1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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15 @lilypondfile[quote]{vocal-headword.ly}
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
96 @unnumberedsubsubsec Entering lyrics
98 @cindex lyrics, entering
99 @cindex entering lyrics
100 @cindex formatting in lyrics
101 @cindex lyrics, formatting
102 @cindex punctuation in lyrics
103 @cindex lyrics punctuation
104 @cindex spaces in lyrics
105 @cindex quotes in lyrics
108 @c TODO should we explain hyphens here
110 Lyrics are entered in a special input mode, which can be introduced
111 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
112 @code{\lyricsto}. In this special input mode, the input @code{d}
113 is not parsed as the pitch @notation{D}, but rather as a one-letter
114 syllable of text. In other words, syllables are entered like notes
115 but with pitches replaced by text.
120 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
123 There are two main methods for specifying the horizontal placement
124 of the syllables, either by specifying the duration of each syllable
125 explicitly, as in the example above, or by leaving the lyrics to be
126 aligned automatically to a melody or other voice of music, using
127 @code{\addlyrics} or @code{\lyricsto}. The former method is
128 described below in @ref{Manual syllable durations}. The latter
129 method is described in @ref{Automatic syllable durations}.
131 A word or syllable of lyrics begins with an alphabetic character
132 (plus some other characters, see below) and is terminated by any
133 white space or a digit. Later characters in the syllable can be any
134 character that is not a digit or white space.
136 Because any character that is not a digit or white space is regarded
137 as part of the syllable, a word is valid even if it ends with
138 @code{@}}, which often leads to the following mistake:
141 \lyricmode @{ lah lah lah@}
144 In this example, the @code{@}} is included in the final syllable, so the
145 opening brace is not balanced and the input file will probably not
146 compile. Instead, braces should always be surrounded with white space:
149 \lyricmode @{ lah lah lah @}
152 Punctuation, lyrics with accented characters, characters from
153 non-English languages, or special characters (such as the heart
154 symbol or slanted quotes), may simply be inserted directly
155 into the input file, providing it is saved with UTF-8 encoding.
156 For more information, see @ref{Special characters}.
158 @lilypond[quote,verbatim]
159 \relative { d''8 c16 a bes8 f ees' d c4 }
160 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
163 Normal quotes may be used in lyrics, but they have to be preceded
164 with a backslash character and the whole syllable has to be
165 enclosed between additional quotes. For example,
167 @lilypond[quote,verbatim]
168 \relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
169 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
172 The full definition of a word start in lyrics mode is somewhat more
173 complex. A word in lyrics mode is one that begins with an
174 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
175 @code{'}, the control characters @code{^A} through @code{^F},
176 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
177 character with an ASCII code over 127, or a two-character
178 combination of a backslash followed by one of @code{`}, @code{'},
179 @code{"}, or @code{^}.
181 @c " to balance double quotes for not-so-bright context-sensitive editors
183 Great control over the appearance of lyrics comes from using
184 @code{\markup} inside the lyrics themselves. For explanation of many
185 options, see @ref{Formatting text}.
189 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
190 {formatting-lyrics-syllables.ly}
198 @ref{Automatic syllable durations},
200 @ref{Formatting text},
202 @ref{Manual syllable durations},
203 @ref{Special characters}.
206 @rinternals{LyricText}.
212 @node Aligning lyrics to a melody
213 @unnumberedsubsubsec Aligning lyrics to a melody
215 @cindex lyrics, aligning to a melody
216 @cindex @code{associatedVoice}
221 Lyrics are interpreted in @code{\lyricmode} and printed in a
222 @code{Lyrics} context, see @ref{Contexts explained}.
225 \new Lyrics \lyricmode @{ @dots{} @}
228 Two variants of @code{\lyricmode} additionally set an associated
229 context used to synchronise the lyric syllables to music. The more
230 convenient @code{\addlyrics} immediately follows the musical content
231 of the Voice context with which it should be synchronised, implicitly
232 creating a Lyrics context of its own. The more versatile
233 @code{\lyricsto} requires both specifying the associated Voice context
234 by name and explicitly creating a containing Lyrics context. For
235 details see @ref{Automatic syllable durations}.
237 Lyrics can be aligned with melodies in two main ways:
242 Lyrics can be aligned automatically, with the durations of the
243 syllables being taken from another voice of music or (in special
244 circumstances) an associated melody, using @code{\addlyrics},
245 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
246 For more details, see @ref{Automatic syllable durations}.
248 @lilypond[quote,ragged-right,verbatim]
252 \new Voice = "one" \relative {
254 c''4 b8. a16 g4. r8 a4 ( b ) c2
256 \new Voice = "two" \relative {
262 % takes durations and alignment from notes in "one"
263 \new Lyrics \lyricsto "one" {
264 Life is __ _ love, live __ life.
267 % takes durations and alignment from notes in "one" initially
268 % then switches to "two"
269 \new Lyrics \lyricsto "one" {
271 \set associatedVoice = "two" % must be set one syllable early
272 sins and sor -- rows grow.
277 The first stanza shows the normal way of entering lyrics.
279 The second stanza shows how the voice from which the lyric
280 durations are taken can be changed. This is useful if the words to
281 different stanzas fit the notes in different ways and all the
282 durations are available in Voice contexts. For more details, see
286 Lyrics can be aligned independently of the duration of any notes
287 if the durations of the syllables are specified explicitly,
288 and entered with @code{\lyricmode}.
290 @lilypond[quote,ragged-right,verbatim]
292 \new Voice = "one" \relative {
294 c''4 b8. a16 g4. f8 e4 d c2
297 % uses previous explicit duration of 2;
298 \new Lyrics \lyricmode {
302 % explicit durations, set to a different rhythm
303 \new Lyrics \lyricmode {
304 Life4 is love,2. live4 life.2
309 The first stanza is not aligned with the notes because the durations
310 were not specified, and the previous value of 2 is used for each
313 The second stanza shows how the words can be aligned quite
314 independently from the notes. This is useful if the words to
315 different stanzas fit the notes in different ways and the required
316 durations are not available in a music context. For more details
317 see @ref{Manual syllable durations}. This technique is also useful
318 when setting dialogue over music; for examples showing this, see
319 @ref{Dialogue over music}.
325 @rlearning{Aligning lyrics to a melody}.
328 @ref{Contexts explained},
329 @ref{Automatic syllable durations},
331 @ref{Manual syllable durations},
332 @ref{Dialogue over music},
333 @ref{Manual syllable durations}.
339 @node Automatic syllable durations
340 @unnumberedsubsubsec Automatic syllable durations
342 @cindex syllable durations, automatic
343 @cindex lyrics and melodies
344 @cindex associatedVoice
348 Lyrics can be automatically aligned to the notes of a melody in
354 by specifying the named Voice context containing the melody with
358 by introducing the lyrics with @code{\addlyrics} and placing them
359 immediately after the Voice context containing the melody,
362 by setting the @code{associatedVoice} property, the alignment of
363 the lyrics may be switched to a different named Voice context at
368 In all three methods hyphens can be drawn between the syllables of
369 a word and extender lines can be drawn beyond the end of a word. For
370 details, see @ref{Extenders and hyphens}.
372 The @code{Voice} context containing the melody to which the lyrics
373 are being aligned must not have @qq{died}, or the lyrics after that
374 point will be lost. This can happen if there are periods when that
375 voice has nothing to do. For methods of keeping contexts alive, see
376 @ref{Keeping contexts alive}.
378 @subheading Using @code{\lyricsto}
383 Lyrics can be aligned under a melody automatically by specifying
384 the named Voice context containing the melody with
387 @lilypond[quote,verbatim,relative=2]
389 \new Voice = "melody" {
392 \new Lyrics \lyricsto "melody" {
399 This aligns the lyrics to the notes of the named @code{Voice}
400 context, which must already exist. Therefore normally the
401 @code{Voice} context is specified first, followed by the
402 @code{Lyrics} context. The lyrics themselves follow the
403 @code{\lyricsto} command. The @code{\lyricsto} command
404 invokes lyric mode automatically. By default, the lyrics are placed
405 underneath the notes. For other placements, see
406 @ref{Placing lyrics vertically}.
408 @subheading Using @code{\addlyrics}
413 The @code{\addlyrics} command is just a convenient shortcut that
414 can sometimes be used instead of having to set up the lyrics
415 through a more complicated LilyPond structure.
419 \addlyrics @{ LYRICS @}
426 \new Voice = "blah" @{ MUSIC @}
427 \new Lyrics \lyricsto "blah" @{ LYRICS @}
432 @lilypond[verbatim,quote]
435 \relative { c'2 e4 g2. }
436 \addlyrics { play the game }
440 More stanzas can be added by adding more
441 @code{\addlyrics} sections:
444 @lilypond[ragged-right,verbatim,quote]
447 \relative { c'2 e4 g2. }
448 \addlyrics { play the game }
449 \addlyrics { speel het spel }
450 \addlyrics { joue le jeu }
454 The command @code{\addlyrics} cannot handle polyphonic settings.
455 Also, it cannot be used to associate lyrics to a @code{TabVoice}.
456 For these cases one should use @code{\lyricsto}.
458 @subheading Using associatedVoice
460 The melody to which the lyrics are being aligned can be changed by
461 setting the @code{associatedVoice} property,
464 \set associatedVoice = #"lala"
469 The value of the property (here: @code{"lala"}) should be the name
470 of a @code{Voice} context. For technical reasons, the @code{\set}
471 command must be placed one syllable before the one to which the
472 change in voice is to apply.
474 Here is an example demonstrating its use:
476 @lilypond[quote,ragged-right,verbatim]
480 \new Voice = "one" \relative {
482 c''4 b8. a16 g4. r8 a4 ( b ) c2
484 \new Voice = "two" \relative {
489 % takes durations and alignment from notes in "one" initially
490 % then switches to "two"
491 \new Lyrics \lyricsto "one" {
493 \set associatedVoice = "two" % must be set one syllable early
494 sins and sor -- rows grow.
501 @ref{Extenders and hyphens},
502 @ref{Keeping contexts alive},
503 @ref{Placing lyrics vertically}.
506 @node Manual syllable durations
507 @unnumberedsubsubsec Manual syllable durations
509 In some complex vocal music, it may be desirable to place lyrics
510 completely independently of notes. In this case do not use
511 @code{\lyricsto} or @code{\addlyrics} and do not set
512 @code{associatedVoice}. Syllables are entered like notes --
513 but with pitches replaced by text -- and the duration of each
514 syllable is entered explicitly after the syllable.
516 Hyphenated lines may be drawn between syllables
517 as usual, but extender lines cannot be drawn when there is no
520 Here are two examples:
522 @lilypond[relative=1,verbatim,quote]
524 \new Voice = "melody" {
527 \new Lyrics \lyricmode {
528 c4. -- a -- f -- f -- e2. -- e
534 @lilypond[quote,verbatim,ragged-right]
556 This technique is useful when writing dialogue over music, see
557 @ref{Dialogue over music}.
559 To change syllable alignment, simply override the @code{self-alignment-X}
562 @lilypond[relative=1,verbatim,quote]
564 \new Voice = "melody" {
568 \new Lyrics \lyricmode {
569 \override LyricText.self-alignment-X = #LEFT
577 @ref{Dialogue over music}.
584 @node Multiple syllables to one note
585 @unnumberedsubsubsec Multiple syllables to one note
588 @cindex spaces, in lyrics
589 @cindex quotes, in lyrics
590 @cindex ties, in lyrics
592 In order to assign more than one syllable to a single note with
593 spaces between the syllables, you can surround the phrase with
594 quotes or use a @code{_} character. Alternatively, you can use
595 the tilde symbol (@code{~}) to get a lyric tie.
597 @lilypond[quote,ragged-right,verbatim,relative=2]
600 r8 b c fis, fis c' b e,
604 \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
605 Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
607 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
608 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
614 @rinternals{LyricCombineMusic}.
617 @node Multiple notes to one syllable
618 @unnumberedsubsubsec Multiple notes to one syllable
622 @cindex phrasing, in lyrics
624 @funindex \melismaEnd
626 Sometimes, particularly in Medieval and baroque music, several notes are
627 sung on one syllable; this is called melisma, see
628 @rglos{melisma}. The syllable to a melisma is usually
629 left-aligned with the first note of the melisma.
631 When a melisma occurs on a syllable other than the last one in a
632 word, that syllable is usually joined to the following one with a
633 hyphenated line. This is indicated by placing a double hyphen,
634 @w{@code{--}}, immediately after the syllable.
636 Alternatively, when a melisma occurs on the last or only syllable in
637 a word an extender line is usually drawn from the end of the syllable
638 to the last note of the melisma. This is indicated by placing a
639 double underscore, @code{__}, immediately after the word.
641 There are five ways in which melismata can be indicated:
646 Melismata are created automatically over notes which are tied
649 @lilypond[quote,relative=2,verbatim]
651 \new Voice = "melody" {
657 \new Lyrics \lyricsto "melody" {
664 Melismata can be created automatically from the music by placing
665 slurs over the notes of each melisma. This is the usual way of
668 @lilypond[quote,relative=2,verbatim]
670 \new Voice = "melody" {
675 \new Lyrics \lyricsto "melody" {
681 Note that phrasing slurs do not affect the creation of melismata.
684 Notes are considered a melisma if they are manually beamed,
685 providing automatic beaming is switched off. See
686 @ref{Setting automatic beam behavior}.
688 @lilypond[quote,relative=2,verbatim]
690 \new Voice = "melody" {
696 \new Lyrics \lyricsto "melody" {
702 Clearly this is not suited to melismata over notes which are longer
706 An unslurred group of notes will be treated as a melisma if they
707 are bracketed between @code{\melisma} and @code{\melismaEnd}.
709 @lilypond[quote,relative=2,verbatim]
711 \new Voice = "melody" {
719 \new Lyrics \lyricsto "melody" {
726 A melisma can be defined entirely in the lyrics by entering a
727 single underscore character, @code{_}, for every extra note that has
728 to be added to the melisma.
730 @lilypond[verbatim, quote, relative=2]
732 \new Voice = "melody" {
737 \new Lyrics \lyricsto "melody" {
738 Ky -- ri -- _ _ _ e __ _ _
745 It is possible to have ties, slurs and manual beams in the melody
746 without their indicating melismata. To do this, set
747 @code{melismaBusyProperties}:
749 @lilypond[relative=1,verbatim,quote]
751 \new Voice = "melody" {
753 \set melismaBusyProperties = #'()
757 \new Lyrics \lyricsto "melody" {
758 Ky -- ri -- e e -- le -- i -- son
763 Other settings for @code{melismaBusyProperties} can be used to
764 selectively include or exclude ties, slurs, and beams from the
765 automatic detection of melismata; see @code{melismaBusyProperties}
766 in @rinternals{Tunable context properties}.
768 Alternatively, if all melismata indications are to be ignored,
769 @code{ignoreMelismata} may be set true;
770 see @ref{Stanzas with different rhythms}.
772 If a melisma is required during a passage in which
773 @code{melismaBusyProperties} is active, it may be indicated by
774 placing a single underscore in the lyrics for each note which
775 should be included in the melisma:
777 @lilypond[relative=1,verbatim,quote]
779 \new Voice = "melody" {
781 \set melismaBusyProperties = #'()
785 \new Lyrics \lyricsto "melody" {
786 Ky -- ri -- _ e __ _ _ _
804 @rlearning{Aligning lyrics to a melody}.
807 @ref{Aligning lyrics to a melody},
808 @ref{Automatic syllable durations},
809 @ref{Setting automatic beam behavior},
810 @ref{Stanzas with different rhythms}.
813 @rinternals{Tunable context properties}.
816 Extender lines under melismata are not created automatically; they
817 must be inserted manually with a double underscore.
820 @node Extenders and hyphens
821 @unnumberedsubsubsec Extenders and hyphens
826 @c TODO cf Multiple notes to one syllable; should this be merged in?
828 @c leave this as samp. -gp
829 In the last syllable of a word, melismata are sometimes indicated with
830 a long horizontal line starting in the melisma syllable, and ending in
831 the next one. Such a line is called an extender line, and it is
832 entered as @samp{ __ } (note the spaces before and after the two
833 underscore characters).
835 @warning{Melismata are indicated in the score with extender lines,
836 which are entered as one double underscore; but short melismata can
837 also be entered by skipping individual notes, which are entered as
838 single underscore characters; these do not make an extender line to be
843 @c leave this as samp. -gp
844 Centered hyphens are entered as @samp{ -- } between syllables of a
845 same word (note the spaces before and after the two hyphen
846 characters). The hyphen will be centered between the syllables, and
847 its length will be adjusted depending on the space between the
850 In tightly engraved music, hyphens can be removed. Whether this
851 happens can be controlled with the @code{minimum-distance} (minimum
852 distance between two syllables) and the @code{minimum-length}
853 (threshold below which hyphens are removed) properties of
858 @rinternals{LyricExtender},
859 @rinternals{LyricHyphen}.
862 @node Techniques specific to lyrics
863 @subsection Techniques specific to lyrics
865 @c TODO this whole section is to be reorganised
868 * Working with lyrics and variables::
869 * Placing lyrics vertically::
870 * Placing syllables horizontally::
871 * Lyrics and repeats::
873 * Polyphony with shared lyrics::
878 @node Working with lyrics and variables
879 @unnumberedsubsubsec Working with lyrics and variables
881 @cindex lyrics, using variables
883 Variables containing lyrics can be created, but the lyrics must be
884 entered in lyric mode:
886 @lilypond[quote,verbatim]
887 musicOne = \relative {
888 c''4 b8. a16 g4. f8 e4 d c2
890 verseOne = \lyricmode {
891 Joy to the world, the Lord is come.
899 \new Lyrics \lyricsto "one" {
906 Durations do not need to be added if the variable is to be invoked
907 with @code{\addlyrics} or @code{\lyricsto}.
909 For different or more complex orderings, the best way is to define
910 the music and lyric variables first, then set up the hierarchy of
911 staves and lyrics, omitting the lyrics themselves, and then add the
912 lyrics using @code{\context} underneath. This ensures that the
913 voices referenced by @code{\lyricsto} have always been defined
914 earlier. For example:
916 @lilypond[quote,verbatim]
917 sopranoMusic = \relative { c''4 c c c }
918 contraltoMusic = \relative { a'4 a a a }
919 sopranoWords = \lyricmode { Sop -- ra -- no words }
920 contraltoWords = \lyricmode { Con -- tral -- to words }
925 \new Voice = "sopranos" {
929 \new Lyrics = "sopranos"
930 \new Lyrics = "contraltos"
932 \new Voice = "contraltos" {
936 \context Lyrics = "sopranos" {
937 \lyricsto "sopranos" {
941 \context Lyrics = "contraltos" {
942 \lyricsto "contraltos" {
952 @ref{Placing lyrics vertically}.
955 @rinternals{LyricCombineMusic},
959 @node Placing lyrics vertically
960 @unnumberedsubsubsec Placing lyrics vertically
962 @cindex placement of lyrics
963 @cindex lyrics, positioning
965 Depending on the type of music, lyrics may be positioned
966 above the staff, below the staff, or between staves. Placing
967 lyrics below the associated staff is the easiest, and can be
968 achieved by simply defining the Lyrics context below the Staff
971 @lilypond[quote,verbatim]
975 \new Voice = "melody" {
976 \relative { c''4 c c c }
988 Lyrics may be positioned above the staff using one of
989 two methods. The simplest (and preferred) method
990 is to use the same syntax as above and explicitly
991 specify the position of the lyrics:
993 @lilypond[quote,verbatim]
996 \new Staff = "staff" {
997 \new Voice = "melody" {
998 \relative { c''4 c c c }
1001 \new Lyrics \with { alignAboveContext = "staff" } {
1002 \lyricsto "melody" {
1010 Alternatively, a two-step process may be used. First the Lyrics
1011 context is declared (without any content) before the Staff and
1012 Voice contexts, then the @code{\lyricsto} command is placed after
1013 the Voice declaration it references by using @code{\context}, as
1016 @lilypond[quote,verbatim]
1019 \new Lyrics = "lyrics" \with {
1020 % lyrics above a staff should have this override
1021 \override VerticalAxisGroup.staff-affinity = #DOWN
1024 \new Voice = "melody" {
1025 \relative { c''4 c c c }
1028 \context Lyrics = "lyrics" {
1029 \lyricsto "melody" {
1037 When there are two voices on separate staves the lyrics may be
1038 placed between the staves using either of these methods. Here
1039 is an example of the second method:
1041 @lilypond[quote,verbatim]
1045 \new Voice = "sopranos" {
1046 \relative { c''4 c c c }
1049 \new Lyrics = "sopranos"
1050 \new Lyrics = "contraltos" \with {
1051 % lyrics above a staff should have this override
1052 \override VerticalAxisGroup.staff-affinity = #DOWN
1055 \new Voice = "contraltos" {
1056 \relative { a'4 a a a }
1059 \context Lyrics = "sopranos" {
1060 \lyricsto "sopranos" {
1061 Sop -- ra -- no words
1064 \context Lyrics = "contraltos" {
1065 \lyricsto "contraltos" {
1066 Con -- tral -- to words
1073 Other combinations of lyrics and staves may be generated by
1074 elaborating these examples, or by examining the templates in the
1075 Learning Manual, see @rlearning{Vocal ensembles templates}.
1078 @lilypondfile[verbatim,quote,texidoc,doctitle]
1079 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1083 @rlearning{Vocal ensembles templates}.
1086 @ref{Context layout order},
1087 @ref{Creating and referencing contexts}.
1090 @node Placing syllables horizontally
1091 @unnumberedsubsubsec Placing syllables horizontally
1093 @cindex Spacing lyrics
1094 @cindex Lyrics, increasing space between
1096 To increase the spacing between lyrics, set the
1097 @code{minimum-distance} property of @code{LyricSpace}.
1099 @lilypond[relative=1,verbatim,quote,ragged-right]
1102 \override Lyrics.LyricSpace.minimum-distance = #1.0
1106 longtext longtext longtext longtext
1107 longtext longtext longtext longtext
1112 To make this change for all lyrics in the score, set the property in the
1113 @code{\layout} block.
1115 @lilypond[verbatim,quote,ragged-right]
1122 longtext longtext longtext longtext
1123 longtext longtext longtext longtext
1128 \override LyricSpace.minimum-distance = #1.0
1135 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1136 {lyrics-alignment.ly}
1138 @c TODO: move to LSR -vv
1140 Checking to make sure that text scripts and lyrics are within the margins
1141 requires additional calculations. To speed up processing slightly, this
1142 feature can be disabled:
1145 \override Score.PaperColumn.keep-inside-line = ##f
1148 To make lyrics avoid bar lines as well, use
1154 \consists "Bar_engraver"
1155 \consists "Separating_line_group_engraver"
1161 @node Lyrics and repeats
1162 @unnumberedsubsubsec Lyrics and repeats
1164 @cindex repeats and lyrics
1165 @cindex lyrics, repeating
1167 @subheading Simple repeats
1169 Repeats in @emph{music} are fully described elsewhere; see
1170 @ref{Repeats}. This section explains how to add lyrics to repeated
1173 Lyrics to a section of music that is repeated should be surrounded
1174 by exactly the same repeat construct as the music, if the words are
1177 @lilypond[verbatim,quote]
1181 \new Voice = "melody" {
1184 \repeat volta 2 { b4 b b b }
1189 \lyricsto "melody" {
1190 Not re -- peat -- ed.
1191 \repeat volta 2 { Re -- peat -- ed twice. }
1198 The words will then be correctly expanded if the repeats are
1201 @lilypond[verbatim,quote]
1206 \new Voice = "melody" {
1209 \repeat volta 2 { b4 b b b }
1214 \lyricsto "melody" {
1215 Not re -- peat -- ed.
1216 \repeat volta 2 { Re -- peat -- ed twice. }
1224 If the repeated section is to be unfolded and has different words,
1225 simply enter all the words:
1227 @lilypond[verbatim,quote,ragged-right]
1231 \new Voice = "melody" {
1234 \repeat unfold 2 { b4 b b b }
1239 \lyricsto "melody" {
1240 Not re -- peat -- ed.
1241 The first time words.
1242 Sec -- ond time words.
1249 When the words to a repeated volta section are different, the words
1250 to each repeat must be entered in separate @code{Lyrics} contexts,
1251 correctly nested in parallel sections:
1253 @lilypond[verbatim,quote]
1257 \new Voice = "melody" {
1260 \repeat volta 2 { b4 b b b }
1264 \new Lyrics \lyricsto "melody" {
1265 Not re -- peat -- ed.
1267 { The first time words. }
1269 \set associatedVoice = "melody"
1270 Sec -- ond time words.
1278 More verses may be added in a similar way:
1280 @lilypond[verbatim,quote]
1284 \new Voice = "singleVoice" {
1287 \repeat volta 3 { b4 b b b }
1292 \new Lyrics \lyricsto "singleVoice" {
1293 Not re -- peat -- ed.
1295 { The first time words. }
1297 \set associatedVoice = "singleVoice"
1298 Sec -- ond time words.
1301 \set associatedVoice = "singleVoice"
1302 The third time words.
1305 The end sec -- tion.
1311 @cindex alignBelowContext
1312 @funindex alignBelowContext
1314 However, if this construct is embedded within a multi-staved
1315 context such as a @code{ChoirStaff} the lyrics of the second and
1316 third verses will appear beneath the bottom staff.
1318 To position them correctly use @code{alignBelowContext}:
1320 @lilypond[verbatim,quote]
1324 \new Voice = "melody" {
1327 \repeat volta 3 { b4 b b b }
1332 \new Lyrics = "firstVerse" \lyricsto "melody" {
1333 Not re -- peat -- ed.
1335 { The first time words. }
1336 \new Lyrics = "secondVerse"
1337 \with { alignBelowContext = #"firstVerse" } {
1338 \set associatedVoice = "melody"
1339 Sec -- ond time words.
1341 \new Lyrics = "thirdVerse"
1342 \with { alignBelowContext = #"secondVerse" } {
1343 \set associatedVoice = "melody"
1344 The third time words.
1347 The end sec -- tion.
1349 \new Voice = "harmony" {
1351 f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1360 @c TODO positioning a common line of lyrics
1362 @subheading Repeats with alternative endings
1364 @cindex lyrics, repeats with alternative endings
1365 @cindex repeating lyrics with alternative endings
1366 @cindex alternative endings and lyrics
1368 If the words of the repeated section are the same, and none of the
1369 @code{\alternative} blocks start with a rest, exactly the same
1370 structure can be used for both the lyrics and music. This has the
1371 advantage that @code{\unfoldRepeats} will expand both music and
1374 @lilypond[quote,verbatim]
1379 \new Voice = "melody" {
1382 \repeat volta 2 { b4 b }
1383 \alternative { { b b } { b c } }
1388 \lyricsto "melody" {
1389 Not re -- peat -- ed.
1390 \repeat volta 2 { Re -- peat -- }
1391 \alternative { { ed twice. } { ed twice. } }
1399 @cindex skipping notes in lyrics
1400 @cindex lyrics, skipping notes
1402 But when the repeated section has different words, or when one
1403 of the @code{\alternative} blocks starts with a rest, a repeat
1404 construct cannot be used around the words and @code{\skip} commands
1405 have to be inserted manually to skip over the notes in the
1406 alternative sections which do not apply.
1408 Note: do not use an underscore, @code{_}, to skip notes -- an
1409 underscore indicates a melisma, causing the preceding syllable
1412 @warning{The @code{@bs{}skip} command must be followed by a number,
1413 but this number is ignored in lyrics which derive their durations
1414 from the notes in an associated melody through @code{\addlyrics} or
1415 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1416 value, irrespective of the value of the following number.}
1418 @lilypond[verbatim,quote,ragged-right]
1423 \new Voice = "melody" {
1425 \repeat volta 2 { b'4 b }
1426 \alternative { { b b } { b c } }
1432 \lyricsto "melody" {
1433 The first time words.
1434 \repeat unfold 2 { \skip 1 }
1439 \lyricsto "melody" {
1441 \repeat unfold 2 { \skip 1 }
1449 @cindex lyrics and tied notes
1450 @funindex \repeatTie
1452 When a note is tied over into two or more alternative endings a
1453 tie is used to carry the note into the first alternative ending and
1454 a @code{\repeatTie} is used in the second and subsequent endings.
1455 This structure causes difficult alignment problems when lyrics are
1456 involved and increasing the length of the alternative sections so
1457 the tied notes are contained wholly within them may give a more
1460 The tie creates a melisma into the first alternative, but not into
1461 the second and subsequent alternatives, so to align the lyrics
1462 correctly it is necessary to disable the automatic creation of
1463 melismata over the volta section and insert manual skips.
1465 @lilypond[quote,verbatim]
1470 \new Voice = "melody" {
1472 \set melismaBusyProperties = #'()
1473 \repeat volta 2 { b'4 b ~}
1474 \alternative { { b b } { b \repeatTie c } }
1475 \unset melismaBusyProperties
1481 \lyricsto "melody" {
1482 \repeat volta 2 { Here's a __ }
1494 Note that if @code{\unfoldRepeats} is used around a section
1495 containing @code{\repeatTie}, the @code{\repeatTie} should be
1496 removed to avoid both types of tie being printed.
1498 When the repeated section has different words a @code{\repeat}
1499 cannot be used around the lyrics and @code{\skip} commands need to
1500 be inserted manually, as before.
1502 @lilypond[quote,verbatim]
1507 \new Voice = "melody" {
1509 \repeat volta 2 { b'4 b ~}
1510 \alternative { { b b } { b \repeatTie c } }
1516 \lyricsto "melody" {
1518 \repeat unfold 2 { \skip 1 }
1522 \lyricsto "melody" {
1524 \repeat unfold 2 { \skip 1 }
1532 If you wish to show extenders and hyphens into and out of
1533 alternative sections these must be inserted manually.
1535 @lilypond[quote,verbatim]
1540 \new Voice = "melody" {
1542 \repeat volta 2 { b'4 b ~}
1543 \alternative { { b b } { b \repeatTie c } }
1549 \lyricsto "melody" {
1551 \repeat unfold 2 { \skip 1 }
1555 \lyricsto "melody" {
1567 @ref{Keeping contexts alive},
1572 @unnumberedsubsubsec Divisi lyrics
1574 @cindex divided lyrics
1575 @cindex lyrics, divided
1577 When just the words and rhythms of the two parts differ with the
1578 pitches remaining the same, temporarily turning off the automatic
1579 detection of melismata and indicating the melisma in the lyrics
1580 may be the appropriate method to use:
1582 @lilypond[quote,verbatim]
1585 \new Voice = "melody" {
1587 \set melismaBusyProperties = #'()
1591 \unset melismaBusyProperties
1595 \new Lyrics \lyricsto "melody" {
1596 They shall not o -- ver -- come
1598 \new Lyrics \lyricsto "melody" {
1605 When both music and words differ it may be better to display
1606 the differing music and lyrics by naming voice contexts and
1607 attaching lyrics to those specific contexts:
1609 @lilypond[verbatim,ragged-right,quote]
1612 \new Voice = "melody" {
1619 \new Voice = "splitpart" {
1629 \new Lyrics \lyricsto "melody" {
1630 They shall not o -- ver -- come
1632 \new Lyrics \lyricsto "splitpart" {
1639 It is common in choral music to have a voice part split for
1640 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1641 construct, where the two (or more) musical expressions are
1642 separated by double backslashes, might seem the proper way to
1643 set the split voices. This construct, however, will assign
1644 @strong{all} the expressions within it to @strong{NEW Voice
1645 contexts} which will result in @emph{no lyrics} being set for
1646 them since the lyrics will be set to the original voice context
1647 -- not, typically, what one wants. The temporary polyphonic
1648 passage is the proper construct to use, see section
1649 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1652 @node Polyphony with shared lyrics
1653 @unnumberedsubsubsec Polyphony with shared lyrics
1656 @cindex polyphony, shared lyrics
1657 @cindex lyrics, shared among voices
1658 @cindex \partcombine and lyrics
1659 @funindex \partcombine
1661 When two voices with different rhythms share the same lyrics,
1662 aligning the lyrics to one of the voices may lead to problems in
1663 the other voice. For example, the second lyric extender below is
1664 too short, since the lyrics are aligned only to the top voice:
1666 @lilypond[quote,verbatim]
1667 soprano = \relative { b'8( c d c) d2 }
1668 alto = \relative { g'2 b8( a g a) }
1669 words = \lyricmode { la __ la __ }
1672 \new Voice = "sopranoVoice" { \voiceOne \soprano }
1673 \new Voice { \voiceTwo \alto }
1674 \new Lyrics \lyricsto "sopranoVoice" \words
1678 To get the desired result, align the lyrics to a new
1679 @code{NullVoice} context containing a suitable combination of the
1680 two voices. The notes of the @code{NullVoice} context do not
1681 appear on the printed page, but can be used to align the lyrics
1684 @lilypond[quote,verbatim]
1685 soprano = \relative { b'8( c d c) d2 }
1686 alto = \relative { g'2 b8( a g a) }
1687 aligner = \relative { b'8( c d c) b( a g a) }
1688 words = \lyricmode { la __ la __ }
1691 \new Voice { \voiceOne \soprano }
1692 \new Voice { \voiceTwo \alto }
1693 \new NullVoice = "aligner" \aligner
1694 \new Lyrics \lyricsto "aligner" \words
1698 This method also can be used with the @code{\partcombine}
1699 function, which does not allow lyrics on its own:
1701 @lilypond[quote,verbatim]
1702 soprano = \relative { b'8( c d c) d2 }
1703 alto = \relative { g'2 b8( a g a) }
1704 aligner = \relative { b'8( c d c) b( a g a) }
1705 words = \lyricmode { la __ la __ }
1708 \new Voice \partcombine \soprano \alto
1709 \new NullVoice = "aligner" \aligner
1710 \new Lyrics \lyricsto "aligner" \words
1715 The @code{\addLyrics} function only works with @code{Voice} lyrics
1716 and so cannot be used with @code{NullVoice}.
1719 The @code{\partcombine} function is described in
1720 @ref{Automatic part combining}.
1722 Lastly, this method can be used even when the voices are in
1723 different staves, and is not limited to only two voices:
1725 @lilypond[quote,verbatim]
1726 soprano = \relative { b'8( c d c) d2 }
1727 altoOne = \relative { g'2 b8( a b4) }
1728 altoTwo = \relative { d'2 g4( fis8 g) }
1729 aligner = \relative { b'8( c d c) d( d d d) }
1730 words = \lyricmode { la __ la __ }
1734 \new NullVoice = "aligner" \aligner
1735 \new Lyrics \lyricsto "aligner" \words
1736 \new Staff \partcombine \altoOne \altoTwo
1744 * Adding stanza numbers::
1745 * Adding dynamics marks to stanzas::
1746 * Adding singers' names to stanzas::
1747 * Stanzas with different rhythms::
1748 * Printing stanzas at the end::
1749 * Printing stanzas at the end in multiple columns::
1753 @node Adding stanza numbers
1754 @unnumberedsubsubsec Adding stanza numbers
1756 @cindex stanza number
1758 Stanza numbers can be added by setting @code{stanza}, e.g.,
1760 @lilypond[quote,ragged-right,verbatim,relative=2]
1762 \time 3/4 g2 e4 a2 f4 g2.
1764 \set stanza = #"1. "
1765 Hi, my name is Bert.
1767 \set stanza = #"2. "
1768 Oh, ché -- ri, je t'aime
1774 These numbers are put just before the start of the first syllable.
1776 @c TODO Create and add snippet to show how two lines of a
1777 @c stanza can be grouped together, along these lines:
1778 @c (might need improving a bit) -td
1781 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1785 \set stanza = \markup { "1. " \leftbrace }
1786 \lyricmode { Child, you're mine and I love you.
1787 Lend thine ear to what I say.
1793 % \set stanza = \markup { " "}
1794 \lyricmode { Child, I have no great -- er joy
1795 Than to have you walk in truth.
1801 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1802 c'8 c' c' c' c' c' c'4 }
1803 } \addlyrics { \stanzaOneOne }
1804 \addlyrics { \stanzaOneThree }
1808 @node Adding dynamics marks to stanzas
1809 @unnumberedsubsubsec Adding dynamics marks to stanzas
1811 Stanzas differing in loudness may be indicated by putting a
1812 dynamics mark before each stanza. In LilyPond, everything coming in
1813 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1814 marks are no different. For technical reasons, you have to set the
1815 stanza outside @code{\lyricmode}:
1817 @lilypond[quote,ragged-right,verbatim]
1819 \set stanza = \markup { \dynamic "ff" "1. " }
1826 \new Voice = "tune" {
1830 \new Lyrics \lyricsto "tune" \text
1834 @node Adding singers' names to stanzas
1835 @unnumberedsubsubsec Adding singers' names to stanzas
1838 @cindex name of singer
1840 Names of singers can also be added. They are printed at the start of
1841 the line, just like instrument names. They are created by setting
1842 @code{vocalName}. A short version may be entered as
1843 @code{shortVocalName}.
1845 @lilypond[ragged-right,quote,verbatim,relative=2]
1847 \time 3/4 g2 e4 a2 f4 g2.
1849 \set vocalName = #"Bert "
1850 Hi, my name is Bert.
1852 \set vocalName = #"Ernie "
1853 Oh, ché -- ri, je t'aime
1857 @node Stanzas with different rhythms
1858 @unnumberedsubsubsec Stanzas with different rhythms
1860 Often, different stanzas of one song are put to one melody in slightly
1861 differing ways. Such variations can still be captured with
1864 @subsubheading Ignoring melismata
1866 One possibility is that the text has a melisma in one stanza, but
1867 multiple syllables in another. One solution is to make the faster
1868 voice ignore the melisma. This is done by setting
1869 @code{ignoreMelismata} in the Lyrics context.
1871 @lilypond[verbatim,ragged-right,quote]
1873 \relative \new Voice = "lahlah" {
1874 \set Staff.autoBeaming = ##f
1880 \new Lyrics \lyricsto "lahlah" {
1883 \new Lyrics \lyricsto "lahlah" {
1885 \set ignoreMelismata = ##t
1887 \unset ignoreMelismata
1894 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1895 not work if prefixed with @code{\once}. It is necessary to use
1896 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1899 @subsubheading Adding syllables to grace notes
1901 @cindex grace notes and lyrics
1902 @cindex lyrics on grace notes
1904 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1905 syllables when using @code{\lyricsto}, but this behavior can be
1908 @lilypond[verbatim,ragged-right,quote]
1910 \new Voice = melody \relative {
1911 f'4 \appoggiatura a32 b4
1912 \grace { f16 a16 } b2
1913 \afterGrace b2 { f16[ a16] }
1914 \appoggiatura a32 b4
1920 \set includeGraceNotes = ##t
1923 after -- grace case,
1924 \set ignoreMelismata = ##t
1932 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1933 set at latest one syllable before the one which is to be put under a
1934 grace note. For the case of a grace note at the very beginning of a
1935 piece of music, consider using a @code{\with} or @code{\context}
1938 @lilypond[verbatim,ragged-right,quote]
1940 \new Voice = melody \relative c' {
1941 \grace { c16( d e f }
1944 \new Lyrics \with { includeGraceNotes = ##t }
1951 @subsubheading Switching to an alternative melody
1953 @cindex associatedVoice
1954 @cindex alternative melody, switching to
1956 More complex variations in setting lyrics to music are possible.
1957 The melody to which the lyrics are being set can be changed from
1958 within the lyrics by setting the @code{associatedVoice} property:
1960 @lilypond[verbatim,quote]
1962 \relative \new Voice = "lahlah" {
1963 \set Staff.autoBeaming = ##f
1966 \new Voice = "alternative" {
1969 % show associations clearly.
1970 \override NoteColumn.force-hshift = #-3
1981 \new Lyrics \lyricsto "lahlah" {
1982 Ju -- ras -- sic Park
1984 \new Lyrics \lyricsto "lahlah" {
1985 % Tricky: need to set associatedVoice
1986 % one syllable too soon!
1987 \set associatedVoice = "alternative" % applies to "ran"
1991 \set associatedVoice = "lahlah" % applies to "rus"
1997 The text for the first stanza is set to the melody called
1998 @q{lahlah} in the usual way, but the second stanza is set initally
1999 to the @code{lahlah} context and is then switched to the
2000 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
2004 \set associatedVoice = "alternative" % applies to "ran"
2008 \set associatedVoice = "lahlah" % applies to "rus"
2013 Here, @code{alternative} is the name of the @code{Voice} context
2014 containing the triplet.
2016 Note the placement of the @code{\set associatedVoice} command --
2017 it appears to be one syllable too early, but this is correct.
2019 @warning{The @code{\set associatedVoice} command must be placed
2020 one syllable @emph{before} the one at which the switch to the new
2021 voice is to occur. In other words, changing the associated Voice
2022 happens one syllable later than expected. This is for technical
2023 reasons, and it is not a bug.}
2026 @node Printing stanzas at the end
2027 @unnumberedsubsubsec Printing stanzas at the end
2029 Sometimes it is appropriate to have one stanza set
2030 to the music, and the rest added in verse form at
2031 the end of the piece. This can be accomplished by adding
2032 the extra verses into a @code{\markup} section outside
2033 of the main score block. Notice that there are two
2034 different ways to force linebreaks when using
2037 @lilypond[ragged-right,verbatim,quote]
2038 melody = \relative {
2039 e' d c d | e e e e |
2044 \set stanza = #"1." Ma- ry had a lit- tle lamb,
2045 its fleece was white as snow.
2049 \new Voice = "one" { \melody }
2050 \new Lyrics \lyricsto "one" \text
2056 \line{ All the children laughed and played }
2057 \line{ To see a lamb at school. }
2064 Mary took it home again,
2066 It was against the rule."
2071 @node Printing stanzas at the end in multiple columns
2072 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
2074 When a piece of music has many verses, they are often printed in
2075 multiple columns across the page. An outdented verse number often
2076 introduces each verse. The following example shows how to produce such
2079 @lilypond[ragged-right,quote,verbatim]
2080 melody = \relative {
2085 \set stanza = #"1." This is verse one.
2091 \new Voice = "one" { \melody }
2092 \new Lyrics \lyricsto "one" \text
2099 \hspace #0.1 % moves the column off the left margin;
2100 % can be removed if space on the page is tight
2104 "This is verse two."
2108 \combine \null \vspace #0.1 % adds vertical spacing between verses
2111 "This is verse three."
2116 \hspace #0.1 % adds horizontal spacing between columns;
2120 "This is verse four."
2124 \combine \null \vspace #0.1 % adds vertical spacing between verses
2127 "This is verse five."
2132 \hspace #0.1 % gives some extra space on the right margin;
2133 % can be removed if page space is tight
2140 Internals Reference:
2141 @rinternals{LyricText},
2142 @rinternals{StanzaNumber}.
2149 * References for songs::
2153 @node References for songs
2154 @unnumberedsubsubsec References for songs
2156 Songs are usually written on three staves with the melody for the
2157 singer on the top staff and two staves of piano accompaniment at
2158 the bottom. The lyrics of the first stanza are printed immediately
2159 underneath the top staff. If there are just a small number of
2160 further stanzas these can be printed immediately under the first
2161 one, but if there are more stanzas than can be easily accommodated
2162 there the second and subsequent stanzas are printed after the music
2163 as stand-alone text.
2165 All the notational elements needed to write songs are fully described
2171 For constructing the staff layout, see @ref{Displaying staves}.
2174 For writing piano music, see
2175 @ref{Keyboard and other multi-staff instruments}.
2178 For writing the lyrics to a melody line, see
2179 @ref{Common notation for vocal music}.
2182 For placing the lyrics, see @ref{Placing lyrics vertically}.
2185 For entering stanzas, see @ref{Stanzas}.
2188 Songs are frequently printed with the chording indicated by chord
2189 names above the staves. This is described in @ref{Displaying chords}.
2192 To print fret diagrams of the chords for guitar accompaniment or
2193 accompaniment by other fretted instruments, see @qq{Fret diagram
2194 markups} in @ref{Common notation for fretted strings}.
2203 @ref{Common notation for vocal music},
2204 @ref{Displaying chords},
2205 @ref{Displaying staves},
2206 @ref{Keyboard and other multi-staff instruments},
2207 @ref{Placing lyrics vertically},
2215 @unnumberedsubsubsec Lead sheets
2217 Lead sheets may be printed by combining vocal parts and
2218 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2221 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2222 {simple-lead-sheet.ly}
2226 @ref{Chord notation}.
2237 This section discusses notation issues that relate most directly
2238 to choral music. This includes anthems, part songs, oratorio,
2242 * References for choral::
2243 * Score layouts for choral::
2247 @node References for choral
2248 @unnumberedsubsubsec References for choral
2250 Choral music is usually notated on two, three or four staves within
2251 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2252 beneath in a @code{PianoStaff} group, which is usually reduced in
2253 size for rehearsal of @emph{a cappella} choral works. The notes for
2254 each vocal part are placed in a @code{Voice} context, with each staff
2255 being given either a single vocal part (i.e., one @code{Voice}) or
2256 a pair of vocal parts (i.e., two @code{Voice}s).
2258 Words are placed in @code{Lyrics} contexts, either underneath each
2259 corresponding music staff, or one above and one below the music
2260 staff if this contains the music for two parts.
2262 Several common topics in choral music are described fully elsewhere:
2267 An introduction to creating an SATB vocal score can be found in
2268 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2269 There is also a built-in template which simplifies the entry of
2270 SATB vocal music, see @rlearning{Built-in templates}.
2273 Several templates suitable for various styles of choral music can
2274 also be found in the Learning Manual, see
2275 @rlearning{Vocal ensembles templates}.
2278 For information about @code{ChoirStaff} and @code{PianoStaff} see
2279 @ref{Grouping staves}.
2282 Shape note heads, as used in Sacred Harp and similar notation, are
2283 described in @ref{Shape note heads}.
2286 When two vocal parts share a staff the stems, ties, slurs, etc., of
2287 the higher part will be directed up and those of the lower part
2288 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2289 @ref{Single-staff polyphony}.
2292 When a vocal part temporarily splits, you should use
2293 @emph{Temporary polyphonic passages}
2294 (see @ref{Single-staff polyphony}).
2305 @rlearning{Four-part SATB vocal score},
2306 @rlearning{Vocal ensembles templates}.
2309 @ref{Context layout order},
2310 @ref{Grouping staves},
2311 @ref{Shape note heads},
2312 @ref{Single-staff polyphony}.
2317 Internals Reference:
2318 @rinternals{ChoirStaff},
2319 @rinternals{Lyrics},
2320 @rinternals{PianoStaff}.
2323 @node Score layouts for choral
2324 @unnumberedsubsubsec Score layouts for choral
2326 Choral music containing four staves, with or without piano
2327 accompaniment, is usually laid out with two systems per page.
2328 Depending on the page size, achieving this may require changes
2329 to several default settings. The following settings should be
2335 The global staff size can be modified to change the overall size
2336 of the elements of the score. See @ref{Setting the staff size}.
2339 The distances between the systems, the staves and the lyrics can
2340 all be adjusted independently. See @ref{Vertical spacing}.
2343 The dimensions of the vertical layout variables can be displayed as
2344 an aid to adjusting the vertical spacing. This and other
2345 possibilities for fitting the music onto fewer pages are described
2346 in @ref{Fitting music onto fewer pages}.
2349 If the number of systems per page changes from one to two it is
2350 customary to indicate this with a system separator mark between
2351 the two systems. See @ref{Separating systems}.
2354 For details of other page formatting properties, see
2360 Dynamic markings by default are placed below the staff, but in
2361 choral music they are usually placed above the staff in order to
2362 avoid the lyrics. The predefined command @code{\dynamicUp} does
2363 this for the dynamic markings in a single @code{Voice} context.
2364 If there are many @code{Voice} contexts this predefined command
2365 would have to be placed in every one. Alternatively its expanded
2366 form can be used to place all dynamic markings in the entire score
2367 above their respective staves, as shown here:
2369 @lilypond[verbatim,quote]
2374 \relative { g'4\f g g g }
2379 \relative { d'4 d d\p d }
2386 \override DynamicText.direction = #UP
2387 \override DynamicLineSpanner.direction = #UP
2394 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2398 @ref{Changing spacing},
2399 @ref{Displaying spacing},
2400 @ref{Fitting music onto fewer pages},
2403 @ref{Separating systems},
2404 @ref{Setting the staff size},
2406 @ref{Vertical spacing}.
2408 Internals Reference:
2409 @rinternals{VerticalAxisGroup},
2410 @rinternals{StaffGrouper}.
2413 @node Divided voices
2414 @unnumberedsubsubsec Divided voices
2416 @cindex voices, divided
2418 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2419 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2423 @ref{Expressive marks as lines}.
2426 @node Opera and stage musicals
2427 @subsection Opera and stage musicals
2429 The music, lyrics and dialogue to opera and stage musicals are
2430 usually set out in one or more of the following forms:
2435 A @emph{Conductors' Score} containing the full orchestral and vocal
2436 parts, together with libretto cues if there are spoken passages.
2439 @emph{Orchestral Parts} containing the music for the individual
2440 instruments of the orchestra or band.
2443 A @emph{Vocal Score} containing all vocal parts with piano
2444 accompaniment. The accompaniment is usually an orchestral
2445 reduction, and if so the name of the original orchestral instrument
2446 is often indicated. Vocal scores sometimes includes stage
2447 directions and libretto cues.
2450 A @emph{Vocal Book} containing just the vocal parts
2451 (no accompaniment), sometimes combined with the libretto.
2454 A @emph{Libretto} containing the extended passages of spoken
2455 dialogue usually found in musicals, together with the words to the
2456 sung parts. Stage directions are usually included. LilyPond can
2457 be used to typeset libretti but as they contain no music
2458 alternative methods may be preferable.
2462 The sections in the LilyPond documentation which cover the topics
2463 needed to create scores in the styles commonly found in opera and
2464 musicals are indicated in the References below. This is followed
2465 by sections covering those techniques which are peculiar to
2466 typesetting opera and musical scores.
2469 * References for opera and stage musicals::
2473 * Dialogue over music::
2476 @node References for opera and stage musicals
2477 @unnumberedsubsubsec References for opera and stage musicals
2482 A conductors' score contains many grouped staves and lyrics. Ways
2483 of grouping staves is shown in @ref{Grouping staves}. To nest
2484 groups of staves see @ref{Nested staff groups}.
2487 The printing of empty staves in conductors' scores and vocal scores
2488 is often suppressed. To create such a @qq{Frenched score} see
2489 @ref{Hiding staves}.
2492 Writing orchestral parts is covered in @ref{Writing parts}.
2493 Other sections in the Specialist notation chapter may be relevant,
2494 depending on the orchestration used. Many instruments are
2495 transposing instruments, see @ref{Instrument transpositions}.
2498 If the number of systems per page changes from page to page it is
2499 customary to separate the systems with a system separator mark.
2500 See @ref{Separating systems}.
2503 For details of other page formatting properties, see
2507 Dialogue cues, stage directions and footnotes can be inserted, see
2508 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2509 can also be added with a section of stand-alone markups between two
2510 @code{\score} blocks, see @ref{Separate text}.
2516 @rglos{Frenched score},
2517 @rglos{Frenched staves},
2518 @rglos{transposing instrument}.
2521 @ref{Creating footnotes},
2522 @ref{Grouping staves},
2523 @ref{Hiding staves},
2524 @ref{Instrument transpositions},
2525 @ref{Nested staff groups},
2527 @ref{Separating systems},
2529 @ref{Writing parts},
2536 @node Character names
2537 @unnumberedsubsubsec Character names
2539 @cindex character names
2540 @cindex names, character
2542 Character names are usually shown to the left of the staff when the
2543 staff is dedicated to that character alone:
2545 @lilypond[quote,verbatim,ragged-right]
2549 \set Staff.vocalName = \markup \smallCaps Kaspar
2550 \set Staff.shortVocalName = \markup \smallCaps Kas.
2559 \set Staff.vocalName = \markup \smallCaps Melchior
2560 \set Staff.shortVocalName = \markup \smallCaps Mel
2571 When two or more characters share a staff the character's name is
2572 usually printed above the staff at the start of every section
2573 applying to that character. This can be done with markup. Often a
2574 specific font is used for this purpose.
2576 @lilypond[quote,verbatim,relative=1]
2578 c4^\markup \fontsize #1 \smallCaps Kaspar
2581 a4^\markup \fontsize #1 \smallCaps Melchior
2584 c4^\markup \fontsize #1 \smallCaps Kaspar
2588 Alternatively, if there are many character changes, it may be easier
2589 to set up variables to hold the definitions for each character so
2590 that the switch of characters can be indicated easily and concisely.
2592 @lilypond[quote,verbatim]
2595 \set Staff.shortVocalName = "Kas."
2596 \set Staff.midiInstrument = "voice oohs"
2597 <>^\markup \smallCaps "Kaspar"
2602 \set Staff.shortVocalName = "Mel."
2603 \set Staff.midiInstrument = "choir aahs"
2604 <>^\markup \smallCaps "Melchior"
2619 @rlearning{Organizing pieces with variables}.
2623 @ref{Text markup commands}.
2627 @unnumberedsubsubsec Musical cues
2629 @cindex musical cues
2630 @cindex cues, musical
2632 Musical cues can be inserted in Vocal Scores, Vocal Books and
2633 Orchestral Parts to indicate what music in another part
2634 immediately precedes an entry. Also, cues are often inserted in the
2635 piano reduction in Vocal Scores to indicate what each orchestral
2636 instrument is playing. This aids the conductor when a full
2637 Conductors' Score is not available.
2639 The basic mechanism for inserting cues is fully explained in the
2640 main text, see @ref{Quoting other voices} and
2641 @ref{Formatting cue notes}. But when many cues have to be
2642 inserted, for example, as an aid to a conductor in a vocal score,
2643 the instrument name must be positioned carefully just before and
2644 close to the start of the cue notes. The following example shows
2647 @lilypond[quote,verbatim]
2651 \addQuote "flute" { \flute }
2653 pianoRH = \relative {
2655 % position name of cue-ing instrument just before the cue notes,
2656 % and above the staff
2657 <>^\markup { \right-align { \tiny "Flute" } }
2658 \cueDuring "flute" #UP { g4 bes4 }
2660 pianoLH = \relative { c4 <c' e> e, <g c> }
2675 If a transposing instrument is being quoted the instrument part should
2676 specify its key so the conversion of its cue notes will be done
2677 automatically. The example below shows this transposition for a
2678 B-flat clarinet. The notes in this example are low on the staff so
2679 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2680 down) and the instrument name is positioned below the staff.
2682 @lilypond[quote,verbatim]
2683 clarinet = \relative c' {
2687 \addQuote "clarinet" { \clarinet }
2689 pianoRH = \relative c'' {
2691 % position name of cue-ing instrument below the staff
2692 <>_\markup { \right-align { \tiny "Clar." } }
2693 \cueDuring "clarinet" #DOWN { c4. g8 }
2696 pianoLH = \relative { c4 <c' e> e, <g c> }
2715 From these two examples it is clear that inserting many cues in a
2716 Vocal Score would be tedious, and the notes of the piano part would
2717 become obscured. However, as the following snippet shows, it is
2718 possible to define a music function to reduce the amount of typing
2719 and to make the piano notes clearer.
2722 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2723 {adding-orchestral-cues-to-a-vocal-score.ly}
2730 @ref{Aligning objects},
2731 @ref{Direction and placement},
2732 @ref{Formatting cue notes},
2733 @ref{Quoting other voices},
2734 @ref{Using music functions}.
2739 Internals Reference:
2740 @rinternals{CueVoice}.
2743 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2744 and all cue notes are placed in that context. This means it is not
2745 possible to have two overlapping sequences of cue notes by this
2746 technique. Overlapping sequences could be entered by explicitly
2747 declaring separate @code{CueVoice} contexts and using
2748 @code{\quoteDuring} to extract and insert the cue notes.
2752 @unnumberedsubsubsec Spoken music
2755 @cindex Sprechgesang
2756 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2757 speak without pitch but still with rhythm; these are notated by cross
2758 note heads, as demonstrated in @ref{Special note heads}.
2760 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2761 @c add "showing the rhythm of a melody" snip
2762 @c add "one staff-line notation"
2763 @c add "improvisation" ref
2764 @c add "lyrics independents of notes" ref
2766 @node Dialogue over music
2767 @unnumberedsubsubsec Dialogue over music
2769 Dialogue over music is usually printed over the staves in an italic
2770 font, with the start of each phrase keyed in to a particular music
2773 For short interjections a simple markup suffices.
2775 @lilypond[quote,verbatim,relative=2]
2776 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2777 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2781 For longer phrases it may be necessary to expand the music to make
2782 the words fit neatly. There is no provision in LilyPond to do this
2783 fully automatically, and some manual intervention to layout the
2784 page will be necessary.
2786 For long phrases or for passages with a lot of closely packed
2787 dialogue, using a Lyrics context will give better results. The
2788 Lyrics context should not be associated with a music Voice; instead
2789 each section of dialogue should be given an explicit duration. If
2790 there is a gap in the dialogue, the final word should be separated
2791 from the rest and the duration split between them so that the
2792 underlying music spaces out smoothly.
2794 If the dialogue extends for more than one line it will be necessary
2795 to manually insert @code{\break}s and adjust the placing of the
2796 dialogue to avoid running into the right margin. The final word of
2797 the last measure on a line should also be separated out, as above.
2799 Here is an example illustrating how this might be done.
2801 @c This should be a snippet, but it can't be as it needs to be
2802 @c manually adjusted to suit the imposed line length. -td
2804 @lilypond[quote,verbatim,ragged-right]
2806 \repeat unfold 3 { a'4 a a a }
2809 dialogue = \lyricmode {
2811 \fontsize #1 \upright \smallCaps Abe:
2812 "Say this over measures one and"
2816 "and this over measure"4*3
2823 \override LyricText.font-shape = #'italic
2824 \override LyricText.self-alignment-X = #LEFT
2828 \new Voice { \music }
2834 @c TODO show use of \column to produce dialogue on two lines
2838 @ref{Manual syllable durations},
2842 @rinternals{LyricText}.
2845 @node Chants psalms and hymns
2846 @subsection Chants psalms and hymns
2851 @cindex religious music
2853 The music and words for chants, psalms and hymns usually follow a
2854 well-established format in any particular church. Although the
2855 formats may differ from church to church the type-setting problems
2856 which arise are broadly similar, and are covered in this section.
2859 * References for chants and psalms::
2861 * Pointing a psalm::
2862 * Partial measures in hymn tunes::
2865 @node References for chants and psalms
2866 @unnumberedsubsubsec References for chants and psalms
2868 Typesetting Gregorian chant in various styles of ancient notation
2869 is described in @ref{Ancient notation}.
2873 @ref{Ancient notation}.
2879 @node Setting a chant
2880 @unnumberedsubsubsec Setting a chant
2882 Modern chant settings use modern notation with varying numbers of
2883 elements taken from ancient notation. Some of the elements and
2884 methods to consider are shown here.
2886 Chants often use quarter notes without stems to indicate the pitch,
2887 with the rhythm being taken from the spoken rhythm of the words.
2889 @lilypond[verbatim,quote]
2890 stemOff = { \hide Staff.Stem }
2899 Chants often omit the bar lines or use shortened or dotted bar
2900 lines to indicate pauses in the music. To omit all bar lines from
2901 all staves remove the bar line engraver completely:
2903 @lilypond[verbatim,quote]
2924 \remove "Bar_engraver"
2930 Bar lines can also be removed on a staff-by-staff basis:
2932 @lilypond[verbatim, quote]
2936 \with { \remove "Bar_engraver" } {
2954 To remove bar lines from just a section of music treat it as a
2955 cadenza. If the section is long you may need to insert dummy
2956 bar lines with @code{\bar ""} to show where the line should break.
2958 @lilypond[verbatim,quote,relative=2]
2971 Rests or pauses in chants can be indicated by modified bar lines.
2973 @lilypond[verbatim, quote,relative=2]
2988 Alternatively, the notation used in Gregorian chant for pauses or
2989 rests is sometimes used even though the rest of the notation is
2990 modern. This uses a modified @code{\breathe} mark:
2992 @lilypond[verbatim,quote]
2994 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
2995 \once \override BreathingSign.Y-offset = #0
2999 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
3000 \once \override BreathingSign.Y-offset = #0
3004 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
3005 \once \override BreathingSign.Y-offset = #0
3009 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
3010 \once \override BreathingSign.Y-offset = #0
3028 \remove "Bar_engraver"
3034 Chants usually omit the time signature and often omit the clef too.
3036 @lilypond[verbatim,quote]
3048 \remove "Bar_engraver"
3049 \remove "Time_signature_engraver"
3050 \remove "Clef_engraver"
3056 Chants for psalms in the Anglican tradition are usually either
3057 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
3058 of 7 bars. Each group of 7 bars is divided into two halves,
3059 corresponding to the two halves of each verse, usually separated by
3060 a double bar line. Only whole and half notes are used. The 1st bar
3061 in each half always contains a single chord of whole notes. This is
3062 the @qq{reciting note}. Chants are usually centered on the page.
3064 @lilypond[verbatim,quote]
3065 SopranoMusic = \relative {
3066 g'1 | c2 b | a1 | \bar "||"
3067 a1 | d2 c | c b | c1 | \bar "||"
3070 AltoMusic = \relative {
3072 f1 | f2 e | d d | e1 |
3075 TenorMusic = \relative {
3077 d1 | g,2 g | g g | g1 |
3080 BassMusic = \relative {
3082 d1 | b2 c | g' g | c,1 |
3089 % Use markup to center the chant on the page
3098 \new Voice = "Soprano" <<
3102 \new Voice = "Alto" <<
3110 \new Voice = "Tenor" <<
3114 \new Voice = "Bass" <<
3124 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3128 \remove "Time_signature_engraver"
3136 Some other approaches to setting such a chant are shown in the first
3137 of the following snippets.
3141 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3142 {chant-or-psalms-notation.ly}
3144 Canticles and other liturgical texts may be set more freely, and
3145 may use notational elements from ancient music. Often the words
3146 are shown underneath and aligned with the notes. If so, the notes
3147 are spaced in accordance with the syllables rather than the notes'
3150 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3151 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3155 @rlearning{Visibility and color of objects},
3156 @rlearning{Vocal ensembles templates}.
3159 @ref{Ancient notation},
3161 @ref{Modifying context plug-ins},
3162 @ref{Typesetting Gregorian chant},
3163 @ref{Unmetered music},
3164 @ref{Visibility of objects}.
3167 @node Pointing a psalm
3168 @unnumberedsubsubsec Pointing a psalm
3170 The words to an Anglican psalm are usually printed in separate
3171 verses centered underneath the chant.
3173 Single chants (with 7 bars) are repeated for every verse. Double
3174 chants (with 14 bars) are repeated for every pair of verses. Marks
3175 are inserted in the words to show how they should be fitted to the
3176 chant. Each verse is divided into two halves. A colon is usually
3177 used to indicate this division. This corresponds to the double bar
3178 line in the music. The words before the colon are sung to the first
3179 three bars of music; the words after the colon are sung to the last
3182 Single bar lines (or in some psalters an inverted comma or similar
3183 symbol) are inserted between words to indicate where the bar lines
3184 in the music fall. In markup mode a single bar line can be entered
3185 with the bar check symbol, @code{|}.
3187 @lilypond[verbatim,quote]
3192 \line { O come let us sing | unto the | Lord : let }
3193 \line { us heartily rejoice in the | strength of | our }
3194 \line { sal- | -vation. }
3201 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3202 For details, see @ref{Fonts}.
3204 @lilypond[verbatim,quote]
3206 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3212 \line { O come let us sing \tick unto the \tick Lord : let }
3214 us heartily rejoice in the \tick strength of \tick our
3216 \line { sal \tick vation. }
3223 Where there is one whole note in a bar all the words corresponding
3224 to that bar are recited on that one note in speech rhythm. Where
3225 there are two notes in a bar there will usually be only one or two
3226 corresponding syllables. If there are more that two syllables a
3227 dot is usually inserted to indicate where the change in note occurs.
3229 @lilypond[verbatim,quote]
3231 \raise #0.7 \musicglyph #"dots.dot"
3234 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3241 O come let us sing \tick unto \dot the \tick Lord : let
3244 us heartily rejoice in the \tick strength of \tick our
3246 \line { sal \tick vation. }
3253 In some psalters an asterisk is used to indicate a break in a
3254 recited section instead of a comma, and stressed or slightly
3255 lengthened syllables are indicated in bold text.
3257 @lilypond[verbatim,quote]
3259 \raise #0.7 \musicglyph #"dots.dot"
3262 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3268 \line { Today if ye will hear his voice * }
3270 \concat { \bold hard en }
3271 | not your | hearts : as in the pro-
3273 \line { vocation * and as in the \bold day of tempt- | }
3274 \line { -ation | in the | wilderness. }
3281 In other psalters an accent is placed over the syllable to indicate
3284 @lilypond[verbatim,quote]
3286 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3293 O come let us \concat {
3294 si \combine \tick ng
3296 | unto the | Lord : let
3299 us heartily \concat {
3300 rejo \combine \tick ice
3302 in the | strength of | our
3304 \line { sal- | -vation. }
3311 The use of markup to center text, and arrange lines in columns is
3312 described in @ref{Formatting text}.
3314 Most of these elements are shown in one or other of the two verses
3315 in the template, see @rlearning{Psalms}.
3320 @rlearning{Vocal ensembles templates}.
3324 @ref{Formatting text}.
3327 @node Partial measures in hymn tunes
3328 @unnumberedsubsubsec Partial measures in hymn tunes
3330 Hymn tunes frequently start and end every line of music with
3331 partial measures so that each line of music corresponds exactly
3332 with a line of text. This requires a @code{\partial} command at
3333 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3334 commands at the end of each line.
3336 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3340 @node Ancient vocal music
3341 @subsection Ancient vocal music
3343 Ancient vocal music is supported, as explained in
3344 @ref{Ancient notation}.
3348 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3349 @c and "Transcription of Ancient music with incipit" snippet. -vv
3353 @ref{Ancient notation}.