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 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}.
316 @rlearning{Aligning lyrics to a melody}.
319 @ref{Contexts explained},
320 @ref{Automatic syllable durations},
322 @ref{Manual syllable durations},
323 @ref{Dialogue over music},
324 @ref{Manual syllable durations}.
330 @node Automatic syllable durations
331 @unnumberedsubsubsec Automatic syllable durations
333 @cindex syllable durations, automatic
334 @cindex lyrics and melodies
335 @cindex associatedVoice
339 Lyrics can be automatically aligned to the notes of a melody in
345 by specifying the named Voice context containing the melody with
349 by introducing the lyrics with @code{\addlyrics} and placing them
350 immediately after the Voice context containing the melody,
353 by setting the @code{associatedVoice} property, the alignment of
354 the lyrics may be switched to a different named Voice context at
359 In all three methods hyphens can be drawn between the syllables of
360 a word and extender lines can be drawn beyond the end of a word. For
361 details, see @ref{Extenders and hyphens}.
363 The @code{Voice} context containing the melody to which the lyrics
364 are being aligned must not have @qq{died}, or the lyrics after that
365 point will be lost. This can happen if there are periods when that
366 voice has nothing to do. For methods of keeping contexts alive, see
367 @ref{Keeping contexts alive}.
369 @subheading Using @code{\lyricsto}
374 Lyrics can be aligned under a melody automatically by specifying
375 the named Voice context containing the melody with
378 @lilypond[quote,verbatim,relative=2]
380 \new Voice = "melody" {
383 \new Lyrics \lyricsto "melody" {
390 This aligns the lyrics to the notes of the named @code{Voice}
391 context, which must already exist. Therefore normally the
392 @code{Voice} context is specified first, followed by the
393 @code{Lyrics} context. The lyrics themselves follow the
394 @code{\lyricsto} command. The @code{\lyricsto} command
395 invokes lyric mode automatically, so the @code{\lyricmode} keyword
396 may be omitted. By default, the lyrics are placed underneath the
397 notes. For other placements, see @ref{Placing lyrics vertically}.
399 @subheading Using @code{\addlyrics}
404 The @code{\addlyrics} command is just a convenient shortcut that
405 can sometimes be used instead of having to set up the lyrics
406 through a more complicated LilyPond structure.
410 \addlyrics @{ LYRICS @}
417 \new Voice = "blah" @{ MUSIC @}
418 \new Lyrics \lyricsto "blah" @{ LYRICS @}
423 @lilypond[verbatim,quote]
426 \relative c' { c2 e4 g2. }
427 \addlyrics { play the game }
431 More stanzas can be added by adding more
432 @code{\addlyrics} sections:
435 @lilypond[ragged-right,verbatim,quote]
438 \relative c' { c2 e4 g2. }
439 \addlyrics { play the game }
440 \addlyrics { speel het spel }
441 \addlyrics { joue le jeu }
445 The command @code{\addlyrics} cannot handle polyphonic settings.
446 Also, it cannot be used to associate lyrics to a @code{TabVoice}.
447 For these cases one should use @code{\lyricsto}.
449 @subheading Using associatedVoice
451 The melody to which the lyrics are being aligned can be changed by
452 setting the @code{associatedVoice} property,
455 \set associatedVoice = #"lala"
460 The value of the property (here: @code{"lala"}) should be the name
461 of a @code{Voice} context. For technical reasons, the @code{\set}
462 command must be placed one syllable before the one to which the
463 change in voice is to apply.
465 Here is an example demonstrating its use:
467 @lilypond[quote,ragged-right,verbatim]
471 \new Voice = "one" \relative c'' {
473 c4 b8. a16 g4. r8 a4 ( b ) c2
475 \new Voice = "two" \relative c' {
480 % takes durations and alignment from notes in "one" initially
481 % then switches to "two"
482 \new Lyrics \lyricsto "one" {
484 \set associatedVoice = "two" % must be set one syllable early
485 sins and sor -- rows grow.
492 @ref{Extenders and hyphens},
493 @ref{Keeping contexts alive},
494 @ref{Placing lyrics vertically}.
497 @node Manual syllable durations
498 @unnumberedsubsubsec Manual syllable durations
500 In some complex vocal music, it may be desirable to place lyrics
501 completely independently of notes. In this case do not use
502 @code{\lyricsto} or @code{\addlyrics} and do not set
503 @code{associatedVoice}. Syllables are entered like notes --
504 but with pitches replaced by text -- and the duration of each
505 syllable is entered explicitly after the syllable.
507 Hyphenated lines may be drawn between syllables
508 as usual, but extender lines cannot be drawn when there is no
511 Here are two examples:
513 @lilypond[relative=1,verbatim,quote]
515 \new Voice = "melody" {
518 \new Lyrics \lyricmode {
519 c4. -- a -- f -- f -- e2. -- e
525 @lilypond[quote,verbatim,ragged-right]
547 This technique is useful when writing dialogue over music, see
548 @ref{Dialogue over music}.
550 To change syllable alignment, simply override the @code{self-alignment-X}
553 @lilypond[relative=1,verbatim,quote]
555 \new Voice = "melody" {
559 \new Lyrics \lyricmode {
560 \override LyricText.self-alignment-X = #LEFT
568 @ref{Dialogue over music}.
575 @node Multiple syllables to one note
576 @unnumberedsubsubsec Multiple syllables to one note
579 @cindex spaces, in lyrics
580 @cindex quotes, in lyrics
581 @cindex ties, in lyrics
583 In order to assign more than one syllable to a single note with
584 spaces between the syllables, you can surround the phrase with
585 quotes or use a @code{_} character. Alternatively, you can use
586 the tilde symbol (@code{~}) to get a lyric tie.
588 @lilypond[quote,ragged-right,verbatim,relative=2]
591 r8 b c fis, fis c' b e,
595 \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
596 Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
598 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
599 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
605 @rinternals{LyricCombineMusic}.
608 @node Multiple notes to one syllable
609 @unnumberedsubsubsec Multiple notes to one syllable
613 @cindex phrasing, in lyrics
615 @funindex \melismaEnd
617 Sometimes, particularly in Medieval and baroque music, several notes are
618 sung on one syllable; this is called melisma, see
619 @rglos{melisma}. The syllable to a melisma is usually
620 left-aligned with the first note of the melisma.
622 When a melisma occurs on a syllable other than the last one in a
623 word, that syllable is usually joined to the following one with a
624 hyphenated line. This is indicated by placing a double hyphen,
625 @w{@code{--}}, immediately after the syllable.
627 Alternatively, when a melisma occurs on the last or only syllable in
628 a word an extender line is usually drawn from the end of the syllable
629 to the last note of the melisma. This is indicated by placing a
630 double underscore, @code{__}, immediately after the word.
632 There are five ways in which melismata can be indicated:
637 Melismata are created automatically over notes which are tied
640 @lilypond[quote,relative=2,verbatim]
642 \new Voice = "melody" {
648 \new Lyrics \lyricsto "melody" {
655 Melismata can be created automatically from the music by placing
656 slurs over the notes of each melisma. This is the usual way of
659 @lilypond[quote,relative=2,verbatim]
661 \new Voice = "melody" {
666 \new Lyrics \lyricsto "melody" {
672 Note that phrasing slurs do not affect the creation of melismata.
675 Notes are considered a melisma if they are manually beamed,
676 providing automatic beaming is switched off. See
677 @ref{Setting automatic beam behavior}.
679 @lilypond[quote,relative=2,verbatim]
681 \new Voice = "melody" {
687 \new Lyrics \lyricsto "melody" {
693 Clearly this is not suited to melismata over notes which are longer
697 An unslurred group of notes will be treated as a melisma if they
698 are bracketed between @code{\melisma} and @code{\melismaEnd}.
700 @lilypond[quote,relative=2,verbatim]
702 \new Voice = "melody" {
710 \new Lyrics \lyricsto "melody" {
717 A melisma can be defined entirely in the lyrics by entering a
718 single underscore character, @code{_}, for every extra note that has
719 to be added to the melisma.
721 @lilypond[verbatim, quote, relative=2]
723 \new Voice = "melody" {
728 \new Lyrics \lyricsto "melody" {
729 Ky -- ri -- _ _ _ e __ _ _
736 It is possible to have ties, slurs and manual beams in the melody
737 without their indicating melismata. To do this, set
738 @code{melismaBusyProperties}:
740 @lilypond[relative=1,verbatim,quote]
742 \new Voice = "melody" {
744 \set melismaBusyProperties = #'()
748 \new Lyrics \lyricsto "melody" {
749 Ky -- ri -- e e -- le -- i -- son
754 Other settings for @code{melismaBusyProperties} can be used to
755 selectively include or exclude ties, slurs, and beams from the
756 automatic detection of melismata; see @code{melismaBusyProperties}
757 in @rinternals{Tunable context properties}.
759 Alternatively, if all melismata indications are to be ignored,
760 @code{ignoreMelismata} may be set true;
761 see @ref{Stanzas with different rhythms}.
763 If a melisma is required during a passage in which
764 @code{melismaBusyProperties} is active, it may be indicated by
765 placing a single underscore in the lyrics for each note which
766 should be included in the melisma:
768 @lilypond[relative=1,verbatim,quote]
770 \new Voice = "melody" {
772 \set melismaBusyProperties = #'()
776 \new Lyrics \lyricsto "melody" {
777 Ky -- ri -- _ e __ _ _ _
795 @rlearning{Aligning lyrics to a melody}.
798 @ref{Aligning lyrics to a melody},
799 @ref{Automatic syllable durations},
800 @ref{Setting automatic beam behavior},
801 @ref{Stanzas with different rhythms}.
804 @rinternals{Tunable context properties}.
807 Extender lines under melismata are not created automatically; they
808 must be inserted manually with a double underscore.
811 @node Extenders and hyphens
812 @unnumberedsubsubsec Extenders and hyphens
817 @c TODO cf Multiple notes to one syllable; should this be merged in?
819 @c leave this as samp. -gp
820 In the last syllable of a word, melismata are sometimes indicated with
821 a long horizontal line starting in the melisma syllable, and ending in
822 the next one. Such a line is called an extender line, and it is
823 entered as @samp{ __ } (note the spaces before and after the two
824 underscore characters).
826 @warning{Melismata are indicated in the score with extender lines,
827 which are entered as one double underscore; but short melismata can
828 also be entered by skipping individual notes, which are entered as
829 single underscore characters; these do not make an extender line to be
834 @c leave this as samp. -gp
835 Centered hyphens are entered as @samp{ -- } between syllables of a
836 same word (note the spaces before and after the two hyphen
837 characters). The hyphen will be centered between the syllables, and
838 its length will be adjusted depending on the space between the
841 In tightly engraved music, hyphens can be removed. Whether this
842 happens can be controlled with the @code{minimum-distance} (minimum
843 distance between two syllables) and the @code{minimum-length}
844 (threshold below which hyphens are removed) properties of
849 @rinternals{LyricExtender},
850 @rinternals{LyricHyphen}.
853 @node Techniques specific to lyrics
854 @subsection Techniques specific to lyrics
856 @c TODO this whole section is to be reorganised
859 * Working with lyrics and variables::
860 * Placing lyrics vertically::
861 * Placing syllables horizontally::
862 * Lyrics and repeats::
864 * Polyphony with shared lyrics::
869 @node Working with lyrics and variables
870 @unnumberedsubsubsec Working with lyrics and variables
872 @cindex lyrics, using variables
874 Variables containing lyrics can be created, but the lyrics must be
875 entered in lyric mode:
877 @lilypond[quote,verbatim]
878 musicOne = \relative c'' {
879 c4 b8. a16 g4. f8 e4 d c2
881 verseOne = \lyricmode {
882 Joy to the world, the Lord is come.
890 \new Lyrics \lyricsto "one" {
897 Durations do not need to be added if the variable is to be invoked
898 with @code{\addlyrics} or @code{\lyricsto}.
900 For different or more complex orderings, the best way is to define
901 the music and lyric variables first, then set up the hierarchy of
902 staves and lyrics, omitting the lyrics themselves, and then add the
903 lyrics using @code{\context} underneath. This ensures that the
904 voices referenced by @code{\lyricsto} have always been defined
905 earlier. For example:
907 @lilypond[quote,verbatim]
908 sopranoMusic = \relative c'' { c4 c c c }
909 contraltoMusic = \relative c'' { a4 a a a }
910 sopranoWords = \lyricmode { Sop -- ra -- no words }
911 contraltoWords = \lyricmode { Con -- tral -- to words }
916 \new Voice = "sopranos" {
920 \new Lyrics = "sopranos"
921 \new Lyrics = "contraltos"
923 \new Voice = "contraltos" {
927 \context Lyrics = "sopranos" {
928 \lyricsto "sopranos" {
932 \context Lyrics = "contraltos" {
933 \lyricsto "contraltos" {
943 @ref{Placing lyrics vertically}.
946 @rinternals{LyricCombineMusic},
950 @node Placing lyrics vertically
951 @unnumberedsubsubsec Placing lyrics vertically
953 @cindex placement of lyrics
954 @cindex lyrics, positioning
956 Depending on the type of music, lyrics may be positioned
957 above the staff, below the staff, or between staves. Placing
958 lyrics below the associated staff is the easiest, and can be
959 achieved by simply defining the Lyrics context below the Staff
962 @lilypond[quote,verbatim]
966 \new Voice = "melody" {
967 \relative c'' { c4 c c c }
979 Lyrics may be positioned above the staff using one of
980 two methods. The simplest (and preferred) method
981 is to use the same syntax as above and explicitly
982 specify the position of the lyrics:
984 @lilypond[quote,verbatim]
987 \new Staff = "staff" {
988 \new Voice = "melody" {
989 \relative c'' { c4 c c c }
992 \new Lyrics \with { alignAboveContext = "staff" } {
1001 Alternatively, a two-step process may be used. First the Lyrics
1002 context is declared (without any content) before the Staff and
1003 Voice contexts, then the @code{\lyricsto} command is placed after
1004 the Voice declaration it references by using @code{\context}, as
1007 @lilypond[quote,verbatim]
1010 \new Lyrics = "lyrics" \with {
1011 % lyrics above a staff should have this override
1012 \override VerticalAxisGroup.staff-affinity = #DOWN
1015 \new Voice = "melody" {
1016 \relative c'' { c4 c c c }
1019 \context Lyrics = "lyrics" {
1020 \lyricsto "melody" {
1028 When there are two voices on separate staves the lyrics may be
1029 placed between the staves using either of these methods. Here
1030 is an example of the second method:
1032 @lilypond[quote,verbatim]
1036 \new Voice = "sopranos" {
1037 \relative c'' { c4 c c c }
1040 \new Lyrics = "sopranos"
1041 \new Lyrics = "contraltos" \with {
1042 % lyrics above a staff should have this override
1043 \override VerticalAxisGroup.staff-affinity = #DOWN
1046 \new Voice = "contraltos" {
1047 \relative c'' { a4 a a a }
1050 \context Lyrics = "sopranos" {
1051 \lyricsto "sopranos" {
1052 Sop -- ra -- no words
1055 \context Lyrics = "contraltos" {
1056 \lyricsto "contraltos" {
1057 Con -- tral -- to words
1064 Other combinations of lyrics and staves may be generated by
1065 elaborating these examples, or by examining the templates in the
1066 Learning Manual, see @rlearning{Vocal ensembles templates}.
1069 @lilypondfile[verbatim,quote,texidoc,doctitle]
1070 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1074 @rlearning{Vocal ensembles templates}.
1077 @ref{Context layout order},
1078 @ref{Creating and referencing contexts}.
1081 @node Placing syllables horizontally
1082 @unnumberedsubsubsec Placing syllables horizontally
1084 @cindex Spacing lyrics
1085 @cindex Lyrics, increasing space between
1087 To increase the spacing between lyrics, set the
1088 @code{minimum-distance} property of @code{LyricSpace}.
1090 @lilypond[relative=1,verbatim,quote,ragged-right]
1093 \override Lyrics.LyricSpace.minimum-distance = #1.0
1097 longtext longtext longtext longtext
1098 longtext longtext longtext longtext
1103 To make this change for all lyrics in the score, set the property in the
1104 @code{\layout} block.
1106 @lilypond[verbatim,quote,ragged-right]
1113 longtext longtext longtext longtext
1114 longtext longtext longtext longtext
1119 \override LyricSpace.minimum-distance = #1.0
1126 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1127 {lyrics-alignment.ly}
1129 @c TODO: move to LSR -vv
1131 Checking to make sure that text scripts and lyrics are within the margins
1132 requires additional calculations. To speed up processing slightly, this
1133 feature can be disabled:
1136 \override Score.PaperColumn.keep-inside-line = ##f
1139 To make lyrics avoid bar lines as well, use
1145 \consists "Bar_engraver"
1146 \consists "Separating_line_group_engraver"
1152 @node Lyrics and repeats
1153 @unnumberedsubsubsec Lyrics and repeats
1155 @cindex repeats and lyrics
1156 @cindex lyrics, repeating
1158 @subheading Simple repeats
1160 Repeats in @emph{music} are fully described elsewhere; see
1161 @ref{Repeats}. This section explains how to add lyrics to repeated
1164 Lyrics to a section of music that is repeated should be surrounded
1165 by exactly the same repeat construct as the music, if the words are
1168 @lilypond[verbatim,quote]
1172 \new Voice = "melody" {
1175 \repeat volta 2 { b4 b b b }
1180 \lyricsto "melody" {
1181 Not re -- peat -- ed.
1182 \repeat volta 2 { Re -- peat -- ed twice. }
1189 The words will then be correctly expanded if the repeats are
1192 @lilypond[verbatim,quote]
1197 \new Voice = "melody" {
1200 \repeat volta 2 { b4 b b b }
1205 \lyricsto "melody" {
1206 Not re -- peat -- ed.
1207 \repeat volta 2 { Re -- peat -- ed twice. }
1215 If the repeated section is to be unfolded and has different words,
1216 simply enter all the words:
1218 @lilypond[verbatim,quote,ragged-right]
1222 \new Voice = "melody" {
1225 \repeat unfold 2 { b4 b b b }
1230 \lyricsto "melody" {
1231 Not re -- peat -- ed.
1232 The first time words.
1233 Sec -- ond time words.
1240 When the words to a repeated volta section are different, the words
1241 to each repeat must be entered in separate @code{Lyrics} contexts,
1242 correctly nested in parallel sections:
1244 @lilypond[verbatim,quote]
1248 \new Voice = "melody" {
1251 \repeat volta 2 { b4 b b b }
1255 \new Lyrics \lyricsto "melody" {
1256 Not re -- peat -- ed.
1258 { The first time words. }
1260 \set associatedVoice = "melody"
1261 Sec -- ond time words.
1269 More verses may be added in a similar way:
1271 @lilypond[verbatim,quote]
1275 \new Voice = "singleVoice" {
1278 \repeat volta 3 { b4 b b b }
1283 \new Lyrics \lyricsto "singleVoice" {
1284 Not re -- peat -- ed.
1286 { The first time words. }
1288 \set associatedVoice = "singleVoice"
1289 Sec -- ond time words.
1292 \set associatedVoice = "singleVoice"
1293 The third time words.
1296 The end sec -- tion.
1302 @cindex alignBelowContext
1303 @funindex alignBelowContext
1305 However, if this construct is embedded within a multi-staved
1306 context such as a @code{ChoirStaff} the lyrics of the second and
1307 third verses will appear beneath the bottom staff.
1309 To position them correctly use @code{alignBelowContext}:
1311 @lilypond[verbatim,quote]
1315 \new Voice = "melody" {
1318 \repeat volta 3 { b4 b b b }
1323 \new Lyrics = "firstVerse" \lyricsto "melody" {
1324 Not re -- peat -- ed.
1326 { The first time words. }
1327 \new Lyrics = "secondVerse"
1328 \with { alignBelowContext = #"firstVerse" } {
1329 \set associatedVoice = "melody"
1330 Sec -- ond time words.
1332 \new Lyrics = "thirdVerse"
1333 \with { alignBelowContext = #"secondVerse" } {
1334 \set associatedVoice = "melody"
1335 The third time words.
1338 The end sec -- tion.
1340 \new Voice = "harmony" {
1342 f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1351 @c TODO positioning a common line of lyrics
1353 @subheading Repeats with alternative endings
1355 @cindex lyrics, repeats with alternative endings
1356 @cindex repeating lyrics with alternative endings
1357 @cindex alternative endings and lyrics
1359 If the words of the repeated section are the same, exactly the
1360 same structure can be used for both the lyrics and music.
1362 @lilypond[quote,verbatim]
1367 \new Voice = "melody" {
1370 \repeat volta 2 { b4 b }
1371 \alternative { { b b } { b c } }
1376 \lyricsto "melody" {
1377 Not re -- peat -- ed.
1378 \repeat volta 2 { Re -- peat -- }
1379 \alternative { { ed twice. } { ed twice. } }
1387 @cindex skipping notes in lyrics
1388 @cindex lyrics, skipping notes
1390 But when the repeated section has different words, a repeat
1391 construct cannot be used around the words and @code{\skip} commands
1392 have to be inserted manually to skip over the notes in the
1393 alternative sections which do not apply.
1395 Note: do not use an underscore, @code{_}, to skip notes -- an
1396 underscore indicates a melisma, causing the preceding syllable
1399 @warning{The @code{@bs{}skip} command must be followed by a number,
1400 but this number is ignored in lyrics which derive their durations
1401 from the notes in an associated melody through @code{\addlyrics} or
1402 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1403 value, irrespective of the value of the following number.}
1405 @lilypond[verbatim,quote,ragged-right]
1410 \new Voice = "melody" {
1412 \repeat volta 2 { b4 b }
1413 \alternative { { b b } { b c } }
1419 \lyricsto "melody" {
1420 The first time words.
1421 \repeat unfold 2 { \skip 1 }
1426 \lyricsto "melody" {
1428 \repeat unfold 2 { \skip 1 }
1436 @cindex lyrics and tied notes
1437 @funindex \repeatTie
1439 When a note is tied over into two or more alternative endings a
1440 tie is used to carry the note into the first alternative ending and
1441 a @code{\repeatTie} is used in the second and subsequent endings.
1442 This structure causes difficult alignment problems when lyrics are
1443 involved and increasing the length of the alternative sections so
1444 the tied notes are contained wholly within them may give a more
1447 The tie creates a melisma into the first alternative, but not into
1448 the second and subsequent alternatives, so to align the lyrics
1449 correctly it is necessary to disable the automatic creation of
1450 melismata over the volta section and insert manual skips.
1452 @lilypond[quote,verbatim]
1457 \new Voice = "melody" {
1459 \set melismaBusyProperties = #'()
1460 \repeat volta 2 { b4 b ~}
1461 \alternative { { b b } { b \repeatTie c } }
1462 \unset melismaBusyProperties
1468 \lyricsto "melody" {
1469 \repeat volta 2 { Here's a __ }
1481 Note that if @code{\unfoldRepeats} is used around a section
1482 containing @code{\repeatTie}, the @code{\repeatTie} should be
1483 removed to avoid both types of tie being printed.
1485 When the repeated section has different words a @code{\repeat}
1486 cannot be used around the lyrics and @code{\skip} commands need to
1487 be inserted manually, as before.
1489 @lilypond[quote,verbatim]
1494 \new Voice = "melody" {
1496 \repeat volta 2 { b4 b ~}
1497 \alternative { { b b } { b \repeatTie c } }
1503 \lyricsto "melody" {
1505 \repeat unfold 2 { \skip 1 }
1509 \lyricsto "melody" {
1511 \repeat unfold 2 { \skip 1 }
1519 If you wish to show extenders and hyphens into and out of
1520 alternative sections these must be inserted manually.
1522 @lilypond[quote,verbatim]
1527 \new Voice = "melody" {
1529 \repeat volta 2 { b4 b ~}
1530 \alternative { { b b } { b \repeatTie c } }
1536 \lyricsto "melody" {
1538 \repeat unfold 2 { \skip 1 }
1542 \lyricsto "melody" {
1554 @ref{Keeping contexts alive},
1559 @unnumberedsubsubsec Divisi lyrics
1561 @cindex divided lyrics
1562 @cindex lyrics, divided
1564 When just the words and rhythms of the two parts differ with the
1565 pitches remaining the same, temporarily turning off the automatic
1566 detection of melismata and indicating the melisma in the lyrics
1567 may be the appropriate method to use:
1569 @lilypond[quote,verbatim]
1572 \new Voice = "melody" {
1574 \set melismaBusyProperties = #'()
1578 \unset melismaBusyProperties
1582 \new Lyrics \lyricsto "melody" {
1583 They shall not o -- ver -- come
1585 \new Lyrics \lyricsto "melody" {
1592 When both music and words differ it may be better to display
1593 the differing music and lyrics by naming voice contexts and
1594 attaching lyrics to those specific contexts:
1596 @lilypond[verbatim,ragged-right,quote]
1599 \new Voice = "melody" {
1606 \new Voice = "splitpart" {
1616 \new Lyrics \lyricsto "melody" {
1617 They shall not o -- ver -- come
1619 \new Lyrics \lyricsto "splitpart" {
1626 It is common in choral music to have a voice part split for
1627 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1628 construct, where the two (or more) musical expressions are
1629 separated by double backslashes, might seem the proper way to
1630 set the split voices. This construct, however, will assign
1631 @strong{all} the expressions within it to @strong{NEW Voice
1632 contexts} which will result in @emph{no lyrics} being set for
1633 them since the lyrics will be set to the original voice context
1634 -- not, typically, what one wants. The temporary polyphonic
1635 passage is the proper construct to use, see section
1636 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1639 @node Polyphony with shared lyrics
1640 @unnumberedsubsubsec Polyphony with shared lyrics
1643 @cindex polyphony, shared lyrics
1644 @cindex lyrics, shared among voices
1645 @cindex \partcombine and lyrics
1646 @funindex \partcombine
1648 When two voices with different rhythms share the same lyrics,
1649 aligning the lyrics to one of the voices may lead to problems in
1650 the other voice. For example, the second lyric extender below is
1651 too short, since the lyrics are aligned only to the top voice:
1653 @lilypond[quote,verbatim]
1654 soprano = \relative { b'8( c d c) d2 }
1655 alto = \relative { g'2 b8( a g a) }
1656 words = \lyricmode { la __ la __ }
1659 \new Voice = "sopranoVoice" { \voiceOne \soprano }
1660 \new Voice { \voiceTwo \alto }
1661 \new Lyrics \lyricsto "sopranoVoice" \words
1665 To get the desired result, align the lyrics to a new
1666 @code{NullVoice} context containing a suitable combination of the
1667 two voices. The notes of the @code{NullVoice} context do not
1668 appear on the printed page, but can be used to align the lyrics
1671 @lilypond[quote,verbatim]
1672 soprano = \relative { b'8( c d c) d2 }
1673 alto = \relative { g'2 b8( a g a) }
1674 aligner = \relative { b'8( c d c) b( a g a) }
1675 words = \lyricmode { la __ la __ }
1678 \new Voice { \voiceOne \soprano }
1679 \new Voice { \voiceTwo \alto }
1680 \new NullVoice = "aligner" \aligner
1681 \new Lyrics \lyricsto "aligner" \words
1685 This method also can be used with the @code{\partcombine}
1686 function, which does not allow lyrics on its own:
1688 @lilypond[quote,verbatim]
1689 soprano = \relative { b'8( c d c) d2 }
1690 alto = \relative { g'2 b8( a g a) }
1691 aligner = \relative { b'8( c d c) b( a g a) }
1692 words = \lyricmode { la __ la __ }
1695 \new Voice \partcombine \soprano \alto
1696 \new NullVoice = "aligner" \aligner
1697 \new Lyrics \lyricsto "aligner" \words
1702 The @code{\addLyrics} function only works with @code{Voice} lyrics
1703 and so cannot be used with @code{NullVoice}.
1706 The @code{\partcombine} function is described in
1707 @ref{Automatic part combining}.
1709 Lastly, this method can be used even when the voices are in
1710 different staves, and is not limited to only two voices:
1712 @lilypond[quote,verbatim]
1713 soprano = \relative { b'8( c d c) d2 }
1714 altoOne = \relative { g'2 b8( a b4) }
1715 altoTwo = \relative { d'2 g4( fis8 g) }
1716 aligner = \relative { b'8( c d c) d( d d d) }
1717 words = \lyricmode { la __ la __ }
1721 \new NullVoice = "aligner" \aligner
1722 \new Lyrics \lyricsto "aligner" \words
1723 \new Staff \partcombine \altoOne \altoTwo
1731 * Adding stanza numbers::
1732 * Adding dynamics marks to stanzas::
1733 * Adding singers' names to stanzas::
1734 * Stanzas with different rhythms::
1735 * Printing stanzas at the end::
1736 * Printing stanzas at the end in multiple columns::
1740 @node Adding stanza numbers
1741 @unnumberedsubsubsec Adding stanza numbers
1743 @cindex stanza number
1745 Stanza numbers can be added by setting @code{stanza}, e.g.,
1747 @lilypond[quote,ragged-right,verbatim,relative=2]
1749 \time 3/4 g2 e4 a2 f4 g2.
1751 \set stanza = #"1. "
1752 Hi, my name is Bert.
1754 \set stanza = #"2. "
1755 Oh, ché -- ri, je t'aime
1761 These numbers are put just before the start of the first syllable.
1763 @c TODO Create and add snippet to show how two lines of a
1764 @c stanza can be grouped together, along these lines:
1765 @c (might need improving a bit) -td
1768 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1772 \set stanza = \markup { "1. " \leftbrace }
1773 \lyricmode { Child, you're mine and I love you.
1774 Lend thine ear to what I say.
1780 % \set stanza = \markup { " "}
1781 \lyricmode { Child, I have no great -- er joy
1782 Than to have you walk in truth.
1788 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1789 c'8 c' c' c' c' c' c'4 }
1790 } \addlyrics { \stanzaOneOne }
1791 \addlyrics { \stanzaOneThree }
1795 @node Adding dynamics marks to stanzas
1796 @unnumberedsubsubsec Adding dynamics marks to stanzas
1798 Stanzas differing in loudness may be indicated by putting a
1799 dynamics mark before each stanza. In LilyPond, everything coming in
1800 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1801 marks are no different. For technical reasons, you have to set the
1802 stanza outside @code{\lyricmode}:
1804 @lilypond[quote,ragged-right,verbatim]
1806 \set stanza = \markup { \dynamic "ff" "1. " }
1813 \new Voice = "tune" {
1817 \new Lyrics \lyricsto "tune" \text
1821 @node Adding singers' names to stanzas
1822 @unnumberedsubsubsec Adding singers' names to stanzas
1825 @cindex name of singer
1827 Names of singers can also be added. They are printed at the start of
1828 the line, just like instrument names. They are created by setting
1829 @code{vocalName}. A short version may be entered as
1830 @code{shortVocalName}.
1832 @lilypond[ragged-right,quote,verbatim,relative=2]
1834 \time 3/4 g2 e4 a2 f4 g2.
1836 \set vocalName = #"Bert "
1837 Hi, my name is Bert.
1839 \set vocalName = #"Ernie "
1840 Oh, ché -- ri, je t'aime
1844 @node Stanzas with different rhythms
1845 @unnumberedsubsubsec Stanzas with different rhythms
1847 Often, different stanzas of one song are put to one melody in slightly
1848 differing ways. Such variations can still be captured with
1851 @subsubheading Ignoring melismata
1853 One possibility is that the text has a melisma in one stanza, but
1854 multiple syllables in another. One solution is to make the faster
1855 voice ignore the melisma. This is done by setting
1856 @code{ignoreMelismata} in the Lyrics context.
1858 @lilypond[verbatim,ragged-right,quote]
1860 \relative c' \new Voice = "lahlah" {
1861 \set Staff.autoBeaming = ##f
1867 \new Lyrics \lyricsto "lahlah" {
1870 \new Lyrics \lyricsto "lahlah" {
1872 \set ignoreMelismata = ##t
1874 \unset ignoreMelismata
1881 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1882 not work if prefixed with @code{\once}. It is necessary to use
1883 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1886 @subsubheading Adding syllables to grace notes
1888 @cindex grace notes and lyrics
1889 @cindex lyrics on grace notes
1891 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1892 syllables when using @code{\lyricsto}, but this behavior can be
1895 @lilypond[verbatim,ragged-right,quote]
1897 \new Voice = melody \relative c' {
1898 f4 \appoggiatura a32 b4
1899 \grace { f16 a16 } b2
1900 \afterGrace b2 { f16[ a16] }
1901 \appoggiatura a32 b4
1907 \set includeGraceNotes = ##t
1910 after -- grace case,
1911 \set ignoreMelismata = ##t
1919 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1920 set at latest one syllable before the one which is to be put under a
1921 grace note. For the case of a grace note at the very beginning of a
1922 piece of music, consider using a @code{\with} or @code{\context}
1925 @lilypond[verbatim,ragged-right,quote]
1927 \new Voice = melody \relative c' {
1928 \grace { c16( d e f }
1931 \new Lyrics \with { includeGraceNotes = ##t }
1938 @subsubheading Switching to an alternative melody
1940 @cindex associatedVoice
1941 @cindex alternative melody, switching to
1943 More complex variations in setting lyrics to music are possible.
1944 The melody to which the lyrics are being set can be changed from
1945 within the lyrics by setting the @code{associatedVoice} property:
1947 @lilypond[verbatim,quote]
1949 \relative c' \new Voice = "lahlah" {
1950 \set Staff.autoBeaming = ##f
1953 \new Voice = "alternative" {
1956 % show associations clearly.
1957 \override NoteColumn.force-hshift = #-3
1968 \new Lyrics \lyricsto "lahlah" {
1969 Ju -- ras -- sic Park
1971 \new Lyrics \lyricsto "lahlah" {
1972 % Tricky: need to set associatedVoice
1973 % one syllable too soon!
1974 \set associatedVoice = "alternative" % applies to "ran"
1978 \set associatedVoice = "lahlah" % applies to "rus"
1984 The text for the first stanza is set to the melody called
1985 @q{lahlah} in the usual way, but the second stanza is set initally
1986 to the @code{lahlah} context and is then switched to the
1987 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1991 \set associatedVoice = "alternative" % applies to "ran"
1995 \set associatedVoice = "lahlah" % applies to "rus"
2000 Here, @code{alternative} is the name of the @code{Voice} context
2001 containing the triplet.
2003 Note the placement of the @code{\set associatedVoice} command --
2004 it appears to be one syllable too early, but this is correct.
2006 @warning{The @code{\set associatedVoice} command must be placed
2007 one syllable @emph{before} the one at which the switch to the new
2008 voice is to occur. In other words, changing the associated Voice
2009 happens one syllable later than expected. This is for technical
2010 reasons, and it is not a bug.}
2013 @node Printing stanzas at the end
2014 @unnumberedsubsubsec Printing stanzas at the end
2016 Sometimes it is appropriate to have one stanza set
2017 to the music, and the rest added in verse form at
2018 the end of the piece. This can be accomplished by adding
2019 the extra verses into a @code{\markup} section outside
2020 of the main score block. Notice that there are two
2021 different ways to force linebreaks when using
2024 @lilypond[ragged-right,verbatim,quote]
2025 melody = \relative c' {
2031 \set stanza = #"1." Ma- ry had a lit- tle lamb,
2032 its fleece was white as snow.
2036 \new Voice = "one" { \melody }
2037 \new Lyrics \lyricsto "one" \text
2043 \line{ All the children laughed and played }
2044 \line{ To see a lamb at school. }
2051 Mary took it home again,
2053 It was against the rule."
2058 @node Printing stanzas at the end in multiple columns
2059 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
2061 When a piece of music has many verses, they are often printed in
2062 multiple columns across the page. An outdented verse number often
2063 introduces each verse. The following example shows how to produce such
2066 @lilypond[ragged-right,quote,verbatim]
2067 melody = \relative c' {
2072 \set stanza = #"1." This is verse one.
2078 \new Voice = "one" { \melody }
2079 \new Lyrics \lyricsto "one" \text
2086 \hspace #0.1 % moves the column off the left margin;
2087 % can be removed if space on the page is tight
2091 "This is verse two."
2095 \combine \null \vspace #0.1 % adds vertical spacing between verses
2098 "This is verse three."
2103 \hspace #0.1 % adds horizontal spacing between columns;
2107 "This is verse four."
2111 \combine \null \vspace #0.1 % adds vertical spacing between verses
2114 "This is verse five."
2119 \hspace #0.1 % gives some extra space on the right margin;
2120 % can be removed if page space is tight
2127 Internals Reference:
2128 @rinternals{LyricText},
2129 @rinternals{StanzaNumber}.
2136 * References for songs::
2140 @node References for songs
2141 @unnumberedsubsubsec References for songs
2143 Songs are usually written on three staves with the melody for the
2144 singer on the top staff and two staves of piano accompaniment at
2145 the bottom. The lyrics of the first stanza are printed immediately
2146 underneath the top staff. If there are just a small number of
2147 further stanzas these can be printed immediately under the first
2148 one, but if there are more stanzas than can be easily accommodated
2149 there the second and subsequent stanzas are printed after the music
2150 as stand-alone text.
2152 All the notational elements needed to write songs are fully described
2158 For constructing the staff layout, see @ref{Displaying staves}.
2161 For writing piano music, see
2162 @ref{Keyboard and other multi-staff instruments}.
2165 For writing the lyrics to a melody line, see
2166 @ref{Common notation for vocal music}.
2169 For placing the lyrics, see @ref{Placing lyrics vertically}.
2172 For entering stanzas, see @ref{Stanzas}.
2175 Songs are frequently printed with the chording indicated by chord
2176 names above the staves. This is described in @ref{Displaying chords}.
2179 To print fret diagrams of the chords for guitar accompaniment or
2180 accompaniment by other fretted instruments, see @qq{Fret diagram
2181 markups} in @ref{Common notation for fretted strings}.
2190 @ref{Common notation for vocal music},
2191 @ref{Displaying chords},
2192 @ref{Displaying staves},
2193 @ref{Keyboard and other multi-staff instruments},
2194 @ref{Placing lyrics vertically},
2202 @unnumberedsubsubsec Lead sheets
2204 Lead sheets may be printed by combining vocal parts and
2205 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2208 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2209 {simple-lead-sheet.ly}
2213 @ref{Chord notation}.
2224 This section discusses notation issues that relate most directly
2225 to choral music. This includes anthems, part songs, oratorio,
2229 * References for choral::
2230 * Score layouts for choral::
2234 @node References for choral
2235 @unnumberedsubsubsec References for choral
2237 Choral music is usually notated on two, three or four staves within
2238 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2239 beneath in a @code{PianoStaff} group, which is usually reduced in
2240 size for rehearsal of @emph{a cappella} choral works. The notes for
2241 each vocal part are placed in a @code{Voice} context, with each staff
2242 being given either a single vocal part (i.e., one @code{Voice}) or
2243 a pair of vocal parts (i.e., two @code{Voice}s).
2245 Words are placed in @code{Lyrics} contexts, either underneath each
2246 corresponding music staff, or one above and one below the music
2247 staff if this contains the music for two parts.
2249 Several common topics in choral music are described fully elsewhere:
2254 An introduction to creating an SATB vocal score can be found in
2255 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2256 There is also a built-in template which simplifies the entry of
2257 SATB vocal music, see @rlearning{Built-in templates}.
2260 Several templates suitable for various styles of choral music can
2261 also be found in the Learning Manual, see
2262 @rlearning{Vocal ensembles templates}.
2265 For information about @code{ChoirStaff} and @code{PianoStaff} see
2266 @ref{Grouping staves}.
2269 Shape note heads, as used in Sacred Harp and similar notation, are
2270 described in @ref{Shape note heads}.
2273 When two vocal parts share a staff the stems, ties, slurs, etc., of
2274 the higher part will be directed up and those of the lower part
2275 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2276 @ref{Single-staff polyphony}.
2279 When a vocal part temporarily splits, you should use
2280 @emph{Temporary polyphonic passages}
2281 (see @ref{Single-staff polyphony}).
2292 @rlearning{Four-part SATB vocal score},
2293 @rlearning{Vocal ensembles templates}.
2296 @ref{Context layout order},
2297 @ref{Grouping staves},
2298 @ref{Shape note heads},
2299 @ref{Single-staff polyphony}.
2304 Internals Reference:
2305 @rinternals{ChoirStaff},
2306 @rinternals{Lyrics},
2307 @rinternals{PianoStaff}.
2310 @node Score layouts for choral
2311 @unnumberedsubsubsec Score layouts for choral
2313 Choral music containing four staves, with or without piano
2314 accompaniment, is usually laid out with two systems per page.
2315 Depending on the page size, achieving this may require changes
2316 to several default settings. The following settings should be
2322 The global staff size can be modified to change the overall size
2323 of the elements of the score. See @ref{Setting the staff size}.
2326 The distances between the systems, the staves and the lyrics can
2327 all be adjusted independently. See @ref{Vertical spacing}.
2330 The dimensions of the vertical layout variables can be displayed as
2331 an aid to adjusting the vertical spacing. This and other
2332 possibilities for fitting the music onto fewer pages are described
2333 in @ref{Fitting music onto fewer pages}.
2336 If the number of systems per page changes from one to two it is
2337 customary to indicate this with a system separator mark between
2338 the two systems. See @ref{Separating systems}.
2341 For details of other page formatting properties, see
2347 Dynamic markings by default are placed below the staff, but in
2348 choral music they are usually placed above the staff in order to
2349 avoid the lyrics. The predefined command @code{\dynamicUp} does
2350 this for the dynamic markings in a single @code{Voice} context.
2351 If there are many @code{Voice} contexts this predefined command
2352 would have to be placed in every one. Alternatively its expanded
2353 form can be used to place all dynamic markings in the entire score
2354 above their respective staves, as shown here:
2356 @lilypond[verbatim,quote]
2361 \relative c'' { g4\f g g g }
2366 \relative c' { d4 d d\p d }
2373 \override DynamicText.direction = #UP
2374 \override DynamicLineSpanner.direction = #UP
2381 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2385 @ref{Changing spacing},
2386 @ref{Displaying spacing},
2387 @ref{Fitting music onto fewer pages},
2390 @ref{Separating systems},
2391 @ref{Setting the staff size},
2392 @ref{Explicit breaks},
2393 @ref{Vertical spacing}.
2395 Internals Reference:
2396 @rinternals{VerticalAxisGroup},
2397 @rinternals{StaffGrouper}.
2400 @node Divided voices
2401 @unnumberedsubsubsec Divided voices
2403 @cindex voices, divided
2405 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2406 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2410 @ref{Expressive marks as lines}.
2413 @node Opera and stage musicals
2414 @subsection Opera and stage musicals
2416 The music, lyrics and dialogue to opera and stage musicals are
2417 usually set out in one or more of the following forms:
2422 A @emph{Conductors' Score} containing the full orchestral and vocal
2423 parts, together with libretto cues if there are spoken passages.
2426 @emph{Orchestral Parts} containing the music for the individual
2427 instruments of the orchestra or band.
2430 A @emph{Vocal Score} containing all vocal parts with piano
2431 accompaniment. The accompaniment is usually an orchestral
2432 reduction, and if so the name of the original orchestral instrument
2433 is often indicated. Vocal scores sometimes includes stage
2434 directions and libretto cues.
2437 A @emph{Vocal Book} containing just the vocal parts
2438 (no accompaniment), sometimes combined with the libretto.
2441 A @emph{Libretto} containing the extended passages of spoken
2442 dialogue usually found in musicals, together with the words to the
2443 sung parts. Stage directions are usually included. LilyPond can
2444 be used to typeset libretti but as they contain no music
2445 alternative methods may be preferable.
2449 The sections in the LilyPond documentation which cover the topics
2450 needed to create scores in the styles commonly found in opera and
2451 musicals are indicated in the References below. This is followed
2452 by sections covering those techniques which are peculiar to
2453 typesetting opera and musical scores.
2456 * References for opera and stage musicals::
2460 * Dialogue over music::
2463 @node References for opera and stage musicals
2464 @unnumberedsubsubsec References for opera and stage musicals
2469 A conductors' score contains many grouped staves and lyrics. Ways
2470 of grouping staves is shown in @ref{Grouping staves}. To nest
2471 groups of staves see @ref{Nested staff groups}.
2474 The printing of empty staves in conductors' scores and vocal scores
2475 is often suppressed. To create such a @qq{Frenched score} see
2476 @ref{Hiding staves}.
2479 Writing orchestral parts is covered in @ref{Writing parts}.
2480 Other sections in the Specialist notation chapter may be relevant,
2481 depending on the orchestration used. Many instruments are
2482 transposing instruments, see @ref{Instrument transpositions}.
2485 If the number of systems per page changes from page to page it is
2486 customary to separate the systems with a system separator mark.
2487 See @ref{Separating systems}.
2490 For details of other page formatting properties, see
2494 Dialogue cues, stage directions and footnotes can be inserted, see
2495 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2496 can also be added with a section of stand-alone markups between two
2497 @code{\score} blocks, see @ref{Separate text}.
2503 @rglos{Frenched score},
2504 @rglos{Frenched staves},
2505 @rglos{transposing instrument}.
2508 @ref{Creating footnotes},
2509 @ref{Grouping staves},
2510 @ref{Hiding staves},
2511 @ref{Instrument transpositions},
2512 @ref{Nested staff groups},
2514 @ref{Separating systems},
2516 @ref{Writing parts},
2523 @node Character names
2524 @unnumberedsubsubsec Character names
2526 @cindex character names
2527 @cindex names, character
2529 Character names are usually shown to the left of the staff when the
2530 staff is dedicated to that character alone:
2532 @lilypond[quote,verbatim,ragged-right]
2536 \set Staff.vocalName = \markup \smallCaps Kaspar
2537 \set Staff.shortVocalName = \markup \smallCaps Kas.
2546 \set Staff.vocalName = \markup \smallCaps Melchior
2547 \set Staff.shortVocalName = \markup \smallCaps Mel
2558 When two or more characters share a staff the character's name is
2559 usually printed above the staff at the start of every section
2560 applying to that character. This can be done with markup. Often a
2561 specific font is used for this purpose.
2563 @lilypond[quote,verbatim,relative=1]
2565 c4^\markup \fontsize #1 \smallCaps Kaspar
2568 a4^\markup \fontsize #1 \smallCaps Melchior
2571 c4^\markup \fontsize #1 \smallCaps Kaspar
2575 Alternatively, if there are many character changes, it may be
2576 easier to set up @qq{instrument} definitions for each character at
2577 the top level so that @code{\instrumentSwitch} can be used to
2578 indicate each change.
2580 @lilypond[quote,verbatim]
2581 \addInstrumentDefinition #"kaspar"
2582 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2583 (shortInstrumentName . "Kas.")
2584 (clefGlyph . "clefs.G")
2585 (clefTransposition . -7)
2586 (middleCPosition . 1)
2588 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2589 (midiInstrument . "voice oohs"))
2591 \addInstrumentDefinition #"melchior"
2592 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2593 (shortInstrumentName . "Mel.")
2594 (clefGlyph . "clefs.F")
2595 (clefTransposition . 0)
2596 (middleCPosition . 6)
2598 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2599 (midiInstrument . "choir aahs"))
2602 \instrumentSwitch "kaspar"
2604 \instrumentSwitch "melchior"
2606 \instrumentSwitch "kaspar"
2613 @ref{Instrument names},
2614 @ref{Scheme functions},
2616 @ref{Text markup commands}.
2619 @rextend{Markup construction in Scheme}.
2623 @unnumberedsubsubsec Musical cues
2625 @cindex musical cues
2626 @cindex cues, musical
2628 Musical cues can be inserted in Vocal Scores, Vocal Books and
2629 Orchestral Parts to indicate what music in another part
2630 immediately precedes an entry. Also, cues are often inserted in the
2631 piano reduction in Vocal Scores to indicate what each orchestral
2632 instrument is playing. This aids the conductor when a full
2633 Conductors' Score is not available.
2635 The basic mechanism for inserting cues is fully explained in the
2636 main text, see @ref{Quoting other voices} and
2637 @ref{Formatting cue notes}. But when many cues have to be
2638 inserted, for example, as an aid to a conductor in a vocal score,
2639 the instrument name must be positioned carefully just before and
2640 close to the start of the cue notes. The following example shows
2643 @lilypond[quote,verbatim]
2644 flute = \relative c'' {
2647 \addQuote "flute" { \flute }
2649 pianoRH = \relative c'' {
2651 % position name of cue-ing instrument just before the cue notes,
2652 % and above the staff
2654 \override InstrumentSwitch.self-alignment-X = #RIGHT
2655 \set instrumentCueName = "Flute"
2657 \cueDuring "flute" #UP { g4 bes4 }
2659 pianoLH = \relative c { c4 <c' e> e, <g c> }
2674 If a transposing instrument is being quoted the instrument part should
2675 specify its key so the conversion of its cue notes will be done
2676 automatically. The example below shows this transposition for a
2677 B-flat clarinet. The notes in this example are low on the staff so
2678 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2679 down) and the instrument name is positioned below the staff. Note
2680 also that the piano right-hand voice is explicitly declared. This
2681 is because the cue notes in this example begin at the start of the
2682 first bar and this would otherwise cause the entire piano right-hand
2683 notes to be placed in a @code{CueVoice} context.
2685 @lilypond[quote,verbatim]
2686 clarinet = \relative c' {
2690 \addQuote "clarinet" { \clarinet }
2692 pianoRH = \relative c'' {
2694 % position name of cue-ing instrument below the staff
2696 \override InstrumentSwitch.self-alignment-X = #RIGHT
2697 \override InstrumentSwitch.direction = #DOWN
2698 \set instrumentCueName = "Clar."
2700 \cueDuring "clarinet" #DOWN { c4. g8 }
2703 pianoLH = \relative c { 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{InstrumentSwitch},
2748 @rinternals{CueVoice}.
2751 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2752 and all cue notes are placed in that context. This means it is not
2753 possible to have two overlapping sequences of cue notes by this
2754 technique. Overlapping sequences could be entered by explicitly
2755 declaring separate @code{CueVoice} contexts and using
2756 @code{\quoteDuring} to extract and insert the cue notes.
2760 @unnumberedsubsubsec Spoken music
2763 @cindex Sprechgesang
2764 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2765 speak without pitch but still with rhythm; these are notated by cross
2766 note heads, as demonstrated in @ref{Special note heads}.
2768 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2769 @c add "showing the rhythm of a melody" snip
2770 @c add "one staff-line notation"
2771 @c add "improvisation" ref
2772 @c add "lyrics independents of notes" ref
2774 @node Dialogue over music
2775 @unnumberedsubsubsec Dialogue over music
2777 Dialogue over music is usually printed over the staves in an italic
2778 font, with the start of each phrase keyed in to a particular music
2781 For short interjections a simple markup suffices.
2783 @lilypond[quote,verbatim,relative=2]
2784 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2785 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2789 For longer phrases it may be necessary to expand the music to make
2790 the words fit neatly. There is no provision in LilyPond to do this
2791 fully automatically, and some manual intervention to layout the
2792 page will be necessary.
2794 For long phrases or for passages with a lot of closely packed
2795 dialogue, using a Lyrics context will give better results. The
2796 Lyrics context should not be associated with a music Voice; instead
2797 each section of dialogue should be given an explicit duration. If
2798 there is a gap in the dialogue, the final word should be separated
2799 from the rest and the duration split between them so that the
2800 underlying music spaces out smoothly.
2802 If the dialogue extends for more than one line it will be necessary
2803 to manually insert @code{\break}s and adjust the placing of the
2804 dialogue to avoid running into the right margin. The final word of
2805 the last measure on a line should also be separated out, as above.
2807 Here is an example illustrating how this might be done.
2809 @c This should be a snippet, but it can't be as it needs to be
2810 @c manually adjusted to suit the imposed line length. -td
2812 @lilypond[quote,verbatim,ragged-right]
2813 music = \relative c'' {
2814 \repeat unfold 3 { a4 a a a }
2817 dialogue = \lyricmode {
2819 \fontsize #1 \upright \smallCaps Abe:
2820 "Say this over measures one and"
2824 "and this over measure"4*3
2831 \override LyricText.font-shape = #'italic
2832 \override LyricText.self-alignment-X = #LEFT
2836 \new Voice { \music }
2842 @c TODO show use of \column to produce dialogue on two lines
2846 @ref{Manual syllable durations},
2850 @rinternals{LyricText}.
2853 @node Chants psalms and hymns
2854 @subsection Chants psalms and hymns
2859 @cindex religious music
2861 The music and words for chants, psalms and hymns usually follow a
2862 well-established format in any particular church. Although the
2863 formats may differ from church to church the type-setting problems
2864 which arise are broadly similar, and are covered in this section.
2867 * References for chants and psalms::
2869 * Pointing a psalm::
2870 * Partial measures in hymn tunes::
2873 @node References for chants and psalms
2874 @unnumberedsubsubsec References for chants and psalms
2876 Typesetting Gregorian chant in various styles of ancient notation
2877 is described in @ref{Ancient notation}.
2881 @ref{Ancient notation}.
2887 @node Setting a chant
2888 @unnumberedsubsubsec Setting a chant
2890 Modern chant settings use modern notation with varying numbers of
2891 elements taken from ancient notation. Some of the elements and
2892 methods to consider are shown here.
2894 Chants often use quarter notes without stems to indicate the pitch,
2895 with the rhythm being taken from the spoken rhythm of the words.
2897 @lilypond[verbatim,quote]
2898 stemOff = { \hide Staff.Stem }
2907 Chants often omit the bar lines or use shortened or dotted bar
2908 lines to indicate pauses in the music. To omit all bar lines from
2909 all staves remove the bar line engraver completely:
2911 @lilypond[verbatim,quote]
2932 \remove "Bar_engraver"
2938 Bar lines can also be removed on a staff-by-staff basis:
2940 @lilypond[verbatim, quote]
2944 \with { \remove "Bar_engraver" } {
2962 To remove bar lines from just a section of music treat it as a
2963 cadenza. If the section is long you may need to insert dummy
2964 bar lines with @code{\bar ""} to show where the line should break.
2966 @lilypond[verbatim,quote,relative=2]
2979 Rests or pauses in chants can be indicated by modified bar lines.
2981 @lilypond[verbatim, quote,relative=2]
2996 Alternatively, the notation used in Gregorian chant for pauses or
2997 rests is sometimes used even though the rest of the notation is
2998 modern. This uses a modified @code{\breathe} mark:
3000 @lilypond[verbatim,quote]
3002 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
3003 \once \override BreathingSign.Y-offset = #0
3007 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
3008 \once \override BreathingSign.Y-offset = #0
3012 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
3013 \once \override BreathingSign.Y-offset = #0
3017 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
3018 \once \override BreathingSign.Y-offset = #0
3036 \remove "Bar_engraver"
3042 Chants usually omit the time signature and often omit the clef too.
3044 @lilypond[verbatim,quote]
3056 \remove "Bar_engraver"
3057 \remove "Time_signature_engraver"
3058 \remove "Clef_engraver"
3064 Chants for psalms in the Anglican tradition are usually either
3065 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
3066 of 7 bars. Each group of 7 bars is divided into two halves,
3067 corresponding to the two halves of each verse, usually separated by
3068 a double bar line. Only whole and half notes are used. The 1st bar
3069 in each half always contains a single chord of whole notes. This is
3070 the @qq{reciting note}. Chants are usually centered on the page.
3072 @lilypond[verbatim,quote]
3073 SopranoMusic = \relative g' {
3074 g1 | c2 b | a1 | \bar "||"
3075 a1 | d2 c | c b | c1 | \bar "||"
3078 AltoMusic = \relative c' {
3080 f1 | f2 e | d d | e1 |
3083 TenorMusic = \relative a {
3085 d1 | g,2 g | g g | g1 |
3088 BassMusic = \relative c {
3090 d1 | b2 c | g' g | c,1 |
3097 % Use markup to center the chant on the page
3106 \new Voice = "Soprano" <<
3110 \new Voice = "Alto" <<
3118 \new Voice = "Tenor" <<
3122 \new Voice = "Bass" <<
3132 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3136 \remove "Time_signature_engraver"
3144 Some other approaches to setting such a chant are shown in the first
3145 of the following snippets.
3149 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3150 {chant-or-psalms-notation.ly}
3152 Canticles and other liturgical texts may be set more freely, and
3153 may use notational elements from ancient music. Often the words
3154 are shown underneath and aligned with the notes. If so, the notes
3155 are spaced in accordance with the syllables rather than the notes'
3158 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3159 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3163 @rlearning{Visibility and color of objects},
3164 @rlearning{Vocal ensembles templates}.
3167 @ref{Ancient notation},
3169 @ref{Modifying context plug-ins},
3170 @ref{Typesetting Gregorian chant},
3171 @ref{Unmetered music},
3172 @ref{Visibility of objects}.
3175 @node Pointing a psalm
3176 @unnumberedsubsubsec Pointing a psalm
3178 The words to an Anglican psalm are usually printed in separate
3179 verses centered underneath the chant.
3181 Single chants (with 7 bars) are repeated for every verse. Double
3182 chants (with 14 bars) are repeated for every pair of verses. Marks
3183 are inserted in the words to show how they should be fitted to the
3184 chant. Each verse is divided into two halves. A colon is usually
3185 used to indicate this division. This corresponds to the double bar
3186 line in the music. The words before the colon are sung to the first
3187 three bars of music; the words after the colon are sung to the last
3190 Single bar lines (or in some psalters an inverted comma or similar
3191 symbol) are inserted between words to indicate where the bar lines
3192 in the music fall. In markup mode a single bar line can be entered
3193 with the bar check symbol, @code{|}.
3195 @lilypond[verbatim,quote]
3200 \line { O come let us sing | unto the | Lord : let }
3201 \line { us heartily rejoice in the | strength of | our }
3202 \line { sal- | -vation. }
3209 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3210 For details, see @ref{Fonts}.
3212 @lilypond[verbatim,quote]
3214 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3220 \line { O come let us sing \tick unto the \tick Lord : let }
3222 us heartily rejoice in the \tick strength of \tick our
3224 \line { sal \tick vation. }
3231 Where there is one whole note in a bar all the words corresponding
3232 to that bar are recited on that one note in speech rhythm. Where
3233 there are two notes in a bar there will usually be only one or two
3234 corresponding syllables. If there are more that two syllables a
3235 dot is usually inserted to indicate where the change in note occurs.
3237 @lilypond[verbatim,quote]
3239 \raise #0.7 \musicglyph #"dots.dot"
3242 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3249 O come let us sing \tick unto \dot the \tick Lord : let
3252 us heartily rejoice in the \tick strength of \tick our
3254 \line { sal \tick vation. }
3261 In some psalters an asterisk is used to indicate a break in a
3262 recited section instead of a comma, and stressed or slightly
3263 lengthened syllables are indicated in bold text.
3265 @lilypond[verbatim,quote]
3267 \raise #0.7 \musicglyph #"dots.dot"
3270 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3276 \line { Today if ye will hear his voice * }
3278 \concat { \bold hard en }
3279 | not your | hearts : as in the pro-
3281 \line { vocation * and as in the \bold day of tempt- | }
3282 \line { -ation | in the | wilderness. }
3289 In other psalters an accent is placed over the syllable to indicate
3292 @lilypond[verbatim,quote]
3294 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3301 O come let us \concat {
3302 si \combine \tick ng
3304 | unto the | Lord : let
3307 us heartily \concat {
3308 rejo \combine \tick ice
3310 in the | strength of | our
3312 \line { sal- | -vation. }
3319 The use of markup to center text, and arrange lines in columns is
3320 described in @ref{Formatting text}.
3322 Most of these elements are shown in one or other of the two verses
3323 in the template, see @rlearning{Psalms}.
3328 @rlearning{Vocal ensembles templates}.
3332 @ref{Formatting text}.
3335 @node Partial measures in hymn tunes
3336 @unnumberedsubsubsec Partial measures in hymn tunes
3338 Hymn tunes frequently start and end every line of music with
3339 partial measures so that each line of music corresponds exactly
3340 with a line of text. This requires a @code{\partial} command at
3341 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3342 commands at the end of each line.
3344 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3348 @node Ancient vocal music
3349 @subsection Ancient vocal music
3351 Ancient vocal music is supported, as explained in
3352 @ref{Ancient notation}.
3356 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3357 @c and "Transcription of Ancient music with incipit" snippet. -vv
3361 @ref{Ancient notation}.