k\tqb0k\en
|
||
|
|
\bar\hardspace\myqnwidth
|
||
|
|
\Notes\isluru1d\lq c\zq M\ql d|\isluru0j\ibl0j{-2}\qb0j\tslur0i\tqb0i\en
|
||
|
|
\NOtes\zq c\zq M\ql e|\qa g\en
|
||
|
|
\NOtes\lq c\zq M\ql d|\qp\en
|
||
|
|
\znotes\midslur2\tsslur1d\en
|
||
|
|
\zendextract
|
||
|
|
\end{music}
|
||
|
|
|
||
|
|
The lyrics of this example are defined as follows:
|
||
|
|
\begin{quote}
|
||
|
|
\bci{assignlyricsmulti}
|
||
|
|
\bci{lyrraisemulti}
|
||
|
|
\begin{verbatim}
|
||
|
|
\setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le}
|
||
|
|
\assignlyricsmulti{1}{2}{verse}
|
||
|
|
\lyrraisemulti {1}{2}{b \internote}\end{verbatim}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Managing lyrics assignment according to current context}
|
||
|
|
\label{assignment-by-context}
|
||
|
|
|
||
|
|
Managing the properties of lyrics lines assignment to instruments by
|
||
|
|
absolute instrument numbers --- as it is done with the
|
||
|
|
\ci{assignlyrics}, \ci{lyrraise}, and \ci{lyrmodealter}
|
||
|
|
commands --- may cause difficulties whenever the score's number and
|
||
|
|
order of instruments shall be rearranged; in this case instrument
|
||
|
|
numbers change, thus the instrument number parameters of the
|
||
|
|
mentioned lyrics-related commands have to be adjusted.
|
||
|
|
|
||
|
|
This is especially unpleasant where such a rearrangement is done
|
||
|
|
automatically, e.\,g.~by \PMX's part extraction facility {\em
|
||
|
|
scor2prt\/}; this is intended to work without any manual editing
|
||
|
|
of the generated part files.
|
||
|
|
|
||
|
|
To address this issue, \musixlyr\ provides {\em context-dependent\/}
|
||
|
|
variants of the commands mentioned above. For example: Instead of
|
||
|
|
\verb|\assignlyrics{2}{soprano}|, you may say something like:
|
||
|
|
\begin{quote}
|
||
|
|
\verb|\notes...&|\ci{assignlyricshere}\verb|{soprano}...\en|
|
||
|
|
\end{quote}
|
||
|
|
\ci{assignlyricshere}\verb|{|\var{name(s)}\verb|}| assigns the given verse
|
||
|
|
\var{name(s)} to the instrument/staff whose context it occurs in within the
|
||
|
|
\verb|\notes...\en| construct; no absolute instrument/staff number needs to
|
||
|
|
be specified.
|
||
|
|
|
||
|
|
For example, the following two code fragments are equivalent:
|
||
|
|
|
||
|
|
\begin{quote}
|
||
|
|
\footnotesize
|
||
|
|
\hfill
|
||
|
|
\def\arraystretch{1}%
|
||
|
|
\begin{tabular}{l@{\qquad}|@{\qquad}l}
|
||
|
|
\begin{tabular}[t]{@{}l@{}}
|
||
|
|
\ci{assignlyrics}\verb| {1} {acct}%|\\
|
||
|
|
\ci{assignlyricsmulti}\verb|{2}{2}{verse}%|\\
|
||
|
|
\verb.\NOtes\qa c&\qa e|\qa g\en.
|
||
|
|
\end{tabular}
|
||
|
|
&
|
||
|
|
\begin{tabular}[t]{@{}l@{}}
|
||
|
|
\verb|\NOtes|\ci{assignlyricshere}\verb|{acct}\qa c%|\\
|
||
|
|
\verb| &\qa e%|\\
|
||
|
|
\verb. |.\ci{assignlyricshere}\verb|{verse}\qa g\en|
|
||
|
|
\end{tabular}
|
||
|
|
\end{tabular}
|
||
|
|
\hfill\strut
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
Using \PMX, the context-dependent commands must be given as type-1
|
||
|
|
inline \TeX\ strings. Here is the same example, coded as \PMX input:
|
||
|
|
|
||
|
|
\begin{quote}
|
||
|
|
\footnotesize
|
||
|
|
\hfill
|
||
|
|
\def\arraystretch{1}%
|
||
|
|
\begin{tabular}{l@{\qquad}|@{\qquad}l}
|
||
|
|
\begin{tabular}[t]{@{}l@{}}
|
||
|
|
\ci{assignlyrics}\verb| {1} {acct}\|\\
|
||
|
|
\ci{assignlyricsmulti}\verb|{2}{2}{verse}\|\\
|
||
|
|
\verb|c44 /|\\
|
||
|
|
\verb|e44 /|\\
|
||
|
|
\verb|g44 /|\\
|
||
|
|
\end{tabular}
|
||
|
|
&
|
||
|
|
\begin{tabular}[t]{@{}l@{}}
|
||
|
|
\hphantom{\tt .NOtes.assignlyricshere.acct..qa cg.en}\\
|
||
|
|
\\
|
||
|
|
\ci{assignlyricshere}\verb|{acct}\ c44 /|\\
|
||
|
|
\verb| e44 /|\\
|
||
|
|
\ci{assignlyricshere}\verb|{verse}\ g44 /|\\
|
||
|
|
\end{tabular}
|
||
|
|
\end{tabular}
|
||
|
|
\hfill\strut
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
The first one (left) results in wrong lyrics assignments in {\em
|
||
|
|
scor2prt\/} output; the second one (right) is robust against part
|
||
|
|
extraction.
|
||
|
|
|
||
|
|
This is the complete set of ``here'' commands that can be applied the
|
||
|
|
same way:
|
||
|
|
\begin{quote}
|
||
|
|
\ci{assignlyricshere}\\
|
||
|
|
\ci{lyrraisehere}\\
|
||
|
|
\ci{lyrmodenormalhere}\\
|
||
|
|
\ci{lyrmodealterhere}
|
||
|
|
\end{quote}
|
||
|
|
|
||
|
|
All other \musixlyr\ commands are context-driven anyway, i.\,e.~using
|
||
|
|
the mentioned ``here'' commands you can completely omit any absolute
|
||
|
|
instrument/staff number assignment.
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\subsection{Miscellaneous}
|
||
|
|
|
||
|
|
\subsubsection{Avoiding problems after {\tt\char92
|
||
|
|
endpiece...\char92 startpiece}}
|
||
|
|
|
||
|
|
Sometimes, after having suspended the music with \verb|\endpiece| and
|
||
|
|
restarted it with \verb|\startpiece| (or the respective
|
||
|
|
\verb|\...extract| commands), the lyrics lines are totally misaligned
|
||
|
|
because the internal lyrics positioning parameters are not reset
|
||
|
|
properly. Saying
|
||
|
|
\begin{quote}\ci{resetlyrics}\end{quote}
|
||
|
|
before the beginning of the new music section should solve this
|
||
|
|
problem.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Improved centering of words with punctuation marks}
|
||
|
|
|
||
|
|
Centered words with an attached punctuation mark often seem a bit
|
||
|
|
left-shifted since the punctuation mark also counts for the
|
||
|
|
centering. To have a word centered solely with respect to its
|
||
|
|
letters, enclose the punctuation mark in \verb|\rlap{...}| as it is
|
||
|
|
done in the example of section~\ref{multiple-vert-pos}. Unfortunately,
|
||
|
|
this circumvents the lyrics shifting automatism, and is incompatible
|
||
|
|
with the use of \ci{lyrnop}.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Verse numbers}
|
||
|
|
\label{versenumbers}
|
||
|
|
|
||
|
|
There is no special command for this topic. See the following example:
|
||
|
|
|
||
|
|
\begin{music}
|
||
|
|
\resetlyrics
|
||
|
|
\generalmeter{\meterfrac24}
|
||
|
|
\scale{1.8}
|
||
|
|
\setlyrics{sailor1}
|
||
|
|
{\llap{1.} What shall we do with a drun-ken sail-or\rlap{?}}
|
||
|
|
\setlyrics{sailor2}
|
||
|
|
{\llap{2.} Take him and shake him and try to\lyrlink a-wake him,}
|
||
|
|
\setlyrics{sailor3}{\llap{3.} Give him a dose of_ salt and wa-ter,}
|
||
|
|
\setlyrics{sailor4}{\llap{4.} Give him a dash with a bo-som's rub-ber,}
|
||
|
|
\assignlyrics1{sailor1,sailor2,sailor3,sailor4}
|
||
|
|
\small\setlyrstrut
|
||
|
|
\setsongraise1{-6mm}
|
||
|
|
\startextract
|
||
|
|
\znotes\llyr\lyroffset{-2}% make the numbers stand off to the left
|
||
|
|
\lyr% post the numbers
|
||
|
|
\en
|
||
|
|
\Notes\ibu0h0\qb0h\en
|
||
|
|
\notes\nbbu0\qb0h\tqh0h\en
|
||
|
|
\Notes\ibu0h0\qb0h\en
|
||
|
|
\notes\nbbu0\qb0h\tqh0h\en\bar
|
||
|
|
\Notes\Dqbu hd\Dqbu fh\en
|
||
|
|
\endextract
|
||
|
|
\end{music}
|
||
|
|
\oneversespace
|
||
|
|
\twoversesspace
|
||
|
|
|
||
|
|
To see how this is accomplished, look for the example's coding within
|
||
|
|
{\tt mxlyrdoc.tex}.
|
||
|
|
|
||
|
|
Section~\ref{lyric*-verse-numbers} explains an alternative method for
|
||
|
|
setting vertically aligned verse numbers.
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{``Lyrics slurs''}
|
||
|
|
|
||
|
|
If two consecutive syllables of a lyrics line share the same note (as
|
||
|
|
in the second verse of the above example), you may want to link them
|
||
|
|
together with a small slur under them \mbox{like\lyrlink this.} To do
|
||
|
|
this, use the command \ci{lyrlink} instead of the respective blank
|
||
|
|
space within the \verb|\setlyrics| definition.
|
||
|
|
|
||
|
|
If any of the adjacent characters extend under their \TeX\ baseline
|
||
|
|
(like `g', `j', `p', etc.), use \ci{lowlyrlink} which lowers the
|
||
|
|
slur accordingly (e.\,g.: \mbox{sing\lowlyrlink gladly}).
|
||
|
|
|
||
|
|
|
||
|
|
\subsubsection{Restoring the \PMX-unaware behaviour of \musixlyr~1.0}
|
||
|
|
\label{no-pmx-autodetection}
|
||
|
|
|
||
|
|
As stated in section~\ref{pmx-autodetection}, \musixlyr\ distinguishes
|
||
|
|
between main and auxiliary lyrics context in a special way when it
|
||
|
|
detects that the score has been set up using \PMX. However, this
|
||
|
|
automatic \PMX\ detection may cause problems for processing \PMX\
|
||
|
|
scores prepared with the \PMX-unaware \musixlyr\ version~1.0. To solve
|
||
|
|
this, you can force the old \musixlyr\ behaviour by an explicit macro
|
||
|
|
redefinition as follows:
|
||
|
|
|
||
|
|
Within {\tt musixlyr.tex}, find the code fragment
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\ifx\nextvoice\undefined
|
||
|
|
\def\decide@lyrmode{%
|
||
|
|
\call@lyrmode
|
||
|
|
...
|
||
|
|
\fi\fi\fi\fi\fi\fi\fi}
|
||
|
|
\else\end{verbatim}\end{quote}
|
||
|
|
(which is about 25 lines long). Copy it, exluding the first and the
|
||
|
|
last line, to your score source and surround it by the
|
||
|
|
\verb|\makeatletter...\makeatother| command pair. This
|
||
|
|
should then look like this:
|
||
|
|
\begin{quote}\begin{verbatim}
|
||
|
|
\makeatletter
|
||
|
|
\def\decide@lyrmode{%
|
||
|
|
\call@lyrmode
|
||
|
|
...
|
||
|
|
\fi\fi\fi\fi\fi\fi\fi}
|
||
|
|
\makeatother\end{verbatim}\end{quote}
|
||
|
|
|
||
|
|
To restore the \PMX-aware \musixlyr\ behaviour of version~1.1 and
|
||
|
|
newer, copy the {\em second\/} \verb|\decide@lyrmode| definition
|
||
|
|
from {\tt musixlyr.tex} to the desired place in your score and
|
||
|
|
surround it with \verb|\makeatletter...\makeatother|.
|
||
|
|
|
||
|
|
To do these redefinitions within a \PMX\ input file, it is probably
|
||
|
|
always best to wrap them in macro definitions within the \PMX\ file
|
||
|
|
preamble. This way, you can switch between the ``old'' and ``new''
|
||
|
|
\musixlyr\ behaviour by simply calling these macros in \PMX's
|
||
|
|
inline-\TeX\ style.
|
||
|
|
|
||
|
|
\pagebreak[4]
|
||
|
|
\section{Command index}
|
||
|
|
\printindex
|
||
|
|
|
||
|
|
|
||
|
|
|
||
|
|
\section{Software license}
|
||
|
|
|
||
|
|
\musixlyr\ (including this manual) is free software; you can
|
||
|
|
redistribute it and/or modify it under the terms of the GNU General
|
||
|
|
Public License as published by the Free Software Foundation; either
|
||
|
|
version~2 of the License, or any later version.
|
||
|
|
|
||
|
|
\musixlyr\ is distributed in the hope that it will be useful,
|
||
|
|
but WITHOUT ANY WARRANTY; without even the implied warranty of
|
||
|
|
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
|
||
|
|
GNU General Public License for more details.
|
||
|
|
|
||
|
|
You should have received a copy of the GNU General Public License
|
||
|
|
along with \musixlyr; if not, write to the Free Software
|
||
|
|
Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
|
||
|
|
|
||
|
|
\medskip
|
||
|
|
Author:
|
||
|
|
\begin{tabular}[t]{l}
|
||
|
|
Rainer Dunker\\
|
||
|
|
Wachtelweg 31\\
|
||
|
|
85\,591 Vaterstetten\\[0.5ex]
|
||
|
|
Germany\\[1ex]
|
||
|
|
E-mail: \tt rainer.dunker@web.de
|
||
|
|
\end{tabular}
|
||
|
|
|
||
|
|
\end{document}
|