Re: Lyric syllables

[tisimst]

Charles Johnson wrote
> Well i thought it was not /that/ long ;) 

Charles,

Let me see if I can help clarify some things:

1. The "\stopStaff ... \startStaff" section in each staff is unnecessary.

2. The point Phil and Ali are trying to make is that you can manually create
a lyric melisma (i.e., without using a slur on the staff) by using the
underscore short-hand for each note to skip (like changing "Al -- le -- e --
e -- e -- lu -- ia" to "Al -- le -- _ _ _ lu -- ia"). Literal underscores
require you to put it in quotation marks, like "_". Alternatively, using a
slur to create the melisma eliminates the need for the underscores (like is
done already in some places) and all you need is the normal "Al -- le -- lu
-- ia" in the lyrics. 

3. The verse number is set with 

  \set stanza = "N."

where N is the verse number. This automatically aligns the verse numbers. 

4. Most punctuation characters like the comma "," do not need to be in
quotes in the lyrics. To use literal quotes, put a backslash in front, like
\", or use curved quotes that don't need the backslash.

4. I realize there are a lot of verses, but why not put them all together
in-between the two staves? If you really want to keep them like you've
indicated, then I'd probably suggest increasing the spacing between verse
six and the second system for clarity. Maybe something like:

  \paper {
    ...
    system-system-spacing.padding = #4
  }

That all being said, here's how I would code/format your score:

%< --------------------------------- SNIP

\version "2.18.2" 
% automatically converted by musicxml2ly from s-1.xml 
\header { 
  poet = "One-in-a-bar"
  encodingsoftware = "PDFtoMusic Pro v1.5.0 Build 14482 (c) Myriad -
http://www.myriad-online.com"; 
  composer = "Schein" 
  title = "Surrexit Christus" 
} 
#(set-global-staff-size 19.1113832445) 
\paper { 
  paper-width = 20.99\cm 
  paper-height = 29.7\cm 
  top-margin = 1.0\cm 
  bottom-margin = 1.0\cm 
  left-margin = 1.0\cm 
  right-margin = 1.0\cm
  indent = 0
} 

\layout { 
  \context { 
    \Score 
    autoBeaming = ##f 
  }
} 

Soprano =  \relative e' { 
  \clef "treble" 
  \key g \major 
  \time 3/4 
  \partial 4 
  e4 | 
  g2 g4 |
  b2 g4 |
  \time 2/4  
  g2 ( |
  fis2 ) |
  e2 |
  fis2 |
  a4 a4 |
  b2 | 
  a2 |
  b4 g4 ~ |
  g4 fis4 |

  \time 3/4  
  g2 g4 |
  b2 g4 |
  fis2 fis4 |
  e2 e4 |
  fis2 gis4 |
  \time 2/4  
  a4. ( g8 _. |
  a4 _. g4 _. | 
  \time 3/4  
  fis4. e8 _. e4 ~ |
  \time 2/4  
  e4 ) dis4 |
  e2 \bar "|." 
} 

Alto =  \relative b { 
  \clef "treble"
  \key g \major 
  \time 3/4 
  \partial 4 
  b4 |
  e2 e4 |
  g2 e4 |
  \time 2/4  
  d2 ~ 
  d2 |
  d4 ( cis4 ) |
  d2 |
  fis4 fis4 
  g2 | 
  fis2 |
  g4 d4 ~ |
  d4 d4 

  \time 3/4  
  d2 d4 |
  g2 d4 |
  d2 d4 |
  d2 cis4 
  d2 d4 |
  \time 2/4  
  c4. ( d8 _. | 
  e4 _. e4 _. | 
  \time 3/4  
  d4. b8 _. b4 ~ 
  \time 2/4 
  b4 ) b4 |
  b2 \bar "|." 
} 

SopranoVerseOne =  \lyricmode { 
  \set stanza = "1."
  Sur -- re -- xit Chri -- stus ho -- di -- e, 
  Al -- le -- lu -- ia, Al -- le -- lu -- ia, 
  Hu -- ma -- no pro so -- la -- mi -- ne, 
  Al -- le -- lu -- ia.
} 

SopranoVerseTwo =  \lyricmode { 
  \set stanza = "2." 
  Mor -- tem qui pa -- ssus pri -- di -- e, 
  Al -- le -- lu -- ia, Al -- le -- lu -- ia,
  mi -- se -- rri -- mo pro ho -- mi -- ne, 
  Al -- le -- lu -- ia.
} 
  
SopranoVerseThree =  \lyricmode { 
  \set stanza = "3."
  Mu -- lie -- er -- es ad tu -- mu -- lum, 
  Al -- le -- lu -- ia, Al -- le -- lu -- ia, 
  por -- ta -- ver -- unt a -- ro -- ma -- ta, 
  Al -- le -- lu -- ia.
} 
      
AltoVerseFour =  \lyricmode { 
  \set stanza = "4."
  Di -- sci -- pu -- lis hoc di -- ci -- te, 
  Al -- le -- lu -- ia, Al -- le -- lu -- ia, 
  su -- rrex -- it Chri -- stus ho -- di -- e, 
  Al -- le -- lu -- ia.
} 

AltoVerseFive =  \lyricmode { 
  \set stanza = "5."
  In hoc Pa -- schal -- i gau -- di -- o, 
  Al -- le -- lu -- ia, Al -- le -- lu -- ia, 
  be -- ne -- dic -- a -- mus Do -- mi -- no, 
  Al -- le -- lu -- ia.
} 

AltoVerseSix =  \lyricmode { 
  \set stanza = "6." 
  Lau -- de -- tur sanc -- ta Tri -- ni -- tas, 
  Al -- le -- lu -- ia, Al -- le -- lu -- ia, 
  De -- o di -- ca -- mus gra -- ti -- as, 
  Al -- le -- lu -- ia.
}  

% The score definition 
\score { 
  {
    \new ChoirStaff <<
      \new Staff = "sopranos" {
        \new Voice = "sopranos" \Soprano
      }
      \new Lyrics \lyricsto "sopranos" \SopranoVerseOne 
      \new Lyrics \lyricsto "sopranos" \SopranoVerseTwo 
      \new Lyrics \lyricsto "sopranos" \SopranoVerseThree 
      \new Staff = "altos" { 
        \new Voice = "altos" \Alto 
      }
      \new Lyrics \lyricsto "altos" \AltoVerseFour 
      \new Lyrics \lyricsto "altos" \AltoVerseFive 
      \new Lyrics \lyricsto "altos" \AltoVerseSix 
    >> 
  }
  \layout {} 
  % To create MIDI output, uncomment the following line: 
  %  \midi {} 
}

%< --------------------------------- SNIP

It's your choice, of course, but I think using the slur with the last "le"
syllable makes the most sense. Not only does it make the music more
consistent, but it is also clear to the singers.

Regards,
Abraham



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