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 @lilypondfile[quote]{vocal-headword.ly}
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::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
96 @unnumberedsubsubsec Entering lyrics
98 @cindex lyrics, entering
99 @cindex entering lyrics
100 @cindex formatting in lyrics
101 @cindex lyrics, formatting
102 @cindex punctuation in lyrics
103 @cindex lyrics punctuation
104 @cindex spaces in lyrics
105 @cindex quotes in lyrics
108 @c TODO should we explain hyphens here
110 Lyrics are entered in a special input mode, which can be introduced
111 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
112 @code{\lyricsto}. In this special input mode, the input @code{d}
113 is not parsed as the pitch @notation{D}, but rather as a one-letter
114 syllable of text. In other words, syllables are entered like notes
115 but with pitches replaced by text.
120 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
123 There are two main methods for specifying the horizontal placement
124 of the syllables, either by specifying the duration of each syllable
125 explicitly, as in the example above, or by leaving the lyrics to be
126 aligned automatically to a melody or other voice of music, using
127 @code{\addlyrics} or @code{\lyricsto}. The former method is
128 described below in @ref{Manual syllable durations}. The latter
129 method is described in @ref{Automatic syllable durations}.
131 A word or syllable of lyrics begins with an alphabetic character
132 (plus some other characters, see below) and is terminated by any
133 white space or a digit. Later characters in the syllable can be any
134 character that is not a digit or white space.
136 Because any character that is not a digit or white space is regarded
137 as part of the syllable, a word is valid even if it ends with
138 @code{@}}, which often leads to the following mistake:
141 \lyricmode @{ lah lah lah@}
144 In this example, the @code{@}} is included in the final syllable, so the
145 opening brace is not balanced and the input file will probably not
146 compile. Instead, braces should always be surrounded with white space:
149 \lyricmode @{ lah lah lah @}
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{Special characters}.
158 @lilypond[quote,verbatim]
159 \relative c'' { d8 c16 a bes8 f e' d c4 }
160 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
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
183 Great control over the appearance of lyrics comes from using
184 @code{\markup} inside the lyrics themselves. For explanation of many
185 options, see @ref{Formatting text}.
189 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
190 {formatting-lyrics-syllables.ly}
198 @ref{Automatic syllable durations},
200 @ref{Formatting text},
202 @ref{Manual syllable durations},
203 @ref{Special characters}.
206 @rinternals{LyricText}.
212 @node Aligning lyrics to a melody
213 @unnumberedsubsubsec Aligning lyrics to a melody
215 @cindex lyrics, aligning to a melody
216 @cindex @code{associatedVoice}
221 Lyrics are printed by interpreting them in the context called
222 @code{Lyrics}, see @ref{Contexts explained}.
225 \new Lyrics \lyricmode @{ @dots{} @}
228 Lyrics can be aligned with melodies in two main ways:
233 Lyrics can be aligned automatically, with the durations of the
234 syllables being taken from another voice of music or (in special
235 circumstances) an associated melody, using @code{\addlyrics},
236 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
237 For more details, see @ref{Automatic syllable durations}.
239 @lilypond[quote,ragged-right,verbatim]
243 \new Voice = "one" \relative c'' {
245 c4 b8. a16 g4. r8 a4 ( b ) c2
247 \new Voice = "two" \relative c' {
253 % takes durations and alignment from notes in "one"
254 \new Lyrics \lyricsto "one" {
255 Life is __ _ love, live __ life.
258 % takes durations and alignment from notes in "one" initially
259 % then switches to "two"
260 \new Lyrics \lyricsto "one" {
262 \set associatedVoice = "two" % must be set one syllable early
263 sins and sor -- rows grow.
268 The first stanza shows the normal way of entering lyrics.
270 The second stanza shows how the voice from which the lyric
271 durations are taken can be changed. This is useful if the words to
272 different stanzas fit the notes in different ways and all the
273 durations are available in Voice contexts. For more details, see
277 Lyrics can be aligned independently of the duration of any notes
278 if the durations of the syllables are specified explicitly,
279 and entered with @code{\lyricmode}.
281 @lilypond[quote,ragged-right,verbatim]
283 \new Voice = "one" \relative c'' {
285 c4 b8. a16 g4. f8 e4 d c2
288 % uses previous explicit duration of 2;
289 \new Lyrics \lyricmode {
293 % explicit durations, set to a different rhythm
294 \new Lyrics \lyricmode {
295 Life4 is love,2. live4 life.2
300 The first stanza is not aligned with the notes because the durations
301 were not specified, and the previous value of 2 is used for each
304 The second stanza shows how the words can be aligned quite
305 independently from the notes. This is useful if the words to
306 different stanzas fit the notes in different ways and the required
307 durations are not available in a music context. For more details
308 see @ref{Manual syllable durations}. This technique is also useful
309 when setting dialogue over music; for examples showing this, see
310 @ref{Dialogue over music}.
312 When entered in this way the words are left-aligned to the notes
313 by default, but may be center-aligned to the notes of a melody by
314 specifying an associated voice, if one exists. For details, see
315 @ref{Manual syllable durations}.
321 @rlearning{Aligning lyrics to a melody}.
324 @ref{Contexts explained},
325 @ref{Automatic syllable durations},
327 @ref{Manual syllable durations},
328 @ref{Dialogue over music},
329 @ref{Manual syllable durations}.
335 @node Automatic syllable durations
336 @unnumberedsubsubsec Automatic syllable durations
338 @cindex syllable durations, automatic
339 @cindex lyrics and melodies
340 @cindex associatedVoice
344 Lyrics can be automatically aligned to the notes of a melody in
350 by specifying the named Voice context containing the melody with
354 by introducing the lyrics with @code{\addlyrics} and placing them
355 immediately after the Voice context containing the melody,
358 by setting the @code{associatedVoice} property, the alignment of
359 the lyrics may be switched to a different named Voice context at
364 In all three methods hyphens can be drawn between the syllables of
365 a word and extender lines can be drawn beyond the end of a word. For
366 details, see @ref{Extenders and hyphens}.
368 The @code{Voice} context containing the melody to which the lyrics
369 are being aligned must not have @qq{died}, or the lyrics after that
370 point will be lost. This can happen if there are periods when that
371 voice has nothing to do. For methods of keeping contexts alive, see
372 @ref{Keeping contexts alive}.
374 @subheading Using @code{\lyricsto}
379 Lyrics can be aligned under a melody automatically by specifying
380 the named Voice context containing the melody with
383 @lilypond[quote,verbatim,relative=2]
385 \new Voice = "melody" {
388 \new Lyrics \lyricsto "melody" {
395 This aligns the lyrics to the notes of the named @code{Voice}
396 context, which must already exist. Therefore normally the
397 @code{Voice} context is specified first, followed by the
398 @code{Lyrics} context. The lyrics themselves follow the
399 @code{\lyricsto} command. The @code{\lyricsto} command
400 invokes lyric mode automatically, so the @code{\lyricmode} keyword
401 may be omitted. By default, the lyrics are placed underneath the
402 notes. For other placements, see @ref{Placing lyrics vertically}.
404 @subheading Using @code{\addlyrics}
409 The @code{\addlyrics} command is just a convenient shortcut that
410 can sometimes be used instead of having to set up the lyrics
411 through a more complicated LilyPond structure.
415 \addlyrics @{ LYRICS @}
422 \new Voice = "blah" @{ MUSIC @}
423 \new Lyrics \lyricsto "blah" @{ LYRICS @}
428 @lilypond[verbatim,quote]
431 \relative c' { c2 e4 g2. }
432 \addlyrics { play the game }
436 More stanzas can be added by adding more
437 @code{\addlyrics} sections:
440 @lilypond[ragged-right,verbatim,quote]
443 \relative c' { c2 e4 g2. }
444 \addlyrics { play the game }
445 \addlyrics { speel het spel }
446 \addlyrics { joue le jeu }
450 The command @code{\addlyrics} cannot handle polyphonic settings.
451 Also, it cannot be used to associate lyrics to a @code{TabVoice}.
452 For these cases one should use @code{\lyricsto}.
454 @subheading Using associatedVoice
456 The melody to which the lyrics are being aligned can be changed by
457 setting the @code{associatedVoice} property,
460 \set associatedVoice = #"lala"
465 The value of the property (here: @code{"lala"}) should be the name
466 of a @code{Voice} context. For technical reasons, the @code{\set}
467 command must be placed one syllable before the one to which the
468 change in voice is to apply.
470 Here is an example demonstrating its use:
472 @lilypond[quote,ragged-right,verbatim]
476 \new Voice = "one" \relative c'' {
478 c4 b8. a16 g4. r8 a4 ( b ) c2
480 \new Voice = "two" \relative c' {
485 % takes durations and alignment from notes in "one" initially
486 % then switches to "two"
487 \new Lyrics \lyricsto "one" {
489 \set associatedVoice = "two" % must be set one syllable early
490 sins and sor -- rows grow.
497 @ref{Extenders and hyphens},
498 @ref{Keeping contexts alive},
499 @ref{Placing lyrics vertically}.
502 @node Manual syllable durations
503 @unnumberedsubsubsec Manual syllable durations
505 In some complex vocal music, it may be desirable to place lyrics
506 completely independently of notes. In this case do not use
507 @code{\lyricsto} or @code{\addlyrics} and do not set
508 @code{associatedVoice}. Syllables are entered like notes --
509 but with pitches replaced by text -- and the duration of each
510 syllable is entered explicitly after the syllable.
512 By default, syllables will be left-aligned to the corresponding
513 musical moment. Hyphenated lines may be drawn between syllables
514 as usual, but extender lines cannot be drawn when there is no
517 Here are two examples:
519 @lilypond[relative=1,verbatim,quote]
521 \new Voice = "melody" {
525 \new Lyrics \lyricmode {
532 @lilypond[quote,verbatim,ragged-right]
554 This technique is useful when writing dialogue over music, see
555 @ref{Dialogue over music}.
557 To center-align syllables on the notes at the corresponding musical
558 moments, set @code{associatedVoice} to the name of the Voice context
559 containing those notes. When @code{associatedVoice} is set, both
560 double hyphens and double underscores can be used to draw
561 hyphenated lines and extenders under melismata correctly.
563 @lilypond[relative=1,verbatim,quote]
565 \new Voice = "melody" {
569 \new Lyrics \lyricmode {
570 \set associatedVoice = #"melody"
576 @c TODO see also feature request 707 - show how to do this with manual durations
580 @ref{Dialogue over music}.
587 @node Multiple syllables to one note
588 @unnumberedsubsubsec Multiple syllables to one note
591 @cindex spaces, in lyrics
592 @cindex quotes, in lyrics
593 @cindex ties, in lyrics
595 In order to assign more than one syllable to a single note with
596 spaces between the syllables, you can surround the phrase with
597 quotes or use a @code{_} character. Alternatively, you can use
598 the tilde symbol (@code{~}) to get a lyric tie.
600 @lilypond[quote,ragged-right,verbatim,relative=2]
603 r8 b c fis, fis c' b e,
607 \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
608 Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
610 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
611 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
617 @rinternals{LyricCombineMusic}.
620 @node Multiple notes to one syllable
621 @unnumberedsubsubsec Multiple notes to one syllable
625 @cindex phrasing, in lyrics
627 @funindex \melismaEnd
629 Sometimes, particularly in Medieval and baroque music, several notes are
630 sung on one syllable; this is called melisma, see
631 @rglos{melisma}. The syllable to a melisma is usually
632 left-aligned with the first note of the melisma.
634 When a melisma occurs on a syllable other than the last one in a
635 word, that syllable is usually joined to the following one with a
636 hyphenated line. This is indicated by placing a double hyphen,
637 @w{@code{--}}, immediately after the syllable.
639 Alternatively, when a melisma occurs on the last or only syllable in
640 a word an extender line is usually drawn from the end of the syllable
641 to the last note of the melisma. This is indicated by placing a
642 double underscore, @code{__}, immediately after the word.
644 There are five ways in which melismata can be indicated:
649 Melismata are created automatically over notes which are tied
652 @lilypond[quote,relative=2,verbatim]
654 \new Voice = "melody" {
660 \new Lyrics \lyricsto "melody" {
667 Melismata can be created automatically from the music by placing
668 slurs over the notes of each melisma. This is the usual way of
671 @lilypond[quote,relative=2,verbatim]
673 \new Voice = "melody" {
678 \new Lyrics \lyricsto "melody" {
684 Note that phrasing slurs do not affect the creation of melismata.
687 Notes are considered a melisma if they are manually beamed,
688 providing automatic beaming is switched off. See
689 @ref{Setting automatic beam behavior}.
691 @lilypond[quote,relative=2,verbatim]
693 \new Voice = "melody" {
699 \new Lyrics \lyricsto "melody" {
705 Clearly this is not suited to melismata over notes which are longer
709 An unslurred group of notes will be treated as a melisma if they
710 are bracketed between @code{\melisma} and @code{\melismaEnd}.
712 @lilypond[quote,relative=2,verbatim]
714 \new Voice = "melody" {
722 \new Lyrics \lyricsto "melody" {
729 A melisma can be defined entirely in the lyrics by entering a
730 single underscore character, @code{_}, for every extra note that has
731 to be added to the melisma.
733 @lilypond[verbatim, quote, relative=2]
735 \new Voice = "melody" {
740 \new Lyrics \lyricsto "melody" {
741 Ky -- ri -- _ _ _ e __ _ _
748 It is possible to have ties, slurs and manual beams in the melody
749 without their indicating melismata. To do this, set
750 @code{melismaBusyProperties}:
752 @lilypond[relative=1,verbatim,quote]
754 \new Voice = "melody" {
756 \set melismaBusyProperties = #'()
760 \new Lyrics \lyricsto "melody" {
761 Ky -- ri -- e e -- le -- i -- son
766 Other settings for @code{melismaBusyProperties} can be used to
767 selectively include or exclude ties, slurs, and beams from the
768 automatic detection of melismata; see @code{melismaBusyProperties}
769 in @rinternals{Tunable context properties}.
771 Alternatively, if all melismata indications are to be ignored,
772 @code{ignoreMelismata} may be set true;
773 see @ref{Stanzas with different rhythms}.
775 If a melisma is required during a passage in which
776 @code{melismaBusyProperties} is active, it may be indicated by
777 placing a single underscore in the lyrics for each note which
778 should be included in the melisma:
780 @lilypond[relative=1,verbatim,quote]
782 \new Voice = "melody" {
784 \set melismaBusyProperties = #'()
788 \new Lyrics \lyricsto "melody" {
789 Ky -- ri -- _ e __ _ _ _
807 @rlearning{Aligning lyrics to a melody}.
810 @ref{Aligning lyrics to a melody},
811 @ref{Automatic syllable durations},
812 @ref{Setting automatic beam behavior},
813 @ref{Stanzas with different rhythms}.
816 @rinternals{Tunable context properties}.
819 Extender lines under melismata are not created automatically; they
820 must be inserted manually with a double underscore.
823 @node Extenders and hyphens
824 @unnumberedsubsubsec Extenders and hyphens
829 @c TODO cf Multiple notes to one syllable; should this be merged in?
831 @c leave this as samp. -gp
832 In the last syllable of a word, melismata are sometimes indicated with
833 a long horizontal line starting in the melisma syllable, and ending in
834 the next one. Such a line is called an extender line, and it is
835 entered as @samp{ __ } (note the spaces before and after the two
836 underscore characters).
838 @warning{Melismata are indicated in the score with extender lines,
839 which are entered as one double underscore; but short melismata can
840 also be entered by skipping individual notes, which are entered as
841 single underscore characters; these do not make an extender line to be
846 @c leave this as samp. -gp
847 Centered hyphens are entered as @samp{ -- } between syllables of a
848 same word (note the spaces before and after the two hyphen
849 characters). The hyphen will be centered between the syllables, and
850 its length will be adjusted depending on the space between the
853 In tightly engraved music, hyphens can be removed. Whether this
854 happens can be controlled with the @code{minimum-distance} (minimum
855 distance between two syllables) and the @code{minimum-length}
856 (threshold below which hyphens are removed) properties of
861 @rinternals{LyricExtender},
862 @rinternals{LyricHyphen}.
865 @node Techniques specific to lyrics
866 @subsection Techniques specific to lyrics
868 @c TODO this whole section is to be reorganised
871 * Working with lyrics and variables::
872 * Placing lyrics vertically::
873 * Placing syllables horizontally::
874 * Lyrics and repeats::
876 * Polyphony with shared lyrics::
881 @node Working with lyrics and variables
882 @unnumberedsubsubsec Working with lyrics and variables
884 @cindex lyrics, using variables
886 Variables containing lyrics can be created, but the lyrics must be
887 entered in lyric mode:
889 @lilypond[quote,verbatim]
890 musicOne = \relative c'' {
891 c4 b8. a16 g4. f8 e4 d c2
893 verseOne = \lyricmode {
894 Joy to the world, the Lord is come.
902 \new Lyrics \lyricsto "one" {
909 Durations do not need to be added if the variable is to be invoked
910 with @code{\addlyrics} or @code{\lyricsto}.
912 For different or more complex orderings, the best way is to define
913 the music and lyric variables first, then set up the hierarchy of
914 staves and lyrics, omitting the lyrics themselves, and then add the
915 lyrics using @code{\context} underneath. This ensures that the
916 voices referenced by @code{\lyricsto} have always been defined
917 earlier. For example:
919 @lilypond[quote,verbatim]
920 sopranoMusic = \relative c'' { c4 c c c }
921 contraltoMusic = \relative c'' { a4 a a a }
922 sopranoWords = \lyricmode { Sop -- ra -- no words }
923 contraltoWords = \lyricmode { Con -- tral -- to words }
928 \new Voice = "sopranos" {
932 \new Lyrics = "sopranos"
933 \new Lyrics = "contraltos"
935 \new Voice = "contraltos" {
939 \context Lyrics = "sopranos" {
940 \lyricsto "sopranos" {
944 \context Lyrics = "contraltos" {
945 \lyricsto "contraltos" {
955 @ref{Placing lyrics vertically}.
958 @rinternals{LyricCombineMusic},
962 @node Placing lyrics vertically
963 @unnumberedsubsubsec Placing lyrics vertically
965 @cindex placement of lyrics
966 @cindex lyrics, positioning
968 Depending on the type of music, lyrics may be positioned
969 above the staff, below the staff, or between staves. Placing
970 lyrics below the associated staff is the easiest, and can be
971 achieved by simply defining the Lyrics context below the Staff
974 @lilypond[quote,verbatim]
978 \new Voice = "melody" {
979 \relative c'' { c4 c c c }
991 Lyrics may be positioned above the staff using one of
992 two methods. The simplest (and preferred) method
993 is to use the same syntax as above and explicitly
994 specify the position of the lyrics:
996 @lilypond[quote,verbatim]
999 \new Staff = "staff" {
1000 \new Voice = "melody" {
1001 \relative c'' { c4 c c c }
1004 \new Lyrics \with { alignAboveContext = "staff" } {
1005 \lyricsto "melody" {
1013 Alternatively, a two-step process may be used. First the Lyrics
1014 context is declared (without any content) before the Staff and
1015 Voice contexts, then the @code{\lyricsto} command is placed after
1016 the Voice declaration it references by using @code{\context}, as
1019 @lilypond[quote,verbatim]
1022 \new Lyrics = "lyrics" \with {
1023 % lyrics above a staff should have this override
1024 \override VerticalAxisGroup.staff-affinity = #DOWN
1027 \new Voice = "melody" {
1028 \relative c'' { c4 c c c }
1031 \context Lyrics = "lyrics" {
1032 \lyricsto "melody" {
1040 When there are two voices on separate staves the lyrics may be
1041 placed between the staves using either of these methods. Here
1042 is an example of the second method:
1044 @lilypond[quote,verbatim]
1048 \new Voice = "sopranos" {
1049 \relative c'' { c4 c c c }
1052 \new Lyrics = "sopranos"
1053 \new Lyrics = "contraltos" \with {
1054 % lyrics above a staff should have this override
1055 \override VerticalAxisGroup.staff-affinity = #DOWN
1058 \new Voice = "contraltos" {
1059 \relative c'' { a4 a a a }
1062 \context Lyrics = "sopranos" {
1063 \lyricsto "sopranos" {
1064 Sop -- ra -- no words
1067 \context Lyrics = "contraltos" {
1068 \lyricsto "contraltos" {
1069 Con -- tral -- to words
1076 Other combinations of lyrics and staves may be generated by
1077 elaborating these examples, or by examining the templates in the
1078 Learning Manual, see @rlearning{Vocal ensembles templates}.
1081 @lilypondfile[verbatim,quote,texidoc,doctitle]
1082 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1086 @rlearning{Vocal ensembles templates}.
1089 @ref{Context layout order},
1090 @ref{Creating and referencing contexts}.
1093 @node Placing syllables horizontally
1094 @unnumberedsubsubsec Placing syllables horizontally
1096 @cindex Spacing lyrics
1097 @cindex Lyrics, increasing space between
1099 To increase the spacing between lyrics, set the
1100 @code{minimum-distance} property of @code{LyricSpace}.
1102 @lilypond[relative=1,verbatim,quote,ragged-right]
1105 \override Lyrics.LyricSpace.minimum-distance = #1.0
1109 longtext longtext longtext longtext
1110 longtext longtext longtext longtext
1115 To make this change for all lyrics in the score, set the property in the
1116 @code{\layout} block.
1118 @lilypond[verbatim,quote,ragged-right]
1125 longtext longtext longtext longtext
1126 longtext longtext longtext longtext
1131 \override LyricSpace.minimum-distance = #1.0
1138 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1139 {lyrics-alignment.ly}
1141 @c TODO: move to LSR -vv
1143 Checking to make sure that text scripts and lyrics are within the margins
1144 requires additional calculations. To speed up processing slightly, this
1145 feature can be disabled:
1148 \override Score.PaperColumn.keep-inside-line = ##f
1151 To make lyrics avoid bar lines as well, use
1157 \consists "Bar_engraver"
1158 \consists "Separating_line_group_engraver"
1159 \override BarLine.transparent = ##t
1164 @node Lyrics and repeats
1165 @unnumberedsubsubsec Lyrics and repeats
1167 @cindex repeats and lyrics
1168 @cindex lyrics, repeating
1170 @subheading Simple repeats
1172 Repeats in @emph{music} are fully described elsewhere; see
1173 @ref{Repeats}. This section explains how to add lyrics to repeated
1176 Lyrics to a section of music that is repeated should be surrounded
1177 by exactly the same repeat construct as the music, if the words are
1180 @lilypond[verbatim,quote]
1184 \new Voice = "melody" {
1187 \repeat volta 2 { b4 b b b }
1192 \lyricsto "melody" {
1193 Not re -- peat -- ed.
1194 \repeat volta 2 { Re -- peat -- ed twice. }
1201 The words will then be correctly expanded if the repeats are
1204 @lilypond[verbatim,quote]
1209 \new Voice = "melody" {
1212 \repeat volta 2 { b4 b b b }
1217 \lyricsto "melody" {
1218 Not re -- peat -- ed.
1219 \repeat volta 2 { Re -- peat -- ed twice. }
1227 If the repeated section is to be unfolded and has different words,
1228 simply enter all the words:
1230 @lilypond[verbatim,quote,ragged-right]
1234 \new Voice = "melody" {
1237 \repeat unfold 2 { b4 b b b }
1242 \lyricsto "melody" {
1243 Not re -- peat -- ed.
1244 The first time words.
1245 Sec -- ond time words.
1252 When the words to a repeated volta section are different, the words
1253 to each repeat must be entered in separate @code{Lyrics} contexts,
1254 correctly nested in parallel sections:
1256 @lilypond[verbatim,quote]
1260 \new Voice = "melody" {
1263 \repeat volta 2 { b4 b b b }
1267 \new Lyrics \lyricsto "melody" {
1268 Not re -- peat -- ed.
1270 { The first time words. }
1272 \set associatedVoice = "melody"
1273 Sec -- ond time words.
1281 More verses may be added in a similar way:
1283 @lilypond[verbatim,quote]
1287 \new Voice = "singleVoice" {
1290 \repeat volta 3 { b4 b b b }
1295 \new Lyrics \lyricsto "singleVoice" {
1296 Not re -- peat -- ed.
1298 { The first time words. }
1300 \set associatedVoice = "singleVoice"
1301 Sec -- ond time words.
1304 \set associatedVoice = "singleVoice"
1305 The third time words.
1308 The end sec -- tion.
1314 @cindex alignBelowContext
1315 @funindex alignBelowContext
1317 However, if this construct is embedded within a multi-staved
1318 context such as a @code{ChoirStaff} the lyrics of the second and
1319 third verses will appear beneath the bottom staff.
1321 To position them correctly use @code{alignBelowContext}:
1323 @lilypond[verbatim,quote]
1327 \new Voice = "melody" {
1330 \repeat volta 3 { b4 b b b }
1335 \new Lyrics = "firstVerse" \lyricsto "melody" {
1336 Not re -- peat -- ed.
1338 { The first time words. }
1339 \new Lyrics = "secondVerse"
1340 \with { alignBelowContext = #"firstVerse" } {
1341 \set associatedVoice = "melody"
1342 Sec -- ond time words.
1344 \new Lyrics = "thirdVerse"
1345 \with { alignBelowContext = #"secondVerse" } {
1346 \set associatedVoice = "melody"
1347 The third time words.
1350 The end sec -- tion.
1352 \new Voice = "harmony" {
1354 f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1363 @c TODO positioning a common line of lyrics
1365 @subheading Repeats with alternative endings
1367 @cindex lyrics, repeats with alternative endings
1368 @cindex repeating lyrics with alternative endings
1369 @cindex alternative endings and lyrics
1371 If the words of the repeated section are the same, exactly the
1372 same structure can be used for both the lyrics and music.
1374 @lilypond[quote,verbatim]
1379 \new Voice = "melody" {
1382 \repeat volta 2 { b4 b }
1383 \alternative { { b b } { b c } }
1388 \lyricsto "melody" {
1389 Not re -- peat -- ed.
1390 \repeat volta 2 { Re -- peat -- }
1391 \alternative { { ed twice. } { ed twice. } }
1399 @cindex skipping notes in lyrics
1400 @cindex lyrics, skipping notes
1402 But when the repeated section has different words, a repeat
1403 construct cannot be used around the words and @code{\skip} commands
1404 have to be inserted manually to skip over the notes in the
1405 alternative sections which do not apply.
1407 Note: do not use an underscore, @code{_}, to skip notes -- an
1408 underscore indicates a melisma, causing the preceding syllable
1411 @warning{The @code{@bs{}skip} command must be followed by a number,
1412 but this number is ignored in lyrics which derive their durations
1413 from the notes in an associated melody through @code{\addlyrics} or
1414 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1415 value, irrespective of the value of the following number.}
1417 @lilypond[verbatim,quote,ragged-right]
1422 \new Voice = "melody" {
1424 \repeat volta 2 { b4 b }
1425 \alternative { { b b } { b c } }
1431 \lyricsto "melody" {
1432 The first time words.
1433 \repeat unfold 2 { \skip 1 }
1438 \lyricsto "melody" {
1440 \repeat unfold 2 { \skip 1 }
1448 @cindex lyrics and tied notes
1449 @funindex \repeatTie
1451 When a note is tied over into two or more alternative endings a
1452 tie is used to carry the note into the first alternative ending and
1453 a @code{\repeatTie} is used in the second and subsequent endings.
1454 This structure causes difficult alignment problems when lyrics are
1455 involved and increasing the length of the alternative sections so
1456 the tied notes are contained wholly within them may give a more
1459 The tie creates a melisma into the first alternative, but not into
1460 the second and subsequent alternatives, so to align the lyrics
1461 correctly it is necessary to disable the automatic creation of
1462 melismata over the volta section and insert manual skips.
1464 @lilypond[quote,verbatim]
1469 \new Voice = "melody" {
1471 \set melismaBusyProperties = #'()
1472 \repeat volta 2 { b4 b ~}
1473 \alternative { { b b } { b \repeatTie c } }
1474 \unset melismaBusyProperties
1480 \lyricsto "melody" {
1481 \repeat volta 2 { Here's a __ }
1493 Note that if @code{\unfoldRepeats} is used around a section
1494 containing @code{\repeatTie}, the @code{\repeatTie} should be
1495 removed to avoid both types of tie being printed.
1497 When the repeated section has different words a @code{\repeat}
1498 cannot be used around the lyrics and @code{\skip} commands need to
1499 be inserted manually, as before.
1501 @lilypond[quote,verbatim]
1506 \new Voice = "melody" {
1508 \repeat volta 2 { b4 b ~}
1509 \alternative { { b b } { b \repeatTie c } }
1515 \lyricsto "melody" {
1517 \repeat unfold 2 { \skip 1 }
1521 \lyricsto "melody" {
1523 \repeat unfold 2 { \skip 1 }
1531 If you wish to show extenders and hyphens into and out of
1532 alternative sections these must be inserted manually.
1534 @lilypond[quote,verbatim]
1539 \new Voice = "melody" {
1541 \repeat volta 2 { b4 b ~}
1542 \alternative { { b b } { b \repeatTie c } }
1548 \lyricsto "melody" {
1550 \repeat unfold 2 { \skip 1 }
1554 \lyricsto "melody" {
1566 @ref{Keeping contexts alive},
1571 @unnumberedsubsubsec Divisi lyrics
1573 @cindex divided lyrics
1574 @cindex lyrics, divided
1576 When just the words and rhythms of the two parts differ with the
1577 pitches remaining the same, temporarily turning off the automatic
1578 detection of melismata and indicating the melisma in the lyrics
1579 may be the appropriate method to use:
1581 @lilypond[quote,verbatim]
1584 \new Voice = "melody" {
1586 \set melismaBusyProperties = #'()
1590 \unset melismaBusyProperties
1594 \new Lyrics \lyricsto "melody" {
1595 They shall not o -- ver -- come
1597 \new Lyrics \lyricsto "melody" {
1604 When both music and words differ it may be better to display
1605 the differing music and lyrics by naming voice contexts and
1606 attaching lyrics to those specific contexts:
1608 @lilypond[verbatim,ragged-right,quote]
1611 \new Voice = "melody" {
1618 \new Voice = "splitpart" {
1628 \new Lyrics \lyricsto "melody" {
1629 They shall not o -- ver -- come
1631 \new Lyrics \lyricsto "splitpart" {
1638 It is common in choral music to have a voice part split for
1639 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1640 construct, where the two (or more) musical expressions are
1641 separated by double backslashes, might seem the proper way to
1642 set the split voices. This construct, however, will assign
1643 @strong{all} the expressions within it to @strong{NEW Voice
1644 contexts} which will result in @emph{no lyrics} being set for
1645 them since the lyrics will be set to the original voice context
1646 -- not, typically, what one wants. The temporary polyphonic
1647 passage is the proper construct to use, see section
1648 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1651 @node Polyphony with shared lyrics
1652 @unnumberedsubsubsec Polyphony with shared lyrics
1655 @cindex polyphony, shared lyrics
1656 @cindex lyrics, shared among voices
1657 @cindex \partcombine and lyrics
1658 @funindex \partcombine
1660 When two voices with different rhythms share the same lyrics,
1661 aligning the lyrics to one of the voices may lead to problems in
1662 the other voice. For example, the second lyric extender below is
1663 too short, since the lyrics are aligned only to the top voice:
1665 @lilypond[quote,verbatim]
1666 soprano = \relative { b'8( c d c) d2 }
1667 alto = \relative { g'2 b8( a g a) }
1668 words = \lyricmode { la __ la __ }
1671 \new Voice = "sopranoVoice" { \voiceOne \soprano }
1672 \new Voice { \voiceTwo \alto }
1673 \new Lyrics \lyricsto "sopranoVoice" \words
1677 To get the desired result, align the lyrics to a new
1678 @code{NullVoice} context containing a suitable combination of the
1679 two voices. The notes of the @code{NullVoice} context do not
1680 appear on the printed page, but can be used to align the lyrics
1683 @lilypond[quote,verbatim]
1684 soprano = \relative { b'8( c d c) d2 }
1685 alto = \relative { g'2 b8( a g a) }
1686 aligner = \relative { b'8( c d c) b( a g a) }
1687 words = \lyricmode { la __ la __ }
1690 \new Voice { \voiceOne \soprano }
1691 \new Voice { \voiceTwo \alto }
1692 \new NullVoice = "aligner" \aligner
1693 \new Lyrics \lyricsto "aligner" \words
1697 The @code{NullVoice} context must be inside a @code{Staff}
1698 context, and should only contain notes that are already being
1699 displayed in that staff, and in the same octave. Otherwise the
1700 @code{NullVoice} may interact with the printed voices in
1701 unexpected ways. For example, arbitrary notes in the
1702 @code{NullVoice} may cause accidentals to appear (or disappear) on
1705 This method also can be used with the @code{\partcombine}
1706 function, which does not allow lyrics on its own:
1708 @lilypond[quote,verbatim]
1709 soprano = \relative { b'8( c d c) d2 }
1710 alto = \relative { g'2 b8( a g a) }
1711 aligner = \relative { b'8( c d c) b( a g a) }
1712 words = \lyricmode { la __ la __ }
1715 \new Voice \partcombine \soprano \alto
1716 \new NullVoice = "aligner" \aligner
1717 \new Lyrics \lyricsto "aligner" \words
1722 The @code{\partcombine} function is described in
1723 @ref{Automatic part combining}.
1725 Lastly, this method can be used even when the voices are in
1726 different staves, and is not limited to only two voices:
1728 @lilypond[quote,verbatim]
1729 soprano = \relative { b'8( c d c) d2 }
1730 altoOne = \relative { g'2 b8( a b4) }
1731 altoTwo = \relative { d'2 g4( fis8 g) }
1732 aligner = \relative { b'8( c d c) d( d d d) }
1733 words = \lyricmode { la __ la __ }
1738 \new NullVoice = "aligner" \aligner
1740 \new Lyrics \lyricsto "aligner" \words
1741 \new Staff \partcombine \altoOne \altoTwo
1745 However, note that in the second half of the measure above, the
1746 notes in the @code{NullVoice} context reflect the rhythm of the
1747 lower staff, but they do not deviate from the single pitch being
1748 displayed in the staff to which the @code{NullVoice} belongs.
1749 While not actually required in this particular example, it is a
1750 good idea in general to enter the notes in this way.
1757 * Adding stanza numbers::
1758 * Adding dynamics marks to stanzas::
1759 * Adding singers' names to stanzas::
1760 * Stanzas with different rhythms::
1761 * Printing stanzas at the end::
1762 * Printing stanzas at the end in multiple columns::
1766 @node Adding stanza numbers
1767 @unnumberedsubsubsec Adding stanza numbers
1769 @cindex stanza number
1771 Stanza numbers can be added by setting @code{stanza}, e.g.,
1773 @lilypond[quote,ragged-right,verbatim,relative=2]
1775 \time 3/4 g2 e4 a2 f4 g2.
1777 \set stanza = #"1. "
1778 Hi, my name is Bert.
1780 \set stanza = #"2. "
1781 Oh, ché -- ri, je t'aime
1787 These numbers are put just before the start of the first syllable.
1789 @c TODO Create and add snippet to show how two lines of a
1790 @c stanza can be grouped together, along these lines:
1791 @c (might need improving a bit) -td
1794 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1798 \set stanza = \markup { "1. " \leftbrace }
1799 \lyricmode { Child, you're mine and I love you.
1800 Lend thine ear to what I say.
1806 % \set stanza = \markup { " "}
1807 \lyricmode { Child, I have no great -- er joy
1808 Than to have you walk in truth.
1814 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1815 c'8 c' c' c' c' c' c'4 }
1816 } \addlyrics { \stanzaOneOne }
1817 \addlyrics { \stanzaOneThree }
1821 @node Adding dynamics marks to stanzas
1822 @unnumberedsubsubsec Adding dynamics marks to stanzas
1824 Stanzas differing in loudness may be indicated by putting a
1825 dynamics mark before each stanza. In LilyPond, everything coming in
1826 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1827 marks are no different. For technical reasons, you have to set the
1828 stanza outside @code{\lyricmode}:
1830 @lilypond[quote,ragged-right,verbatim]
1832 \set stanza = \markup { \dynamic "ff" "1. " }
1839 \new Voice = "tune" {
1843 \new Lyrics \lyricsto "tune" \text
1847 @node Adding singers' names to stanzas
1848 @unnumberedsubsubsec Adding singers' names to stanzas
1851 @cindex name of singer
1853 Names of singers can also be added. They are printed at the start of
1854 the line, just like instrument names. They are created by setting
1855 @code{vocalName}. A short version may be entered as
1856 @code{shortVocalName}.
1858 @lilypond[ragged-right,quote,verbatim,relative=2]
1860 \time 3/4 g2 e4 a2 f4 g2.
1862 \set vocalName = #"Bert "
1863 Hi, my name is Bert.
1865 \set vocalName = #"Ernie "
1866 Oh, ché -- ri, je t'aime
1870 @node Stanzas with different rhythms
1871 @unnumberedsubsubsec Stanzas with different rhythms
1873 Often, different stanzas of one song are put to one melody in slightly
1874 differing ways. Such variations can still be captured with
1877 @subsubheading Ignoring melismata
1879 One possibility is that the text has a melisma in one stanza, but
1880 multiple syllables in another. One solution is to make the faster
1881 voice ignore the melisma. This is done by setting
1882 @code{ignoreMelismata} in the Lyrics context.
1884 @lilypond[verbatim,ragged-right,quote]
1886 \relative c' \new Voice = "lahlah" {
1887 \set Staff.autoBeaming = ##f
1893 \new Lyrics \lyricsto "lahlah" {
1896 \new Lyrics \lyricsto "lahlah" {
1898 \set ignoreMelismata = ##t
1900 \unset ignoreMelismata
1907 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1908 not work if prefixed with @code{\once}. It is necessary to use
1909 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1912 @subsubheading Adding syllables to grace notes
1914 @cindex grace notes and lyrics
1915 @cindex lyrics on grace notes
1917 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1918 syllables when using @code{\lyricsto}, but this behavior can be
1921 @lilypond[verbatim,ragged-right,quote]
1923 \new Voice = melody \relative c' {
1924 f4 \appoggiatura a32 b4
1925 \grace { f16[ a16] } b2
1926 \afterGrace b2 { f16[ a16] }
1927 \appoggiatura a32 b4
1933 \set includeGraceNotes = ##t
1936 after -- grace case,
1937 \set ignoreMelismata = ##t
1945 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1946 set at latest one syllable before the one which is to be put under a
1947 grace note. For the case of a grace note at the very beginning of a
1948 piece of music, consider using a @code{\with} or @code{\context}
1951 @lilypond[verbatim,ragged-right,quote]
1953 \new Voice = melody \relative c' {
1954 \grace { c16[( d e f] }
1957 \new Lyrics \with { includeGraceNotes = ##t }
1964 @subsubheading Switching to an alternative melody
1966 @cindex associatedVoice
1967 @cindex alternative melody, switching to
1969 More complex variations in setting lyrics to music are possible.
1970 The melody to which the lyrics are being set can be changed from
1971 within the lyrics by setting the @code{associatedVoice} property:
1973 @lilypond[verbatim,quote]
1975 \relative c' \new Voice = "lahlah" {
1976 \set Staff.autoBeaming = ##f
1979 \new Voice = "alternative" {
1982 % show associations clearly.
1983 \override NoteColumn.force-hshift = #-3
1994 \new Lyrics \lyricsto "lahlah" {
1995 Ju -- ras -- sic Park
1997 \new Lyrics \lyricsto "lahlah" {
1998 % Tricky: need to set associatedVoice
1999 % one syllable too soon!
2000 \set associatedVoice = "alternative" % applies to "ran"
2004 \set associatedVoice = "lahlah" % applies to "rus"
2010 The text for the first stanza is set to the melody called
2011 @q{lahlah} in the usual way, but the second stanza is set initally
2012 to the @code{lahlah} context and is then switched to the
2013 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
2017 \set associatedVoice = "alternative" % applies to "ran"
2021 \set associatedVoice = "lahlah" % applies to "rus"
2026 Here, @code{alternative} is the name of the @code{Voice} context
2027 containing the triplet.
2029 Note the placement of the @code{\set associatedVoice} command --
2030 it appears to be one syllable too early, but this is correct.
2032 @warning{The @code{\set associatedVoice} command must be placed
2033 one syllable @emph{before} the one at which the switch to the new
2034 voice is to occur. In other words, changing the associated Voice
2035 happens one syllable later than expected. This is for technical
2036 reasons, and it is not a bug.}
2039 @node Printing stanzas at the end
2040 @unnumberedsubsubsec Printing stanzas at the end
2042 Sometimes it is appropriate to have one stanza set
2043 to the music, and the rest added in verse form at
2044 the end of the piece. This can be accomplished by adding
2045 the extra verses into a @code{\markup} section outside
2046 of the main score block. Notice that there are two
2047 different ways to force linebreaks when using
2050 @lilypond[ragged-right,verbatim,quote]
2051 melody = \relative c' {
2057 \set stanza = #"1." Ma- ry had a lit- tle lamb,
2058 its fleece was white as snow.
2062 \new Voice = "one" { \melody }
2063 \new Lyrics \lyricsto "one" \text
2069 \line{ All the children laughed and played }
2070 \line{ To see a lamb at school. }
2077 Mary took it home again,
2079 It was against the rule."
2084 @node Printing stanzas at the end in multiple columns
2085 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
2087 When a piece of music has many verses, they are often printed in
2088 multiple columns across the page. An outdented verse number often
2089 introduces each verse. The following example shows how to produce such
2092 @lilypond[ragged-right,quote,verbatim]
2093 melody = \relative c' {
2098 \set stanza = #"1." This is verse one.
2104 \new Voice = "one" { \melody }
2105 \new Lyrics \lyricsto "one" \text
2112 \hspace #0.1 % moves the column off the left margin;
2113 % can be removed if space on the page is tight
2117 "This is verse two."
2121 \combine \null \vspace #0.1 % adds vertical spacing between verses
2124 "This is verse three."
2129 \hspace #0.1 % adds horizontal spacing between columns;
2133 "This is verse four."
2137 \combine \null \vspace #0.1 % adds vertical spacing between verses
2140 "This is verse five."
2145 \hspace #0.1 % gives some extra space on the right margin;
2146 % can be removed if page space is tight
2153 Internals Reference:
2154 @rinternals{LyricText},
2155 @rinternals{StanzaNumber}.
2162 * References for songs::
2166 @node References for songs
2167 @unnumberedsubsubsec References for songs
2169 Songs are usually written on three staves with the melody for the
2170 singer on the top staff and two staves of piano accompaniment at
2171 the bottom. The lyrics of the first stanza are printed immediately
2172 underneath the top staff. If there are just a small number of
2173 further stanzas these can be printed immediately under the first
2174 one, but if there are more stanzas than can be easily accommodated
2175 there the second and subsequent stanzas are printed after the music
2176 as stand-alone text.
2178 All the notational elements needed to write songs are fully described
2184 For constructing the staff layout, see @ref{Displaying staves}.
2187 For writing piano music, see
2188 @ref{Keyboard and other multi-staff instruments}.
2191 For writing the lyrics to a melody line, see
2192 @ref{Common notation for vocal music}.
2195 For placing the lyrics, see @ref{Placing lyrics vertically}.
2198 For entering stanzas, see @ref{Stanzas}.
2201 Songs are frequently printed with the chording indicated by chord
2202 names above the staves. This is described in @ref{Displaying chords}.
2205 To print fret diagrams of the chords for guitar accompaniment or
2206 accompaniment by other fretted instruments, see @qq{Fret diagram
2207 markups} in @ref{Common notation for fretted strings}.
2216 @ref{Common notation for vocal music},
2217 @ref{Displaying chords},
2218 @ref{Displaying staves},
2219 @ref{Keyboard and other multi-staff instruments},
2220 @ref{Placing lyrics vertically},
2228 @unnumberedsubsubsec Lead sheets
2230 Lead sheets may be printed by combining vocal parts and
2231 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2234 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2235 {simple-lead-sheet.ly}
2239 @ref{Chord notation}.
2250 This section discusses notation issues that relate most directly
2251 to choral music. This includes anthems, part songs, oratorio,
2255 * References for choral::
2256 * Score layouts for choral::
2260 @node References for choral
2261 @unnumberedsubsubsec References for choral
2263 Choral music is usually notated on two, three or four staves within
2264 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2265 beneath in a @code{PianoStaff} group, which is usually reduced in
2266 size for rehearsal of @emph{a cappella} choral works. The notes for
2267 each vocal part are placed in a @code{Voice} context, with each staff
2268 being given either a single vocal part (i.e., one @code{Voice}) or
2269 a pair of vocal parts (i.e., two @code{Voice}s).
2271 Words are placed in @code{Lyrics} contexts, either underneath each
2272 corresponding music staff, or one above and one below the music
2273 staff if this contains the music for two parts.
2275 Several common topics in choral music are described fully elsewhere:
2280 An introduction to creating an SATB vocal score can be found in
2281 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2284 Several templates suitable for various styles of choral music can
2285 also be found in the Learning Manual, see
2286 @rlearning{Vocal ensembles templates}.
2289 For information about @code{ChoirStaff} and @code{PianoStaff} see
2290 @ref{Grouping staves}.
2293 Shape note heads, as used in Sacred Harp and similar notation, are
2294 described in @ref{Shape note heads}.
2297 When two vocal parts share a staff the stems, ties, slurs, etc., of
2298 the higher part will be directed up and those of the lower part
2299 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2300 @ref{Single-staff polyphony}.
2303 When a vocal part temporarily splits, you should use
2304 @emph{Temporary polyphonic passages}
2305 (see @ref{Single-staff polyphony}).
2316 @rlearning{Four-part SATB vocal score},
2317 @rlearning{Vocal ensembles templates}.
2320 @ref{Context layout order},
2321 @ref{Grouping staves},
2322 @ref{Shape note heads},
2323 @ref{Single-staff polyphony}.
2328 Internals Reference:
2329 @rinternals{ChoirStaff},
2330 @rinternals{Lyrics},
2331 @rinternals{PianoStaff}.
2334 @node Score layouts for choral
2335 @unnumberedsubsubsec Score layouts for choral
2337 Choral music containing four staves, with or without piano
2338 accompaniment, is usually laid out with two systems per page.
2339 Depending on the page size, achieving this may require changes
2340 to several default settings. The following settings should be
2346 The global staff size can be modified to change the overall size
2347 of the elements of the score. See @ref{Setting the staff size}.
2350 The distances between the systems, the staves and the lyrics can
2351 all be adjusted independently. See @ref{Vertical spacing}.
2354 The dimensions of the vertical layout variables can be displayed as
2355 an aid to adjusting the vertical spacing. This and other
2356 possibilities for fitting the music onto fewer pages are described
2357 in @ref{Fitting music onto fewer pages}.
2360 If the number of systems per page changes from one to two it is
2361 customary to indicate this with a system separator mark between
2362 the two systems. See @ref{Separating systems}.
2365 For details of other page formatting properties, see
2371 Dynamic markings by default are placed below the staff, but in
2372 choral music they are usually placed above the staff in order to
2373 avoid the lyrics. The predefined command @code{\dynamicUp} does
2374 this for the dynamic markings in a single @code{Voice} context.
2375 If there are many @code{Voice} contexts this predefined command
2376 would have to be placed in every one. Alternatively its expanded
2377 form can be used to place all dynamic markings in the entire score
2378 above their respective staves, as shown here:
2380 @lilypond[verbatim,quote]
2385 \relative c'' { g4\f g g g }
2390 \relative c' { d4 d d\p d }
2397 \override DynamicText.direction = #UP
2398 \override DynamicLineSpanner.direction = #UP
2405 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2409 @ref{Changing spacing},
2410 @ref{Displaying spacing},
2411 @ref{Fitting music onto fewer pages},
2414 @ref{Separating systems},
2415 @ref{Setting the staff size},
2416 @ref{Using an extra voice for breaks},
2417 @ref{Vertical spacing}.
2419 Internals Reference:
2420 @rinternals{VerticalAxisGroup},
2421 @rinternals{StaffGrouper}.
2424 @node Divided voices
2425 @unnumberedsubsubsec Divided voices
2427 @cindex voices, divided
2429 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2430 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2434 @ref{Expressive marks as lines}.
2437 @node Opera and stage musicals
2438 @subsection Opera and stage musicals
2440 The music, lyrics and dialogue to opera and stage musicals are
2441 usually set out in one or more of the following forms:
2446 A @emph{Conductors' Score} containing the full orchestral and vocal
2447 parts, together with libretto cues if there are spoken passages.
2450 @emph{Orchestral Parts} containing the music for the individual
2451 instruments of the orchestra or band.
2454 A @emph{Vocal Score} containing all vocal parts with piano
2455 accompaniment. The accompaniment is usually an orchestral
2456 reduction, and if so the name of the original orchestral instrument
2457 is often indicated. Vocal scores sometimes includes stage
2458 directions and libretto cues.
2461 A @emph{Vocal Book} containing just the vocal parts
2462 (no accompaniment), sometimes combined with the libretto.
2465 A @emph{Libretto} containing the extended passages of spoken
2466 dialogue usually found in musicals, together with the words to the
2467 sung parts. Stage directions are usually included. LilyPond can
2468 be used to typeset libretti but as they contain no music
2469 alternative methods may be preferable.
2473 The sections in the LilyPond documentation which cover the topics
2474 needed to create scores in the styles commonly found in opera and
2475 musicals are indicated in the References below. This is followed
2476 by sections covering those techniques which are peculiar to
2477 typesetting opera and musical scores.
2480 * References for opera and stage musicals::
2484 * Dialogue over music::
2487 @node References for opera and stage musicals
2488 @unnumberedsubsubsec References for opera and stage musicals
2493 A conductors' score contains many grouped staves and lyrics. Ways
2494 of grouping staves is shown in @ref{Grouping staves}. To nest
2495 groups of staves see @ref{Nested staff groups}.
2498 The printing of empty staves in conductors' scores and vocal scores
2499 is often suppressed. To create such a @qq{Frenched score} see
2500 @ref{Hiding staves}.
2503 Writing orchestral parts is covered in @ref{Writing parts}.
2504 Other sections in the Specialist notation chapter may be relevant,
2505 depending on the orchestration used. Many instruments are
2506 transposing instruments, see @ref{Instrument transpositions}.
2509 If the number of systems per page changes from page to page it is
2510 customary to separate the systems with a system separator mark.
2511 See @ref{Separating systems}.
2514 For details of other page formatting properties, see
2518 Dialogue cues, stage directions and footnotes can be inserted, see
2519 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2520 can also be added with a section of stand-alone markups between two
2521 @code{\score} blocks, see @ref{Separate text}.
2527 @rglos{Frenched score},
2528 @rglos{Frenched staves},
2529 @rglos{transposing instrument}.
2532 @ref{Creating footnotes},
2533 @ref{Grouping staves},
2534 @ref{Hiding staves},
2535 @ref{Instrument transpositions},
2536 @ref{Nested staff groups},
2538 @ref{Separating systems},
2540 @ref{Writing parts},
2547 @node Character names
2548 @unnumberedsubsubsec Character names
2550 @cindex character names
2551 @cindex names, character
2553 Character names are usually shown to the left of the staff when the
2554 staff is dedicated to that character alone:
2556 @lilypond[quote,verbatim,ragged-right]
2560 \set Staff.vocalName = \markup \smallCaps Kaspar
2561 \set Staff.shortVocalName = \markup \smallCaps Kas.
2570 \set Staff.vocalName = \markup \smallCaps Melchior
2571 \set Staff.shortVocalName = \markup \smallCaps Mel
2582 When two or more characters share a staff the character's name is
2583 usually printed above the staff at the start of every section
2584 applying to that character. This can be done with markup. Often a
2585 specific font is used for this purpose.
2587 @lilypond[quote,verbatim,relative=1]
2589 c4^\markup \fontsize #1 \smallCaps Kaspar
2592 a4^\markup \fontsize #1 \smallCaps Melchior
2595 c4^\markup \fontsize #1 \smallCaps Kaspar
2599 Alternatively, if there are many character changes, it may be
2600 easier to set up @qq{instrument} definitions for each character at
2601 the top level so that @code{\instrumentSwitch} can be used to
2602 indicate each change.
2604 @lilypond[quote,verbatim]
2605 \addInstrumentDefinition #"kaspar"
2606 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2607 (shortInstrumentName . "Kas.")
2608 (clefGlyph . "clefs.G")
2609 (clefTransposition . -7)
2610 (middleCPosition . 1)
2612 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2613 (midiInstrument . "voice oohs"))
2615 \addInstrumentDefinition #"melchior"
2616 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2617 (shortInstrumentName . "Mel.")
2618 (clefGlyph . "clefs.F")
2619 (clefTransposition . 0)
2620 (middleCPosition . 6)
2622 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2623 (midiInstrument . "choir aahs"))
2626 \instrumentSwitch "kaspar"
2628 \instrumentSwitch "melchior"
2630 \instrumentSwitch "kaspar"
2637 @ref{Instrument names},
2638 @ref{Scheme functions},
2640 @ref{Text markup commands}.
2643 @rextend{Markup construction in Scheme}.
2647 @unnumberedsubsubsec Musical cues
2649 @cindex musical cues
2650 @cindex cues, musical
2652 Musical cues can be inserted in Vocal Scores, Vocal Books and
2653 Orchestral Parts to indicate what music in another part
2654 immediately precedes an entry. Also, cues are often inserted in the
2655 piano reduction in Vocal Scores to indicate what each orchestral
2656 instrument is playing. This aids the conductor when a full
2657 Conductors' Score is not available.
2659 The basic mechanism for inserting cues is fully explained in the
2660 main text, see @ref{Quoting other voices} and
2661 @ref{Formatting cue notes}. But when many cues have to be
2662 inserted, for example, as an aid to a conductor in a vocal score,
2663 the instrument name must be positioned carefully just before and
2664 close to the start of the cue notes. The following example shows
2667 @lilypond[quote,verbatim]
2668 flute = \relative c'' {
2671 \addQuote "flute" { \flute }
2673 pianoRH = \relative c'' {
2675 % position name of cue-ing instrument just before the cue notes,
2676 % and above the staff
2678 \override InstrumentSwitch.self-alignment-X = #RIGHT
2679 \set instrumentCueName = "Flute"
2681 \cueDuring "flute" #UP { g4 bes4 }
2683 pianoLH = \relative c { c4 <c' e> e, <g c> }
2698 If a transposing instrument is being quoted the instrument part should
2699 specify its key so the conversion of its cue notes will be done
2700 automatically. The example below shows this transposition for a
2701 B-flat clarinet. The notes in this example are low on the staff so
2702 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2703 down) and the instrument name is positioned below the staff. Note
2704 also that the piano right-hand voice is explicitly declared. This
2705 is because the cue notes in this example begin at the start of the
2706 first bar and this would otherwise cause the entire piano right-hand
2707 notes to be placed in a @code{CueVoice} context.
2709 @lilypond[quote,verbatim]
2710 clarinet = \relative c' {
2714 \addQuote "clarinet" { \clarinet }
2716 pianoRH = \relative c'' {
2718 % position name of cue-ing instrument below the staff
2720 \override InstrumentSwitch.self-alignment-X = #RIGHT
2721 \override InstrumentSwitch.direction = #DOWN
2722 \set instrumentCueName = "Clar."
2724 \cueDuring "clarinet" #DOWN { c4. g8 }
2727 pianoLH = \relative c { c4 <c' e> e, <g c> }
2746 From these two examples it is clear that inserting many cues in a
2747 Vocal Score would be tedious, and the notes of the piano part would
2748 become obscured. However, as the following snippet shows, it is
2749 possible to define a music function to reduce the amount of typing
2750 and to make the piano notes clearer.
2753 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2754 {adding-orchestral-cues-to-a-vocal-score.ly}
2761 @ref{Aligning objects},
2762 @ref{Direction and placement},
2763 @ref{Formatting cue notes},
2764 @ref{Quoting other voices},
2765 @ref{Using music functions}.
2770 Internals Reference:
2771 @rinternals{InstrumentSwitch},
2772 @rinternals{CueVoice}.
2775 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2776 and all cue notes are placed in that context. This means it is not
2777 possible to have two overlapping sequences of cue notes by this
2778 technique. Overlapping sequences could be entered by explicitly
2779 declaring separate @code{CueVoice} contexts and using
2780 @code{\quoteDuring} to extract and insert the cue notes.
2784 @unnumberedsubsubsec Spoken music
2787 @cindex Sprechgesang
2788 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2789 speak without pitch but still with rhythm; these are notated by cross
2790 note heads, as demonstrated in @ref{Special note heads}.
2792 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2793 @c add "showing the rhythm of a melody" snip
2794 @c add "one staff-line notation"
2795 @c add "improvisation" ref
2796 @c add "lyrics independents of notes" ref
2798 @node Dialogue over music
2799 @unnumberedsubsubsec Dialogue over music
2801 Dialogue over music is usually printed over the staves in an italic
2802 font, with the start of each phrase keyed in to a particular music
2805 For short interjections a simple markup suffices.
2807 @lilypond[quote,verbatim,relative=2]
2808 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2809 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2813 For longer phrases it may be necessary to expand the music to make
2814 the words fit neatly. There is no provision in LilyPond to do this
2815 fully automatically, and some manual intervention to layout the
2816 page will be necessary.
2818 For long phrases or for passages with a lot of closely packed
2819 dialogue, using a Lyrics context will give better results. The
2820 Lyrics context should not be associated with a music Voice; instead
2821 each section of dialogue should be given an explicit duration. If
2822 there is a gap in the dialogue, the final word should be separated
2823 from the rest and the duration split between them so that the
2824 underlying music spaces out smoothly.
2826 If the dialogue extends for more than one line it will be necessary
2827 to manually insert @code{\break}s and adjust the placing of the
2828 dialogue to avoid running into the right margin. The final word of
2829 the last measure on a line should also be separated out, as above.
2831 Here is an example illustrating how this might be done.
2833 @c This should be a snippet, but it can't be as it needs to be
2834 @c manually adjusted to suit the imposed line length. -td
2836 @lilypond[quote,verbatim,ragged-right]
2837 music = \relative c'' {
2838 \repeat unfold 3 { a4 a a a }
2841 dialogue = \lyricmode {
2843 \fontsize #1 \upright \smallCaps Abe:
2844 "Say this over measures one and"
2848 "and this over measure"4*3
2855 \override LyricText.font-shape = #'italic
2856 \override LyricText.self-alignment-X = #LEFT
2860 \new Voice { \music }
2866 @c TODO show use of \column to produce dialogue on two lines
2870 @ref{Manual syllable durations},
2874 @rinternals{LyricText}.
2877 @node Chants psalms and hymns
2878 @subsection Chants psalms and hymns
2883 @cindex religious music
2885 The music and words for chants, psalms and hymns usually follow a
2886 well-established format in any particular church. Although the
2887 formats may differ from church to church the type-setting problems
2888 which arise are broadly similar, and are covered in this section.
2891 * References for chants and psalms::
2893 * Pointing a psalm::
2894 * Partial measures in hymn tunes::
2897 @node References for chants and psalms
2898 @unnumberedsubsubsec References for chants and psalms
2900 Typesetting Gregorian chant in various styles of ancient notation
2901 is described in @ref{Ancient notation}.
2905 @ref{Ancient notation}.
2911 @node Setting a chant
2912 @unnumberedsubsubsec Setting a chant
2914 Modern chant settings use modern notation with varying numbers of
2915 elements taken from ancient notation. Some of the elements and
2916 methods to consider are shown here.
2918 Chants often use quarter notes without stems to indicate the pitch,
2919 with the rhythm being taken from the spoken rhythm of the words.
2921 @lilypond[verbatim,quote]
2922 stemOff = { \override Staff.Stem.transparent = ##t }
2931 Chants often omit the bar lines or use shortened or dotted bar
2932 lines to indicate pauses in the music. To omit all bar lines from
2933 all staves remove the bar line engraver completely:
2935 @lilypond[verbatim,quote]
2956 \remove "Bar_engraver"
2962 Bar lines can also be removed on a staff-by-staff basis:
2964 @lilypond[verbatim, quote]
2968 \with { \remove "Bar_engraver" } {
2986 To remove bar lines from just a section of music treat it as a
2987 cadenza. If the section is long you may need to insert dummy
2988 bar lines with @code{\bar ""} to show where the line should break.
2990 @lilypond[verbatim,quote,relative=2]
3003 Rests or pauses in chants can be indicated by modified bar lines.
3005 @lilypond[verbatim, quote,relative=2]
3020 Alternatively, the notation used in Gregorian chant for pauses or
3021 rests is sometimes used even though the rest of the notation is
3022 modern. This uses a modified @code{\breathe} mark:
3024 @lilypond[verbatim,quote]
3026 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
3027 \once \override BreathingSign.Y-offset = #0
3031 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
3032 \once \override BreathingSign.Y-offset = #0
3036 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
3037 \once \override BreathingSign.Y-offset = #0
3041 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
3042 \once \override BreathingSign.Y-offset = #0
3060 \remove "Bar_engraver"
3066 Chants usually omit the time signature and often omit the clef too.
3068 @lilypond[verbatim,quote]
3080 \remove "Bar_engraver"
3081 \remove "Time_signature_engraver"
3082 \remove "Clef_engraver"
3088 Chants for psalms in the Anglican tradition are usually either
3089 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
3090 of 7 bars. Each group of 7 bars is divided into two halves,
3091 corresponding to the two halves of each verse, usually separated by
3092 a double bar line. Only whole and half notes are used. The 1st bar
3093 in each half always contains a single chord of whole notes. This is
3094 the @qq{reciting note}. Chants are usually centered on the page.
3096 @lilypond[verbatim,quote]
3097 SopranoMusic = \relative g' {
3098 g1 | c2 b | a1 | \bar "||"
3099 a1 | d2 c | c b | c1 | \bar "||"
3102 AltoMusic = \relative c' {
3104 f1 | f2 e | d d | e1 |
3107 TenorMusic = \relative a {
3109 d1 | g,2 g | g g | g1 |
3112 BassMusic = \relative c {
3114 d1 | b2 c | g' g | c,1 |
3121 % Use markup to center the chant on the page
3130 \new Voice = "Soprano" <<
3134 \new Voice = "Alto" <<
3142 \new Voice = "Tenor" <<
3146 \new Voice = "Bass" <<
3156 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3160 \remove "Time_signature_engraver"
3168 Some other approaches to setting such a chant are shown in the first
3169 of the following snippets.
3173 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3174 {chant-or-psalms-notation.ly}
3176 Canticles and other liturgical texts may be set more freely, and
3177 may use notational elements from ancient music. Often the words
3178 are shown underneath and aligned with the notes. If so, the notes
3179 are spaced in accordance with the syllables rather than the notes'
3182 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3183 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3187 @rlearning{Visibility and color of objects},
3188 @rlearning{Vocal ensembles templates}.
3191 @ref{Ancient notation},
3193 @ref{Modifying context plug-ins},
3194 @ref{Typesetting Gregorian chant},
3195 @ref{Unmetered music},
3196 @ref{Visibility of objects}.
3199 @node Pointing a psalm
3200 @unnumberedsubsubsec Pointing a psalm
3202 The words to an Anglican psalm are usually printed in separate
3203 verses centered underneath the chant.
3205 Single chants (with 7 bars) are repeated for every verse. Double
3206 chants (with 14 bars) are repeated for every pair of verses. Marks
3207 are inserted in the words to show how they should be fitted to the
3208 chant. Each verse is divided into two halves. A colon is usually
3209 used to indicate this division. This corresponds to the double bar
3210 line in the music. The words before the colon are sung to the first
3211 three bars of music; the words after the colon are sung to the last
3214 Single bar lines (or in some psalters an inverted comma or similar
3215 symbol) are inserted between words to indicate where the bar lines
3216 in the music fall. In markup mode a single bar line can be entered
3217 with the bar check symbol, @code{|}.
3219 @lilypond[verbatim,quote]
3224 \line { O come let us sing | unto the | Lord : let }
3225 \line { us heartily rejoice in the | strength of | our }
3226 \line { sal- | -vation. }
3233 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3234 For details, see @ref{Fonts}.
3236 @lilypond[verbatim,quote]
3238 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3244 \line { O come let us sing \tick unto the \tick Lord : let }
3246 us heartily rejoice in the \tick strength of \tick our
3248 \line { sal \tick vation. }
3255 Where there is one whole note in a bar all the words corresponding
3256 to that bar are recited on that one note in speech rhythm. Where
3257 there are two notes in a bar there will usually be only one or two
3258 corresponding syllables. If there are more that two syllables a
3259 dot is usually inserted to indicate where the change in note occurs.
3261 @lilypond[verbatim,quote]
3263 \raise #0.7 \musicglyph #"dots.dot"
3266 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3273 O come let us sing \tick unto \dot the \tick Lord : let
3276 us heartily rejoice in the \tick strength of \tick our
3278 \line { sal \tick vation. }
3285 In some psalters an asterisk is used to indicate a break in a
3286 recited section instead of a comma, and stressed or slightly
3287 lengthened syllables are indicated in bold text.
3289 @lilypond[verbatim,quote]
3291 \raise #0.7 \musicglyph #"dots.dot"
3294 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3300 \line { Today if ye will hear his voice * }
3302 \concat { \bold hard en }
3303 | not your | hearts : as in the pro-
3305 \line { vocation * and as in the \bold day of tempt- | }
3306 \line { -ation | in the | wilderness. }
3313 In other psalters an accent is placed over the syllable to indicate
3316 @lilypond[verbatim,quote]
3318 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3325 O come let us \concat {
3326 si \combine \tick ng
3328 | unto the | Lord : let
3331 us heartily \concat {
3332 rejo \combine \tick ice
3334 in the | strength of | our
3336 \line { sal- | -vation. }
3343 The use of markup to center text, and arrange lines in columns is
3344 described in @ref{Formatting text}.
3346 Most of these elements are shown in one or other of the two verses
3347 in the template, see @rlearning{Psalms}.
3352 @rlearning{Vocal ensembles templates}.
3356 @ref{Formatting text}.
3359 @node Partial measures in hymn tunes
3360 @unnumberedsubsubsec Partial measures in hymn tunes
3362 Hymn tunes frequently start and end every line of music with
3363 partial measures so that each line of music corresponds exactly
3364 with a line of text. This requires a @code{\partial} command at
3365 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3366 commands at the end of each line.
3368 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3372 @node Ancient vocal music
3373 @subsection Ancient vocal music
3375 Ancient vocal music is supported, as explained in
3376 @ref{Ancient notation}.
3380 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3381 @c and "Transcription of Ancient music with incipit" snippet. -vv
3385 @ref{Ancient notation}.