I use LilyPond for barbershop quartet music. The barbershop style is mostly homophonic, but there are frequent spots where one or more parts will need their own lyrics for a measure or two. I use the split voice approach mentioned above to handle those spots and it works well. For example
\version "2.19.82" \language english global = { \key bf \major \time 4/4 \accidentalStyle modern-voice-cautionary \partial 4 } tenorMusic = \relative c'' { af4 | \tuplet 3/2 {g4 g g} g4 g8 a | bf f4 d8 f2 |r4 e e e | } tenorMusicb = \relative c'' { g8 f g f~f4 g | bf1 ~ bf2. r4 } tenorMusicc = \relative c'' { g4 gf2. | bf1 \bar "|." } tenorWords = \lyricmode { af- ter you've gone __ a- way, __ } leadMusic = \relative c' { d4 | \tuplet 3/2 {c4 c c} cs4 cs8 cs | d d4 c8 b2 | r4 d c d| ef2. ef4 | ff2 (~ ff8 ef ff4 f2.) r4 | ef4 ff2. | f1 \bar "|." } leadWords = \lyricmode { You told me good- bye now it's your turn to cry, af- ter you've gone a- way __ gone a- way. } bariMusic = \relative c' { bf4 | \tuplet 3/2 {bf4 bf bf} a4 a8 g | f bf4 af8 g2 | r4 bf bf bf| } barimusicb = \relative c' { bf8 a bf a ~ a4 a | df2 (~df8 c df4 d2.) r4 | } bariMusicc = \relative c' { c4 df2. | df1 \bar "|." } bariWords = \lyricmode { af- ter you've gone __ a- way, __ } bassMusic = \relative c { f4 | \tuplet 3/2 {ef4 ef ef} e4 e8 e | bf bf4 f'8 d2 | r4 g g g | } bassMusicb = \relative c { c2. c4 | gf'1 ( bf1 ~bf ~ bf) \bar "|." } bassWords = \lyricmode { gone a- way. __ } \score { \new ChoirStaff << \new Lyrics = "tenors" \with { % this is needed for lyrics above a staff \override VerticalAxisGroup.staff-affinity = #DOWN } \new Staff = "high" << \clef "treble_8" { \new Voice = "tenors" {\voiceOne \global \tenorMusic } \new Voice = "tenb" {\voiceOne \tenorMusicb } \new Voice = "tenc" {\voiceOne \tenorMusicc } } { \new Voice = "leads" {\voiceTwo \global \leadMusic } } >> \new Lyrics = "leads" \new Lyrics = "baris" \with { % this is needed for lyrics above a staff \override VerticalAxisGroup.staff-affinity = #DOWN } \new Staff = "lo" << \clef bass { \new Voice = "baris" { \voiceOne \global \bariMusic } \new Voice = "barib" { \voiceOne \barimusicb } \new Voice = "baric" { \voiceOne \bariMusicc } } { \new Voice = "basses" {\voiceTwo \global \bassMusic } \new Voice = "bsb" {\voiceTwo \bassMusicb } } >> \new Lyrics = "basses" \context Lyrics = "tenors" \lyricsto "tenb" \tenorWords \context Lyrics = "leads" \lyricsto "leads" \leadWords \context Lyrics = "baris" \lyricsto "barib" \bariWords \context Lyrics = "basses" \lyricsto "bsb" \bassWords >> } David Bowen On Mon, Aug 26, 2019 at 8:13 PM Aaron Hill <lilyp...@hillvisions.com> wrote: > On 2019-08-26 3:34 pm, Michael Wagner wrote: > > When I am entering music into lilypond, I come across situations where > > a measure or two of a repeated bit of music has a slight melodic > > variation and I wold like to associate the appropriate lyrics with > > that measure. > > [ . . . ] > > I might be able to a align the lyrics with the appropriate voice using > > skips, etc., but it seems as though using \lyricsto would be more > > elegant. > > The examples in the manual that use \lyricsto seem to be assigning the > > equivalent of a whole verse to a voice. Can I align a part of a verse > > to a voice? > > As far as I can tell, \lyricsto does not have a direct way to specify a > limited scope, since you only get to provide the name of the context. > To restrict alignment to only a particular subset of notes within a > Voice, you would need to explicitly separate out those notes into their > own named context to use with \lyricsto. > > LilyPond provides a NullVoice context that makes it easy to include such > an extraction of notes to be used just for timing but not display. I > use this feature quite a bit, mainly because I also use \partcombine > which is not compatible with \lyricsto; but that is another story. > > > -- Aaron Hill > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user >
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