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}.
312 When entered in this way the words are left-aligned to the notes
313 by default, but may be center-aligned to the notes of a melody by
314 specifying an associated voice, if one exists. For details, see
315 @ref{Manual syllable durations}.
321 @rlearning{Aligning lyrics to a melody}.
324 @ref{Contexts explained},
325 @ref{Automatic syllable durations},
327 @ref{Manual syllable durations},
328 @ref{Dialogue over music},
329 @ref{Manual syllable durations}.
335 @node Automatic syllable durations
336 @unnumberedsubsubsec Automatic syllable durations
338 @cindex syllable durations, automatic
339 @cindex lyrics and melodies
340 @cindex associatedVoice
344 Lyrics can be automatically aligned to the notes of a melody in
350 by specifying the named Voice context containing the melody with
354 by introducing the lyrics with @code{\addlyrics} and placing them
355 immediately after the Voice context containing the melody,
358 by setting the @code{associatedVoice} property, the alignment of
359 the lyrics may be switched to a different named Voice context at
364 In all three methods hyphens can be drawn between the syllables of
365 a word and extender lines can be drawn beyond the end of a word. For
366 details, see @ref{Extenders and hyphens}.
368 The @code{Voice} context containing the melody to which the lyrics
369 are being aligned must not have @qq{died}, or the lyrics after that
370 point will be lost. This can happen if there are periods when that
371 voice has nothing to do. For methods of keeping contexts alive, see
372 @ref{Keeping contexts alive}.
374 @subheading Using @code{\lyricsto}
379 Lyrics can be aligned under a melody automatically by specifying
380 the named Voice context containing the melody with
383 @lilypond[quote,verbatim,relative=2]
385 \new Voice = "melody" {
388 \new Lyrics \lyricsto "melody" {
395 This aligns the lyrics to the notes of the named @code{Voice}
396 context, which must already exist. Therefore normally the
397 @code{Voice} context is specified first, followed by the
398 @code{Lyrics} context. The lyrics themselves follow the
399 @code{\lyricsto} command. The @code{\lyricsto} command
400 invokes lyric mode automatically, so the @code{\lyricmode} keyword
401 may be omitted. By default, the lyrics are placed underneath the
402 notes. For other placements, see @ref{Placing lyrics vertically}.
404 @subheading Using @code{\addlyrics}
409 The @code{\addlyrics} command is just a convenient shortcut that
410 can sometimes be used instead of having to set up the lyrics
411 through a more complicated LilyPond structure.
415 \addlyrics @{ LYRICS @}
422 \new Voice = "blah" @{ MUSIC @}
423 \new Lyrics \lyricsto "blah" @{ LYRICS @}
428 @lilypond[verbatim,quote]
431 \relative c' { c2 e4 g2. }
432 \addlyrics { play the game }
436 More stanzas can be added by adding more
437 @code{\addlyrics} sections:
440 @lilypond[ragged-right,verbatim,quote]
443 \relative c' { c2 e4 g2. }
444 \addlyrics { play the game }
445 \addlyrics { speel het spel }
446 \addlyrics { joue le jeu }
450 The command @code{\addlyrics} cannot handle polyphonic settings.
451 For these cases one should use @code{\lyricsto}.
453 @subheading Using associatedVoice
455 The melody to which the lyrics are being aligned can be changed by
456 setting the @code{associatedVoice} property,
459 \set associatedVoice = #"lala"
464 The value of the property (here: @code{"lala"}) should be the name
465 of a @code{Voice} context. For technical reasons, the @code{\set}
466 command must be placed one syllable before the one to which the
467 change in voice is to apply.
469 Here is an example demonstrating its use:
471 @lilypond[quote,ragged-right,verbatim]
475 \new Voice = "one" \relative c'' {
477 c4 b8. a16 g4. r8 a4 ( b ) c2
479 \new Voice = "two" \relative c' {
484 % takes durations and alignment from notes in "one" initially
485 % then switches to "two"
486 \new Lyrics \lyricsto "one" {
488 \set associatedVoice = "two" % must be set one syllable early
489 sins and sor -- rows grow.
496 @ref{Extenders and hyphens},
497 @ref{Keeping contexts alive},
498 @ref{Placing lyrics vertically}.
501 @node Manual syllable durations
502 @unnumberedsubsubsec Manual syllable durations
504 In some complex vocal music, it may be desirable to place lyrics
505 completely independently of notes. In this case do not use
506 @code{\lyricsto} or @code{\addlyrics} and do not set
507 @code{associatedVoice}. Syllables are entered like notes --
508 but with pitches replaced by text -- and the duration of each
509 syllable is entered explicitly after the syllable.
511 By default, syllables will be left-aligned to the corresponding
512 musical moment. Hyphenated lines may be drawn between syllables
513 as usual, but extender lines cannot be drawn when there is no
516 Here are two examples:
518 @lilypond[relative=1,verbatim,quote]
520 \new Voice = "melody" {
524 \new Lyrics \lyricmode {
531 @lilypond[quote,verbatim,ragged-right]
553 This technique is useful when writing dialogue over music, see
554 @ref{Dialogue over music}.
556 To center-align syllables on the notes at the corresponding musical
557 moments, set @code{associatedVoice} to the name of the Voice context
558 containing those notes. When @code{associatedVoice} is set, both
559 double hyphens and double underscores can be used to draw
560 hyphenated lines and extenders under melismata correctly.
562 @lilypond[relative=1,verbatim,quote]
564 \new Voice = "melody" {
568 \new Lyrics \lyricmode {
569 \set associatedVoice = #"melody"
575 @c TODO see also feature request 707 - show how to do this with manual durations
579 @ref{Dialogue over music}.
586 @node Multiple syllables to one note
587 @unnumberedsubsubsec Multiple syllables to one note
590 @cindex spaces, in lyrics
591 @cindex quotes, in lyrics
592 @cindex ties, in lyrics
594 In order to assign more than one syllable to a single note with
595 spaces between the syllables, you can surround the phrase with
596 quotes or use a @code{_} character. Alternatively, you can use
597 the tilde symbol (@code{~}) to get a lyric tie.
599 @lilypond[quote,ragged-right,verbatim]
601 \relative c'' { \autoBeamOff
602 r8 b c fis, fis c' b e, }
603 \addlyrics { Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da }
604 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
605 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
611 @rinternals{LyricCombineMusic}.
614 @node Multiple notes to one syllable
615 @unnumberedsubsubsec Multiple notes to one syllable
619 @cindex phrasing, in lyrics
621 @funindex \melismaEnd
623 Sometimes, particularly in Medieval music, several notes are to be
624 sung on one syllable; such vocalises are called melismata, or
625 @rglos{melisma}s. The syllable to a melisma is usually
626 left-aligned with the first note of the melisma.
628 When a melisma occurs on a syllable other that the last one in a
629 word, that syllable is usually joined to the following one with a
630 hyphenated line. This is indicated by placing a double hyphen,
631 @w{@code{--}}, immediately after the syllable.
633 Alternatively, when a melisma occurs on the last or only syllable in
634 a word an extender line is usually drawn from the end of the syllable
635 to the last note of the melisma. This is indicated by placing a
636 double underscore, @code{__}, immediately after the word.
638 There are five ways in which melismata can be indicated:
643 Melismata are created automatically over notes which are tied
646 @lilypond[quote,relative=2,verbatim]
648 \new Voice = "melody" {
654 \new Lyrics \lyricsto "melody" {
661 Melismata can be created automatically from the music by placing
662 slurs over the notes of each melisma. This is the usual way of
665 @lilypond[quote,relative=2,verbatim]
667 \new Voice = "melody" {
672 \new Lyrics \lyricsto "melody" {
678 Note that phrasing slurs do not affect the creation of melismata.
681 Notes are considered a melisma if they are manually beamed,
682 providing automatic beaming is switched off. See
683 @ref{Setting automatic beam behavior}.
685 @lilypond[quote,relative=2,verbatim]
687 \new Voice = "melody" {
693 \new Lyrics \lyricsto "melody" {
699 Clearly this is not suited to melismata over notes which are longer
703 An unslurred group of notes will be treated as a melisma if they
704 are bracketed between @code{\melisma} and @code{\melismaEnd}.
706 @lilypond[quote,relative=2,verbatim]
708 \new Voice = "melody" {
716 \new Lyrics \lyricsto "melody" {
723 A melisma can be defined entirely in the lyrics by entering a
724 single underscore character, @code{_}, for every extra note that has
725 to be added to the melisma.
727 @lilypond[verbatim, quote, relative=2]
729 \new Voice = "melody" {
734 \new Lyrics \lyricsto "melody" {
735 Ky -- ri -- _ _ _ e __ _ _
742 It is possible to have ties, slurs and manual beams in the melody
743 without their indicating melismata. To do this, set
744 @code{melismaBusyProperties}:
746 @lilypond[relative=1,verbatim,quote]
748 \new Voice = "melody" {
750 \set melismaBusyProperties = #'()
754 \new Lyrics \lyricsto "melody" {
755 Ky -- ri -- e e -- le -- i -- son
760 Other settings for @code{melismaBusyProperties} can be used to
761 selectively include or exclude ties, slurs, and beams from the
762 automatic detection of melismata; see @code{melismaBusyProperties}
763 in @rinternals{Tunable context properties}.
765 Alternatively, if all melismata indications are to be ignored,
766 @code{ignoreMelismata} may be set true;
767 see @ref{Stanzas with different rhythms}.
769 If a melisma is required during a passage in which
770 @code{melismaBusyProperties} is active, it may be indicated by
771 placing a single underscore in the lyrics for each note which
772 should be included in the melisma:
774 @lilypond[relative=1,verbatim,quote]
776 \new Voice = "melody" {
778 \set melismaBusyProperties = #'()
782 \new Lyrics \lyricsto "melody" {
783 Ky -- ri -- _ e __ _ _ _
801 @rlearning{Aligning lyrics to a melody}.
804 @ref{Aligning lyrics to a melody},
805 @ref{Automatic syllable durations},
806 @ref{Setting automatic beam behavior},
807 @ref{Stanzas with different rhythms}.
810 @rinternals{Tunable context properties}.
813 Extender lines under melismata are not created automatically; they
814 must be inserted manually with a double underscore.
817 @node Extenders and hyphens
818 @unnumberedsubsubsec Extenders and hyphens
823 @c TODO cf Multiple notes to one syllable; should this be merged in?
825 @c leave this as samp. -gp
826 In the last syllable of a word, melismata are sometimes indicated with
827 a long horizontal line starting in the melisma syllable, and ending in
828 the next one. Such a line is called an extender line, and it is
829 entered as @samp{ __ } (note the spaces before and after the two
830 underscore characters).
832 @warning{Melismata are indicated in the score with extender lines,
833 which are entered as one double underscore; but short melismata can
834 also be entered by skipping individual notes, which are entered as
835 single underscore characters; these do not make an extender line to be
840 @c leave this as samp. -gp
841 Centered hyphens are entered as @samp{ -- } between syllables of a
842 same word (note the spaces before and after the two hyphen
843 characters). The hyphen will be centered between the syllables, and
844 its length will be adjusted depending on the space between the
847 In tightly engraved music, hyphens can be removed. Whether this
848 happens can be controlled with the @code{minimum-distance} (minimum
849 distance between two syllables) and the @code{minimum-length}
850 (threshold below which hyphens are removed) properties of
855 @rinternals{LyricExtender},
856 @rinternals{LyricHyphen}.
859 @node Techniques specific to lyrics
860 @subsection Techniques specific to lyrics
862 @c TODO this whole section is to be reorganised
865 * Working with lyrics and variables::
866 * Placing lyrics vertically::
867 * Placing syllables horizontally::
868 * Lyrics and repeats::
874 @node Working with lyrics and variables
875 @unnumberedsubsubsec Working with lyrics and variables
877 @cindex lyrics, using variables
879 Variables containing lyrics can be created, but the lyrics must be
880 entered in lyric mode:
882 @lilypond[quote,verbatim]
883 musicOne = \relative c'' {
884 c4 b8. a16 g4. f8 e4 d c2
886 verseOne = \lyricmode {
887 Joy to the world, the Lord is come.
895 \new Lyrics \lyricsto "one" {
902 Durations do not need to be added if the variable is to be invoked
903 with @code{\addlyrics} or @code{\lyricsto}.
905 For different or more complex orderings, the best way is to define
906 the music and lyric variables first, then set up the hierarchy of
907 staves and lyrics, omitting the lyrics themselves, and then add the
908 lyrics using @code{\context} underneath. This ensures that the
909 voices referenced by @code{\lyricsto} have always been defined
910 earlier. For example:
912 @lilypond[quote,verbatim]
913 sopranoMusic = \relative c'' { c4 c c c }
914 contraltoMusic = \relative c'' { a4 a a a }
915 sopranoWords = \lyricmode { Sop -- ra -- no words }
916 contraltoWords = \lyricmode { Con -- tral -- to words }
921 \new Voice = "sopranos" {
925 \new Lyrics = "sopranos"
926 \new Lyrics = "contraltos"
928 \new Voice = "contraltos" {
932 \context Lyrics = "sopranos" {
933 \lyricsto "sopranos" {
937 \context Lyrics = "contraltos" {
938 \lyricsto "contraltos" {
948 @ref{Placing lyrics vertically}.
951 @rinternals{LyricCombineMusic},
955 @node Placing lyrics vertically
956 @unnumberedsubsubsec Placing lyrics vertically
958 @cindex placement of lyrics
959 @cindex lyrics, positioning
961 Depending on the type of music, lyrics may be positioned
962 above the staff, below the staff, or between staves. Placing
963 lyrics below the associated staff is the easiest, and can be
964 achieved by simply defining the Lyrics context below the Staff
967 @lilypond[quote,verbatim]
971 \new Voice = "melody" {
972 \relative c'' { c4 c c c }
984 Lyrics may be positioned above the staff using one of
985 two methods. The simplest (and preferred) method
986 is to use the same syntax as above and explicitly
987 specify the position of the lyrics:
989 @lilypond[quote,verbatim]
992 \new Staff = "staff" {
993 \new Voice = "melody" {
994 \relative c'' { c4 c c c }
997 \new Lyrics \with { alignAboveContext = "staff" } {
1006 Alternatively, a two-step process may be used. First the Lyrics
1007 context is declared (without any content) before the Staff and
1008 Voice contexts, then the @code{\lyricsto} command is placed after
1009 the Voice declaration it references by using @code{\context}, as
1012 @lilypond[quote,verbatim]
1015 \new Lyrics = "lyrics" \with {
1016 % lyrics above a staff should have this override
1017 \override VerticalAxisGroup.staff-affinity = #DOWN
1020 \new Voice = "melody" {
1021 \relative c'' { c4 c c c }
1024 \context Lyrics = "lyrics" {
1025 \lyricsto "melody" {
1033 When there are two voices on separate staves the lyrics may be
1034 placed between the staves using either of these methods. Here
1035 is an example of the second method:
1037 @lilypond[quote,verbatim]
1041 \new Voice = "sopranos" {
1042 \relative c'' { c4 c c c }
1045 \new Lyrics = "sopranos"
1046 \new Lyrics = "contraltos" \with {
1047 % lyrics above a staff should have this override
1048 \override VerticalAxisGroup.staff-affinity = #DOWN
1051 \new Voice = "contraltos" {
1052 \relative c'' { a4 a a a }
1055 \context Lyrics = "sopranos" {
1056 \lyricsto "sopranos" {
1057 Sop -- ra -- no words
1060 \context Lyrics = "contraltos" {
1061 \lyricsto "contraltos" {
1062 Con -- tral -- to words
1069 Other combinations of lyrics and staves may be generated by
1070 elaborating these examples, or by examining the templates in the
1071 Learning Manual, see @rlearning{Vocal ensembles templates}.
1074 @lilypondfile[verbatim,quote,texidoc,doctitle]
1075 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1079 @rlearning{Vocal ensembles templates}.
1082 @ref{Context layout order},
1083 @ref{Creating and referencing contexts}.
1086 @node Placing syllables horizontally
1087 @unnumberedsubsubsec Placing syllables horizontally
1089 @cindex Spacing lyrics
1090 @cindex Lyrics, increasing space between
1092 To increase the spacing between lyrics, set the
1093 @code{minimum-distance} property of @code{LyricSpace}.
1095 @lilypond[relative=1,verbatim,quote,ragged-right]
1098 \override Lyrics.LyricSpace.minimum-distance = #1.0
1102 longtext longtext longtext longtext
1103 longtext longtext longtext longtext
1108 To make this change for all lyrics in the score, set the property in the
1109 @code{\layout} block.
1111 @lilypond[verbatim,quote,ragged-right]
1118 longtext longtext longtext longtext
1119 longtext longtext longtext longtext
1124 \override LyricSpace.minimum-distance = #1.0
1131 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1132 {lyrics-alignment.ly}
1134 @c TODO: move to LSR -vv
1136 Checking to make sure that text scripts and lyrics are within the margins
1137 requires additional calculations. To speed up processing slightly, this
1138 feature can be disabled:
1141 \override Score.PaperColumn.keep-inside-line = ##f
1144 To make lyrics avoid bar lines as well, use
1150 \consists "Bar_engraver"
1151 \consists "Separating_line_group_engraver"
1152 \override BarLine.transparent = ##t
1157 @node Lyrics and repeats
1158 @unnumberedsubsubsec Lyrics and repeats
1160 @cindex repeats and lyrics
1161 @cindex lyrics, repeating
1163 @subheading Simple repeats
1165 Repeats in @emph{music} are fully described elsewhere; see
1166 @ref{Repeats}. This section explains how to add lyrics to repeated
1169 Lyrics to a section of music that is repeated should be surrounded
1170 by exactly the same repeat construct as the music, if the words are
1173 @lilypond[verbatim,quote]
1177 \new Voice = "melody" {
1180 \repeat volta 2 { b4 b b b }
1185 \lyricsto "melody" {
1186 Not re -- peat -- ed.
1187 \repeat volta 2 { Re -- peat -- ed twice. }
1194 The words will then be correctly expanded if the repeats are
1197 @lilypond[verbatim,quote]
1202 \new Voice = "melody" {
1205 \repeat volta 2 { b4 b b b }
1210 \lyricsto "melody" {
1211 Not re -- peat -- ed.
1212 \repeat volta 2 { Re -- peat -- ed twice. }
1220 If the repeated section is to be unfolded and has different words,
1221 simply enter all the words:
1223 @lilypond[verbatim,quote,ragged-right]
1227 \new Voice = "melody" {
1230 \repeat unfold 2 { b4 b b b }
1235 \lyricsto "melody" {
1236 Not re -- peat -- ed.
1237 The first time words.
1238 Sec -- ond time words.
1245 When the words to a repeated volta section are different, the words
1246 to each repeat must be entered in separate @code{Lyrics} contexts,
1247 correctly nested in parallel sections:
1249 @lilypond[verbatim,quote]
1253 \new Voice = "melody" {
1256 \repeat volta 2 { b4 b b b }
1260 \new Lyrics \lyricsto "melody" {
1261 Not re -- peat -- ed.
1263 { The first time words. }
1265 \set associatedVoice = "melody"
1266 Sec -- ond time words.
1274 More verses may be added in a similar way:
1276 @lilypond[verbatim,quote]
1280 \new Voice = "singleVoice" {
1283 \repeat volta 3 { b4 b b b }
1288 \new Lyrics \lyricsto "singleVoice" {
1289 Not re -- peat -- ed.
1291 { The first time words. }
1293 \set associatedVoice = "singleVoice"
1294 Sec -- ond time words.
1297 \set associatedVoice = "singleVoice"
1298 The third time words.
1301 The end sec -- tion.
1307 @cindex alignBelowContext
1308 @funindex alignBelowContext
1310 However, if this construct is embedded within a multi-staved
1311 context such as a @code{ChoirStaff} the lyrics of the second and
1312 third verses will appear beneath the bottom staff.
1314 To position them correctly use @code{alignBelowContext}:
1316 @lilypond[verbatim,quote]
1320 \new Voice = "melody" {
1323 \repeat volta 3 { b4 b b b }
1328 \new Lyrics = "firstVerse" \lyricsto "melody" {
1329 Not re -- peat -- ed.
1331 { The first time words. }
1332 \new Lyrics = "secondVerse"
1333 \with { alignBelowContext = #"firstVerse" } {
1334 \set associatedVoice = "melody"
1335 Sec -- ond time words.
1337 \new Lyrics = "thirdVerse"
1338 \with { alignBelowContext = #"secondVerse" } {
1339 \set associatedVoice = "melody"
1340 The third time words.
1343 The end sec -- tion.
1345 \new Voice = "harmony" {
1347 f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1356 @c TODO positioning a common line of lyrics
1358 @subheading Repeats with alternative endings
1360 @cindex lyrics, repeats with alternative endings
1361 @cindex repeating lyrics with alternative endings
1362 @cindex alternative endings and lyrics
1364 If the words of the repeated section are the same, exactly the
1365 same structure can be used for both the lyrics and music.
1367 @lilypond[quote,verbatim]
1372 \new Voice = "melody" {
1375 \repeat volta 2 { b4 b }
1376 \alternative { { b b } { b c } }
1381 \lyricsto "melody" {
1382 Not re -- peat -- ed.
1383 \repeat volta 2 { Re -- peat -- }
1384 \alternative { { ed twice. } { ed twice. } }
1392 @cindex skipping notes in lyrics
1393 @cindex lyrics, skipping notes
1395 But when the repeated section has different words, a repeat
1396 construct cannot be used around the words and @code{\skip} commands
1397 have to be inserted manually to skip over the notes in the
1398 alternative sections which do not apply.
1400 Note: do not use an underscore, @code{_}, to skip notes -- an
1401 underscore indicates a melisma, causing the preceding syllable
1404 @warning{The @code{@bs{}skip} command must be followed by a number,
1405 but this number is ignored in lyrics which derive their durations
1406 from the notes in an associated melody through @code{\addlyrics} or
1407 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1408 value, irrespective of the value of the following number.}
1410 @lilypond[verbatim,quote,ragged-right]
1415 \new Voice = "melody" {
1417 \repeat volta 2 { b4 b }
1418 \alternative { { b b } { b c } }
1424 \lyricsto "melody" {
1425 The first time words.
1426 \repeat unfold 2 { \skip 1 }
1431 \lyricsto "melody" {
1433 \repeat unfold 2 { \skip 1 }
1441 @cindex lyrics and tied notes
1442 @funindex \repeatTie
1444 When a note is tied over into two or more alternative endings a
1445 tie is used to carry the note into the first alternative ending and
1446 a @code{\repeatTie} is used in the second and subsequent endings.
1447 This structure causes difficult alignment problems when lyrics are
1448 involved and increasing the length of the alternative sections so
1449 the tied notes are contained wholly within them may give a more
1452 The tie creates a melisma into the first alternative, but not into
1453 the second and subsequent alternatives, so to align the lyrics
1454 correctly it is necessary to disable the automatic creation of
1455 melismata over the volta section and insert manual skips.
1457 @lilypond[quote,verbatim]
1462 \new Voice = "melody" {
1464 \set melismaBusyProperties = #'()
1465 \repeat volta 2 { b4 b ~}
1466 \alternative { { b b } { b \repeatTie c } }
1467 \unset melismaBusyProperties
1473 \lyricsto "melody" {
1474 \repeat volta 2 { Here's a __ }
1486 Note that if @code{\unfoldRepeats} is used around a section
1487 containing @code{\repeatTie}, the @code{\repeatTie} should be
1488 removed to avoid both types of tie being printed.
1490 When the repeated section has different words a @code{\repeat}
1491 cannot be used around the lyrics and @code{\skip} commands need to
1492 be inserted manually, as before.
1494 @lilypond[quote,verbatim]
1499 \new Voice = "melody" {
1501 \repeat volta 2 { b4 b ~}
1502 \alternative { { b b } { b \repeatTie c } }
1508 \lyricsto "melody" {
1510 \repeat unfold 2 { \skip 1 }
1514 \lyricsto "melody" {
1516 \repeat unfold 2 { \skip 1 }
1524 If you wish to show extenders and hyphens into and out of
1525 alternative sections these must be inserted manually.
1527 @lilypond[quote,verbatim]
1532 \new Voice = "melody" {
1534 \repeat volta 2 { b4 b ~}
1535 \alternative { { b b } { b \repeatTie c } }
1541 \lyricsto "melody" {
1543 \repeat unfold 2 { \skip 1 }
1547 \lyricsto "melody" {
1559 @ref{Keeping contexts alive},
1564 @unnumberedsubsubsec Divisi lyrics
1566 @cindex divided lyrics
1567 @cindex lyrics, divided
1569 When just the words and rhythms of the two parts differ with the
1570 pitches remaining the same, temporarily turning off the automatic
1571 detection of melismata and indicating the melisma in the lyrics
1572 may be the appropriate method to use:
1574 @lilypond[quote,verbatim]
1577 \new Voice = "melody" {
1579 \set melismaBusyProperties = #'()
1583 \unset melismaBusyProperties
1587 \new Lyrics \lyricsto "melody" {
1588 They shall not o -- ver -- come
1590 \new Lyrics \lyricsto "melody" {
1597 When both music and words differ it may be better to display
1598 the differing music and lyrics by naming voice contexts and
1599 attaching lyrics to those specific contexts:
1601 @lilypond[verbatim,ragged-right,quote]
1604 \new Voice = "melody" {
1611 \new Voice = "splitpart" {
1621 \new Lyrics \lyricsto "melody" {
1622 They shall not o -- ver -- come
1624 \new Lyrics \lyricsto "splitpart" {
1631 It is common in choral music to have a voice part split for
1632 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1633 construct, where the two (or more) musical expressions are
1634 separated by double backslashes, might seem the proper way to
1635 set the split voices. This construct, however, will assign
1636 @strong{all} the expressions within it to @strong{NEW Voice
1637 contexts} which will result in @emph{no lyrics} being set for
1638 them since the lyrics will be set to the original voice context
1639 -- not, typically, what one wants. The temporary polyphonic
1640 passage is the proper construct to use, see section
1641 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1648 * Adding stanza numbers::
1649 * Adding dynamics marks to stanzas::
1650 * Adding singers' names to stanzas::
1651 * Stanzas with different rhythms::
1652 * Printing stanzas at the end::
1653 * Printing stanzas at the end in multiple columns::
1657 @node Adding stanza numbers
1658 @unnumberedsubsubsec Adding stanza numbers
1660 @cindex stanza number
1662 Stanza numbers can be added by setting @code{stanza}, e.g.,
1664 @lilypond[quote,ragged-right,verbatim,relative=2]
1666 \time 3/4 g2 e4 a2 f4 g2.
1668 \set stanza = #"1. "
1669 Hi, my name is Bert.
1671 \set stanza = #"2. "
1672 Oh, ché -- ri, je t'aime
1678 These numbers are put just before the start of the first syllable.
1680 @c TODO Create and add snippet to show how two lines of a
1681 @c stanza can be grouped together, along these lines:
1682 @c (might need improving a bit) -td
1685 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1689 \set stanza = \markup { "1. " \leftbrace }
1690 \lyricmode { Child, you're mine and I love you.
1691 Lend thine ear to what I say.
1697 % \set stanza = \markup { " "}
1698 \lyricmode { Child, I have no great -- er joy
1699 Than to have you walk in truth.
1705 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1706 c'8 c' c' c' c' c' c'4 }
1707 } \addlyrics { \stanzaOneOne }
1708 \addlyrics { \stanzaOneThree }
1712 @node Adding dynamics marks to stanzas
1713 @unnumberedsubsubsec Adding dynamics marks to stanzas
1715 Stanzas differing in loudness may be indicated by putting a
1716 dynamics mark before each stanza. In LilyPond, everything coming in
1717 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1718 marks are no different. For technical reasons, you have to set the
1719 stanza outside @code{\lyricmode}:
1721 @lilypond[quote,ragged-right,verbatim]
1723 \set stanza = \markup { \dynamic "ff" "1. " }
1730 \new Voice = "tune" {
1734 \new Lyrics \lyricsto "tune" \text
1738 @node Adding singers' names to stanzas
1739 @unnumberedsubsubsec Adding singers' names to stanzas
1742 @cindex name of singer
1744 Names of singers can also be added. They are printed at the start of
1745 the line, just like instrument names. They are created by setting
1746 @code{vocalName}. A short version may be entered as
1747 @code{shortVocalName}.
1749 @lilypond[ragged-right,quote,verbatim,relative=2]
1751 \time 3/4 g2 e4 a2 f4 g2.
1753 \set vocalName = #"Bert "
1754 Hi, my name is Bert.
1756 \set vocalName = #"Ernie "
1757 Oh, ché -- ri, je t'aime
1761 @node Stanzas with different rhythms
1762 @unnumberedsubsubsec Stanzas with different rhythms
1764 Often, different stanzas of one song are put to one melody in slightly
1765 differing ways. Such variations can still be captured with
1768 @subsubheading Ignoring melismata
1770 One possibility is that the text has a melisma in one stanza, but
1771 multiple syllables in another. One solution is to make the faster
1772 voice ignore the melisma. This is done by setting
1773 @code{ignoreMelismata} in the Lyrics context.
1775 @lilypond[verbatim,ragged-right,quote]
1777 \relative c' \new Voice = "lahlah" {
1778 \set Staff.autoBeaming = ##f
1784 \new Lyrics \lyricsto "lahlah" {
1787 \new Lyrics \lyricsto "lahlah" {
1789 \set ignoreMelismata = ##t
1791 \unset ignoreMelismata
1798 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1799 not work if prefixed with @code{\once}. It is necessary to use
1800 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1803 @subsubheading Adding syllables to grace notes
1805 @cindex grace notes and lyrics
1806 @cindex lyrics on grace notes
1808 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1809 syllables when using @code{\lyricsto}, but this behavior can be
1812 @lilypond[verbatim,ragged-right,quote]
1814 \new Voice = melody \relative c' {
1815 f4 \appoggiatura a32 b4
1816 \grace { f16[ a16] } b2
1817 \afterGrace b2 { f16[ a16] }
1818 \appoggiatura a32 b4
1824 \set includeGraceNotes = ##t
1827 after -- grace case,
1828 \set ignoreMelismata = ##t
1836 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1837 set at latest one syllable before the one which is to be put under a
1838 grace note. For the case of a grace note at the very beginning of a
1839 piece of music, consider using a @code{\with} or @code{\context}
1842 @lilypond[verbatim,ragged-right,quote]
1844 \new Voice = melody \relative c' {
1845 \grace { c16[( d e f] }
1848 \new Lyrics \with { includeGraceNotes = ##t }
1855 @subsubheading Switching to an alternative melody
1857 @cindex associatedVoice
1858 @cindex alternative melody, switching to
1860 More complex variations in setting lyrics to music are possible.
1861 The melody to which the lyrics are being set can be changed from
1862 within the lyrics by setting the @code{associatedVoice} property:
1864 @lilypond[verbatim,quote]
1866 \relative c' \new Voice = "lahlah" {
1867 \set Staff.autoBeaming = ##f
1870 \new Voice = "alternative" {
1873 % show associations clearly.
1874 \override NoteColumn.force-hshift = #-3
1885 \new Lyrics \lyricsto "lahlah" {
1886 Ju -- ras -- sic Park
1888 \new Lyrics \lyricsto "lahlah" {
1889 % Tricky: need to set associatedVoice
1890 % one syllable too soon!
1891 \set associatedVoice = "alternative" % applies to "ran"
1895 \set associatedVoice = "lahlah" % applies to "rus"
1901 The text for the first stanza is set to the melody called
1902 @q{lahlah} in the usual way, but the second stanza is set initally
1903 to the @code{lahlah} context and is then switched to the
1904 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1908 \set associatedVoice = "alternative" % applies to "ran"
1912 \set associatedVoice = "lahlah" % applies to "rus"
1917 Here, @code{alternative} is the name of the @code{Voice} context
1918 containing the triplet.
1920 Note the placement of the @code{\set associatedVoice} command --
1921 it appears to be one syllable too early, but this is correct.
1923 @warning{The @code{\set associatedVoice} command must be placed
1924 one syllable @emph{before} the one at which the switch to the new
1925 voice is to occur. In other words, changing the associated Voice
1926 happens one syllable later than expected. This is for technical
1927 reasons, and it is not a bug.}
1930 @node Printing stanzas at the end
1931 @unnumberedsubsubsec Printing stanzas at the end
1933 Sometimes it is appropriate to have one stanza set
1934 to the music, and the rest added in verse form at
1935 the end of the piece. This can be accomplished by adding
1936 the extra verses into a @code{\markup} section outside
1937 of the main score block. Notice that there are two
1938 different ways to force linebreaks when using
1941 @lilypond[ragged-right,verbatim,quote]
1942 melody = \relative c' {
1948 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1949 its fleece was white as snow.
1953 \new Voice = "one" { \melody }
1954 \new Lyrics \lyricsto "one" \text
1960 \line{ All the children laughed and played }
1961 \line{ To see a lamb at school. }
1968 Mary took it home again,
1970 It was against the rule."
1975 @node Printing stanzas at the end in multiple columns
1976 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1978 When a piece of music has many verses, they are often printed in
1979 multiple columns across the page. An outdented verse number often
1980 introduces each verse. The following example shows how to produce such
1983 @lilypond[ragged-right,quote,verbatim]
1984 melody = \relative c' {
1989 \set stanza = #"1." This is verse one.
1995 \new Voice = "one" { \melody }
1996 \new Lyrics \lyricsto "one" \text
2003 \hspace #0.1 % moves the column off the left margin;
2004 % can be removed if space on the page is tight
2008 "This is verse two."
2012 \vspace #0.1 % adds vertical spacing between verses
2015 "This is verse three."
2020 \hspace #0.1 % adds horizontal spacing between columns;
2024 "This is verse four."
2028 \vspace #0.1 % adds vertical spacing between verses
2031 "This is verse five."
2036 \hspace #0.1 % gives some extra space on the right margin;
2037 % can be removed if page space is tight
2044 Internals Reference:
2045 @rinternals{LyricText},
2046 @rinternals{StanzaNumber}.
2053 * References for songs::
2057 @node References for songs
2058 @unnumberedsubsubsec References for songs
2060 Songs are usually written on three staves with the melody for the
2061 singer on the top staff and two staves of piano accompaniment at
2062 the bottom. The lyrics of the first stanza are printed immediately
2063 underneath the top staff. If there are just a small number of
2064 further stanzas these can be printed immediately under the first
2065 one, but if there are more stanzas than can be easily accommodated
2066 there the second and subsequent stanzas are printed after the music
2067 as stand-alone text.
2069 All the notational elements needed to write songs are fully described
2075 For constructing the staff layout, see @ref{Displaying staves}.
2078 For writing piano music, see
2079 @ref{Keyboard and other multi-staff instruments}.
2082 For writing the lyrics to a melody line, see
2083 @ref{Common notation for vocal music}.
2086 For placing the lyrics, see @ref{Placing lyrics vertically}.
2089 For entering stanzas, see @ref{Stanzas}.
2092 Songs are frequently printed with the chording indicated by chord
2093 names above the staves. This is described in @ref{Displaying chords}.
2096 To print fret diagrams of the chords for guitar accompaniment or
2097 accompaniment by other fretted instruments, see @qq{Fret diagram
2098 markups} in @ref{Common notation for fretted strings}.
2107 @ref{Common notation for vocal music},
2108 @ref{Displaying chords},
2109 @ref{Displaying staves},
2110 @ref{Keyboard and other multi-staff instruments},
2111 @ref{Placing lyrics vertically},
2119 @unnumberedsubsubsec Lead sheets
2121 Lead sheets may be printed by combining vocal parts and
2122 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2125 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2126 {simple-lead-sheet.ly}
2130 @ref{Chord notation}.
2141 This section discusses notation issues that relate most directly
2142 to choral music. This includes anthems, part songs, oratorio,
2146 * References for choral::
2147 * Score layouts for choral::
2151 @node References for choral
2152 @unnumberedsubsubsec References for choral
2154 Choral music is usually notated on two, three or four staves within
2155 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2156 beneath in a @code{PianoStaff} group, which is usually reduced in
2157 size for @emph{a capella} choral works. The notes for each vocal
2158 part are placed in a @code{Voice} context, with each staff
2159 being given either a single vocal part (i.e., one @code{Voice}) or
2160 a pair of vocal parts (i.e., two @code{Voice}s).
2162 Words are placed in @code{Lyrics} contexts, either underneath each
2163 corresponding music staff, or one above and one below the music
2164 staff if this contains the music for two parts.
2166 Several common topics in choral music are described fully elsewhere:
2171 An introduction to creating an SATB vocal score can be found in
2172 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2175 Several templates suitable for various styles of choral music can
2176 also be found in the Learning Manual, see
2177 @rlearning{Vocal ensembles templates}.
2180 For information about @code{ChoirStaff} and @code{PianoStaff} see
2181 @ref{Grouping staves}.
2184 Shape note heads, as used in Sacred Harp and similar notation, are
2185 described in @ref{Shape note heads}.
2188 When two vocal parts share a staff the stems, ties, slurs, etc., of
2189 the higher part will be directed up and those of the lower part
2190 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2191 @ref{Single-staff polyphony}.
2194 When a vocal part temporarily splits, you should use
2195 @emph{Temporary polyphonic passages}
2196 (see @ref{Single-staff polyphony}).
2207 @rlearning{Four-part SATB vocal score},
2208 @rlearning{Vocal ensembles templates}.
2211 @ref{Context layout order},
2212 @ref{Grouping staves},
2213 @ref{Shape note heads},
2214 @ref{Single-staff polyphony}.
2219 Internals Reference:
2220 @rinternals{ChoirStaff},
2221 @rinternals{Lyrics},
2222 @rinternals{PianoStaff}.
2225 @node Score layouts for choral
2226 @unnumberedsubsubsec Score layouts for choral
2228 Choral music containing four staves, with or without piano
2229 accompaniment, is usually laid out with two systems per page.
2230 Depending on the page size, achieving this may require changes
2231 to several default settings. The following settings should be
2237 The global staff size can be modified to change the overall size
2238 of the elements of the score. See @ref{Setting the staff size}.
2241 The distances between the systems, the staves and the lyrics can
2242 all be adjusted independently. See @ref{Vertical spacing}.
2245 The dimensions of the vertical layout variables can be displayed as
2246 an aid to adjusting the vertical spacing. This and other
2247 possibilities for fitting the music onto fewer pages are described
2248 in @ref{Fitting music onto fewer pages}.
2251 If the number of systems per page changes from one to two it is
2252 customary to indicate this with a system separator mark between
2253 the two systems. See @ref{Separating systems}.
2256 For details of other page formatting properties, see
2262 Dynamic markings by default are placed below the staff, but in
2263 choral music they are usually placed above the staff in order to
2264 avoid the lyrics. The predefined command @code{\dynamicUp} does
2265 this for the dynamic markings in a single @code{Voice} context.
2266 If there are many @code{Voice} contexts this predefined command
2267 would have to be placed in every one. Alternatively its expanded
2268 form can be used to place all dynamic markings in the entire score
2269 above their respective staves, as shown here:
2271 @lilypond[verbatim,quote]
2276 \relative c'' { g4\f g g g }
2281 \relative c' { d4 d d\p d }
2288 \override DynamicText.direction = #UP
2289 \override DynamicLineSpanner.direction = #UP
2296 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2300 @ref{Changing spacing},
2301 @ref{Displaying spacing},
2302 @ref{Fitting music onto fewer pages},
2305 @ref{Separating systems},
2306 @ref{Setting the staff size},
2307 @ref{Using an extra voice for breaks},
2308 @ref{Vertical spacing}.
2310 Internals Reference:
2311 @rinternals{VerticalAxisGroup},
2312 @rinternals{StaffGrouper}.
2315 @node Divided voices
2316 @unnumberedsubsubsec Divided voices
2318 @cindex voices, divided
2320 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2321 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2325 @ref{Expressive marks as lines}.
2328 @node Opera and stage musicals
2329 @subsection Opera and stage musicals
2331 The music, lyrics and dialogue to opera and stage musicals are
2332 usually set out in one or more of the following forms:
2337 A @emph{Conductors' Score} containing the full orchestral and vocal
2338 parts, together with libretto cues if there are spoken passages.
2341 @emph{Orchestral Parts} containing the music for the individual
2342 instruments of the orchestra or band.
2345 A @emph{Vocal Score} containing all vocal parts with piano
2346 accompaniment. The accompaniment is usually an orchestral
2347 reduction, and if so the name of the original orchestral instrument
2348 is often indicated. Vocal scores sometimes includes stage
2349 directions and libretto cues.
2352 A @emph{Vocal Book} containing just the vocal parts
2353 (no accompaniment), sometimes combined with the libretto.
2356 A @emph{Libretto} containing the extended passages of spoken
2357 dialogue usually found in musicals, together with the words to the
2358 sung parts. Stage directions are usually included. LilyPond can
2359 be used to typeset libretti but as they contain no music
2360 alternative methods may be preferable.
2364 The sections in the LilyPond documentation which cover the topics
2365 needed to create scores in the styles commonly found in opera and
2366 musicals are indicated in the References below. This is followed
2367 by sections covering those techniques which are peculiar to
2368 typesetting opera and musical scores.
2371 * References for opera and stage musicals::
2375 * Dialogue over music::
2378 @node References for opera and stage musicals
2379 @unnumberedsubsubsec References for opera and stage musicals
2384 A conductors' score contains many grouped staves and lyrics. Ways
2385 of grouping staves is shown in @ref{Grouping staves}. To nest
2386 groups of staves see @ref{Nested staff groups}.
2389 The printing of empty staves in conductors' scores and vocal scores
2390 is often suppressed. To create such a @qq{Frenched score} see
2391 @ref{Hiding staves}.
2394 Writing orchestral parts is covered in @ref{Writing parts}.
2395 Other sections in the Specialist notation chapter may be relevant,
2396 depending on the orchestration used. Many instruments are
2397 transposing instruments, see @ref{Instrument transpositions}.
2400 If the number of systems per page changes from page to page it is
2401 customary to separate the systems with a system separator mark.
2402 See @ref{Separating systems}.
2405 For details of other page formatting properties, see
2409 Dialogue cues, stage directions and footnotes can be inserted, see
2410 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2411 can also be added with a section of stand-alone markups between two
2412 @code{\score} blocks, see @ref{Separate text}.
2418 @rglos{Frenched score},
2419 @rglos{Frenched staves},
2420 @rglos{transposing instrument}.
2423 @ref{Creating footnotes},
2424 @ref{Grouping staves},
2425 @ref{Hiding staves},
2426 @ref{Instrument transpositions},
2427 @ref{Nested staff groups},
2429 @ref{Separating systems},
2431 @ref{Writing parts},
2438 @node Character names
2439 @unnumberedsubsubsec Character names
2441 @cindex character names
2442 @cindex names, character
2444 Character names are usually shown to the left of the staff when the
2445 staff is dedicated to that character alone:
2447 @lilypond[quote,verbatim,ragged-right]
2451 \set Staff.vocalName = \markup \smallCaps Kaspar
2452 \set Staff.shortVocalName = \markup \smallCaps Kas.
2461 \set Staff.vocalName = \markup \smallCaps Melchior
2462 \set Staff.shortVocalName = \markup \smallCaps Mel
2473 When two or more characters share a staff the character's name is
2474 usually printed above the staff at the start of every section
2475 applying to that character. This can be done with markup. Often a
2476 specific font is used for this purpose.
2478 @lilypond[quote,verbatim,relative=1]
2480 c4^\markup \fontsize #1 \smallCaps Kaspar
2483 a4^\markup \fontsize #1 \smallCaps Melchior
2486 c4^\markup \fontsize #1 \smallCaps Kaspar
2490 Alternatively, if there are many character changes, it may be
2491 easier to set up @qq{instrument} definitions for each character at
2492 the top level so that @code{\instrumentSwitch} can be used to
2493 indicate each change.
2495 @lilypond[quote,verbatim]
2496 \addInstrumentDefinition #"kaspar"
2497 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2498 (shortInstrumentName . "Kas.")
2499 (clefGlyph . "clefs.G")
2500 (clefOctavation . -7)
2501 (middleCPosition . 1)
2503 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2504 (midiInstrument . "voice oohs"))
2506 \addInstrumentDefinition #"melchior"
2507 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2508 (shortInstrumentName . "Mel.")
2509 (clefGlyph . "clefs.F")
2510 (clefOctavation . 0)
2511 (middleCPosition . 6)
2513 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2514 (midiInstrument . "choir aahs"))
2517 \instrumentSwitch "kaspar"
2519 \instrumentSwitch "melchior"
2521 \instrumentSwitch "kaspar"
2528 @ref{Instrument names},
2529 @ref{Scheme functions},
2531 @ref{Text markup commands}.
2534 @rextend{Markup construction in Scheme}.
2538 @unnumberedsubsubsec Musical cues
2540 @cindex musical cues
2541 @cindex cues, musical
2543 Musical cues can be inserted in Vocal Scores, Vocal Books and
2544 Orchestral Parts to indicate what music in another part
2545 immediately precedes an entry. Also, cues are often inserted in the
2546 piano reduction in Vocal Scores to indicate what each orchestral
2547 instrument is playing. This aids the conductor when a full
2548 Conductors' Score is not available.
2550 The basic mechanism for inserting cues is fully explained in the
2551 main text, see @ref{Quoting other voices} and
2552 @ref{Formatting cue notes}. But when many cues have to be
2553 inserted, for example, as an aid to a conductor in a vocal score,
2554 the instrument name must be positioned carefully just before and
2555 close to the start of the cue notes. The following example shows
2558 @lilypond[quote,verbatim]
2559 flute = \relative c'' {
2562 \addQuote "flute" { \flute }
2564 pianoRH = \relative c'' {
2566 % position name of cue-ing instrument just before the cue notes,
2567 % and above the staff
2569 \override InstrumentSwitch.self-alignment-X = #RIGHT
2570 \set instrumentCueName = "Flute"
2572 \cueDuring "flute" #UP { g4 bes4 }
2574 pianoLH = \relative c { c4 <c' e> e, <g c> }
2589 If a transposing instrument is being quoted the instrument part should
2590 specify its key so the conversion of its cue notes will be done
2591 automatically. The example below shows this transposition for a
2592 B-flat clarinet. The notes in this example are low on the staff so
2593 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2594 down) and the instrument name is positioned below the staff. Note
2595 also that the piano right-hand voice is explicitly declared. This
2596 is because the cue notes in this example begin at the start of the
2597 first bar and this would otherwise cause the entire piano right-hand
2598 notes to be placed in a @code{CueVoice} context.
2600 @lilypond[quote,verbatim]
2601 clarinet = \relative c' {
2605 \addQuote "clarinet" { \clarinet }
2607 pianoRH = \relative c'' {
2609 % position name of cue-ing instrument below the staff
2611 \override InstrumentSwitch.self-alignment-X = #RIGHT
2612 \override InstrumentSwitch.direction = #DOWN
2613 \set instrumentCueName = "Clar."
2615 \cueDuring "clarinet" #DOWN { c4. g8 }
2618 pianoLH = \relative c { c4 <c' e> e, <g c> }
2637 From these two examples it is clear that inserting many cues in a
2638 Vocal Score would be tedious, and the notes of the piano part would
2639 become obscured. However, as the following snippet shows, it is
2640 possible to define a music function to reduce the amount of typing
2641 and to make the piano notes clearer.
2644 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2645 {adding-orchestral-cues-to-a-vocal-score.ly}
2652 @ref{Aligning objects},
2653 @ref{Direction and placement},
2654 @ref{Formatting cue notes},
2655 @ref{Quoting other voices},
2656 @ref{Using music functions}.
2661 Internals Reference:
2662 @rinternals{InstrumentSwitch},
2663 @rinternals{CueVoice}.
2666 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2667 and all cue notes are placed in that context. This means it is not
2668 possible to have two overlapping sequences of cue notes by this
2669 technique. Overlapping sequences could be entered by explicitly
2670 declaring separate @code{CueVoice} contexts and using
2671 @code{\quoteDuring} to extract and insert the cue notes.
2675 @unnumberedsubsubsec Spoken music
2678 @cindex Sprechgesang
2679 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2680 speak without pitch but still with rhythm; these are notated by cross
2681 note heads, as demonstrated in @ref{Special note heads}.
2683 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2684 @c add "showing the rhythm of a melody" snip
2685 @c add "one staff-line notation"
2686 @c add "improvisation" ref
2687 @c add "lyrics independents of notes" ref
2689 @node Dialogue over music
2690 @unnumberedsubsubsec Dialogue over music
2692 Dialogue over music is usually printed over the staves in an italic
2693 font, with the start of each phrase keyed in to a particular music
2696 For short interjections a simple markup suffices.
2698 @lilypond[quote,verbatim,relative=2]
2699 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2700 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2704 For longer phrases it may be necessary to expand the music to make
2705 the words fit neatly. There is no provision in LilyPond to do this
2706 fully automatically, and some manual intervention to layout the
2707 page will be necessary.
2709 For long phrases or for passages with a lot of closely packed
2710 dialogue, using a Lyrics context will give better results. The
2711 Lyrics context should not be associated with a music Voice; instead
2712 each section of dialogue should be given an explicit duration. If
2713 there is a gap in the dialogue, the final word should be separated
2714 from the rest and the duration split between them so that the
2715 underlying music spaces out smoothly.
2717 If the dialogue extends for more than one line it will be necessary
2718 to manually insert @code{\break}s and adjust the placing of the
2719 dialogue to avoid running into the right margin. The final word of
2720 the last measure on a line should also be separated out, as above.
2722 Here is an example illustrating how this might be done.
2724 @c This should be a snippet, but it can't be as it needs to be
2725 @c manually adjusted to suit the imposed line length. -td
2727 @lilypond[quote,verbatim,ragged-right]
2728 music = \relative c'' {
2729 \repeat unfold 3 { a4 a a a }
2732 dialogue = \lyricmode {
2734 \fontsize #1 \upright \smallCaps Abe:
2735 "Say this over measures one and"
2739 "and this over measure"4*3
2746 \override LyricText.font-shape = #'italic
2747 \override LyricText.self-alignment-X = #LEFT
2751 \new Voice { \music }
2757 @c TODO show use of \column to produce dialogue on two lines
2761 @ref{Manual syllable durations},
2765 @rinternals{LyricText}.
2768 @node Chants psalms and hymns
2769 @subsection Chants psalms and hymns
2774 @cindex religious music
2776 The music and words for chants, psalms and hymns usually follow a
2777 well-established format in any particular church. Although the
2778 formats may differ from church to church the type-setting problems
2779 which arise are broadly similar, and are covered in this section.
2782 * References for chants and psalms::
2784 * Pointing a psalm::
2785 * Partial measures in hymn tunes::
2788 @node References for chants and psalms
2789 @unnumberedsubsubsec References for chants and psalms
2791 Typesetting Gregorian chant in various styles of ancient notation
2792 is described in @ref{Ancient notation}.
2796 @ref{Ancient notation}.
2802 @node Setting a chant
2803 @unnumberedsubsubsec Setting a chant
2805 Modern chant settings use modern notation with varying numbers of
2806 elements taken from ancient notation. Some of the elements and
2807 methods to consider are shown here.
2809 Chants often use quarter notes without stems to indicate the pitch,
2810 with the rhythm being taken from the spoken rhythm of the words.
2812 @lilypond[verbatim,quote]
2813 stemOff = { \override Staff.Stem.transparent = ##t }
2822 Chants often omit the bar lines or use shortened or dotted bar
2823 lines to indicate pauses in the music. To omit all bar lines from
2824 all staves remove the bar line engraver completely:
2826 @lilypond[verbatim,quote]
2847 \remove "Bar_engraver"
2853 Bar lines can also be removed on a staff-by-staff basis:
2855 @lilypond[verbatim, quote]
2859 \with { \remove "Bar_engraver" } {
2877 To remove bar lines from just a section of music treat it as a
2878 cadenza. If the section is long you may need to insert dummy
2879 bar lines with @code{\bar ""} to show where the line should break.
2881 @lilypond[verbatim,quote,relative=2]
2894 Rests or pauses in chants can be indicated by modified bar lines.
2896 @lilypond[verbatim, quote,relative=2]
2911 Alternatively, the notation used in Gregorian chant for pauses or
2912 rests is sometimes used even though the rest of the notation is
2913 modern. This uses a modified @code{\breathe} mark:
2915 @lilypond[verbatim,quote]
2917 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
2918 \once \override BreathingSign.Y-offset = #0
2922 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
2923 \once \override BreathingSign.Y-offset = #0
2927 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
2928 \once \override BreathingSign.Y-offset = #0
2932 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
2933 \once \override BreathingSign.Y-offset = #0
2951 \remove "Bar_engraver"
2957 Chants usually omit the time signature and often omit the clef too.
2959 @lilypond[verbatim,quote]
2971 \remove "Bar_engraver"
2972 \remove "Time_signature_engraver"
2973 \remove "Clef_engraver"
2979 Chants for psalms in the Anglican tradition are usually either
2980 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2981 of 7 bars. Each group of 7 bars is divided into two halves,
2982 corresponding to the two halves of each verse, usually separated by
2983 a double bar line. Only whole and half notes are used. The 1st bar
2984 in each half always contains a single chord of whole notes. This is
2985 the @qq{reciting note}. Chants are usually centered on the page.
2987 @lilypond[verbatim,quote]
2988 SopranoMusic = \relative g' {
2989 g1 | c2 b | a1 | \bar "||"
2990 a1 | d2 c | c b | c1 | \bar "||"
2993 AltoMusic = \relative c' {
2995 f1 | f2 e | d d | e1 |
2998 TenorMusic = \relative a {
3000 d1 | g,2 g | g g | g1 |
3003 BassMusic = \relative c {
3005 d1 | b2 c | g' g | c,1 |
3012 % Use markup to center the chant on the page
3021 \new Voice = "Soprano" <<
3025 \new Voice = "Alto" <<
3033 \new Voice = "Tenor" <<
3037 \new Voice = "Bass" <<
3047 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3051 \remove "Time_signature_engraver"
3059 Some other approaches to setting such a chant are shown in the first
3060 of the following snippets.
3064 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3065 {chant-or-psalms-notation.ly}
3067 Canticles and other liturgical texts may be set more freely, and
3068 may use notational elements from ancient music. Often the words
3069 are shown underneath and aligned with the notes. If so, the notes
3070 are spaced in accordance with the syllables rather than the notes'
3073 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3074 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3078 @rlearning{Visibility and color of objects},
3079 @rlearning{Vocal ensembles templates}.
3082 @ref{Ancient notation},
3084 @ref{Modifying context plug-ins},
3085 @ref{Typesetting Gregorian chant},
3086 @ref{Unmetered music},
3087 @ref{Visibility of objects}.
3090 @node Pointing a psalm
3091 @unnumberedsubsubsec Pointing a psalm
3093 The words to an Anglican psalm are usually printed in separate
3094 verses centered underneath the chant.
3096 Single chants (with 7 bars) are repeated for every verse. Double
3097 chants (with 14 bars) are repeated for every pair of verses. Marks
3098 are inserted in the words to show how they should be fitted to the
3099 chant. Each verse is divided into two halves. A colon is usually
3100 used to indicate this division. This corresponds to the double bar
3101 line in the music. The words before the colon are sung to the first
3102 three bars of music; the words after the colon are sung to the last
3105 Single bar lines (or in some psalters an inverted comma or similar
3106 symbol) are inserted between words to indicate where the bar lines
3107 in the music fall. In markup mode a single bar line can be entered
3108 with the bar check symbol, @code{|}.
3110 @lilypond[verbatim,quote]
3115 \line { O come let us sing | unto the | Lord : let }
3116 \line { us heartily rejoice in the | strength of | our }
3117 \line { sal- | -vation. }
3124 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3125 For details, see @ref{Fonts}.
3127 @lilypond[verbatim,quote]
3129 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3135 \line { O come let us sing \tick unto the \tick Lord : let }
3137 us heartily rejoice in the \tick strength of \tick our
3139 \line { sal \tick vation. }
3146 Where there is one whole note in a bar all the words corresponding
3147 to that bar are recited on that one note in speech rhythm. Where
3148 there are two notes in a bar there will usually be only one or two
3149 corresponding syllables. If there are more that two syllables a
3150 dot is usually inserted to indicate where the change in note occurs.
3152 @lilypond[verbatim,quote]
3154 \raise #0.7 \musicglyph #"dots.dot"
3157 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3164 O come let us sing \tick unto \dot the \tick Lord : let
3167 us heartily rejoice in the \tick strength of \tick our
3169 \line { sal \tick vation. }
3176 In some psalters an asterisk is used to indicate a break in a
3177 recited section instead of a comma, and stressed or slightly
3178 lengthened syllables are indicated in bold text.
3180 @lilypond[verbatim,quote]
3182 \raise #0.7 \musicglyph #"dots.dot"
3185 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3191 \line { Today if ye will hear his voice * }
3193 \concat { \bold hard en }
3194 | not your | hearts : as in the pro-
3196 \line { vocation * and as in the \bold day of tempt- | }
3197 \line { -ation | in the | wilderness. }
3204 In other psalters an accent is placed over the syllable to indicate
3207 @lilypond[verbatim,quote]
3209 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3216 O come let us \concat {
3217 si \combine \tick ng
3219 | unto the | Lord : let
3222 us heartily \concat {
3223 rejo \combine \tick ice
3225 in the | strength of | our
3227 \line { sal- | -vation. }
3234 The use of markup to center text, and arrange lines in columns is
3235 described in @ref{Formatting text}.
3237 Most of these elements are shown in one or other of the two verses
3238 in the template, see @rlearning{Psalms}.
3243 @rlearning{Vocal ensembles templates}.
3247 @ref{Formatting text}.
3250 @node Partial measures in hymn tunes
3251 @unnumberedsubsubsec Partial measures in hymn tunes
3253 Hymn tunes frequently start and end every line of music with
3254 partial measures so that each line of music corresponds exactly
3255 with a line of text. This requires a @code{\partial} command at
3256 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3257 commands at the end of each line.
3259 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3263 @node Ancient vocal music
3264 @subsection Ancient vocal music
3266 Ancient vocal music is supported, as explained in
3267 @ref{Ancient notation}.
3271 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3272 @c and "Transcription of Ancient music with incipit" snippet. -vv
3276 @ref{Ancient notation}.