1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @c TODO: inspirational headword
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 @cindex lyrics, entering
82 @cindex entering lyrics
83 @cindex punctuation in lyrics
84 @cindex lyrics punctuation
85 @cindex spaces in lyrics
86 @cindex quotes in lyrics
89 @c TODO should we explain hyphens here
91 Lyrics are entered in a special input mode, which can be introduced
92 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
93 @code{\lyricsto}. In this mode the input @code{d} is not parsed as
94 the pitch @notation{D}, but rather as a one-letter syllable of text.
95 In other words, syllables are entered like notes but with pitches
101 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
104 There are two main methods for specifying the horizontal placement
105 of the syllables, either by specifying the duration of each syllable
106 explicitly, as in the example above, or by leaving the lyrics to be
107 aligned automatically to a melody or other voice of music, using
108 @code{\addlyrics} or @code{\lyricsto}. The former method is
109 described below in @ref{Manual syllable durations}. The latter
110 method is described in @ref{Automatic syllable durations}.
112 A word or syllable of lyrics begins with an alphabetic character
113 (plus some other characters, see below) and is terminated by any
114 white space or a digit. Later characters in the syllable can be any
115 character that is not a digit or white space.
117 Because any character that is not a digit or white space is regarded
118 as part of the syllable, a word is valid even if it ends with
119 @code{@}}, which often leads to the following mistake:
122 \lyricmode @{ lah lah lah@}
125 In this example, the @code{@}} is included in the final syllable, so the
126 opening brace is not balanced and the input file will probably not
127 compile. Instead, braces should always be surrounded with white space:
130 \lyricmode @{ lah lah lah @}
133 @cindex overrides in lyric mode
134 @funindex \override in \lyricmode
136 Similarly, in lyric mode, a period will be included in the
137 alphabetic sequence that it follows. As a consequence, spaces
138 must be inserted around the period in @code{\override} commands.
142 \override Score.LyricText #'font-shape = #'italic
149 \override Score . LyricText #'font-shape = #'italic
152 Punctuation, lyrics with accented characters, characters from
153 non-English languages, or special characters (such as the heart
154 symbol or slanted quotes), may simply be inserted directly
155 into the input file, providing it is saved with UTF-8 encoding.
156 For more information, see @ref{Text encoding}.
158 @lilypond[quote,verbatim]
159 \relative c' { e4 f e d e f e2 }
160 \addlyrics { He said: “Let my peo -- ple go.” }
163 Normal quotes may be used in lyrics, but they have to be preceded
164 with a backslash character and the whole syllable has to be
165 enclosed between additional quotes. For example,
167 @lilypond[quote,verbatim]
168 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
169 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
172 The full definition of a word start in lyrics mode is somewhat more
173 complex. A word in lyrics mode is one that begins with an
174 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
175 @code{'}, the control characters @code{^A} through @code{^F},
176 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
177 character with an ASCII code over 127, or a two-character
178 combination of a backslash followed by one of @code{`}, @code{'},
179 @code{"}, or @code{^}.
181 @c " to balance double quotes for not-so-bright context-sensitive editors
188 @ref{Automatic syllable durations},
191 @ref{Manual syllable durations}.
194 @rinternals{LyricText}.
197 @node Aligning lyrics to a melody
198 @unnumberedsubsubsec Aligning lyrics to a melody
200 @cindex lyrics, aligning to a melody
201 @cindex @code{associatedVoice}
206 Lyrics are printed by interpreting them in the context called
207 @code{Lyrics}, see @ref{Contexts explained}.
210 \new Lyrics \lyricmode @{ @dots{} @}
213 Lyrics can be aligned with melodies in two main ways:
218 Lyrics can be aligned automatically, with the durations of the
219 syllables being taken from another voice of music or (in special
220 circumstances) an associated melody, using @code{\addlyrics},
221 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
222 For more details, see @ref{Automatic syllable durations}.
224 @lilypond[quote,ragged-right,verbatim]
228 \new Voice = "one" \relative c'' {
230 c4 b8. a16 g4. r8 a4 ( b ) c2
232 \new Voice = "two" \relative c' {
238 % takes durations and alignment from notes in "one"
239 \new Lyrics \lyricsto "one" {
240 Life is __ _ love, live __ life.
243 % takes durations and alignment from notes in "one" initially
244 % then switches to "two"
245 \new Lyrics \lyricsto "one" {
247 \set associatedVoice = "two" % must be set one syllable early
248 sins and sor -- rows grow.
253 The first stanza shows the normal way of entering lyrics.
255 The second stanza shows how the voice from which the lyric
256 durations are taken can be changed. This is useful if the words to
257 different stanzas fit the notes in different ways and all the
258 durations are available in Voice contexts. For more details, see
262 Lyrics can be aligned independently of the duration of any notes
263 if the durations of the syllables are specified explicitly,
264 and entered with @code{\lyricmode}.
266 @lilypond[quote,ragged-right,verbatim]
268 \new Voice = "one" \relative c'' {
270 c4 b8. a16 g4. f8 e4 d c2
273 % uses default durations of 2;
274 \new Lyrics \lyricmode {
278 % explicit durations, set to a different rhythm
279 \new Lyrics \lyricmode {
280 Life4 is love,2. live4 life.2
285 The first stanza is not aligned with the notes because the durations
286 were not specified, and the default value of 2 is used for each
289 The second stanza shows how the words can be aligned quite
290 independently from the notes. This is useful if the words to
291 different stanzas fit the notes in different ways and the required
292 durations are not available in a music context. For more details
293 see @ref{Manual syllable durations}. This technical is also useful
294 when setting dialogue over music; for examples showing this, see
295 @ref{Dialogue over music}.
297 When entered in this way the words are left-aligned to the notes
298 by default, but may be center-aligned to the notes of a melody by
299 specifying an associated voice, if one exists. For details, see
300 @ref{Manual syllable durations}.
306 @rlearning{Aligning lyrics to a melody}.
311 @node Automatic syllable durations
312 @unnumberedsubsubsec Automatic syllable durations
314 @cindex syllable durations, automatic
315 @cindex lyrics and melodies
316 @cindex associatedVoice
320 Lyrics can be automatically aligned to the notes of a melody in
326 by specifying the named Voice context containing the melody with
330 by introducing the lyrics with @code{\addlyrics} and placing them
331 immediately after the Voice context containing the melody,
334 by setting the @code{associatedVoice} property, the alignment of
335 the lyrics may be switched to a different named Voice context at
340 In all three methods hyphens can be drawn between the syllables of
341 a word and extender lines can be drawn beyond the end of a word. For
342 details, see @ref{Extenders and hyphens}.
344 The @code{Voice} context containing the melody to which the lyrics
345 are being aligned must not have @qq{died}, or the lyrics after that
346 point will be lost. This can happen if there are periods when that
347 voice has nothing to do. For methods of keeping contexts alive, see
348 @ref{Keeping contexts alive}.
350 @subheading Using @code{\lyricsto}
355 Lyrics can be aligned under a melody automatically by specifying
356 the named Voice context containing the melody with
359 @lilypond[quote,verbatim,relative=2]
361 \new Voice = "melody" {
364 \new Lyrics \lyricsto "melody" {
371 This aligns the lyrics to the notes of the named @code{Voice}
372 context, which must already exist. Therefore normally the
373 @code{Voice} context is specified first, followed by the
374 @code{Lyrics} context. The lyrics themselves follow the
375 @code{\lyricsto} command. The @code{\lyricsto} command
376 invokes lyric mode automatically, so the @code{\lyricmode} keyword
377 may be omitted. By default, the lyrics are placed underneath the
378 notes. For other placements, see @ref{Placing lyrics vertically}.
380 @subheading Using @code{\addlyrics}
385 The @code{\addlyrics} command is just a convenient shortcut that
386 can sometimes be used instead of having to set up the lyrics
387 through a more complicated LilyPond structure.
391 \addlyrics @{ LYRICS @}
398 \new Voice = "blah" @{ MUSIC @}
399 \new Lyrics \lyricsto "blah" @{ LYRICS @}
404 @lilypond[verbatim,quote]
407 \relative c' { c2 e4 g2. }
408 \addlyrics { play the game }
412 More stanzas can be added by adding more
413 @code{\addlyrics} sections:
416 @lilypond[ragged-right,verbatim,fragment,quote]
418 \relative c' { c2 e4 g2. }
419 \addlyrics { play the game }
420 \addlyrics { speel het spel }
421 \addlyrics { joue le jeu }
424 The command @code{\addlyrics} cannot handle polyphonic settings.
425 For these cases one should use @code{\lyricsto}.
427 @subheading Using associatedVoice
429 The melody to which the lyrics are being aligned can be changed by
430 setting the @code{associatedVoice} property,
433 \set associatedVoice = #"lala"
438 The value of the property (here: @code{"lala"}) should be the name
439 of a @code{Voice} context. For technical reasons, the @code{\set}
440 command must be placed one syllable before the one to which the
441 change in voice is to apply.
443 Here is an example demonstrating its use:
445 @lilypond[quote,ragged-right,verbatim]
449 \new Voice = "one" \relative c'' {
451 c4 b8. a16 g4. r8 a4 ( b ) c2
453 \new Voice = "two" \relative c' {
458 % takes durations and alignment from notes in "one" initially
459 % then switches to "two"
460 \new Lyrics \lyricsto "one" {
462 \set associatedVoice = "two" % must be set one syllable early
463 sins and sor -- rows grow.
470 @ref{Extenders and hyphens}.
472 @node Manual syllable durations
473 @unnumberedsubsubsec Manual syllable durations
475 In some complex vocal music, it may be desirable to place lyrics
476 completely independently of notes. In this case do not use
477 @code{\lyricsto} or @code{\addlyrics} and do not set
478 @code{associatedVoice}. Syllables are entered like notes --
479 but with pitches replaced by text -- and the duration of each
480 syllable is entered explicitly after the syllable.
482 By default, syllables will be left-aligned to the corresponding
483 musical moment. Hyphenated lines may be drawn between syllables
484 as usual, but extender lines cannot be drawn when there is no
487 Here are two examples:
489 @lilypond[relative=1,verbatim,quote]
491 \new Voice = "melody" {
495 \new Lyrics \lyricmode {
502 @lilypond[quote,verbatim,ragged-right]
524 This technique is useful when writing dialogue over music, see
525 @ref{Dialogue over music}.
527 To center-align syllables on the notes at the corresponding musical
528 moments, set @code{associatedVoice} to the name of the Voice context
529 containing those notes. When @code{associatedVoice} is set, both
530 double hyphens and double underscores can be used to draw
531 hyphenated lines and extenders under melismata correctly.
533 @lilypond[relative=1,verbatim,quote]
535 \new Voice = "melody" {
539 \new Lyrics \lyricmode {
540 \set associatedVoice = #"melody"
546 @c TODO see also feature request 707 - show how to do this with manual durations
550 @ref{Dialogue over music},
551 @ref{Keeping contexts alive}.
558 @node Multiple syllables to one note
559 @unnumberedsubsubsec Multiple syllables to one note
562 @cindex spaces, in lyrics
563 @cindex quotes, in lyrics
564 @cindex ties, in lyrics
566 In order to assign more than one syllable to a single note with
567 spaces between the syllables, you can surround the phrase with
568 quotes or use a @code{_} character. Alternatively, you can use
569 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
570 tie is implemented with the Unicode character U+203F, so be
571 sure to have a font (like DejaVuLGC) installed that includes this
574 @lilypond[quote,ragged-right,fragment,verbatim]
576 \relative c' { c2 e4 g2 e4 }
577 \addlyrics { gran- de_a- mi- go }
578 \addlyrics { pu- "ro y ho-" nes- to }
579 \addlyrics { pu- ro~y~ho- nes- to }
585 @rinternals{LyricCombineMusic}.
588 @node Multiple notes to one syllable
589 @unnumberedsubsubsec Multiple notes to one syllable
593 @cindex phrasing, in lyrics
595 @funindex \melismaEnd
597 Sometimes, particularly in Medieval music, several notes are to be
598 sung on one syllable; such vocalises are called melismata, or
599 @rglos{melisma}s. The syllable to a melisma is usually
600 left-aligned with the first note of the melisma.
602 When a melisma occurs on a syllable other that the last one in a
603 word, that syllable is usually joined to the following one with a
604 hyphenated line. This is indicated by placing a double hyphen,
605 @code{--}, immediately after the syllable.
607 Alternatively, when a melisma occurs on the last or only syllable in
608 a word an extender line is usually drawn from the end of the syllable
609 to the last note of the melisma. This is indicated by placing a
610 double underscore, @code{__}, immediately after the word.
612 There are five ways in which melismata can be indicated:
617 Melismata are created automatically over notes which are tied
620 @lilypond[quote,relative=2,verbatim]
622 \new Voice = "melody" {
628 \new Lyrics \lyricsto "melody" {
635 Melismata can be created automatically from the music by placing
636 slurs over the notes of each melisma. This is the usual way of
639 @lilypond[quote,relative=2,verbatim]
641 \new Voice = "melody" {
646 \new Lyrics \lyricsto "melody" {
653 Notes are considered a melisma if they are manually beamed,
654 providing automatic beaming is switched off. See
655 @ref{Setting automatic beam behavior}.
657 @lilypond[quote,relative=2,verbatim]
659 \new Voice = "melody" {
665 \new Lyrics \lyricsto "melody" {
671 Clearly this is not suited to melisma over notes which are longer
675 An unslurred group of notes will be treated as a melisma if they
676 are bracketed between @code{\melisma} and @code{\melismaEnd}.
678 @lilypond[quote,relative=2,verbatim]
680 \new Voice = "melody" {
688 \new Lyrics \lyricsto "melody" {
694 Note that this method cannot be used to indicate two melismata if
695 the first one is immediately followed by another.
698 A melisma can be defined entirely in the lyrics by entering a
699 single underscore character, @code{_}, for every extra note that has
700 to be added to the melisma.
702 @lilypond[verbatim, quote, relative=2]
704 \new Voice = "melody" {
709 \new Lyrics \lyricsto "melody" {
710 Ki -- ri -- _ _ _ e __ _ _
717 It is possible to have ties, slurs and manual beams in the melody
718 without their indicating melismata. To do this, set
719 @code{melismaBusyProperties} and indicate the melismata with single
720 underscores in the lyrics, one underscore for each extra note:
722 @lilypond[relative=1,verbatim,quote]
724 \new Voice = "melody" {
726 \set melismaBusyProperties = #'()
731 \new Lyrics \lyricsto "melody" {
732 Ky -- _ _ _ _ ri -- _ _ e __ _
737 Other settings for @code{melismaBusyProperties} can be used to
738 include or exclude ties, slurs, and beams from the automatic
739 detection of melismata; see @code{melismaBusyProperties} in
740 @rinternals{Tunable context properties}.
754 @rlearning{Aligning lyrics to a melody}.
757 @ref{Aligning lyrics to a melody},
758 @ref{Automatic syllable durations},
759 @ref{Setting automatic beam behavior}.
762 @rinternals{Tunable context properties}.
766 Extender lines under melismata are not created automatically; they
767 must be inserted manually with a double underscore.
770 @unnumberedsubsubsec Skipping notes
772 Making a lyric line run slower than the melody can be achieved by
773 inserting @code{\skip}s into the lyrics. For every @code{\skip},
774 the text will be delayed by another note. The @code{\skip} command
775 must be followed by a valid duration, but this is ignored when
776 @code{\skip} is used in lyrics which derive their durations from the
777 notes in an associated melody through @code{\addlyrics} or
780 @lilypond[verbatim,ragged-right,quote]
781 \relative c' { c c g' }
789 @node Extenders and hyphens
790 @unnumberedsubsubsec Extenders and hyphens
795 @c leave this as samp. -gp
796 In the last syllable of a word, melismata are sometimes indicated with
797 a long horizontal line starting in the melisma syllable, and ending in
798 the next one. Such a line is called an extender line, and it is
799 entered as @samp{ __ } (note the spaces before and after the two
800 underscore characters).
802 @warning{Melismata are indicated in the score with extender lines,
803 which are entered as one double underscore; but short melismata can
804 also be entered by skipping individual notes, which are entered as
805 single underscore characters; these do not make an extender line to be
810 @c leave this as samp. -gp
811 Centered hyphens are entered as @samp{ -- } between syllables of a same word
812 (note the spaces before and after the two hyphen characters). The hyphen
813 will be centered between the syllables, and its length will be adjusted
814 depending on the space between the syllables.
816 In tightly engraved music, hyphens can be removed. Whether this
817 happens can be controlled with the @code{minimum-distance} (minimum
818 distance between two syllables) and the @code{minimum-length}
819 (threshold below which hyphens are removed).
824 @rinternals{LyricExtender},
825 @rinternals{LyricHyphen}.
828 @node Techniques specific to lyrics
829 @subsection Techniques specific to lyrics
831 @c TODO this whole section is to be reorganised
834 * Working with lyrics and variables::
835 * Placing lyrics vertically::
836 * Placing syllables horizontally::
837 * Lyrics and repeats::
843 @node Working with lyrics and variables
844 @unnumberedsubsubsec Working with lyrics and variables
846 @c TODO rewrite this section
848 @cindex lyrics, variables
850 To define variables containing lyrics, the function @code{\lyricmode}
851 must be used. Durations do not need to be added if the variable is
852 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
854 @lilypond[quote,verbatim]
855 verseOne = \lyricmode { Joy to the world, the Lord is come. }
858 \new Voice = "one" \relative c'' {
861 c4 b8. a16 g4. f8 e4 d c2
863 \addlyrics { \verseOne }
868 For different or more complex orderings, the best way is to set up the
869 hierarchy of staves and lyrics first, e.g.,
872 \new Voice = "soprano" @{ @emph{music} @}
873 \new Lyrics = "sopranoLyrics" @{ s1 @}
874 \new Lyrics = "tenorLyrics" @{ s1 @}
875 \new Voice = "tenor" @{ @emph{music} @}
880 and then combine the appropriate melodies and lyric lines:
883 \context Lyrics = sopranoLyrics \lyricsto "soprano"
888 The final input would resemble
893 @emph{setup the music}
895 \lyricsto "soprano" @emph{etc}
896 \lyricsto "alto" @emph{etc}
902 @c TODO: document \new Staff << Voice \lyricsto >> bug
904 @rinternals{LyricCombineMusic},
908 @node Placing lyrics vertically
909 @unnumberedsubsubsec Placing lyrics vertically
911 @cindex placement of lyrics
912 @cindex lyrics, positioning
914 Depending on the type of music, lyrics may be positioned
915 above the staff, below the staff, or between staves. Placing
916 lyrics below the associated staff is the easiest, and can be
917 achieved by simply defining the Lyrics context below the Staff
920 @lilypond[quote,verbatim]
924 \new Voice = "melody" {
925 \relative c'' { c4 c c c }
937 Lyrics may be positioned above the staff using one of
938 two methods. The simplest is to use the same syntax as
939 above and explicitly specify the position of the lyrics:
941 @lilypond[quote,verbatim]
944 \new Staff = "staff" {
945 \new Voice = "melody" {
946 \relative c'' { c4 c c c }
949 \new Lyrics \with { alignAboveContext = "staff" } {
958 Alternatively, a two-step process may be used. First the Lyrics
959 context is declared (without any content) before the Staff and
960 Voice contexts, then the @code{\lyricsto} command comes after
961 the Voice declaration it references, as follows:
963 @lilypond[quote,verbatim]
966 \new Lyrics = "lyrics"
968 \new Voice = "melody" {
969 \relative c'' { c4 c c c }
972 \context Lyrics = "lyrics" {
981 When there are two voices on separate staves the lyrics may be
982 placed between the staves using either of these methods. Here
983 is an example of the second method:
985 @lilypond[quote,verbatim]
989 \new Voice = "sopranos" {
990 \relative c'' { c4 c c c }
993 \new Lyrics = "sopranos"
994 \new Lyrics = "contraltos"
996 \new Voice = "contraltos" {
997 \relative c'' { a4 a a a }
1000 \context Lyrics = "sopranos" {
1001 \lyricsto "sopranos" {
1002 Sop -- ra -- no words
1005 \context Lyrics = "contraltos" {
1006 \lyricsto "contraltos" {
1007 Con -- tral -- to words
1014 Other combinations of lyrics and staves may be generated by
1015 elaborating these examples, or by examining the
1016 @rlearning{Vocal ensembles} templates in the Learning Manual.
1020 @rlearning{Vocal ensembles}.
1023 @ref{Aligning contexts},
1024 @ref{Creating contexts}.
1026 @node Placing syllables horizontally
1027 @unnumberedsubsubsec Placing syllables horizontally
1029 @cindex Spacing lyrics
1030 @cindex Lyrics, increasing space between
1032 To increase the spacing between lyrics, set the @code{minimum-distance}
1033 property of @code{LyricSpace}.
1035 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1038 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1042 longtext longtext longtext longtext
1043 longtext longtext longtext longtext
1048 To make this change for all lyrics in the score, set the property in the
1051 @lilypond[verbatim,quote,ragged-right]
1058 longtext longtext longtext longtext
1059 longtext longtext longtext longtext
1064 \override LyricSpace #'minimum-distance = #1.0
1071 @c This snippet has been renamed to "lyrics-alignment.ly"
1072 @c update as soon as lsr/is updated -vv
1073 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1074 @c {lyrics-alignment.ly}
1076 @c TODO: move to LSR -vv
1079 Checking to make sure that text scripts and lyrics are within the margins is
1080 a relatively large computational task. To speed up processing, LilyPond does
1081 not perform such calculations by default; to enable it, use
1084 \override Score.PaperColumn #'keep-inside-line = ##t
1087 To make lyrics avoid bar lines as well, use
1093 \consists "Bar_engraver"
1094 \consists "Separating_line_group_engraver"
1095 \override BarLine #'transparent = ##t
1100 @c TODO Create and add lsr example of lyricMelismaAlignment
1101 @c It's used like this to center-align all lyric syllables,
1102 @c even when notes are tied. -td
1107 \context { \Score lyricMelismaAlignment = #0 }
1112 @node Lyrics and repeats
1113 @unnumberedsubsubsec Lyrics and repeats
1115 @cindex repeats and lyrics
1116 @cindex lyrics, repeating
1118 @subheading Simple repeats
1120 Repeats in @emph{music} are fully described elsewhere; see
1121 @ref{Repeats}. This section explains how to add lyrics to repeated
1124 Lyrics to a section of music that is repeated should be surrounded
1125 by exactly the same repeat construct as the music, if the words are
1128 @lilypond[verbatim,quote]
1132 \new Voice = "melody" {
1135 \repeat volta 2 { b4 b b b }
1140 \lyricsto "melody" {
1141 Not re -- peat -- ed.
1142 \repeat volta 2 { Re -- peat -- ed twice. }
1149 The words will then be correctly expanded if the repeats are
1152 @lilypond[verbatim,quote]
1157 \new Voice = "melody" {
1160 \repeat volta 2 { b4 b b b }
1165 \lyricsto "melody" {
1166 Not re -- peat -- ed.
1167 \repeat volta 2 { Re -- peat -- ed twice. }
1175 If the repeated section is to be unfolded and has different words,
1176 simply enter all the words:
1178 @lilypond[verbatim,quote,ragged-right]
1182 \new Voice = "melody" {
1185 \repeat unfold 2 { b4 b b b }
1190 \lyricsto "melody" {
1191 Not re -- peat -- ed.
1192 The first time words.
1193 Sec -- ond time words.
1203 When the words to a repeated volta section are different, the words
1204 to each repeat must be entered in separate @code{Lyrics} contexts.
1205 Earlier unrepeated sections must be skipped in the second and
1206 subsequent repeats. The easiest way to skip several notes is to
1207 use @code{\repeat unfold} around the @code{\skip} command.
1209 Note: do not use an underscore, @code{_}, to skip notes in this
1210 particular case. As this syntax indicates a melisma, it will cause
1211 the preceding syllable to be left-aligned.
1213 @warning{The @code{@bs{}skip} command must be followed by a number,
1214 but this number is ignored in lyrics which derive their durations
1215 from the notes in an associated melody through @code{\addlyrics} or
1216 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1217 value, irrespective of the value of the following number.}
1219 @lilypond[verbatim,quote]
1223 \new Voice = "melody" {
1226 \repeat volta 2 { b4 b b b }
1231 \lyricsto "melody" {
1232 Not re -- peat -- ed.
1233 The first time words.
1237 \lyricsto "melody" {
1238 % skip 4 notes of any duration
1239 \repeat unfold 4 { \skip 1 }
1240 Sec -- ond time words.
1247 @cindex lyrics, repeating with a temporary voice
1249 An alternative way, which avoids skips and having to count notes,
1250 is to use a temporary voice for the repeated section. This may be
1251 preferable if the earlier sections are still subject to change. A
1252 temporary voice can be inserted anywhere in the main music stream
1253 in parallel with it, as shown below, but it may be necessary to
1254 keep the main voice alive in complex scores when using this
1255 technique; see @ref{Keeping contexts alive}.
1257 @lilypond[verbatim,quote,ragged-right]
1261 \new Voice = "singleVoice" {
1262 \relative c'' { a4 a a a }
1263 \new Voice = "repeatVoice" {
1264 \relative c'' \repeat volta 3 { b4 b b b }
1266 \relative c'' { c4 c c c }
1270 \lyricsto "singleVoice" {
1271 Not re -- peat -- ed.
1272 The end sec -- tion.
1274 \lyricsto "repeatVoice" {
1275 The first time words.
1279 \lyricsto "repeatVoice" {
1280 Sec -- ond time words.
1284 \lyricsto "repeatVoice" {
1285 The third time words.
1292 @c TODO lowering a common line of lyrics
1294 @subheading Repeats with alternative endings
1296 @cindex lyrics, repeats with alternative endings
1297 @cindex repeating lyrics with alternative endings
1298 @cindex alternative endings and lyrics
1300 If the words of the repeated section are the same, exactly the
1301 same structure can be used for both the lyrics and music.
1303 @lilypond[quote,verbatim]
1308 \new Voice = "melody" {
1311 \repeat volta 2 { b4 b }
1312 \alternative { { b b } { b c } }
1317 \lyricsto "melody" {
1318 Not re -- peat -- ed.
1319 \repeat volta 2 { Re -- peat -- }
1320 \alternative { { ed twice. } { ed twice. } }
1327 But when the repeated section has different words, a repeat
1328 construct cannot be used around the words and @code{\skip} commands
1329 have to be inserted manually as described in the previous section to
1330 skip over the notes in the alternative sections which do not apply.
1332 @lilypond[verbatim,quote,ragged-right]
1337 \new Voice = "melody" {
1339 \repeat volta 2 { b4 b }
1340 \alternative { { b b } { b c } }
1346 \lyricsto "melody" {
1347 The first time words.
1348 \repeat unfold 2 { \skip 1 }
1353 \lyricsto "melody" {
1355 \repeat unfold 2 { \skip 1 }
1363 @cindex lyrics and tied notes
1364 @funindex \repeatTie
1366 When a note is tied over into two or more alternative endings a
1367 tie is used to carry the note into the first alternative ending and
1368 a @code{\repeatTie} is used in the second and subsequent endings.
1369 This structure causes difficult alignment problems when lyrics are
1370 involved and increasing the length of the alternative sections so
1371 the tied notes are contained wholly within them may give a more
1374 The tie creates a melisma into the first alternative, but not into
1375 the second and subsequent alternatives, so to align the lyrics
1376 correctly it is necessary to disable the automatic creation of
1377 melismata over the volta section and insert manual skips.
1379 @lilypond[quote,verbatim]
1384 \new Voice = "melody" {
1386 \set melismaBusyProperties = #'()
1387 \repeat volta 2 { b4 b ~}
1388 \alternative { { b b } { b \repeatTie c } }
1389 \unset melismaBusyProperties
1395 \lyricsto "melody" {
1396 \repeat volta 2 { Here's a __ }
1408 Note that if @code{\unfoldRepeats} is used around a section
1409 containing @code{\repeatTie}, the @code{\repeatTie} should be
1410 removed to avoid both types of tie being printed.
1412 When the repeated section has different words a @code{\repeat}
1413 cannot be used around the lyrics and @code{\skip} commands need to
1414 be inserted manually, as before.
1416 @lilypond[quote,verbatim]
1421 \new Voice = "melody" {
1423 \repeat volta 2 { b4 b ~}
1424 \alternative { { b b } { b \repeatTie c } }
1430 \lyricsto "melody" {
1432 \repeat unfold 2 { \skip 1 }
1436 \lyricsto "melody" {
1438 \repeat unfold 2 { \skip 1 }
1446 If you wish to show extenders and hyphens into and out of
1447 alternative sections these must be inserted manually.
1449 @lilypond[quote,verbatim]
1454 \new Voice = "melody" {
1456 \repeat volta 2 { b4 b ~}
1457 \alternative { { b b } { b \repeatTie c } }
1463 \lyricsto "melody" {
1465 \repeat unfold 2 { \skip 1 }
1469 \lyricsto "melody" {
1482 @unnumberedsubsubsec Divisi lyrics
1484 @cindex divided lyrics
1485 @cindex lyrics, divided
1487 When just the words and rhythms of the two parts differ with the
1488 pitches remaining the same, temporarily turning off the automatic
1489 detection of melismata and indicating the melisma in the lyrics
1490 may be the appropriate method to use:
1492 @lilypond[quote,verbatim]
1495 \new Voice = "melody" {
1497 \set melismaBusyProperties = #'()
1501 \unset melismaBusyProperties
1505 \new Lyrics \lyricsto "melody" {
1506 They shall not o -- ver -- come
1508 \new Lyrics \lyricsto "melody" {
1515 When both music and words differ it may be better to display
1516 the differing music and lyrics by naming voice contexts and
1517 attaching lyrics to those specific contexts:
1519 @lilypond[verbatim,ragged-right,quote]
1522 \new Voice = "melody" {
1529 \new Voice = "splitpart" {
1539 \new Lyrics \lyricsto "melody" {
1540 They shall not o -- ver -- come
1542 \new Lyrics \lyricsto "splitpart" {
1554 * Adding stanza numbers::
1555 * Adding dynamics marks to stanzas::
1556 * Adding singers' names to stanzas::
1557 * Stanzas with different rhythms::
1558 * Printing stanzas at the end::
1559 * Printing stanzas at the end in multiple columns::
1563 @node Adding stanza numbers
1564 @unnumberedsubsubsec Adding stanza numbers
1566 @cindex stanza number
1568 Stanza numbers can be added by setting @code{stanza}, e.g.,
1570 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1572 \time 3/4 g2 e4 a2 f4 g2.
1574 \set stanza = #"1. "
1575 Hi, my name is Bert.
1577 \set stanza = #"2. "
1578 Oh, ché -- ri, je t'aime
1584 These numbers are put just before the start of the first syllable.
1586 @c TODO Create and add snippet to show how two lines of a
1587 @c stanza can be grouped together, along these lines:
1588 @c (might need improving a bit) -td
1591 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1595 \set stanza = \markup { "1. " \leftbrace }
1596 \lyricmode { Child, you're mine and I love you.
1597 Lend thine ear to what I say.
1603 % \set stanza = \markup { " "}
1604 \lyricmode { Child, I have no great -- er joy
1605 Than to have you walk in truth.
1611 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1612 c'8 c' c' c' c' c' c'4 }
1613 } \addlyrics { \stanzaOneOne }
1614 \addlyrics { \stanzaOneThree }
1618 @node Adding dynamics marks to stanzas
1619 @unnumberedsubsubsec Adding dynamics marks to stanzas
1621 Stanzas differing in loudness may be indicated by putting a
1622 dynamics mark before each stanza. In LilyPond, everything coming in
1623 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1624 are no different. For technical reasons, you have to set the stanza
1625 outside @code{\lyricmode}:
1627 @lilypond[quote,ragged-right,verbatim]
1629 \set stanza = \markup { \dynamic "ff" "1. " }
1636 \new Voice = "tune" {
1640 \new Lyrics \lyricsto "tune" \text
1644 @node Adding singers' names to stanzas
1645 @unnumberedsubsubsec Adding singers' names to stanzas
1648 @cindex name of singer
1650 Names of singers can also be added. They are printed at the start of
1651 the line, just like instrument names. They are created by setting
1652 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1654 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1656 \time 3/4 g2 e4 a2 f4 g2.
1658 \set vocalName = #"Bert "
1659 Hi, my name is Bert.
1661 \set vocalName = #"Ernie "
1662 Oh, ché -- ri, je t'aime
1666 @node Stanzas with different rhythms
1667 @unnumberedsubsubsec Stanzas with different rhythms
1669 Often, different stanzas of one song are put to one melody in slightly
1670 differing ways. Such variations can still be captured with
1673 @subsubheading Ignoring melismata
1675 One possibility is that the text has a melisma in one stanza, but
1676 multiple syllables in another one. One solution is to make the faster
1677 voice ignore the melisma. This is done by setting
1678 @code{ignoreMelismata} in the Lyrics context.
1680 @lilypond[verbatim,ragged-right,quote]
1682 \relative c' \new Voice = "lahlah" {
1683 \set Staff.autoBeaming = ##f
1689 \new Lyrics \lyricsto "lahlah" {
1692 \new Lyrics \lyricsto "lahlah" {
1694 \set ignoreMelismata = ##t
1696 \unset ignoreMelismata
1703 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1704 not work if prefixed with @code{\once}. It is necessary to use
1705 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1708 @subsubheading Adding syllables to grace notes
1710 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1711 syllables when using @code{\lyricsto}, but this behavior can be
1714 @lilypond[verbatim,ragged-right,quote]
1716 f4 \appoggiatura a32 b4
1717 \grace { f16[ a16] } b2
1718 \afterGrace b2 { f16[ a16] }
1719 \appoggiatura a32 b4
1724 \set includeGraceNotes = ##t
1727 after -- grace case,
1728 \set ignoreMelismata = ##t
1735 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1736 set at latest one syllable before the one which is to be put under a
1737 grace note. For the case of a grace note at the very beginning of a
1738 piece of music, consider using a @code{\with} or @code{\context}
1741 @lilypond[verbatim,ragged-right,quote]
1743 \new Voice = melody \relative c' {
1744 \grace { c16[( d e f] }
1747 \new Lyrics \with { includeGraceNotes = ##t }
1754 @subsubheading Switching to an alternative melody
1756 More complex variations in text underlay are possible. It is possible
1757 to switch the melody for a line of lyrics during the text. This is
1758 done by setting the @code{associatedVoice} property. In the example
1760 @lilypond[ragged-right,quote]
1762 \relative c' \new Voice = "lahlah" {
1763 \set Staff.autoBeaming = ##f
1766 \new Voice = "alternative" {
1769 % show associations clearly.
1770 \override NoteColumn #'force-hshift = #-3
1781 \new Lyrics \lyricsto "lahlah" {
1782 Ju -- ras -- sic Park
1784 \new Lyrics \lyricsto "lahlah" {
1785 % Tricky: need to set associatedVoice
1786 % one syllable too soon!
1787 \set associatedVoice = alternative % applies to "ran"
1791 \set associatedVoice = lahlah % applies to "rus"
1797 the text for the first stanza is set to a melody called @q{lahlah},
1800 \new Lyrics \lyricsto "lahlah" @{
1801 Ju -- ras -- sic Park
1806 The second stanza initially is set to the @code{lahlah} context, but
1807 for the syllable @q{ran}, it switches to a different melody.
1808 This is achieved with
1810 \set associatedVoice = alternative
1814 Here, @code{alternative} is the name of the @code{Voice} context
1815 containing the triplet.
1817 @c TODO: make this easier to understand -vv
1818 This command must be one syllable too early, before @q{Ty} in this
1819 case. In other words, changing the associatedVoice happens one step
1820 later than expected. This is for technical reasons, and it is not a
1824 \new Lyrics \lyricsto "lahlah" @{
1825 \set associatedVoice = alternative % applies to "ran"
1829 \set associatedVoice = lahlah % applies to "rus"
1835 The underlay is switched back to the starting situation by assigning
1836 @code{lahlah} to @code{associatedVoice}.
1839 @node Printing stanzas at the end
1840 @unnumberedsubsubsec Printing stanzas at the end
1842 Sometimes it is appropriate to have one stanza set
1843 to the music, and the rest added in verse form at
1844 the end of the piece. This can be accomplished by adding
1845 the extra verses into a @code{\markup} section outside
1846 of the main score block. Notice that there are two
1847 different ways to force linebreaks when using
1850 @lilypond[ragged-right,verbatim,quote]
1851 melody = \relative c' {
1857 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1858 its fleece was white as snow.
1862 \new Voice = "one" { \melody }
1863 \new Lyrics \lyricsto "one" \text
1869 \line{ All the children laughed and played }
1870 \line{ To see a lamb at school. }
1877 Mary took it home again,
1879 It was against the rule."
1884 @node Printing stanzas at the end in multiple columns
1885 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1887 When a piece of music has many verses, they are often printed in
1888 multiple columns across the page. An outdented verse number often
1889 introduces each verse. The following example shows how to produce such
1892 @lilypond[ragged-right,quote,verbatim]
1893 melody = \relative c' {
1898 \set stanza = #"1." This is verse one.
1903 \new Voice = "one" { \melody }
1904 \new Lyrics \lyricsto "one" \text
1911 \hspace #0.1 % moves the column off the left margin;
1912 % can be removed if space on the page is tight
1916 "This is verse two."
1920 \hspace #0.1 % adds vertical spacing between verses
1923 "This is verse three."
1928 \hspace #0.1 % adds horizontal spacing between columns;
1929 % if they are still too close, add more " " pairs
1930 % until the result looks good
1934 "This is verse four."
1938 \hspace #0.1 % adds vertical spacing between verses
1941 "This is verse five."
1946 \hspace #0.1 % gives some extra space on the right margin;
1947 % can be removed if page space is tight
1954 Internals Reference:
1955 @rinternals{LyricText},
1956 @rinternals{StanzaNumber}.
1963 * References for songs::
1967 @node References for songs
1968 @unnumberedsubsubsec References for songs
1970 Songs are usually written on three staves with the melody for the
1971 singer on the top staff and two staves of piano accompaniment at
1972 the bottom. The lyrics of the first stanza are printed immediately
1973 underneath the top staff. If there are just a small number of
1974 further stanzas these can be printed immediately under the first
1975 one, but if there are more stanzas than can be easily accommodated
1976 there the second and subsequent stanzas are printed after the music
1977 as stand-alone text.
1979 All the notational elements needed to write songs are fully described
1985 For constructing the staff layout, see @ref{Displaying staves}.
1988 For writing piano music, see
1989 @ref{Keyboard and other multi-staff instruments}.
1992 For writing the lyrics to a melody line, see
1993 @ref{Common notation for vocal music}.
1996 For placing the lyrics, see @ref{Placing lyrics vertically}.
1999 For entering stanzas, see @ref{Stanzas}.
2002 Songs are frequently printed with the chording indicated by chord
2003 names above the staves. This is described in
2004 @ref{Displaying chords}.
2007 To print fret diagrams of the chords for guitar accompaniment or
2008 accompaniment by other fretted instruments, see @qq{Fret diagram
2009 markups} in @ref{Common notation for fretted strings}.
2018 @ref{Common notation for vocal music},
2019 @ref{Displaying chords},
2020 @ref{Displaying staves},
2021 @ref{Keyboard and other multi-staff instruments},
2022 @ref{Placing lyrics vertically},
2026 @unnumberedsubsubsec Lead sheets
2028 Lead sheets may be printed by combining vocal parts and @q{chord mode};
2029 this syntax is explained in @ref{Chord notation}.
2032 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2033 {simple-lead-sheet.ly}
2037 @ref{Chord notation}.
2048 This section discusses notation issues that relate most directly
2049 to choral music. This includes anthems, part songs, oratorio,
2053 * References for choral::
2054 * Score layouts for choral::
2058 @node References for choral
2059 @unnumberedsubsubsec References for choral
2061 Choral music is usually notated on two, three or four staves within
2062 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2063 beneath in a @code{PianoStaff} group, which is usually reduced in
2064 size for @emph{a capella} choral works. The notes for each vocal
2065 part are placed in a @code{Voice} context, with each staff
2066 being given either a single vocal part (i.e., one @code{Voice}) or
2067 a pair of vocal parts (i.e., two @code{Voice}s).
2069 Words are placed in @code{Lyrics} contexts, either underneath each
2070 corresponding music staff, or one above and one below the music
2071 staff if this contains the music for two parts.
2073 Several common topics in choral music are described fully elsewhere:
2078 An introduction to creating an SATB vocal score can be found in
2079 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2082 Several templates suitable for various styles of choral music can
2083 also be found in the Learning Manual, see
2084 @rlearning{Vocal ensembles}.
2087 For information about @code{ChoirStaff} and @code{PianoStaff} see
2088 @ref{Grouping staves}.
2091 Shape noteheads, as used in Sacred Harp and similar notation, are
2092 described in @ref{Shape note heads}.
2095 When two vocal parts share a staff the stems, ties, slurs, etc., of
2096 the higher part will be directed up and those of the lower part
2097 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2098 @ref{Single-staff polyphony}.
2109 @rlearning{Four-part SATB vocal score},
2110 @rlearning{Vocal ensembles}.
2113 @ref{Context layout order},
2114 @ref{Grouping staves},
2115 @ref{Shape note heads},
2116 @ref{Single-staff polyphony}.
2118 Internals Reference:
2119 @rinternals{ChoirStaff},
2120 @rinternals{Lyrics},
2121 @rinternals{PianoStaff}.
2123 @node Score layouts for choral
2124 @unnumberedsubsubsec Score layouts for choral
2126 Choral music containing four staves, with or without piano
2127 accompaniment, is usually laid out with two systems per page.
2128 Depending on the page size, achieving this may require changes
2129 to several default settings. The following settings should be
2135 The global staff size can be modified to change the overall size
2136 of the elements of the score. See @ref{Setting the staff size}.
2139 The distances between the systems, the staves and the lyrics can
2140 all be adjusted independently. See @ref{Vertical spacing}.
2143 The dimensions of the vertical layout variables can be displayed as
2144 an aid to adjusting the vertical spacing. This and other
2145 possibilities for fitting the music onto fewer pages are described
2146 in @ref{Fitting music onto fewer pages}.
2149 If the number of systems per page changes from one to two it is
2150 customary to indicate this with a system separator mark between
2151 the two systems. See @ref{Separating systems}.
2154 For details of other page formatting properties, see
2155 @ref{Page formatting}.
2160 Dynamic markings by default are placed below the staff, but in
2161 choral music they are usually placed above the staff in order to
2162 avoid the lyrics. The predefined command @code{\dynamicUp} does
2163 this for the dynamic markings in a single @code{Voice} context.
2164 If there are many @code{Voice} contexts this predefined command
2165 would have to be placed in every one. Alternatively its expanded
2166 form can be used to place all dynamic markings in the entire score
2167 above their respective staves, as shown here:
2169 @lilypond[verbatim,quote]
2174 \relative c'' { g4\f g g g }
2179 \relative c' { d4 d d\p d }
2186 \override DynamicText #'direction = #UP
2187 \override DynamicLineSpanner #'direction = #UP
2194 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2198 @ref{Changing spacing},
2199 @ref{Displaying spacing},
2200 @ref{Fitting music onto fewer pages},
2201 @ref{Page formatting},
2203 @ref{Separating systems},
2204 @ref{Setting the staff size},
2205 @ref{Using an extra voice for breaks},
2206 @ref{Vertical spacing}.
2208 Internals Reference:
2209 @rinternals{VerticalAxisGroup},
2210 @rinternals{StaffGrouper}.
2213 @node Divided voices
2214 @unnumberedsubsubsec Divided voices
2216 @cindex voices, divided
2218 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2219 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2223 @ref{Expressive marks as lines}.
2226 @node Opera and stage musicals
2227 @subsection Opera and stage musicals
2229 The music, lyrics and dialogue to opera and stage musicals are
2230 usually set out in one or more of the following forms:
2235 A @emph{Conductors' Score} containing the full orchestral and vocal
2236 parts, together with libretto cues if there are spoken passages.
2239 @emph{Orchestral Parts} containing the music for the individual
2240 instruments of the orchestra or band.
2243 A @emph{Vocal Score} containing all vocal parts with piano
2244 accompaniment. The accompaniment is usually an orchestral
2245 reduction, and if so the name of the original orchestral instrument
2246 is often indicated. Vocal scores sometimes includes stage
2247 directions and libretto cues.
2250 A @emph{Vocal Book} containing just the vocal parts
2251 (no accompaniment), sometimes combined with the libretto.
2254 A @emph{Libretto} containing the extended passages of spoken
2255 dialogue usually found in musicals, together with the words to the
2256 sung parts. Stage directions are usually included. LilyPond can
2257 be used to typeset libretti but as they contain no music
2258 alternative methods may be preferable.
2262 The sections in the LilyPond documentation which cover the topics
2263 needed to create scores in the styles commonly found in opera and
2264 musicals are indicated in the References below. This is followed
2265 by sections covering those techniques which are peculiar to
2266 typesetting opera and musical scores.
2269 * References for opera and stage musicals::
2273 * Dialogue over music::
2276 @node References for opera and stage musicals
2277 @unnumberedsubsubsec References for opera and stage musicals
2282 A conductors' score contains many grouped staves and lyrics. Ways
2283 of grouping staves is shown in @ref{Grouping staves}. To nest
2284 groups of staves see @ref{Nested staff groups}.
2287 The printing of empty staves in conductors' scores and vocal scores
2288 is often suppressed. To create such a @qq{Frenched score} see
2289 @ref{Hiding staves}.
2292 Writing orchestral parts is covered in @ref{Writing parts}.
2293 Other sections in the Specialist notation chapter may be relevant,
2294 depending on the orchestration used. Many instruments are
2295 transposing instruments, see @ref{Instrument transpositions}.
2298 If the number of systems per page changes from page to page it is
2299 customary to separate the systems with a system separator mark.
2300 See @ref{Separating systems}.
2303 For details of other page formatting properties, see
2304 @ref{Page formatting}.
2307 Dialogue cues and stage directions can be inserted with markup.
2308 See @ref{Text}. Extensive stage directions can be inserted with
2309 a section of stand-alone markup between two @code{\score} blocks.
2310 See @ref{Separate text}.
2316 @rglos{Frenched score},
2317 @rglos{Frenched staves},
2318 @rglos{transposing instrument}.
2321 @ref{Grouping staves},
2322 @ref{Hiding staves},
2323 @ref{Instrument transpositions},
2324 @ref{Nested staff groups},
2325 @ref{Page formatting},
2326 @ref{Separating systems},
2328 @ref{Writing parts},
2332 @node Character names
2333 @unnumberedsubsubsec Character names
2335 @cindex character names
2336 @cindex names, character
2338 Character names are usually shown to the left of the staff when the
2339 staff is dedicated to that character alone. The instrument name can
2340 be used for this purpose.
2342 @lilypond[quote,verbatim,ragged-right]
2346 \set Staff.instrumentName = #"Kaspar"
2347 \set Staff.shortInstrumentName = #"Kas"
2356 \set Staff.instrumentName = #"Melchior"
2357 \set Staff.shortInstrumentName = #"Mel"
2368 When two or more characters share a staff the character's name is
2369 usually printed above the staff at the start of every section
2370 applying to that character. This can be done with markup. Often a
2371 specific font is used for this purpose.
2373 @lilypond[quote,verbatim,relative=1]
2375 c4^\markup \fontsize #1 \smallCaps Kaspar
2378 a4^\markup \fontsize #1 \smallCaps Melchior
2381 c4^\markup \fontsize #1 \smallCaps Kaspar
2385 Alternatively, if there are many character changes, it may be
2386 easier to set up @qq{instrument} definitions for each character at
2387 the top level so that @code{\instrumentSwitch} can be used to
2388 indicate each change.
2390 @lilypond[quote,verbatim]
2391 \addInstrumentDefinition #"kaspar"
2392 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2393 (shortInstrumentName . "Kas.")
2394 (clefGlyph . "clefs.G")
2395 (clefOctavation . -7)
2396 (middleCPosition . 1)
2398 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2399 (midiInstrument . "voice oohs"))
2401 \addInstrumentDefinition #"melchior"
2402 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2403 (shortInstrumentName . "Mel.")
2404 (clefGlyph . "clefs.F")
2405 (clefOctavation . 0)
2406 (middleCPosition . 6)
2408 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2409 (midiInstrument . "voice aahs"))
2412 \instrumentSwitch "kaspar"
2414 \instrumentSwitch "melchior"
2416 \instrumentSwitch "kaspar"
2423 @ref{Instrument names},
2424 @ref{Scheme functions},
2426 @ref{Text markup commands}.
2429 @rextend{Markup construction in Scheme}.
2432 @unnumberedsubsubsec Musical cues
2434 @cindex musical cues
2435 @cindex cues, musical
2437 Musical cues can be inserted in Vocal Scores, Vocal Books and
2438 Orchestral Parts to indicate what music in another part
2439 immediately precedes an entry. Also, cues are often inserted in the
2440 piano reduction in Vocal Scores to indicate what each orchestral
2441 instrument is playing. This aids the conductor when a full
2442 Conductors' Score is not available.
2444 The basic mechanism for inserting cues is fully explained in the
2445 main text, see @ref{Quoting other voices} and
2446 @ref{Formatting cue notes}. But when many cues have to be
2447 inserted, for example, as an aid to a conductor in a vocal score,
2448 the instrument name must be positioned carefully just before and
2449 close to the start of the cued notes. The following example shows
2450 how this is done. Note that the name of the grob for overriding
2451 the cued instrument name is @code{InstrumentSwitch}.
2453 @lilypond[quote,verbatim]
2454 flute = \relative c'' {
2457 \addQuote "flute" { \flute }
2459 pianoRH = \relative c'' {
2461 % position name of cued instrument just before the cued notes
2462 \once \override CueVoice.InstrumentSwitch
2463 #'self-alignment-X = #RIGHT
2464 % position name of cued instrument above the staff
2465 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2466 \set CueVoice.instrumentCueName = "Flute"
2467 \cueDuring "flute" #UP { g4 bes4 }
2469 pianoLH = \relative c { c4 <c' e> e, <g c> }
2484 If a transposing instrument is being cued the instrument part should
2485 specify its key so the conversion of its cued notes will be done
2486 automatically. The example below shows this transposition for a
2487 B-flat clarinet. The notes in this example are low on the staff so
2488 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2489 down) and the instrument name is positioned below the staff. Note
2490 also that the piano right-hand voice is explicitly declared. This
2491 is because the cued notes in this example begin at the start of the
2492 first bar and this would otherwise cause the entire piano right-hand
2493 notes to be placed in a @code{CueVoice} context.
2495 @lilypond[quote,verbatim]
2496 clarinet = \relative c' {
2500 \addQuote "clarinet" { \clarinet }
2502 pianoRH = \relative c'' {
2504 % position name of cued instrument just before the cued notes
2505 \once \override CueVoice.InstrumentSwitch
2506 #'self-alignment-X = #RIGHT
2507 % position name of cued instrument below the staff
2508 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2509 \set CueVoice.instrumentCueName = "Clar."
2510 \cueDuring "clarinet" #DOWN { c4. g8 }
2513 pianoLH = \relative c { c4 <c' e> e, <g c> }
2532 From these two examples it is clear that inserting many cues in a
2533 Vocal Score would be extremely tedious, and the notes of the piano
2534 part would be obscured by the many overrides. However, as the
2535 following snippet shows, it is possible to define a music function
2536 to reduce the amount of typing and to make the piano notes clearer.
2539 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2540 {adding-orchestral-cues-to-a-vocal-score.ly}
2547 @ref{Aligning objects},
2548 @ref{Direction and placement},
2549 @ref{Formatting cue notes},
2550 @ref{Quoting other voices},
2551 @ref{Using music functions}.
2556 Internals Reference:
2557 @rinternals{InstrumentSwitch},
2558 @rinternals{CueVoice}.
2561 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2562 and all cue notes are placed in that context. This means it is not
2563 possible to have two overlapping sequences of cued notes by this
2564 technique. Overlapping sequences could be entered by explicitly
2565 declaring separate @code{CueVoice} contexts and using
2566 @code{\quoteDuring} to extract and insert the cued notes.
2570 @unnumberedsubsubsec Spoken music
2573 @cindex Sprechgesang
2574 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2575 without pitch but still with rhythm; these are notated by cross
2576 note heads, as demonstrated in @ref{Special note heads}.
2578 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2579 @c add "showing the rhythm of a melody" snip
2580 @c add "one staff-line notation"
2581 @c add "improvisation" ref
2582 @c add "lyrics independents of notes" ref
2584 @node Dialogue over music
2585 @unnumberedsubsubsec Dialogue over music
2587 Dialogue over music is usually printed over the staves in an italic
2588 font, with the start of each phrase keyed in to a particular music
2591 For short interjections a simple markup suffices.
2593 @lilypond[quote,verbatim,relative=2]
2594 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2595 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2599 For longer phrases it may be necessary to expand the music to make
2600 the words fit neatly. There is no provision in LilyPond to do this
2601 fully automatically, and some manual intervention to layout the
2602 page will be necessary.
2604 For long phrases or for passages with a lot of closely packed
2605 dialogue, using a Lyrics context will give better results. The
2606 Lyrics context should not be associated with a music Voice; instead
2607 each section of dialogue should be given an explicit duration. If
2608 there is a gap in the dialogue, the final word should be separated
2609 from the rest and the duration split between them so that the
2610 underlying music spaces out smoothly.
2612 If the dialogue extends for more than one line it will be necessary
2613 to manually insert @code{\break}s and adjust the placing of the
2614 dialogue to avoid running into the right margin. The final word of
2615 the last measure on a line should also be separated out, as above.
2617 Here is an example illustating how this might be done.
2619 @c This should be a snippet, but it can't be as it needs to be
2620 @c manually adjusted to suit the imposed line length. -td
2622 @lilypond[quote,verbatim,ragged-right]
2623 music = \relative c'' {
2624 \repeat unfold 3 { a4 a a a }
2627 dialogue = \lyricmode {
2629 \fontsize #1 \upright \smallCaps Abe:
2630 "Say this over measures one and"
2634 "and this over measure"4*3
2641 \override LyricText #'font-shape = #'italic
2642 \override LyricText #'self-alignment-X = #LEFT
2646 \new Voice { \music }
2652 @c TODO show use of \column to produce dialogue on two lines
2656 @ref{Manual syllable durations},
2660 @rinternals{LyricText}.
2663 @node Chants psalms and hymns
2664 @subsection Chants psalms and hymns
2669 @cindex religious music
2671 The music and words for chants, psalms and hymns usually follow a
2672 well-established format in any particular church. Although the
2673 formats may differ from church to church the type-setting problems
2674 which arise are broadly similar, and are covered in this section.
2677 * References for chants and psalms::
2679 * Pointing a psalm::
2680 * Partial measures in hymn tunes::
2683 @node References for chants and psalms
2684 @unnumberedsubsubsec References for chants and psalms
2686 Typesetting Gregorian chant in various styles of ancient notation
2687 is described in @ref{Ancient notation}.
2691 @ref{Ancient notation}.
2694 @node Setting a chant
2695 @unnumberedsubsubsec Setting a chant
2697 Modern chant settings use modern notation with varying numbers of
2698 elements taken from ancient notation. Some of the elements and
2699 methods to consider are shown here.
2701 Chants often use quarter notes without stems to indicate the pitch,
2702 with the rhythm being taken from the spoken rhythm of the words.
2704 @lilypond[verbatim,quote]
2705 stemOff = { \override Staff.Stem #'transparent = ##t }
2714 Chants often omit the bar lines or use shortened or dotted bar
2715 lines to indicate pauses in the music. To omit all bar lines from
2716 all staves remove the bar line engraver completely:
2718 @lilypond[verbatim,quote]
2739 \remove Bar_engraver
2745 Bar lines can also be removed on a staff-by-staff basis:
2747 @lilypond[verbatim, quote]
2751 \with { \remove Bar_engraver } {
2769 To remove bar lines from just a section of music treat it as a
2770 cadenza. If the section is long you may need to insert dummy
2771 barlines with @code{\bar ""} to show where the line should break.
2773 @lilypond[verbatim,quote,relative=2]
2786 Rests or pauses in chants can be indicated by modified bar lines.
2788 @lilypond[verbatim, quote,relative=2]
2803 Alternatively, the notation used in Gregorian chant for pauses or
2804 rests is sometimes used even though the rest of the notation is
2805 modern. This uses a modified @code{\breathe} mark:
2807 @lilypond[verbatim,quote]
2809 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2810 \once \override BreathingSign #'Y-offset = #0
2814 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2815 \once \override BreathingSign #'Y-offset = #0
2819 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2820 \once \override BreathingSign #'Y-offset = #0
2824 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2825 \once \override BreathingSign #'Y-offset = #0
2843 \remove Bar_engraver
2849 Chants usually omit the time signature and often omit the clef too.
2851 @lilypond[verbatim,quote]
2863 \remove Bar_engraver
2864 \remove Time_signature_engraver
2865 \remove Clef_engraver
2871 Chants for psalms in the Anglican tradition are usually either
2872 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2873 of 7 bars. Each group of 7 bars is divided into two halves,
2874 corresponding to the two halves of each verse, usually separated by
2875 a double bar line. Only whole and half notes are used. The 1st bar
2876 in each half always contains a single chord of whole notes. This is
2877 the @qq{reciting note}. Chants are usually centered on the page.
2879 @lilypond[verbatim,quote]
2880 SopranoMusic = \relative g' {
2881 g1 | c2 b | a1 | \bar "||"
2882 a1 | d2 c | c b | c1 | \bar "||"
2885 AltoMusic = \relative c' {
2887 f1 | f2 e | d d | e1 |
2890 TenorMusic = \relative a {
2892 d1 | g,2 g | g g | g1 |
2895 BassMusic = \relative c {
2897 d1 | b2 c | g' g | c,1 |
2904 % Use markup to center the chant on the page
2913 \new Voice = "Soprano" <<
2917 \new Voice = "Alto" <<
2925 \new Voice = "Tenor" <<
2929 \new Voice = "Bass" <<
2939 \override SpacingSpanner
2940 #'base-shortest-duration = #(ly:make-moment 1 2)
2944 \remove "Time_signature_engraver"
2952 Some other approaches to setting such a chant are shown in the first
2953 of the following snippets.
2957 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2958 {chant-or-psalms-notation.ly}
2960 Canticles and other liturgical texts may be set more freely, and
2961 may use notational elements from ancient music. Often the words
2962 are shown underneath and aligned with the notes. If so, the notes
2963 are spaced in accordance with the syllables rather than the notes'
2966 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2967 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2971 @rlearning{Visibility and color of objects},
2972 @rlearning{Vocal ensembles}.
2975 @ref{Ancient notation},
2977 @ref{Modifying context plug-ins},
2978 @ref{Typesetting Gregorian chant},
2979 @ref{Unmetered music},
2980 @ref{Visibility of objects}.
2983 @node Pointing a psalm
2984 @unnumberedsubsubsec Pointing a psalm
2986 The words to an Anglican psalm are usually printed in separate
2987 verses centered underneath the chant.
2989 Single chants (with 7 bars) are repeated for every verse. Double
2990 chants (with 14 bars) are repeated for every pair of verses. Marks
2991 are inserted in the words to show how they should be fitted to the
2992 chant. Each verse is divided into two halves. A colon is usually
2993 used to indicate this division. This corresponds to the double bar
2994 line in the music. The words before the colon are sung to the first
2995 three bars of music; the words after the colon are sung to the last
2998 Single bar lines (or in some psalters an inverted comma or similar
2999 symbol) are inserted between words to indicate where the bar lines
3000 in the music fall. In markup mode a single bar line can be entered
3001 with the bar check symbol, @code{|}.
3003 @lilypond[verbatim,quote]
3008 \line { O come let us sing | unto the | Lord : let }
3009 \line { us heartily rejoice in the | strength of | our }
3010 \line { sal- | -vation. }
3017 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3018 For details, see @ref{Fonts}.
3020 @lilypond[verbatim,quote]
3022 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3028 \line { O come let us sing \tick unto the \tick Lord : let }
3030 us heartily rejoice in the \tick strength of \tick our
3032 \line { sal \tick vation. }
3039 Where there is one whole note in a bar all the words corresponding
3040 to that bar are recited on that one note in speech rhythm. Where
3041 there are two notes in a bar there will usually be only one or two
3042 corresponding syllables. If there are more that two syllables a
3043 dot is usually inserted to indicate where the change in note occurs.
3045 @lilypond[verbatim,quote]
3047 \raise #0.7 \musicglyph #"dots.dot"
3050 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3057 O come let us sing \tick unto \dot the \tick Lord : let
3060 us heartily rejoice in the \tick strength of \tick our
3062 \line { sal \tick vation. }
3069 In some psalters an asterisk is used to indicate a break in a
3070 recited section instead of a comma, and stressed or slightly
3071 lengthened syllables are indicated in bold text.
3073 @lilypond[verbatim,quote]
3075 \raise #0.7 \musicglyph #"dots.dot"
3078 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3084 \line { Today if ye will hear his voice * }
3086 \concat { \bold hard en }
3087 | not your | hearts : as in the pro-
3089 \line { vocation * and as in the \bold day of tempt- | }
3090 \line { -ation | in the | wilderness. }
3097 In other psalters an accent is placed over the syllable to indicate
3100 @lilypond[verbatim,quote]
3102 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3109 O come let us \concat {
3110 si \combine \tick ng
3112 | unto the | Lord : let
3115 us heartily \concat {
3116 rejo \combine \tick ice
3118 in the | strength of | our
3120 \line { sal- | -vation. }
3127 The use of markup to center text, and arrange lines in columns is
3128 described in @ref{Formatting text}.
3130 Most of these elements are shown in one or other of the two verses
3131 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3135 @rlearning{Vocal ensembles}.
3139 @ref{Formatting text}.
3142 @node Partial measures in hymn tunes
3143 @unnumberedsubsubsec Partial measures in hymn tunes
3145 Hymn tunes frequently start and end every line of music with
3146 partial measures so that each line of music corresponds exactly
3147 with a line of text. This requires a @code{\partial} command at
3148 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3149 commands at the end of each line.
3151 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3155 @node Ancient vocal music
3156 @subsection Ancient vocal music
3158 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3162 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3163 @c and "Transcription of Ancient music with incipit" snippet. -vv
3167 @ref{Ancient notation}.