1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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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 { d''8 c16 a bes8 f ees' 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 { \time 3/4 e'4 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 interpreted in @code{\lyricmode} and printed in a
222 @code{Lyrics} context, see @ref{Contexts explained}.
225 \new Lyrics \lyricmode @{ @dots{} @}
228 Two variants of @code{\lyricmode} additionally set an associated
229 context used to synchronise the lyric syllables to music. The more
230 convenient @code{\addlyrics} immediately follows the musical content
231 of the Voice context with which it should be synchronised, implicitly
232 creating a Lyrics context of its own. The more versatile
233 @code{\lyricsto} requires both specifying the associated Voice context
234 by name and explicitly creating a containing Lyrics context. For
235 details see @ref{Automatic syllable durations}.
237 Lyrics can be aligned with melodies in two main ways:
242 Lyrics can be aligned automatically, with the durations of the
243 syllables being taken from another voice of music or (in special
244 circumstances) an associated melody, using @code{\addlyrics},
245 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
246 For more details, see @ref{Automatic syllable durations}.
248 @lilypond[quote,ragged-right,verbatim]
252 \new Voice = "one" \relative {
254 c''4 b8. a16 g4. r8 a4 ( b ) c2
256 \new Voice = "two" \relative {
262 % takes durations and alignment from notes in "one"
263 \new Lyrics \lyricsto "one" {
264 Life is __ _ love, live __ life.
267 % takes durations and alignment from notes in "one" initially
268 % then switches to "two"
269 \new Lyrics \lyricsto "one" {
271 \set associatedVoice = "two" % must be set one syllable early
272 sins and sor -- rows grow.
277 The first stanza shows the normal way of entering lyrics.
279 The second stanza shows how the voice from which the lyric
280 durations are taken can be changed. This is useful if the words to
281 different stanzas fit the notes in different ways and all the
282 durations are available in Voice contexts. For more details, see
286 Lyrics can be aligned independently of the duration of any notes
287 if the durations of the syllables are specified explicitly,
288 and entered with @code{\lyricmode}.
290 @lilypond[quote,ragged-right,verbatim]
292 \new Voice = "one" \relative {
294 c''4 b8. a16 g4. f8 e4 d c2
297 % uses previous explicit duration of 2;
298 \new Lyrics \lyricmode {
302 % explicit durations, set to a different rhythm
303 \new Lyrics \lyricmode {
304 Life4 is love,2. live4 life.2
309 The first stanza is not aligned with the notes because the durations
310 were not specified, and the previous value of 2 is used for each
313 The second stanza shows how the words can be aligned quite
314 independently from the notes. This is useful if the words to
315 different stanzas fit the notes in different ways and the required
316 durations are not available in a music context. For more details
317 see @ref{Manual syllable durations}. This technique is also useful
318 when setting dialogue over music; for examples showing this, see
319 @ref{Dialogue over music}.
325 @rlearning{Aligning lyrics to a melody}.
328 @ref{Contexts explained},
329 @ref{Automatic syllable durations},
331 @ref{Manual syllable durations},
332 @ref{Dialogue over music},
333 @ref{Manual syllable durations}.
339 @node Automatic syllable durations
340 @unnumberedsubsubsec Automatic syllable durations
342 @cindex syllable durations, automatic
343 @cindex lyrics and melodies
344 @cindex associatedVoice
348 Lyrics can be automatically aligned to the notes of a melody in
354 by specifying the named Voice context containing the melody with
358 by introducing the lyrics with @code{\addlyrics} and placing them
359 immediately after the Voice context containing the melody,
362 by setting the @code{associatedVoice} property, the alignment of
363 the lyrics may be switched to a different named Voice context at
368 In all three methods hyphens can be drawn between the syllables of
369 a word and extender lines can be drawn beyond the end of a word. For
370 details, see @ref{Extenders and hyphens}.
372 The @code{Voice} context containing the melody to which the lyrics
373 are being aligned must not have @qq{died}, or the lyrics after that
374 point will be lost. This can happen if there are periods when that
375 voice has nothing to do. For methods of keeping contexts alive, see
376 @ref{Keeping contexts alive}.
378 @subheading Using @code{\lyricsto}
383 Lyrics can be aligned under a melody automatically by specifying
384 the named Voice context containing the melody with
387 @lilypond[quote,verbatim]
389 \new Voice = "melody" \relative {
392 \new Lyrics \lyricsto "melody" {
399 This aligns the lyrics to the notes of the named @code{Voice}
400 context, which must already exist. Therefore normally the
401 @code{Voice} context is specified first, followed by the
402 @code{Lyrics} context. The lyrics themselves follow the
403 @code{\lyricsto} command. The @code{\lyricsto} command
404 invokes lyric mode automatically. By default, the lyrics are placed
405 underneath the notes. For other placements, see
406 @ref{Placing lyrics vertically}.
408 @subheading Using @code{\addlyrics}
413 The @code{\addlyrics} command is just a convenient shortcut that
414 can sometimes be used instead of having to set up the lyrics
415 through a more complicated LilyPond structure.
419 \addlyrics @{ LYRICS @}
426 \new Voice = "blah" @{ MUSIC @}
427 \new Lyrics \lyricsto "blah" @{ LYRICS @}
432 @lilypond[verbatim,quote]
435 \relative { c'2 e4 g2. }
436 \addlyrics { play the game }
440 More stanzas can be added by adding more
441 @code{\addlyrics} sections:
444 @lilypond[ragged-right,verbatim,quote]
447 \relative { c'2 e4 g2. }
448 \addlyrics { play the game }
449 \addlyrics { speel het spel }
450 \addlyrics { joue le jeu }
454 The command @code{\addlyrics} cannot handle polyphonic settings.
455 Also, it cannot be used to associate lyrics to a @code{TabVoice}.
456 For these cases one should use @code{\lyricsto}.
458 @subheading Using associatedVoice
460 The melody to which the lyrics are being aligned can be changed by
461 setting the @code{associatedVoice} property,
464 \set associatedVoice = #"lala"
469 The value of the property (here: @code{"lala"}) should be the name
470 of a @code{Voice} context. For technical reasons, the @code{\set}
471 command must be placed one syllable before the one to which the
472 change in voice is to apply.
474 Here is an example demonstrating its use:
476 @lilypond[quote,ragged-right,verbatim]
480 \new Voice = "one" \relative {
482 c''4 b8. a16 g4. r8 a4 ( b ) c2
484 \new Voice = "two" \relative {
489 % takes durations and alignment from notes in "one" initially
490 % then switches to "two"
491 \new Lyrics \lyricsto "one" {
493 \set associatedVoice = "two" % must be set one syllable early
494 sins and sor -- rows grow.
501 @ref{Extenders and hyphens},
502 @ref{Keeping contexts alive},
503 @ref{Placing lyrics vertically}.
506 @node Manual syllable durations
507 @unnumberedsubsubsec Manual syllable durations
509 In some complex vocal music, it may be desirable to place lyrics
510 completely independently of notes. In this case do not use
511 @code{\lyricsto} or @code{\addlyrics} and do not set
512 @code{associatedVoice}. Syllables are entered like notes --
513 but with pitches replaced by text -- and the duration of each
514 syllable is entered explicitly after the syllable.
516 Hyphenated lines may be drawn between syllables
517 as usual, but extender lines cannot be drawn when there is no
520 Here are two examples:
522 @lilypond[verbatim,quote]
524 \new Voice = "melody" \relative {
527 \new Lyrics \lyricmode {
528 c4. -- a -- f -- f -- e2. -- e
534 @lilypond[quote,verbatim,ragged-right]
556 This technique is useful when writing dialogue over music, see
557 @ref{Dialogue over music}.
559 To change syllable alignment, simply override the @code{self-alignment-X}
562 @lilypond[verbatim,quote]
564 \new Voice = "melody" \relative {
568 \new Lyrics \lyricmode {
569 \override LyricText.self-alignment-X = #LEFT
577 @ref{Dialogue over music}.
584 @node Multiple syllables to one note
585 @unnumberedsubsubsec Multiple syllables to one note
588 @cindex spaces, in lyrics
589 @cindex quotes, in lyrics
590 @cindex ties, in lyrics
592 In order to assign more than one syllable to a single note with
593 spaces between the syllables, you can surround the phrase with
594 quotes or use a @code{_} character. Alternatively, you can use
595 the tilde symbol (@code{~}) to get a lyric tie.
597 @lilypond[quote,ragged-right,verbatim]
601 r8 b' c fis, fis c' b e,
605 \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
606 Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
608 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
609 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
615 @rinternals{LyricCombineMusic}.
618 @node Multiple notes to one syllable
619 @unnumberedsubsubsec Multiple notes to one syllable
623 @cindex phrasing, in lyrics
625 @funindex \melismaEnd
627 Sometimes, particularly in Medieval and baroque music, several notes are
628 sung on one syllable; this is called melisma, see
629 @rglos{melisma}. The syllable to a melisma is usually
630 left-aligned with the first note of the melisma.
632 When a melisma occurs on a syllable other than the last one in a
633 word, that syllable is usually joined to the following one with a
634 hyphenated line. This is indicated by placing a double hyphen,
635 @w{@code{--}}, immediately after the syllable.
637 Alternatively, when a melisma occurs on the last or only syllable in
638 a word an extender line is usually drawn from the end of the syllable
639 to the last note of the melisma. This is indicated by placing a
640 double underscore, @code{__}, immediately after the word.
642 There are five ways in which melismata can be indicated:
647 Melismata are created automatically over notes which are tied
650 @lilypond[quote,verbatim]
652 \new Voice = "melody" \relative {
658 \new Lyrics \lyricsto "melody" {
665 Melismata can be created automatically from the music by placing
666 slurs over the notes of each melisma. This is the usual way of
669 @lilypond[quote,verbatim]
671 \new Voice = "melody" \relative {
676 \new Lyrics \lyricsto "melody" {
682 Note that phrasing slurs do not affect the creation of melismata.
685 Notes are considered a melisma if they are manually beamed,
686 providing automatic beaming is switched off. See
687 @ref{Setting automatic beam behavior}.
689 @lilypond[quote,verbatim]
691 \new Voice = "melody" \relative {
697 \new Lyrics \lyricsto "melody" {
703 Clearly this is not suited to melismata over notes which are longer
707 An unslurred group of notes will be treated as a melisma if they
708 are bracketed between @code{\melisma} and @code{\melismaEnd}.
710 @lilypond[quote,verbatim]
712 \new Voice = "melody" \relative {
720 \new Lyrics \lyricsto "melody" {
727 A melisma can be defined entirely in the lyrics by entering a
728 single underscore character, @code{_}, for every extra note that has
729 to be added to the melisma.
731 @lilypond[verbatim, quote]
733 \new Voice = "melody" \relative {
738 \new Lyrics \lyricsto "melody" {
739 Ky -- ri -- _ _ _ e __ _ _
746 It is possible to have ties, slurs and manual beams in the melody
747 without their indicating melismata. To do this, set
748 @code{melismaBusyProperties}:
750 @lilypond[verbatim,quote]
752 \new Voice = "melody" \relative {
754 \set melismaBusyProperties = #'()
758 \new Lyrics \lyricsto "melody" {
759 Ky -- ri -- e e -- le -- i -- son
764 Other settings for @code{melismaBusyProperties} can be used to
765 selectively include or exclude ties, slurs, and beams from the
766 automatic detection of melismata; see @code{melismaBusyProperties}
767 in @rinternals{Tunable context properties}.
769 Alternatively, if all melismata indications are to be ignored,
770 @code{ignoreMelismata} may be set true;
771 see @ref{Stanzas with different rhythms}.
773 If a melisma is required during a passage in which
774 @code{melismaBusyProperties} is active, it may be indicated by
775 placing a single underscore in the lyrics for each note which
776 should be included in the melisma:
778 @lilypond[verbatim,quote]
780 \new Voice = "melody" \relative {
782 \set melismaBusyProperties = #'()
786 \new Lyrics \lyricsto "melody" {
787 Ky -- ri -- _ e __ _ _ _
805 @rlearning{Aligning lyrics to a melody}.
808 @ref{Aligning lyrics to a melody},
809 @ref{Automatic syllable durations},
810 @ref{Setting automatic beam behavior},
811 @ref{Stanzas with different rhythms}.
814 @rinternals{Tunable context properties}.
817 Extender lines under melismata are not created automatically; they
818 must be inserted manually with a double underscore.
821 @node Extenders and hyphens
822 @unnumberedsubsubsec Extenders and hyphens
827 @c TODO cf Multiple notes to one syllable; should this be merged in?
829 @c leave this as samp. -gp
830 In the last syllable of a word, melismata are sometimes indicated with
831 a long horizontal line starting in the melisma syllable, and ending in
832 the next one. Such a line is called an extender line, and it is
833 entered as @samp{ __ } (note the spaces before and after the two
834 underscore characters).
836 @warning{Melismata are indicated in the score with extender lines,
837 which are entered as one double underscore; but short melismata can
838 also be entered by skipping individual notes, which are entered as
839 single underscore characters; these do not make an extender line to be
844 @c leave this as samp. -gp
845 Centered hyphens are entered as @samp{ -- } between syllables of a
846 same word (note the spaces before and after the two hyphen
847 characters). The hyphen will be centered between the syllables, and
848 its length will be adjusted depending on the space between the
851 In tightly engraved music, hyphens can be removed. Whether this
852 happens can be controlled with the @code{minimum-distance} (minimum
853 distance between two syllables) and the @code{minimum-length}
854 (threshold below which hyphens are removed) properties of
859 @rinternals{LyricExtender},
860 @rinternals{LyricHyphen}.
863 @node Techniques specific to lyrics
864 @subsection Techniques specific to lyrics
866 @c TODO this whole section is to be reorganised
869 * Working with lyrics and variables::
870 * Placing lyrics vertically::
871 * Placing syllables horizontally::
872 * Lyrics and repeats::
874 * Polyphony with shared lyrics::
879 @node Working with lyrics and variables
880 @unnumberedsubsubsec Working with lyrics and variables
882 @cindex lyrics, using variables
884 Variables containing lyrics can be created, but the lyrics must be
885 entered in lyric mode:
887 @lilypond[quote,verbatim]
888 musicOne = \relative {
889 c''4 b8. a16 g4. f8 e4 d c2
891 verseOne = \lyricmode {
892 Joy to the world, the Lord is come.
900 \new Lyrics \lyricsto "one" {
907 Durations do not need to be added if the variable is to be invoked
908 with @code{\addlyrics} or @code{\lyricsto}.
910 For different or more complex orderings, the best way is to define
911 the music and lyric variables first, then set up the hierarchy of
912 staves and lyrics, omitting the lyrics themselves, and then add the
913 lyrics using @code{\context} underneath. This ensures that the
914 voices referenced by @code{\lyricsto} have always been defined
915 earlier. For example:
917 @lilypond[quote,verbatim]
918 sopranoMusic = \relative { c''4 c c c }
919 contraltoMusic = \relative { a'4 a a a }
920 sopranoWords = \lyricmode { Sop -- ra -- no words }
921 contraltoWords = \lyricmode { Con -- tral -- to words }
926 \new Voice = "sopranos" {
930 \new Lyrics = "sopranos"
931 \new Lyrics = "contraltos"
933 \new Voice = "contraltos" {
937 \context Lyrics = "sopranos" {
938 \lyricsto "sopranos" {
942 \context Lyrics = "contraltos" {
943 \lyricsto "contraltos" {
953 @ref{Placing lyrics vertically}.
956 @rinternals{LyricCombineMusic},
960 @node Placing lyrics vertically
961 @unnumberedsubsubsec Placing lyrics vertically
963 @cindex placement of lyrics
964 @cindex lyrics, positioning
966 Depending on the type of music, lyrics may be positioned
967 above the staff, below the staff, or between staves. Placing
968 lyrics below the associated staff is the easiest, and can be
969 achieved by simply defining the Lyrics context below the Staff
972 @lilypond[quote,verbatim]
976 \new Voice = "melody" {
977 \relative { c''4 c c c }
989 Lyrics may be positioned above the staff using one of
990 two methods. The simplest (and preferred) method
991 is to use the same syntax as above and explicitly
992 specify the position of the lyrics:
994 @lilypond[quote,verbatim]
997 \new Staff = "staff" {
998 \new Voice = "melody" {
999 \relative { c''4 c c c }
1002 \new Lyrics \with { alignAboveContext = "staff" } {
1003 \lyricsto "melody" {
1011 Alternatively, a two-step process may be used. First the Lyrics
1012 context is declared (without any content) before the Staff and
1013 Voice contexts, then the @code{\lyricsto} command is placed after
1014 the Voice declaration it references by using @code{\context}, as
1017 @lilypond[quote,verbatim]
1020 \new Lyrics = "lyrics" \with {
1021 % lyrics above a staff should have this override
1022 \override VerticalAxisGroup.staff-affinity = #DOWN
1025 \new Voice = "melody" {
1026 \relative { c''4 c c c }
1029 \context Lyrics = "lyrics" {
1030 \lyricsto "melody" {
1038 When there are two voices on separate staves the lyrics may be
1039 placed between the staves using either of these methods. Here
1040 is an example of the second method:
1042 @lilypond[quote,verbatim]
1046 \new Voice = "sopranos" {
1047 \relative { c''4 c c c }
1050 \new Lyrics = "sopranos"
1051 \new Lyrics = "contraltos" \with {
1052 % lyrics above a staff should have this override
1053 \override VerticalAxisGroup.staff-affinity = #DOWN
1056 \new Voice = "contraltos" {
1057 \relative { a'4 a a a }
1060 \context Lyrics = "sopranos" {
1061 \lyricsto "sopranos" {
1062 Sop -- ra -- no words
1065 \context Lyrics = "contraltos" {
1066 \lyricsto "contraltos" {
1067 Con -- tral -- to words
1074 Other combinations of lyrics and staves may be generated by
1075 elaborating these examples, or by examining the templates in the
1076 Learning Manual, see @rlearning{Vocal ensembles templates}.
1079 @lilypondfile[verbatim,quote,texidoc,doctitle]
1080 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1084 @rlearning{Vocal ensembles templates}.
1087 @ref{Context layout order},
1088 @ref{Creating and referencing contexts}.
1091 @node Placing syllables horizontally
1092 @unnumberedsubsubsec Placing syllables horizontally
1094 @cindex Spacing lyrics
1095 @cindex Lyrics, increasing space between
1097 To increase the spacing between lyrics, set the
1098 @code{minimum-distance} property of @code{LyricSpace}.
1100 @lilypond[verbatim,quote,ragged-right]
1103 \override Lyrics.LyricSpace.minimum-distance = #1.0
1107 longtext longtext longtext longtext
1108 longtext longtext longtext longtext
1113 To make this change for all lyrics in the score, set the property in the
1114 @code{\layout} block.
1116 @lilypond[verbatim,quote,ragged-right]
1123 longtext longtext longtext longtext
1124 longtext longtext longtext longtext
1129 \override LyricSpace.minimum-distance = #1.0
1136 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1137 {lyrics-alignment.ly}
1139 @c TODO: move to LSR -vv
1141 Checking to make sure that text scripts and lyrics are within the margins
1142 requires additional calculations. To speed up processing slightly, this
1143 feature can be disabled:
1146 \override Score.PaperColumn.keep-inside-line = ##f
1149 To make lyrics avoid bar lines as well, use
1155 \consists "Bar_engraver"
1156 \consists "Separating_line_group_engraver"
1162 @node Lyrics and repeats
1163 @unnumberedsubsubsec Lyrics and repeats
1165 @cindex repeats and lyrics
1166 @cindex lyrics, repeating
1168 @subheading Simple repeats
1170 Repeats in @emph{music} are fully described elsewhere; see
1171 @ref{Repeats}. This section explains how to add lyrics to repeated
1174 Lyrics to a section of music that is repeated should be surrounded
1175 by exactly the same repeat construct as the music, if the words are
1178 @lilypond[verbatim,quote]
1182 \new Voice = "melody" {
1185 \repeat volta 2 { b4 b b b }
1190 \lyricsto "melody" {
1191 Not re -- peat -- ed.
1192 \repeat volta 2 { Re -- peat -- ed twice. }
1199 The words will then be correctly expanded if the repeats are
1202 @lilypond[verbatim,quote]
1207 \new Voice = "melody" {
1210 \repeat volta 2 { b4 b b b }
1215 \lyricsto "melody" {
1216 Not re -- peat -- ed.
1217 \repeat volta 2 { Re -- peat -- ed twice. }
1225 If the repeated section is to be unfolded and has different words,
1226 simply enter all the words:
1228 @lilypond[verbatim,quote,ragged-right]
1232 \new Voice = "melody" {
1235 \repeat unfold 2 { b4 b b b }
1240 \lyricsto "melody" {
1241 Not re -- peat -- ed.
1242 The first time words.
1243 Sec -- ond time words.
1250 When the words to a repeated volta section are different, the words
1251 to each repeat must be entered in separate @code{Lyrics} contexts,
1252 correctly nested in parallel sections:
1254 @lilypond[verbatim,quote]
1258 \new Voice = "melody" {
1261 \repeat volta 2 { b4 b b b }
1265 \new Lyrics \lyricsto "melody" {
1266 Not re -- peat -- ed.
1268 { The first time words. }
1270 \set associatedVoice = "melody"
1271 Sec -- ond time words.
1279 More verses may be added in a similar way:
1281 @lilypond[verbatim,quote]
1285 \new Voice = "singleVoice" {
1288 \repeat volta 3 { b4 b b b }
1293 \new Lyrics \lyricsto "singleVoice" {
1294 Not re -- peat -- ed.
1296 { The first time words. }
1298 \set associatedVoice = "singleVoice"
1299 Sec -- ond time words.
1302 \set associatedVoice = "singleVoice"
1303 The third time words.
1306 The end sec -- tion.
1312 @cindex alignBelowContext
1313 @funindex alignBelowContext
1315 However, if this construct is embedded within a multi-staved
1316 context such as a @code{ChoirStaff} the lyrics of the second and
1317 third verses will appear beneath the bottom staff.
1319 To position them correctly use @code{alignBelowContext}:
1321 @lilypond[verbatim,quote]
1325 \new Voice = "melody" {
1328 \repeat volta 3 { b4 b b b }
1333 \new Lyrics = "firstVerse" \lyricsto "melody" {
1334 Not re -- peat -- ed.
1336 { The first time words. }
1337 \new Lyrics = "secondVerse"
1338 \with { alignBelowContext = #"firstVerse" } {
1339 \set associatedVoice = "melody"
1340 Sec -- ond time words.
1342 \new Lyrics = "thirdVerse"
1343 \with { alignBelowContext = #"secondVerse" } {
1344 \set associatedVoice = "melody"
1345 The third time words.
1348 The end sec -- tion.
1350 \new Voice = "harmony" {
1352 f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1361 @c TODO positioning a common line of lyrics
1363 @subheading Repeats with alternative endings
1365 @cindex lyrics, repeats with alternative endings
1366 @cindex repeating lyrics with alternative endings
1367 @cindex alternative endings and lyrics
1369 If the words of the repeated section are the same, and none of the
1370 @code{\alternative} blocks start with a rest, exactly the same
1371 structure can be used for both the lyrics and music. This has the
1372 advantage that @code{\unfoldRepeats} will expand both music and
1375 @lilypond[quote,verbatim]
1380 \new Voice = "melody" {
1383 \repeat volta 2 { b4 b }
1384 \alternative { { b b } { b c } }
1389 \lyricsto "melody" {
1390 Not re -- peat -- ed.
1391 \repeat volta 2 { Re -- peat -- }
1392 \alternative { { ed twice. } { ed twice. } }
1400 @cindex skipping notes in lyrics
1401 @cindex lyrics, skipping notes
1403 But when the repeated section has different words, or when one
1404 of the @code{\alternative} blocks starts with a rest, a repeat
1405 construct cannot be used around the words and @code{\skip} commands
1406 have to be inserted manually to skip over the notes in the
1407 alternative sections which do not apply.
1409 Note: do not use an underscore, @code{_}, to skip notes -- an
1410 underscore indicates a melisma, causing the preceding syllable
1413 @warning{The @code{@bs{}skip} command must be followed by a number,
1414 but this number is ignored in lyrics which derive their durations
1415 from the notes in an associated melody through @code{\addlyrics} or
1416 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1417 value, irrespective of the value of the following number.}
1419 @lilypond[verbatim,quote,ragged-right]
1424 \new Voice = "melody" {
1426 \repeat volta 2 { b'4 b }
1427 \alternative { { b b } { b c } }
1433 \lyricsto "melody" {
1434 The first time words.
1435 \repeat unfold 2 { \skip 1 }
1440 \lyricsto "melody" {
1442 \repeat unfold 2 { \skip 1 }
1450 @cindex lyrics and tied notes
1451 @funindex \repeatTie
1453 When a note is tied over into two or more alternative endings a
1454 tie is used to carry the note into the first alternative ending and
1455 a @code{\repeatTie} is used in the second and subsequent endings.
1456 This structure causes difficult alignment problems when lyrics are
1457 involved and increasing the length of the alternative sections so
1458 the tied notes are contained wholly within them may give a more
1461 The tie creates a melisma into the first alternative, but not into
1462 the second and subsequent alternatives, so to align the lyrics
1463 correctly it is necessary to disable the automatic creation of
1464 melismata over the volta section and insert manual skips.
1466 @lilypond[quote,verbatim]
1471 \new Voice = "melody" {
1473 \set melismaBusyProperties = #'()
1474 \repeat volta 2 { b'4 b ~}
1475 \alternative { { b b } { b \repeatTie c } }
1476 \unset melismaBusyProperties
1482 \lyricsto "melody" {
1483 \repeat volta 2 { Here's a __ }
1495 Note that if @code{\unfoldRepeats} is used around a section
1496 containing @code{\repeatTie}, the @code{\repeatTie} should be
1497 removed to avoid both types of tie being printed.
1499 When the repeated section has different words a @code{\repeat}
1500 cannot be used around the lyrics and @code{\skip} commands need to
1501 be inserted manually, as before.
1503 @lilypond[quote,verbatim]
1508 \new Voice = "melody" {
1510 \repeat volta 2 { b'4 b ~}
1511 \alternative { { b b } { b \repeatTie c } }
1517 \lyricsto "melody" {
1519 \repeat unfold 2 { \skip 1 }
1523 \lyricsto "melody" {
1525 \repeat unfold 2 { \skip 1 }
1533 If you wish to show extenders and hyphens into and out of
1534 alternative sections these must be inserted manually.
1536 @lilypond[quote,verbatim]
1541 \new Voice = "melody" {
1543 \repeat volta 2 { b'4 b ~}
1544 \alternative { { b b } { b \repeatTie c } }
1550 \lyricsto "melody" {
1552 \repeat unfold 2 { \skip 1 }
1556 \lyricsto "melody" {
1568 @ref{Keeping contexts alive},
1573 @unnumberedsubsubsec Divisi lyrics
1575 @cindex divided lyrics
1576 @cindex lyrics, divided
1578 When just the words and rhythms of the two parts differ with the
1579 pitches remaining the same, temporarily turning off the automatic
1580 detection of melismata and indicating the melisma in the lyrics
1581 may be the appropriate method to use:
1583 @lilypond[quote,verbatim]
1586 \new Voice = "melody" {
1588 \set melismaBusyProperties = #'()
1592 \unset melismaBusyProperties
1596 \new Lyrics \lyricsto "melody" {
1597 They shall not o -- ver -- come
1599 \new Lyrics \lyricsto "melody" {
1606 When both music and words differ it may be better to display
1607 the differing music and lyrics by naming voice contexts and
1608 attaching lyrics to those specific contexts:
1610 @lilypond[verbatim,ragged-right,quote]
1613 \new Voice = "melody" {
1620 \new Voice = "splitpart" {
1630 \new Lyrics \lyricsto "melody" {
1631 They shall not o -- ver -- come
1633 \new Lyrics \lyricsto "splitpart" {
1640 It is common in choral music to have a voice part split for
1641 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1642 construct, where the two (or more) musical expressions are
1643 separated by double backslashes, might seem the proper way to
1644 set the split voices. This construct, however, will assign
1645 @strong{all} the expressions within it to @strong{NEW Voice
1646 contexts} which will result in @emph{no lyrics} being set for
1647 them since the lyrics will be set to the original voice context
1648 -- not, typically, what one wants. The temporary polyphonic
1649 passage is the proper construct to use, see section
1650 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1653 @node Polyphony with shared lyrics
1654 @unnumberedsubsubsec Polyphony with shared lyrics
1657 @cindex polyphony, shared lyrics
1658 @cindex lyrics, shared among voices
1659 @cindex \partcombine and lyrics
1660 @funindex \partcombine
1662 When two voices with different rhythms share the same lyrics,
1663 aligning the lyrics to one of the voices may lead to problems in
1664 the other voice. For example, the second lyric extender below is
1665 too short, since the lyrics are aligned only to the top voice:
1667 @lilypond[quote,verbatim]
1668 soprano = \relative { b'8( c d c) d2 }
1669 alto = \relative { g'2 b8( a g a) }
1670 words = \lyricmode { la __ la __ }
1673 \new Voice = "sopranoVoice" { \voiceOne \soprano }
1674 \new Voice { \voiceTwo \alto }
1675 \new Lyrics \lyricsto "sopranoVoice" \words
1679 To get the desired result, align the lyrics to a new
1680 @code{NullVoice} context containing a suitable combination of the
1681 two voices. The notes of the @code{NullVoice} context do not
1682 appear on the printed page, but can be used to align the lyrics
1685 @lilypond[quote,verbatim]
1686 soprano = \relative { b'8( c d c) d2 }
1687 alto = \relative { g'2 b8( a g a) }
1688 aligner = \relative { b'8( c d c) b( a g a) }
1689 words = \lyricmode { la __ la __ }
1692 \new Voice { \voiceOne \soprano }
1693 \new Voice { \voiceTwo \alto }
1694 \new NullVoice = "aligner" \aligner
1695 \new Lyrics \lyricsto "aligner" \words
1699 This method also can be used with the @code{\partcombine}
1700 function, which does not allow lyrics on its own:
1702 @lilypond[quote,verbatim]
1703 soprano = \relative { b'8( c d c) d2 }
1704 alto = \relative { g'2 b8( a g a) }
1705 aligner = \relative { b'8( c d c) b( a g a) }
1706 words = \lyricmode { la __ la __ }
1709 \new Voice \partcombine \soprano \alto
1710 \new NullVoice = "aligner" \aligner
1711 \new Lyrics \lyricsto "aligner" \words
1716 The @code{\addLyrics} function only works with @code{Voice} lyrics
1717 and so cannot be used with @code{NullVoice}.
1720 The @code{\partcombine} function is described in
1721 @ref{Automatic part combining}.
1723 Lastly, this method can be used even when the voices are in
1724 different staves, and is not limited to only two voices:
1726 @lilypond[quote,verbatim]
1727 soprano = \relative { b'8( c d c) d2 }
1728 altoOne = \relative { g'2 b8( a b4) }
1729 altoTwo = \relative { d'2 g4( fis8 g) }
1730 aligner = \relative { b'8( c d c) d( d d d) }
1731 words = \lyricmode { la __ la __ }
1733 \new ChoirStaff \with {\accepts NullVoice } <<
1735 \new NullVoice = "aligner" \aligner
1736 \new Lyrics \lyricsto "aligner" \words
1737 \new Staff \partcombine \altoOne \altoTwo
1745 * Adding stanza numbers::
1746 * Adding dynamics marks to stanzas::
1747 * Adding singers' names to stanzas::
1748 * Stanzas with different rhythms::
1749 * Printing stanzas at the end::
1750 * Printing stanzas at the end in multiple columns::
1754 @node Adding stanza numbers
1755 @unnumberedsubsubsec Adding stanza numbers
1757 @cindex stanza number
1759 Stanza numbers can be added by setting @code{stanza}, e.g.,
1761 @lilypond[quote,ragged-right,verbatim]
1762 \new Voice \relative {
1763 \time 3/4 g'2 e4 a2 f4 g2.
1765 \set stanza = #"1. "
1766 Hi, my name is Bert.
1768 \set stanza = #"2. "
1769 Oh, ché -- ri, je t'aime
1775 These numbers are put just before the start of the first syllable.
1777 @c TODO Create and add snippet to show how two lines of a
1778 @c stanza can be grouped together, along these lines:
1779 @c (might need improving a bit) -td
1782 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1786 \set stanza = \markup { "1. " \leftbrace }
1787 \lyricmode { Child, you're mine and I love you.
1788 Lend thine ear to what I say.
1794 % \set stanza = \markup { " "}
1795 \lyricmode { Child, I have no great -- er joy
1796 Than to have you walk in truth.
1802 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1803 c'8 c' c' c' c' c' c'4 }
1804 } \addlyrics { \stanzaOneOne }
1805 \addlyrics { \stanzaOneThree }
1809 @node Adding dynamics marks to stanzas
1810 @unnumberedsubsubsec Adding dynamics marks to stanzas
1812 Stanzas differing in loudness may be indicated by putting a
1813 dynamics mark before each stanza. In LilyPond, everything coming in
1814 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1815 marks are no different. For technical reasons, you have to set the
1816 stanza outside @code{\lyricmode}:
1818 @lilypond[quote,ragged-right,verbatim]
1820 \set stanza = \markup { \dynamic "ff" "1. " }
1827 \new Voice = "tune" {
1831 \new Lyrics \lyricsto "tune" \text
1835 @node Adding singers' names to stanzas
1836 @unnumberedsubsubsec Adding singers' names to stanzas
1839 @cindex name of singer
1841 Names of singers can also be added. They are printed at the start of
1842 the line, just like instrument names. They are created by setting
1843 @code{vocalName}. A short version may be entered as
1844 @code{shortVocalName}.
1846 @lilypond[ragged-right,quote,verbatim]
1847 \new Voice \relative {
1848 \time 3/4 g'2 e4 a2 f4 g2.
1850 \set vocalName = #"Bert "
1851 Hi, my name is Bert.
1853 \set vocalName = #"Ernie "
1854 Oh, ché -- ri, je t'aime
1858 @node Stanzas with different rhythms
1859 @unnumberedsubsubsec Stanzas with different rhythms
1861 Often, different stanzas of one song are put to one melody in slightly
1862 differing ways. Such variations can still be captured with
1865 @subsubheading Ignoring melismata
1867 One possibility is that the text has a melisma in one stanza, but
1868 multiple syllables in another. One solution is to make the faster
1869 voice ignore the melisma. This is done by setting
1870 @code{ignoreMelismata} in the Lyrics context.
1872 @lilypond[verbatim,ragged-right,quote]
1874 \relative \new Voice = "lahlah" {
1875 \set Staff.autoBeaming = ##f
1881 \new Lyrics \lyricsto "lahlah" {
1884 \new Lyrics \lyricsto "lahlah" {
1886 \set ignoreMelismata = ##t
1888 \unset ignoreMelismata
1895 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1896 not work if prefixed with @code{\once}. It is necessary to use
1897 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1900 @subsubheading Adding syllables to grace notes
1902 @cindex grace notes and lyrics
1903 @cindex lyrics on grace notes
1905 By default, grace notes (e.g., via @code{\grace}) do not get assigned
1906 syllables when using @code{\lyricsto}, but this behavior can be
1909 @lilypond[verbatim,ragged-right,quote]
1911 \new Voice = melody \relative {
1912 f'4 \appoggiatura a32 b4
1913 \grace { f16 a16 } b2
1914 \afterGrace b2 { f16[ a16] }
1915 \appoggiatura a32 b4
1921 \set includeGraceNotes = ##t
1924 after -- grace case,
1925 \set ignoreMelismata = ##t
1933 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1934 set at latest one syllable before the one which is to be put under a
1935 grace note. For the case of a grace note at the very beginning of a
1936 piece of music, consider using a @code{\with} or @code{\context}
1939 @lilypond[verbatim,ragged-right,quote]
1941 \new Voice = melody \relative c' {
1942 \grace { c16( d e f }
1945 \new Lyrics \with { includeGraceNotes = ##t }
1952 @subsubheading Switching to an alternative melody
1954 @cindex associatedVoice
1955 @cindex alternative melody, switching to
1957 More complex variations in setting lyrics to music are possible.
1958 The melody to which the lyrics are being set can be changed from
1959 within the lyrics by setting the @code{associatedVoice} property:
1961 @lilypond[verbatim,quote]
1963 \relative \new Voice = "lahlah" {
1964 \set Staff.autoBeaming = ##f
1967 \new Voice = "alternative" {
1970 % show associations clearly.
1971 \override NoteColumn.force-hshift = #-3
1982 \new Lyrics \lyricsto "lahlah" {
1983 Ju -- ras -- sic Park
1985 \new Lyrics \lyricsto "lahlah" {
1986 % Tricky: need to set associatedVoice
1987 % one syllable too soon!
1988 \set associatedVoice = "alternative" % applies to "ran"
1992 \set associatedVoice = "lahlah" % applies to "rus"
1998 The text for the first stanza is set to the melody called
1999 @q{lahlah} in the usual way, but the second stanza is set initally
2000 to the @code{lahlah} context and is then switched to the
2001 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
2005 \set associatedVoice = "alternative" % applies to "ran"
2009 \set associatedVoice = "lahlah" % applies to "rus"
2014 Here, @code{alternative} is the name of the @code{Voice} context
2015 containing the triplet.
2017 Note the placement of the @code{\set associatedVoice} command --
2018 it appears to be one syllable too early, but this is correct.
2020 @warning{The @code{\set associatedVoice} command must be placed
2021 one syllable @emph{before} the one at which the switch to the new
2022 voice is to occur. In other words, changing the associated Voice
2023 happens one syllable later than expected. This is for technical
2024 reasons, and it is not a bug.}
2027 @node Printing stanzas at the end
2028 @unnumberedsubsubsec Printing stanzas at the end
2030 Sometimes it is appropriate to have one stanza set
2031 to the music, and the rest added in verse form at
2032 the end of the piece. This can be accomplished by adding
2033 the extra verses into a @code{\markup} section outside
2034 of the main score block. Notice that there are two
2035 different ways to force linebreaks when using
2038 @lilypond[ragged-right,verbatim,quote]
2039 melody = \relative {
2040 e' d c d | e e e e |
2045 \set stanza = #"1." Ma- ry had a lit- tle lamb,
2046 its fleece was white as snow.
2050 \new Voice = "one" { \melody }
2051 \new Lyrics \lyricsto "one" \text
2057 \line{ All the children laughed and played }
2058 \line{ To see a lamb at school. }
2065 Mary took it home again,
2067 It was against the rule."
2072 @node Printing stanzas at the end in multiple columns
2073 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
2075 When a piece of music has many verses, they are often printed in
2076 multiple columns across the page. An outdented verse number often
2077 introduces each verse. The following example shows how to produce such
2080 @lilypond[ragged-right,quote,verbatim]
2081 melody = \relative {
2086 \set stanza = #"1." This is verse one.
2092 \new Voice = "one" { \melody }
2093 \new Lyrics \lyricsto "one" \text
2100 \hspace #0.1 % moves the column off the left margin;
2101 % can be removed if space on the page is tight
2105 "This is verse two."
2109 \combine \null \vspace #0.1 % adds vertical spacing between verses
2112 "This is verse three."
2117 \hspace #0.1 % adds horizontal spacing between columns;
2121 "This is verse four."
2125 \combine \null \vspace #0.1 % adds vertical spacing between verses
2128 "This is verse five."
2133 \hspace #0.1 % gives some extra space on the right margin;
2134 % can be removed if page space is tight
2141 Internals Reference:
2142 @rinternals{LyricText},
2143 @rinternals{StanzaNumber}.
2150 * References for songs::
2154 @node References for songs
2155 @unnumberedsubsubsec References for songs
2157 Songs are usually written on three staves with the melody for the
2158 singer on the top staff and two staves of piano accompaniment at
2159 the bottom. The lyrics of the first stanza are printed immediately
2160 underneath the top staff. If there are just a small number of
2161 further stanzas these can be printed immediately under the first
2162 one, but if there are more stanzas than can be easily accommodated
2163 there the second and subsequent stanzas are printed after the music
2164 as stand-alone text.
2166 All the notational elements needed to write songs are fully described
2172 For constructing the staff layout, see @ref{Displaying staves}.
2175 For writing piano music, see
2176 @ref{Keyboard and other multi-staff instruments}.
2179 For writing the lyrics to a melody line, see
2180 @ref{Common notation for vocal music}.
2183 For placing the lyrics, see @ref{Placing lyrics vertically}.
2186 For entering stanzas, see @ref{Stanzas}.
2189 Songs are frequently printed with the chording indicated by chord
2190 names above the staves. This is described in @ref{Displaying chords}.
2193 To print fret diagrams of the chords for guitar accompaniment or
2194 accompaniment by other fretted instruments, see @qq{Fret diagram
2195 markups} in @ref{Common notation for fretted strings}.
2204 @ref{Common notation for vocal music},
2205 @ref{Displaying chords},
2206 @ref{Displaying staves},
2207 @ref{Keyboard and other multi-staff instruments},
2208 @ref{Placing lyrics vertically},
2216 @unnumberedsubsubsec Lead sheets
2218 Lead sheets may be printed by combining vocal parts and
2219 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2222 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2223 {simple-lead-sheet.ly}
2227 @ref{Chord notation}.
2238 This section discusses notation issues that relate most directly
2239 to choral music. This includes anthems, part songs, oratorio,
2243 * References for choral::
2244 * Score layouts for choral::
2248 @node References for choral
2249 @unnumberedsubsubsec References for choral
2251 Choral music is usually notated on two, three or four staves within
2252 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2253 beneath in a @code{PianoStaff} group, which is usually reduced in
2254 size for rehearsal of @emph{a cappella} choral works. The notes for
2255 each vocal part are placed in a @code{Voice} context, with each staff
2256 being given either a single vocal part (i.e., one @code{Voice}) or
2257 a pair of vocal parts (i.e., two @code{Voice}s).
2259 Words are placed in @code{Lyrics} contexts, either underneath each
2260 corresponding music staff, or one above and one below the music
2261 staff if this contains the music for two parts.
2263 Several common topics in choral music are described fully elsewhere:
2268 An introduction to creating an SATB vocal score can be found in
2269 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2270 There is also a built-in template which simplifies the entry of
2271 SATB vocal music, see @rlearning{Built-in templates}.
2274 Several templates suitable for various styles of choral music can
2275 also be found in the Learning Manual, see
2276 @rlearning{Vocal ensembles templates}.
2279 For information about @code{ChoirStaff} and @code{PianoStaff} see
2280 @ref{Grouping staves}.
2283 Shape note heads, as used in Sacred Harp and similar notation, are
2284 described in @ref{Shape note heads}.
2287 When two vocal parts share a staff the stems, ties, slurs, etc., of
2288 the higher part will be directed up and those of the lower part
2289 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2290 @ref{Single-staff polyphony}.
2293 When a vocal part temporarily splits, you should use
2294 @emph{Temporary polyphonic passages}
2295 (see @ref{Single-staff polyphony}).
2307 @rlearning{Four-part SATB vocal score},
2308 @rlearning{Vocal ensembles templates}.
2311 @ref{Context layout order},
2312 @ref{Grouping staves},
2313 @ref{Shape note heads},
2314 @ref{Single-staff polyphony}.
2319 Internals Reference:
2320 @rinternals{ChoirStaff},
2321 @rinternals{Lyrics},
2322 @rinternals{PianoStaff}.
2325 @node Score layouts for choral
2326 @unnumberedsubsubsec Score layouts for choral
2328 Choral music containing four staves, with or without piano
2329 accompaniment, is usually laid out with two systems per page.
2330 Depending on the page size, achieving this may require changes
2331 to several default settings. The following settings should be
2337 The global staff size can be modified to change the overall size
2338 of the elements of the score. See @ref{Setting the staff size}.
2341 The distances between the systems, the staves and the lyrics can
2342 all be adjusted independently. See @ref{Vertical spacing}.
2345 The dimensions of the vertical layout variables can be displayed as
2346 an aid to adjusting the vertical spacing. This and other
2347 possibilities for fitting the music onto fewer pages are described
2348 in @ref{Fitting music onto fewer pages}.
2351 If the number of systems per page changes from one to two it is
2352 customary to indicate this with a system separator mark between
2353 the two systems. See @ref{Separating systems}.
2356 For details of other page formatting properties, see
2362 Dynamic markings by default are placed below the staff, but in
2363 choral music they are usually placed above the staff in order to
2364 avoid the lyrics. The predefined command @code{\dynamicUp} does
2365 this for the dynamic markings in a single @code{Voice} context.
2366 If there are many @code{Voice} contexts this predefined command
2367 would have to be placed in every one. Alternatively its expanded
2368 form can be used to place all dynamic markings in the entire score
2369 above their respective staves, as shown here:
2371 @lilypond[verbatim,quote]
2376 \relative { g'4\f g g g }
2381 \relative { d'4 d d\p d }
2388 \override DynamicText.direction = #UP
2389 \override DynamicLineSpanner.direction = #UP
2397 @code{\dynamicDown},
2398 @code{\dynamicNeutral}.
2403 @ref{Changing spacing},
2404 @ref{Displaying spacing},
2405 @ref{Fitting music onto fewer pages},
2408 @ref{Separating systems},
2409 @ref{Setting the staff size},
2411 @ref{Vertical spacing}.
2413 Internals Reference:
2414 @rinternals{VerticalAxisGroup},
2415 @rinternals{StaffGrouper}.
2418 @node Divided voices
2419 @unnumberedsubsubsec Divided voices
2421 @cindex voices, divided
2423 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2424 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2428 @ref{Expressive marks as lines}.
2431 @node Opera and stage musicals
2432 @subsection Opera and stage musicals
2434 The music, lyrics and dialogue to opera and stage musicals are
2435 usually set out in one or more of the following forms:
2440 A @emph{Conductors' Score} containing the full orchestral and vocal
2441 parts, together with libretto cues if there are spoken passages.
2444 @emph{Orchestral Parts} containing the music for the individual
2445 instruments of the orchestra or band.
2448 A @emph{Vocal Score} containing all vocal parts with piano
2449 accompaniment. The accompaniment is usually an orchestral
2450 reduction, and if so the name of the original orchestral instrument
2451 is often indicated. Vocal scores sometimes includes stage
2452 directions and libretto cues.
2455 A @emph{Vocal Book} containing just the vocal parts
2456 (no accompaniment), sometimes combined with the libretto.
2459 A @emph{Libretto} containing the extended passages of spoken
2460 dialogue usually found in musicals, together with the words to the
2461 sung parts. Stage directions are usually included. LilyPond can
2462 be used to typeset libretti but as they contain no music
2463 alternative methods may be preferable.
2467 The sections in the LilyPond documentation which cover the topics
2468 needed to create scores in the styles commonly found in opera and
2469 musicals are indicated in the References below. This is followed
2470 by sections covering those techniques which are peculiar to
2471 typesetting opera and musical scores.
2474 * References for opera and stage musicals::
2478 * Dialogue over music::
2481 @node References for opera and stage musicals
2482 @unnumberedsubsubsec References for opera and stage musicals
2487 A conductors' score contains many grouped staves and lyrics. Ways
2488 of grouping staves is shown in @ref{Grouping staves}. To nest
2489 groups of staves see @ref{Nested staff groups}.
2492 The printing of empty staves in conductors' scores and vocal scores
2493 is often suppressed. To create such a @qq{Frenched score} see
2494 @ref{Hiding staves}.
2497 Writing orchestral parts is covered in @ref{Writing parts}.
2498 Other sections in the Specialist notation chapter may be relevant,
2499 depending on the orchestration used. Many instruments are
2500 transposing instruments, see @ref{Instrument transpositions}.
2503 If the number of systems per page changes from page to page it is
2504 customary to separate the systems with a system separator mark.
2505 See @ref{Separating systems}.
2508 For details of other page formatting properties, see
2512 Dialogue cues, stage directions and footnotes can be inserted, see
2513 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2514 can also be added with a section of stand-alone markups between two
2515 @code{\score} blocks, see @ref{Separate text}.
2521 @rglos{Frenched score},
2522 @rglos{Frenched staves},
2523 @rglos{transposing instrument}.
2526 @ref{Creating footnotes},
2527 @ref{Grouping staves},
2528 @ref{Hiding staves},
2529 @ref{Instrument transpositions},
2530 @ref{Nested staff groups},
2532 @ref{Separating systems},
2534 @ref{Writing parts},
2541 @node Character names
2542 @unnumberedsubsubsec Character names
2544 @cindex character names
2545 @cindex names, character
2547 Character names are usually shown to the left of the staff when the
2548 staff is dedicated to that character alone:
2550 @lilypond[quote,verbatim,ragged-right]
2554 \set Staff.vocalName = \markup \smallCaps Kaspar
2555 \set Staff.shortVocalName = \markup \smallCaps Kas.
2564 \set Staff.vocalName = \markup \smallCaps Melchior
2565 \set Staff.shortVocalName = \markup \smallCaps Mel
2576 When two or more characters share a staff the character's name is
2577 usually printed above the staff at the start of every section
2578 applying to that character. This can be done with markup. Often a
2579 specific font is used for this purpose.
2581 @lilypond[quote,verbatim]
2584 c4^\markup \fontsize #1 \smallCaps Kaspar
2587 a4^\markup \fontsize #1 \smallCaps Melchior
2590 c4^\markup \fontsize #1 \smallCaps Kaspar
2595 Alternatively, if there are many character changes, it may be easier
2596 to set up variables to hold the definitions for each character so
2597 that the switch of characters can be indicated easily and concisely.
2599 @lilypond[quote,verbatim]
2602 \set Staff.shortVocalName = "Kas."
2603 \set Staff.midiInstrument = "voice oohs"
2604 <>^\markup \smallCaps "Kaspar"
2609 \set Staff.shortVocalName = "Mel."
2610 \set Staff.midiInstrument = "choir aahs"
2611 <>^\markup \smallCaps "Melchior"
2626 @rlearning{Organizing pieces with variables}.
2630 @ref{Text markup commands}.
2634 @unnumberedsubsubsec Musical cues
2636 @cindex musical cues
2637 @cindex cues, musical
2639 Musical cues can be inserted in Vocal Scores, Vocal Books and
2640 Orchestral Parts to indicate what music in another part
2641 immediately precedes an entry. Also, cues are often inserted in the
2642 piano reduction in Vocal Scores to indicate what each orchestral
2643 instrument is playing. This aids the conductor when a full
2644 Conductors' Score is not available.
2646 The basic mechanism for inserting cues is fully explained in the
2647 main text, see @ref{Quoting other voices} and
2648 @ref{Formatting cue notes}. But when many cues have to be
2649 inserted, for example, as an aid to a conductor in a vocal score,
2650 the instrument name must be positioned carefully just before and
2651 close to the start of the cue notes. The following example shows
2654 @lilypond[quote,verbatim]
2658 \addQuote "flute" { \flute }
2660 pianoRH = \relative {
2662 % position name of cue-ing instrument just before the cue notes,
2663 % and above the staff
2664 <>^\markup { \right-align { \tiny "Flute" } }
2665 \cueDuring "flute" #UP { g4 bes4 }
2667 pianoLH = \relative { c4 <c' e> e, <g c> }
2682 If a transposing instrument is being quoted the instrument part should
2683 specify its key so the conversion of its cue notes will be done
2684 automatically. The example below shows this transposition for a
2685 B-flat clarinet. The notes in this example are low on the staff so
2686 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2687 down) and the instrument name is positioned below the staff.
2689 @lilypond[quote,verbatim]
2690 clarinet = \relative c' {
2694 \addQuote "clarinet" { \clarinet }
2696 pianoRH = \relative c'' {
2698 % position name of cue-ing instrument below the staff
2699 <>_\markup { \right-align { \tiny "Clar." } }
2700 \cueDuring "clarinet" #DOWN { c4. g8 }
2703 pianoLH = \relative { c4 <c' e> e, <g c> }
2722 From these two examples it is clear that inserting many cues in a
2723 Vocal Score would be tedious, and the notes of the piano part would
2724 become obscured. However, as the following snippet shows, it is
2725 possible to define a music function to reduce the amount of typing
2726 and to make the piano notes clearer.
2729 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2730 {adding-orchestral-cues-to-a-vocal-score.ly}
2737 @ref{Aligning objects},
2738 @ref{Direction and placement},
2739 @ref{Formatting cue notes},
2740 @ref{Quoting other voices},
2741 @ref{Using music functions}.
2746 Internals Reference:
2747 @rinternals{CueVoice}.
2750 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2751 and all cue notes are placed in that context. This means it is not
2752 possible to have two overlapping sequences of cue notes by this
2753 technique. Overlapping sequences could be entered by explicitly
2754 declaring separate @code{CueVoice} contexts and using
2755 @code{\quoteDuring} to extract and insert the cue notes.
2759 @unnumberedsubsubsec Spoken music
2762 @cindex Sprechgesang
2763 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2764 speak without pitch but still with rhythm; these are notated by cross
2765 note heads, as demonstrated in @ref{Special note heads}.
2767 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2768 @c add "showing the rhythm of a melody" snip
2769 @c add "one staff-line notation"
2770 @c add "improvisation" ref
2771 @c add "lyrics independents of notes" ref
2773 @node Dialogue over music
2774 @unnumberedsubsubsec Dialogue over music
2776 Dialogue over music is usually printed over the staves in an italic
2777 font, with the start of each phrase keyed in to a particular music
2780 For short interjections a simple markup suffices.
2782 @lilypond[quote,verbatim]
2784 a'4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2785 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2790 For longer phrases it may be necessary to expand the music to make
2791 the words fit neatly. There is no provision in LilyPond to do this
2792 fully automatically, and some manual intervention to layout the
2793 page will be necessary.
2795 For long phrases or for passages with a lot of closely packed
2796 dialogue, using a Lyrics context will give better results. The
2797 Lyrics context should not be associated with a music Voice; instead
2798 each section of dialogue should be given an explicit duration. If
2799 there is a gap in the dialogue, the final word should be separated
2800 from the rest and the duration split between them so that the
2801 underlying music spaces out smoothly.
2803 If the dialogue extends for more than one line it will be necessary
2804 to manually insert @code{\break}s and adjust the placing of the
2805 dialogue to avoid running into the right margin. The final word of
2806 the last measure on a line should also be separated out, as above.
2808 Here is an example illustrating how this might be done.
2810 @c This should be a snippet, but it can't be as it needs to be
2811 @c manually adjusted to suit the imposed line length. -td
2813 @lilypond[quote,verbatim,ragged-right]
2815 \repeat unfold 3 { a'4 a a a }
2818 dialogue = \lyricmode {
2820 \fontsize #1 \upright \smallCaps Abe:
2821 "Say this over measures one and"
2825 "and this over measure"4*3
2832 \override LyricText.font-shape = #'italic
2833 \override LyricText.self-alignment-X = #LEFT
2837 \new Voice { \music }
2843 @c TODO show use of \column to produce dialogue on two lines
2847 @ref{Manual syllable durations},
2851 @rinternals{LyricText}.
2854 @node Chants psalms and hymns
2855 @subsection Chants psalms and hymns
2860 @cindex religious music
2862 The music and words for chants, psalms and hymns usually follow a
2863 well-established format in any particular church. Although the
2864 formats may differ from church to church the type-setting problems
2865 which arise are broadly similar, and are covered in this section.
2868 * References for chants and psalms::
2870 * Pointing a psalm::
2871 * Partial measures in hymn tunes::
2874 @node References for chants and psalms
2875 @unnumberedsubsubsec References for chants and psalms
2877 Typesetting Gregorian chant in various styles of ancient notation
2878 is described in @ref{Ancient notation}.
2882 @ref{Ancient notation}.
2888 @node Setting a chant
2889 @unnumberedsubsubsec Setting a chant
2891 Modern chant settings use modern notation with varying numbers of
2892 elements taken from ancient notation. Some of the elements and
2893 methods to consider are shown here.
2895 Chants often use quarter notes without stems to indicate the pitch,
2896 with the rhythm being taken from the spoken rhythm of the words.
2898 @lilypond[verbatim,quote]
2899 stemOff = { \hide Staff.Stem }
2908 Chants often omit the bar lines or use shortened or dotted bar
2909 lines to indicate pauses in the music. To omit all bar lines from
2910 all staves remove the bar line engraver completely:
2912 @lilypond[verbatim,quote]
2933 \remove "Bar_engraver"
2939 Bar lines can also be removed on a staff-by-staff basis:
2941 @lilypond[verbatim, quote]
2945 \with { \remove "Bar_engraver" } {
2963 To remove bar lines from just a section of music treat it as a
2964 cadenza. If the section is long you may need to insert dummy
2965 bar lines with @code{\bar ""} to show where the line should break.
2967 @lilypond[verbatim,quote]
2982 Rests or pauses in chants can be indicated by modified bar lines.
2984 @lilypond[verbatim, quote]
3001 Alternatively, the notation used in Gregorian chant for pauses or
3002 rests is sometimes used even though the rest of the notation is
3003 modern. This uses a modified @code{\breathe} mark:
3005 @lilypond[verbatim,quote]
3007 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
3008 \once \override BreathingSign.Y-offset = #0
3012 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
3013 \once \override BreathingSign.Y-offset = #0
3017 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
3018 \once \override BreathingSign.Y-offset = #0
3022 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
3023 \once \override BreathingSign.Y-offset = #0
3041 \remove "Bar_engraver"
3047 Chants usually omit the time signature and often omit the clef too.
3049 @lilypond[verbatim,quote]
3061 \remove "Bar_engraver"
3062 \remove "Time_signature_engraver"
3063 \remove "Clef_engraver"
3069 Chants for psalms in the Anglican tradition are usually either
3070 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
3071 of 7 bars. Each group of 7 bars is divided into two halves,
3072 corresponding to the two halves of each verse, usually separated by
3073 a double bar line. Only whole and half notes are used. The 1st bar
3074 in each half always contains a single chord of whole notes. This is
3075 the @qq{reciting note}. Chants are usually centered on the page.
3077 @lilypond[verbatim,quote]
3078 SopranoMusic = \relative {
3079 g'1 | c2 b | a1 | \bar "||"
3080 a1 | d2 c | c b | c1 | \bar "||"
3083 AltoMusic = \relative {
3085 f1 | f2 e | d d | e1 |
3088 TenorMusic = \relative {
3090 d1 | g,2 g | g g | g1 |
3093 BassMusic = \relative {
3095 d1 | b2 c | g' g | c,1 |
3102 % Use markup to center the chant on the page
3111 \new Voice = "Soprano" <<
3115 \new Voice = "Alto" <<
3123 \new Voice = "Tenor" <<
3127 \new Voice = "Bass" <<
3137 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3141 \remove "Time_signature_engraver"
3149 Some other approaches to setting such a chant are shown in the first
3150 of the following snippets.
3154 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3155 {chant-or-psalms-notation.ly}
3157 Canticles and other liturgical texts may be set more freely, and
3158 may use notational elements from ancient music. Often the words
3159 are shown underneath and aligned with the notes. If so, the notes
3160 are spaced in accordance with the syllables rather than the notes'
3163 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3164 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3168 @rlearning{Visibility and color of objects},
3169 @rlearning{Vocal ensembles templates}.
3172 @ref{Ancient notation},
3174 @ref{Modifying context plug-ins},
3175 @ref{Typesetting Gregorian chant},
3176 @ref{Unmetered music},
3177 @ref{Visibility of objects}.
3180 @node Pointing a psalm
3181 @unnumberedsubsubsec Pointing a psalm
3183 The words to an Anglican psalm are usually printed in separate
3184 verses centered underneath the chant.
3186 Single chants (with 7 bars) are repeated for every verse. Double
3187 chants (with 14 bars) are repeated for every pair of verses. Marks
3188 are inserted in the words to show how they should be fitted to the
3189 chant. Each verse is divided into two halves. A colon is usually
3190 used to indicate this division. This corresponds to the double bar
3191 line in the music. The words before the colon are sung to the first
3192 three bars of music; the words after the colon are sung to the last
3195 Single bar lines (or in some psalters an inverted comma or similar
3196 symbol) are inserted between words to indicate where the bar lines
3197 in the music fall. In markup mode a single bar line can be entered
3198 with the bar check symbol, @code{|}.
3200 @lilypond[verbatim,quote]
3205 \line { O come let us sing | unto the | Lord : let }
3206 \line { us heartily rejoice in the | strength of | our }
3207 \line { sal- | -vation. }
3214 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3215 For details, see @ref{Fonts}.
3217 @lilypond[verbatim,quote]
3219 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3225 \line { O come let us sing \tick unto the \tick Lord : let }
3227 us heartily rejoice in the \tick strength of \tick our
3229 \line { sal \tick vation. }
3236 Where there is one whole note in a bar all the words corresponding
3237 to that bar are recited on that one note in speech rhythm. Where
3238 there are two notes in a bar there will usually be only one or two
3239 corresponding syllables. If there are more that two syllables a
3240 dot is usually inserted to indicate where the change in note occurs.
3242 @lilypond[verbatim,quote]
3244 \raise #0.7 \musicglyph #"dots.dot"
3247 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3254 O come let us sing \tick unto \dot the \tick Lord : let
3257 us heartily rejoice in the \tick strength of \tick our
3259 \line { sal \tick vation. }
3266 In some psalters an asterisk is used to indicate a break in a
3267 recited section instead of a comma, and stressed or slightly
3268 lengthened syllables are indicated in bold text.
3270 @lilypond[verbatim,quote]
3272 \raise #0.7 \musicglyph #"dots.dot"
3275 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3281 \line { Today if ye will hear his voice * }
3283 \concat { \bold hard en }
3284 | not your | hearts : as in the pro-
3286 \line { vocation * and as in the \bold day of tempt- | }
3287 \line { -ation | in the | wilderness. }
3294 In other psalters an accent is placed over the syllable to indicate
3297 @lilypond[verbatim,quote]
3299 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3306 O come let us \concat {
3307 si \combine \tick ng
3309 | unto the | Lord : let
3312 us heartily \concat {
3313 rejo \combine \tick ice
3315 in the | strength of | our
3317 \line { sal- | -vation. }
3324 The use of markup to center text, and arrange lines in columns is
3325 described in @ref{Formatting text}.
3327 Most of these elements are shown in one or other of the two verses
3328 in the template, see @rlearning{Psalms}.
3333 @rlearning{Vocal ensembles templates}.
3337 @ref{Formatting text}.
3340 @node Partial measures in hymn tunes
3341 @unnumberedsubsubsec Partial measures in hymn tunes
3343 Hymn tunes frequently start and end every line of music with
3344 partial measures so that each line of music corresponds exactly
3345 with a line of text. This requires a @code{\partial} command at
3346 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3347 commands at the end of each line.
3349 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3353 @node Ancient vocal music
3354 @subsection Ancient vocal music
3356 Ancient vocal music is supported, as explained in
3357 @ref{Ancient notation}.
3361 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3362 @c and "Transcription of Ancient music with incipit" snippet. -vv
3366 @ref{Ancient notation}.