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32

I'm going to go with "it was always common". Certainly many Renaissance madrigals are written to "you" (or "thee", as the case may be): Come again! Sweet love doth now invite Thy graces that refrain To do me due delight. To see, to hear, To touch, to kiss, To die with thee again in sweetest sympathy. Come Again, John Dowland, c.1597 ...


16

It turns out the Word document I copied the lyrics from contained some non-breaking spaces; these don't stand out in the Lilypond editor* but the compiler doesn't recognize them as word separators. It sees the entirety of "O say can you see" as a single syllable. When I replaced all non-standard spaces with regular ones, the lyrics were correctly ...


13

Nope! It's not necessarily a mismatch. The major or minor quality of the key a song is in is only one of many, many qualities that determine its emotion. It gets to the point that a major song can be very sad, and a minor song can be very happy, depending on the context. For concrete examples, "Last Train Home" by the Pat Metheny group (listen on Spotify) ...


13

A very common way to notate lyrics where pitch doesn't matter is to just use a single line staff to note the rhythmic hits. In this system everything is the same except there are not distinct pitches per note. Here's an example of this system used to notate The Aggressive Bee: ]1


10

Do you need lyrics? If it is hard to write them, it's easiest to skip them and compose instrumental music. If this is not an option, do you have a friend that can write them? Not all musicians write lyrics. In a band it is common that many members contribute to the music, but only the singer writes lyrics. I you want to "learn" how to write lyrics, then ...


9

I'm afraid the short answer is no. It may be possible if you could find an instrumental version Load both the completed track and the instrumental into a DAW and make sure they line up (I.e. listen to them at the same time). Then mute the instrumental until the point you wish to change, and at that point mute the original track. (I.E. switch to ...


8

Yes, it is very simple. In your lilypond file, you can use any number of \score and \markup blocks, one after another, and Lilypond just typesets it all and puts it into one file in the same order. So here you would have (...) \score { (your score goes here) } \markup {This text will appear below the score.} Here's a lilybin for you to experiment with (...


8

You've experienced significant trauma, and it doesn't take a licensed psychologist to say you're experiencing (quite understandable) depression. By all means, you can aspire to return to making music, but I would encourage you to look to more direct help than composition to address these wounds. Yes, music can be a powerful tool to heal the psyche, and music ...


7

There are several different kinds of stress in music. Meter (lyrical) is the stress added by accents (real or implied) in the lyric. It's important to remember that meter, as it was used in writing, actually gave rhythmic form to both poetry and prose. In the case of music, the lyric may not always be delivered in a way which stresses its own meter. In one ...


7

Speaking piano The idea behind synthesizing speech from a mechanical instrument is that since speech sounds are (highly complex) combinations of sine waves, and each sine wave represents a pitch, combining instrumental pitches can mimic those same sounds. This was demonstrated with a piano by Peter Ablinger in 2009 and can be seen in the below video. ...


7

When you have a problem, you should deal with the problem. Your problem is not musical. It's completely off topic to advise you about your actual problem. No one here knows anything about your financial and personal affairs. You need to acknowledge the problem is not musical, be honest with yourself, figure out what the problem really is, and overcome it.


6

I took a course on Coursera for songwriting and the emphasis was lyrics and fitting them to rhythms. Pat Pattison is an author with great advice for the lyric writing point of view. http://www.patpattison.com/


6

Perhaps the main thing to consider here is expectations. If you lived in a world where all musical lines had note starts (or other 'events') that only fell on the strong beats, then a vocal line that behaved otherwise might - at least on first listening - seem out of time. We (or at least most of us) don't live in that world though - for example, there are ...


6

If you play and sing it yourself, then it's a cover. If you merely use editing tools to change it around, then it's a remix. A remix generally doesn't include a new performance or recording, it's merely editing and changing what has already been recorded. A cover is a new recording or performance of a song written by someone else, or sometimes it's a new ...


6

The problem is that your tune is wrong in bars 9 to 11. At least, it's different from the versions I've heard. I prefer your version, but then I'm old and jaded and wouldn't care if I never heard the wretched thing again! Maybe yours is the original version. This is the tune I know: I think I've got the words right. But I don't know the next verse. It ...


5

As pointed out by Killian Forth, "parody", in the original musicological sense, should cover this -- initially musical parody was merely the resuse of musical content in another work, and didn't have the comical connotations that it does today. The reason why the lyrics can be exchanged is because the two songs have the same (poetic) metre. There are many ...


5

Wow - that song has a ton of words! And as you said, there is not really a chorus that repeats over and over. This one would be a challenge for anyone and it will take some persistent practice. Storing these lyrics into long term memory will best be accomplished by spacing the learning process over a longer period of time rather than cramming it in in a ...


5

The best explanation of the difference between lyrics and poetry I've ever heard was in a broadcast of a talk at the Dramatists Guild by Stephen Sondheim; there's a transcript of it here. It would also be worth looking at "Notes on Lyrics," an essay by Sondheim's mentor Oscar Hammerstein, of which you can get a copy here. EDIT: I've posted screenshots of ...


5

Most of your name suggestions aren't wrong. Chords and lyrics sheet -> This seems a bit long, but it is accurate, since it describes exactly what we are looking at Chord charts [with lyrics]-> Short and to the point. Music chord tabs -> Tabs seems wrong here, because you don't include a tablature in your app. Lead sheet -> Like Tim said, the app isn't a ...


5

I've certainly seen some notation being used for chords that can be used for lyrics, too. Basically, you add the bars, and then you divide each bar into an equal number of intervals, usually 2, 4 or 8. If then a syllable is longer that this basic unit, you add -- after it. To give an example: | Yes-ter-day -- | -- | -- -- All my | trou-bles seemed so | far ...


5

There have been various fashions over the years. There seems no justification for syllabic beaming in a modern edition. I sometimes, semi-jocularly, wonder if the practice might be responsible for singers' notorious inability to count! This is what Gould has to say...


5

A few thoughts come to mind: 1.) Write every day. Not just every day for a year, but every day, forever. Gershwin would write a melody every day, knowing that he’d only end up using 1 melody out of 100. 2.) Don’t judge what you write too soon. What matters most at the outset is creating. After creation, then measure if it fits your vision. If it doesn’t, ...


5

A poetic foot need not have an even number of syllables, and a poetic line need not have an even number of feet. Furthermore, in some styles of poetry, if not most, it is not uncommon to vary the rhythm somewhat by inserting a three-syllable foot in a two-syllable meter or vice versa. A famous example, set many times to music, most famously by Schubert, is ...


5

Look at this version of "Amazing Grace" from the Gather 3rd edition hymnal. It uses the same version of the melody as your sheet music. Link to image source


5

You're almost there! Using \override LyricSpace.minimum-distance = #1.0 is what you're looking for. This changes the space between the words (or syllables) themselves, in doing so also changing the distance for the melisma line. Like with change the LyricExtender, you can change #1.0 to whatever value best fits your scenario.


5

It depends on the situation. You have three paradigms: One is using either slurs or beams or using \melisma (which basically just sets melismaBusy to true). The other one is manually skipping notes using _ in the lyrics. The last paradigm is to not actually have the lyrics follow a voice, but to manually specify the duration of each syllable like Che1*2 -- ...


4

Poetry, Rhymes and Lyrics are all different, the only similarity is that they should hit an emotion somewhere. Lyrics have a lot to do with story telling and sometime rhymes, but most importantly how rhythmically the syllables fit into each musical measure. Lyrics might rhyme, but the best way to make them feel musical is to manipulate each syllable to fit ...


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