1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @lilypondfile[quote]{vocal-headword.ly}
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
96 @unnumberedsubsubsec Entering lyrics
98 @cindex lyrics, entering
99 @cindex entering lyrics
100 @cindex formatting in lyrics
101 @cindex lyrics, formatting
102 @cindex punctuation in lyrics
103 @cindex lyrics punctuation
104 @cindex spaces in lyrics
105 @cindex quotes in lyrics
108 @c TODO should we explain hyphens here
110 Lyrics are entered in a special input mode, which can be introduced
111 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
112 @code{\lyricsto}. In this special input mode, the input @code{d}
113 is not parsed as the pitch @notation{D}, but rather as a one-letter
114 syllable of text. In other words, syllables are entered like notes
115 but with pitches replaced by text.
120 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
123 There are two main methods for specifying the horizontal placement
124 of the syllables, either by specifying the duration of each syllable
125 explicitly, as in the example above, or by leaving the lyrics to be
126 aligned automatically to a melody or other voice of music, using
127 @code{\addlyrics} or @code{\lyricsto}. The former method is
128 described below in @ref{Manual syllable durations}. The latter
129 method is described in @ref{Automatic syllable durations}.
131 A word or syllable of lyrics begins with an alphabetic character
132 (plus some other characters, see below) and is terminated by any
133 white space or a digit. Later characters in the syllable can be any
134 character that is not a digit or white space.
136 Because any character that is not a digit or white space is regarded
137 as part of the syllable, a word is valid even if it ends with
138 @code{@}}, which often leads to the following mistake:
141 \lyricmode @{ lah lah lah@}
144 In this example, the @code{@}} is included in the final syllable, so the
145 opening brace is not balanced and the input file will probably not
146 compile. Instead, braces should always be surrounded with white space:
149 \lyricmode @{ lah lah lah @}
152 @cindex overrides in lyric mode
153 @funindex \override in \lyricmode
155 Similarly, in lyric mode, a period will be included in the
156 alphabetic sequence that it follows. As a consequence, spaces
157 must be inserted around the period in @code{\override} commands.
161 \override Score.LyricText #'font-shape = #'italic
168 \override Score . LyricText #'font-shape = #'italic
171 Punctuation, lyrics with accented characters, characters from
172 non-English languages, or special characters (such as the heart
173 symbol or slanted quotes), may simply be inserted directly
174 into the input file, providing it is saved with UTF-8 encoding.
175 For more information, see @ref{Special characters}.
177 @lilypond[quote,verbatim]
178 \relative c'' { d8 c16 a bes8 f e' d c4 }
179 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
182 Normal quotes may be used in lyrics, but they have to be preceded
183 with a backslash character and the whole syllable has to be
184 enclosed between additional quotes. For example,
186 @lilypond[quote,verbatim]
187 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
188 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
191 The full definition of a word start in lyrics mode is somewhat more
192 complex. A word in lyrics mode is one that begins with an
193 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
194 @code{'}, the control characters @code{^A} through @code{^F},
195 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
196 character with an ASCII code over 127, or a two-character
197 combination of a backslash followed by one of @code{`}, @code{'},
198 @code{"}, or @code{^}.
200 @c " to balance double quotes for not-so-bright context-sensitive editors
202 Great control over the appearance of lyrics comes from using
203 @code{\markup} inside the lyrics themselves. For explanation of many
204 options, see @ref{Formatting text}.
208 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
209 {formatting-lyrics-syllables.ly}
217 @ref{Automatic syllable durations},
219 @ref{Formatting text},
221 @ref{Manual syllable durations},
222 @ref{Special characters}.
225 @rinternals{LyricText}.
231 @node Aligning lyrics to a melody
232 @unnumberedsubsubsec Aligning lyrics to a melody
234 @cindex lyrics, aligning to a melody
235 @cindex @code{associatedVoice}
240 Lyrics are printed by interpreting them in the context called
241 @code{Lyrics}, see @ref{Contexts explained}.
244 \new Lyrics \lyricmode @{ @dots{} @}
247 Lyrics can be aligned with melodies in two main ways:
252 Lyrics can be aligned automatically, with the durations of the
253 syllables being taken from another voice of music or (in special
254 circumstances) an associated melody, using @code{\addlyrics},
255 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
256 For more details, see @ref{Automatic syllable durations}.
258 @lilypond[quote,ragged-right,verbatim]
262 \new Voice = "one" \relative c'' {
264 c4 b8. a16 g4. r8 a4 ( b ) c2
266 \new Voice = "two" \relative c' {
272 % takes durations and alignment from notes in "one"
273 \new Lyrics \lyricsto "one" {
274 Life is __ _ love, live __ life.
277 % takes durations and alignment from notes in "one" initially
278 % then switches to "two"
279 \new Lyrics \lyricsto "one" {
281 \set associatedVoice = "two" % must be set one syllable early
282 sins and sor -- rows grow.
287 The first stanza shows the normal way of entering lyrics.
289 The second stanza shows how the voice from which the lyric
290 durations are taken can be changed. This is useful if the words to
291 different stanzas fit the notes in different ways and all the
292 durations are available in Voice contexts. For more details, see
296 Lyrics can be aligned independently of the duration of any notes
297 if the durations of the syllables are specified explicitly,
298 and entered with @code{\lyricmode}.
300 @lilypond[quote,ragged-right,verbatim]
302 \new Voice = "one" \relative c'' {
304 c4 b8. a16 g4. f8 e4 d c2
307 % uses previous explicit duration of 2;
308 \new Lyrics \lyricmode {
312 % explicit durations, set to a different rhythm
313 \new Lyrics \lyricmode {
314 Life4 is love,2. live4 life.2
319 The first stanza is not aligned with the notes because the durations
320 were not specified, and the previous value of 2 is used for each
323 The second stanza shows how the words can be aligned quite
324 independently from the notes. This is useful if the words to
325 different stanzas fit the notes in different ways and the required
326 durations are not available in a music context. For more details
327 see @ref{Manual syllable durations}. This technique is also useful
328 when setting dialogue over music; for examples showing this, see
329 @ref{Dialogue over music}.
331 When entered in this way the words are left-aligned to the notes
332 by default, but may be center-aligned to the notes of a melody by
333 specifying an associated voice, if one exists. For details, see
334 @ref{Manual syllable durations}.
340 @rlearning{Aligning lyrics to a melody}.
343 @ref{Contexts explained},
344 @ref{Automatic syllable durations},
346 @ref{Manual syllable durations},
347 @ref{Dialogue over music},
348 @ref{Manual syllable durations}.
354 @node Automatic syllable durations
355 @unnumberedsubsubsec Automatic syllable durations
357 @cindex syllable durations, automatic
358 @cindex lyrics and melodies
359 @cindex associatedVoice
363 Lyrics can be automatically aligned to the notes of a melody in
369 by specifying the named Voice context containing the melody with
373 by introducing the lyrics with @code{\addlyrics} and placing them
374 immediately after the Voice context containing the melody,
377 by setting the @code{associatedVoice} property, the alignment of
378 the lyrics may be switched to a different named Voice context at
383 In all three methods hyphens can be drawn between the syllables of
384 a word and extender lines can be drawn beyond the end of a word. For
385 details, see @ref{Extenders and hyphens}.
387 The @code{Voice} context containing the melody to which the lyrics
388 are being aligned must not have @qq{died}, or the lyrics after that
389 point will be lost. This can happen if there are periods when that
390 voice has nothing to do. For methods of keeping contexts alive, see
391 @ref{Keeping contexts alive}.
393 @subheading Using @code{\lyricsto}
398 Lyrics can be aligned under a melody automatically by specifying
399 the named Voice context containing the melody with
402 @lilypond[quote,verbatim,relative=2]
404 \new Voice = "melody" {
407 \new Lyrics \lyricsto "melody" {
414 This aligns the lyrics to the notes of the named @code{Voice}
415 context, which must already exist. Therefore normally the
416 @code{Voice} context is specified first, followed by the
417 @code{Lyrics} context. The lyrics themselves follow the
418 @code{\lyricsto} command. The @code{\lyricsto} command
419 invokes lyric mode automatically, so the @code{\lyricmode} keyword
420 may be omitted. By default, the lyrics are placed underneath the
421 notes. For other placements, see @ref{Placing lyrics vertically}.
423 @subheading Using @code{\addlyrics}
428 The @code{\addlyrics} command is just a convenient shortcut that
429 can sometimes be used instead of having to set up the lyrics
430 through a more complicated LilyPond structure.
434 \addlyrics @{ LYRICS @}
441 \new Voice = "blah" @{ MUSIC @}
442 \new Lyrics \lyricsto "blah" @{ LYRICS @}
447 @lilypond[verbatim,quote]
450 \relative c' { c2 e4 g2. }
451 \addlyrics { play the game }
455 More stanzas can be added by adding more
456 @code{\addlyrics} sections:
459 @lilypond[ragged-right,verbatim,quote]
462 \relative c' { c2 e4 g2. }
463 \addlyrics { play the game }
464 \addlyrics { speel het spel }
465 \addlyrics { joue le jeu }
469 The command @code{\addlyrics} cannot handle polyphonic settings.
470 For these cases one should use @code{\lyricsto}.
472 @subheading Using associatedVoice
474 The melody to which the lyrics are being aligned can be changed by
475 setting the @code{associatedVoice} property,
478 \set associatedVoice = #"lala"
483 The value of the property (here: @code{"lala"}) should be the name
484 of a @code{Voice} context. For technical reasons, the @code{\set}
485 command must be placed one syllable before the one to which the
486 change in voice is to apply.
488 Here is an example demonstrating its use:
490 @lilypond[quote,ragged-right,verbatim]
494 \new Voice = "one" \relative c'' {
496 c4 b8. a16 g4. r8 a4 ( b ) c2
498 \new Voice = "two" \relative c' {
503 % takes durations and alignment from notes in "one" initially
504 % then switches to "two"
505 \new Lyrics \lyricsto "one" {
507 \set associatedVoice = "two" % must be set one syllable early
508 sins and sor -- rows grow.
515 @ref{Extenders and hyphens},
516 @ref{Keeping contexts alive},
517 @ref{Placing lyrics vertically}.
520 @node Manual syllable durations
521 @unnumberedsubsubsec Manual syllable durations
523 In some complex vocal music, it may be desirable to place lyrics
524 completely independently of notes. In this case do not use
525 @code{\lyricsto} or @code{\addlyrics} and do not set
526 @code{associatedVoice}. Syllables are entered like notes --
527 but with pitches replaced by text -- and the duration of each
528 syllable is entered explicitly after the syllable.
530 By default, syllables will be left-aligned to the corresponding
531 musical moment. Hyphenated lines may be drawn between syllables
532 as usual, but extender lines cannot be drawn when there is no
535 Here are two examples:
537 @lilypond[relative=1,verbatim,quote]
539 \new Voice = "melody" {
543 \new Lyrics \lyricmode {
550 @lilypond[quote,verbatim,ragged-right]
572 This technique is useful when writing dialogue over music, see
573 @ref{Dialogue over music}.
575 To center-align syllables on the notes at the corresponding musical
576 moments, set @code{associatedVoice} to the name of the Voice context
577 containing those notes. When @code{associatedVoice} is set, both
578 double hyphens and double underscores can be used to draw
579 hyphenated lines and extenders under melismata correctly.
581 @lilypond[relative=1,verbatim,quote]
583 \new Voice = "melody" {
587 \new Lyrics \lyricmode {
588 \set associatedVoice = #"melody"
594 @c TODO see also feature request 707 - show how to do this with manual durations
598 @ref{Dialogue over music}.
605 @node Multiple syllables to one note
606 @unnumberedsubsubsec Multiple syllables to one note
609 @cindex spaces, in lyrics
610 @cindex quotes, in lyrics
611 @cindex ties, in lyrics
613 In order to assign more than one syllable to a single note with
614 spaces between the syllables, you can surround the phrase with
615 quotes or use a @code{_} character. Alternatively, you can use
616 the tilde symbol (@code{~}) to get a lyric tie.
618 @lilypond[quote,ragged-right,verbatim]
620 \relative c'' { \autoBeamOff
621 r8 b c fis, fis c' b e, }
622 \addlyrics { Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da }
623 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
624 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
630 @rinternals{LyricCombineMusic}.
633 @node Multiple notes to one syllable
634 @unnumberedsubsubsec Multiple notes to one syllable
638 @cindex phrasing, in lyrics
640 @funindex \melismaEnd
642 Sometimes, particularly in Medieval music, several notes are to be
643 sung on one syllable; such vocalises are called melismata, or
644 @rglos{melisma}s. The syllable to a melisma is usually
645 left-aligned with the first note of the melisma.
647 When a melisma occurs on a syllable other that the last one in a
648 word, that syllable is usually joined to the following one with a
649 hyphenated line. This is indicated by placing a double hyphen,
650 @w{@code{--}}, immediately after the syllable.
652 Alternatively, when a melisma occurs on the last or only syllable in
653 a word an extender line is usually drawn from the end of the syllable
654 to the last note of the melisma. This is indicated by placing a
655 double underscore, @code{__}, immediately after the word.
657 There are five ways in which melismata can be indicated:
662 Melismata are created automatically over notes which are tied
665 @lilypond[quote,relative=2,verbatim]
667 \new Voice = "melody" {
673 \new Lyrics \lyricsto "melody" {
680 Melismata can be created automatically from the music by placing
681 slurs over the notes of each melisma. This is the usual way of
684 @lilypond[quote,relative=2,verbatim]
686 \new Voice = "melody" {
691 \new Lyrics \lyricsto "melody" {
698 Notes are considered a melisma if they are manually beamed,
699 providing automatic beaming is switched off. See
700 @ref{Setting automatic beam behavior}.
702 @lilypond[quote,relative=2,verbatim]
704 \new Voice = "melody" {
710 \new Lyrics \lyricsto "melody" {
716 Clearly this is not suited to melismata over notes which are longer
720 An unslurred group of notes will be treated as a melisma if they
721 are bracketed between @code{\melisma} and @code{\melismaEnd}.
723 @lilypond[quote,relative=2,verbatim]
725 \new Voice = "melody" {
733 \new Lyrics \lyricsto "melody" {
740 A melisma can be defined entirely in the lyrics by entering a
741 single underscore character, @code{_}, for every extra note that has
742 to be added to the melisma.
744 @lilypond[verbatim, quote, relative=2]
746 \new Voice = "melody" {
751 \new Lyrics \lyricsto "melody" {
752 Ky -- ri -- _ _ _ e __ _ _
759 It is possible to have ties, slurs and manual beams in the melody
760 without their indicating melismata. To do this, set
761 @code{melismaBusyProperties}:
763 @lilypond[relative=1,verbatim,quote]
765 \new Voice = "melody" {
767 \set melismaBusyProperties = #'()
771 \new Lyrics \lyricsto "melody" {
772 Ky -- ri -- e e -- le -- i -- son
777 Other settings for @code{melismaBusyProperties} can be used to
778 selectively include or exclude ties, slurs, and beams from the
779 automatic detection of melismata; see @code{melismaBusyProperties}
780 in @rinternals{Tunable context properties}.
782 Alternatively, if all melismata indications are to be ignored,
783 @code{ignoreMelismata} may be set true;
784 see @ref{Stanzas with different rhythms}.
786 If a melisma is required during a passage in which
787 @code{melismaBusyProperties} is active, it may be indicated by
788 placing a single underscore in the lyrics for each note which
789 should be included in the melisma:
791 @lilypond[relative=1,verbatim,quote]
793 \new Voice = "melody" {
795 \set melismaBusyProperties = #'()
799 \new Lyrics \lyricsto "melody" {
800 Ky -- ri -- _ e __ _ _ _
818 @rlearning{Aligning lyrics to a melody}.
821 @ref{Aligning lyrics to a melody},
822 @ref{Automatic syllable durations},
823 @ref{Setting automatic beam behavior},
824 @ref{Stanzas with different rhythms}.
827 @rinternals{Tunable context properties}.
830 Extender lines under melismata are not created automatically; they
831 must be inserted manually with a double underscore.
834 @node Extenders and hyphens
835 @unnumberedsubsubsec Extenders and hyphens
840 @c TODO cf Multiple notes to one syllable; should this be merged in?
842 @c leave this as samp. -gp
843 In the last syllable of a word, melismata are sometimes indicated with
844 a long horizontal line starting in the melisma syllable, and ending in
845 the next one. Such a line is called an extender line, and it is
846 entered as @samp{ __ } (note the spaces before and after the two
847 underscore characters).
849 @warning{Melismata are indicated in the score with extender lines,
850 which are entered as one double underscore; but short melismata can
851 also be entered by skipping individual notes, which are entered as
852 single underscore characters; these do not make an extender line to be
857 @c leave this as samp. -gp
858 Centered hyphens are entered as @samp{ -- } between syllables of a
859 same word (note the spaces before and after the two hyphen
860 characters). The hyphen will be centered between the syllables, and
861 its length will be adjusted depending on the space between the
864 In tightly engraved music, hyphens can be removed. Whether this
865 happens can be controlled with the @code{minimum-distance} (minimum
866 distance between two syllables) and the @code{minimum-length}
867 (threshold below which hyphens are removed) properties of
872 @rinternals{LyricExtender},
873 @rinternals{LyricHyphen}.
876 @node Techniques specific to lyrics
877 @subsection Techniques specific to lyrics
879 @c TODO this whole section is to be reorganised
882 * Working with lyrics and variables::
883 * Placing lyrics vertically::
884 * Placing syllables horizontally::
885 * Lyrics and repeats::
891 @node Working with lyrics and variables
892 @unnumberedsubsubsec Working with lyrics and variables
894 @cindex lyrics, using variables
896 Variables containing lyrics can be created, but the lyrics must be
897 entered in lyric mode:
899 @lilypond[quote,verbatim]
900 musicOne = \relative c'' {
901 c4 b8. a16 g4. f8 e4 d c2
903 verseOne = \lyricmode {
904 Joy to the world, the Lord is come.
912 \new Lyrics \lyricsto "one" {
919 Durations do not need to be added if the variable is to be invoked
920 with @code{\addlyrics} or @code{\lyricsto}.
922 For different or more complex orderings, the best way is to define
923 the music and lyric variables first, then set up the hierarchy of
924 staves and lyrics, omitting the lyrics themselves, and then add the
925 lyrics using @code{\context} underneath. This ensures that the
926 voices referenced by @code{\lyricsto} have always been defined
927 earlier. For example:
929 @lilypond[quote,verbatim]
930 sopranoMusic = \relative c'' { c4 c c c }
931 contraltoMusic = \relative c'' { a4 a a a }
932 sopranoWords = \lyricmode { Sop -- ra -- no words }
933 contraltoWords = \lyricmode { Con -- tral -- to words }
938 \new Voice = "sopranos" {
942 \new Lyrics = "sopranos"
943 \new Lyrics = "contraltos"
945 \new Voice = "contraltos" {
949 \context Lyrics = "sopranos" {
950 \lyricsto "sopranos" {
954 \context Lyrics = "contraltos" {
955 \lyricsto "contraltos" {
965 @ref{Placing lyrics vertically}.
968 @rinternals{LyricCombineMusic},
972 @node Placing lyrics vertically
973 @unnumberedsubsubsec Placing lyrics vertically
975 @cindex placement of lyrics
976 @cindex lyrics, positioning
978 Depending on the type of music, lyrics may be positioned
979 above the staff, below the staff, or between staves. Placing
980 lyrics below the associated staff is the easiest, and can be
981 achieved by simply defining the Lyrics context below the Staff
984 @lilypond[quote,verbatim]
988 \new Voice = "melody" {
989 \relative c'' { c4 c c c }
1001 Lyrics may be positioned above the staff using one of
1002 two methods. The simplest (and preferred) method
1003 is to use the same syntax as above and explicitly
1004 specify the position of the lyrics:
1006 @lilypond[quote,verbatim]
1009 \new Staff = "staff" {
1010 \new Voice = "melody" {
1011 \relative c'' { c4 c c c }
1014 \new Lyrics \with { alignAboveContext = "staff" } {
1015 \lyricsto "melody" {
1023 Alternatively, a two-step process may be used. First the Lyrics
1024 context is declared (without any content) before the Staff and
1025 Voice contexts, then the @code{\lyricsto} command is placed after
1026 the Voice declaration it references by using @code{\context}, as
1029 @lilypond[quote,verbatim]
1032 \new Lyrics = "lyrics" \with {
1033 % lyrics above a staff should have this override
1034 \override VerticalAxisGroup #'staff-affinity = #DOWN
1037 \new Voice = "melody" {
1038 \relative c'' { c4 c c c }
1041 \context Lyrics = "lyrics" {
1042 \lyricsto "melody" {
1050 When there are two voices on separate staves the lyrics may be
1051 placed between the staves using either of these methods. Here
1052 is an example of the second method:
1054 @lilypond[quote,verbatim]
1058 \new Voice = "sopranos" {
1059 \relative c'' { c4 c c c }
1062 \new Lyrics = "sopranos"
1063 \new Lyrics = "contraltos" \with {
1064 % lyrics above a staff should have this override
1065 \override VerticalAxisGroup #'staff-affinity = #DOWN
1068 \new Voice = "contraltos" {
1069 \relative c'' { a4 a a a }
1072 \context Lyrics = "sopranos" {
1073 \lyricsto "sopranos" {
1074 Sop -- ra -- no words
1077 \context Lyrics = "contraltos" {
1078 \lyricsto "contraltos" {
1079 Con -- tral -- to words
1086 Other combinations of lyrics and staves may be generated by
1087 elaborating these examples, or by examining the
1088 @rlearning{Vocal ensembles} templates in the Learning Manual.
1091 @lilypondfile[verbatim,quote,texidoc,doctitle]
1092 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1096 @rlearning{Vocal ensembles}.
1099 @ref{Context layout order},
1100 @ref{Creating contexts}.
1103 @node Placing syllables horizontally
1104 @unnumberedsubsubsec Placing syllables horizontally
1106 @cindex Spacing lyrics
1107 @cindex Lyrics, increasing space between
1109 To increase the spacing between lyrics, set the
1110 @code{minimum-distance} property of @code{LyricSpace}.
1112 @lilypond[relative=1,verbatim,quote,ragged-right]
1115 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1119 longtext longtext longtext longtext
1120 longtext longtext longtext longtext
1125 To make this change for all lyrics in the score, set the property in the
1126 @code{\layout} block.
1128 @lilypond[verbatim,quote,ragged-right]
1135 longtext longtext longtext longtext
1136 longtext longtext longtext longtext
1141 \override LyricSpace #'minimum-distance = #1.0
1148 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1149 {lyrics-alignment.ly}
1151 @c TODO: move to LSR -vv
1153 Checking to make sure that text scripts and lyrics are within the margins
1154 requires additional calculations. To speed up processing slightly, this
1155 feature can be disabled:
1158 \override Score.PaperColumn #'keep-inside-line = ##f
1161 To make lyrics avoid bar lines as well, use
1167 \consists "Bar_engraver"
1168 \consists "Separating_line_group_engraver"
1169 \override BarLine #'transparent = ##t
1174 @node Lyrics and repeats
1175 @unnumberedsubsubsec Lyrics and repeats
1177 @cindex repeats and lyrics
1178 @cindex lyrics, repeating
1180 @subheading Simple repeats
1182 Repeats in @emph{music} are fully described elsewhere; see
1183 @ref{Repeats}. This section explains how to add lyrics to repeated
1186 Lyrics to a section of music that is repeated should be surrounded
1187 by exactly the same repeat construct as the music, if the words are
1190 @lilypond[verbatim,quote]
1194 \new Voice = "melody" {
1197 \repeat volta 2 { b4 b b b }
1202 \lyricsto "melody" {
1203 Not re -- peat -- ed.
1204 \repeat volta 2 { Re -- peat -- ed twice. }
1211 The words will then be correctly expanded if the repeats are
1214 @lilypond[verbatim,quote]
1219 \new Voice = "melody" {
1222 \repeat volta 2 { b4 b b b }
1227 \lyricsto "melody" {
1228 Not re -- peat -- ed.
1229 \repeat volta 2 { Re -- peat -- ed twice. }
1237 If the repeated section is to be unfolded and has different words,
1238 simply enter all the words:
1240 @lilypond[verbatim,quote,ragged-right]
1244 \new Voice = "melody" {
1247 \repeat unfold 2 { b4 b b b }
1252 \lyricsto "melody" {
1253 Not re -- peat -- ed.
1254 The first time words.
1255 Sec -- ond time words.
1262 When the words to a repeated volta section are different, the words
1263 to each repeat must be entered in separate @code{Lyrics} contexts,
1264 correctly nested in parallel sections:
1266 @lilypond[verbatim,quote]
1270 \new Voice = "melody" {
1273 \repeat volta 2 { b4 b b b }
1277 \new Lyrics \lyricsto "melody" {
1278 Not re -- peat -- ed.
1280 { The first time words. }
1282 \set associatedVoice = "melody"
1283 Sec -- ond time words.
1291 More verses may be added in a similar way:
1293 @lilypond[verbatim,quote]
1297 \new Voice = "singleVoice" {
1300 \repeat volta 3 { b4 b b b }
1305 \new Lyrics \lyricsto "singleVoice" {
1306 Not re -- peat -- ed.
1308 { The first time words. }
1310 \set associatedVoice = "singleVoice"
1311 Sec -- ond time words.
1314 \set associatedVoice = "singleVoice"
1315 The third time words.
1318 The end sec -- tion.
1325 @c TODO positioning a common line of lyrics
1327 @subheading Repeats with alternative endings
1329 @cindex lyrics, repeats with alternative endings
1330 @cindex repeating lyrics with alternative endings
1331 @cindex alternative endings and lyrics
1333 If the words of the repeated section are the same, exactly the
1334 same structure can be used for both the lyrics and music.
1336 @lilypond[quote,verbatim]
1341 \new Voice = "melody" {
1344 \repeat volta 2 { b4 b }
1345 \alternative { { b b } { b c } }
1350 \lyricsto "melody" {
1351 Not re -- peat -- ed.
1352 \repeat volta 2 { Re -- peat -- }
1353 \alternative { { ed twice. } { ed twice. } }
1361 @cindex skipping notes in lyrics
1362 @cindex lyrics, skipping notes
1364 But when the repeated section has different words, a repeat
1365 construct cannot be used around the words and @code{\skip} commands
1366 have to be inserted manually to skip over the notes in the
1367 alternative sections which do not apply.
1369 Note: do not use an underscore, @code{_}, to skip notes -- an
1370 underscore indicates a melisma, causing the preceding syllable
1373 @warning{The @code{@bs{}skip} command must be followed by a number,
1374 but this number is ignored in lyrics which derive their durations
1375 from the notes in an associated melody through @code{\addlyrics} or
1376 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1377 value, irrespective of the value of the following number.}
1379 @lilypond[verbatim,quote,ragged-right]
1384 \new Voice = "melody" {
1386 \repeat volta 2 { b4 b }
1387 \alternative { { b b } { b c } }
1393 \lyricsto "melody" {
1394 The first time words.
1395 \repeat unfold 2 { \skip 1 }
1400 \lyricsto "melody" {
1402 \repeat unfold 2 { \skip 1 }
1410 @cindex lyrics and tied notes
1411 @funindex \repeatTie
1413 When a note is tied over into two or more alternative endings a
1414 tie is used to carry the note into the first alternative ending and
1415 a @code{\repeatTie} is used in the second and subsequent endings.
1416 This structure causes difficult alignment problems when lyrics are
1417 involved and increasing the length of the alternative sections so
1418 the tied notes are contained wholly within them may give a more
1421 The tie creates a melisma into the first alternative, but not into
1422 the second and subsequent alternatives, so to align the lyrics
1423 correctly it is necessary to disable the automatic creation of
1424 melismata over the volta section and insert manual skips.
1426 @lilypond[quote,verbatim]
1431 \new Voice = "melody" {
1433 \set melismaBusyProperties = #'()
1434 \repeat volta 2 { b4 b ~}
1435 \alternative { { b b } { b \repeatTie c } }
1436 \unset melismaBusyProperties
1442 \lyricsto "melody" {
1443 \repeat volta 2 { Here's a __ }
1455 Note that if @code{\unfoldRepeats} is used around a section
1456 containing @code{\repeatTie}, the @code{\repeatTie} should be
1457 removed to avoid both types of tie being printed.
1459 When the repeated section has different words a @code{\repeat}
1460 cannot be used around the lyrics and @code{\skip} commands need to
1461 be inserted manually, as before.
1463 @lilypond[quote,verbatim]
1468 \new Voice = "melody" {
1470 \repeat volta 2 { b4 b ~}
1471 \alternative { { b b } { b \repeatTie c } }
1477 \lyricsto "melody" {
1479 \repeat unfold 2 { \skip 1 }
1483 \lyricsto "melody" {
1485 \repeat unfold 2 { \skip 1 }
1493 If you wish to show extenders and hyphens into and out of
1494 alternative sections these must be inserted manually.
1496 @lilypond[quote,verbatim]
1501 \new Voice = "melody" {
1503 \repeat volta 2 { b4 b ~}
1504 \alternative { { b b } { b \repeatTie c } }
1510 \lyricsto "melody" {
1512 \repeat unfold 2 { \skip 1 }
1516 \lyricsto "melody" {
1528 @ref{Keeping contexts alive},
1533 @unnumberedsubsubsec Divisi lyrics
1535 @cindex divided lyrics
1536 @cindex lyrics, divided
1538 When just the words and rhythms of the two parts differ with the
1539 pitches remaining the same, temporarily turning off the automatic
1540 detection of melismata and indicating the melisma in the lyrics
1541 may be the appropriate method to use:
1543 @lilypond[quote,verbatim]
1546 \new Voice = "melody" {
1548 \set melismaBusyProperties = #'()
1552 \unset melismaBusyProperties
1556 \new Lyrics \lyricsto "melody" {
1557 They shall not o -- ver -- come
1559 \new Lyrics \lyricsto "melody" {
1566 When both music and words differ it may be better to display
1567 the differing music and lyrics by naming voice contexts and
1568 attaching lyrics to those specific contexts:
1570 @lilypond[verbatim,ragged-right,quote]
1573 \new Voice = "melody" {
1580 \new Voice = "splitpart" {
1590 \new Lyrics \lyricsto "melody" {
1591 They shall not o -- ver -- come
1593 \new Lyrics \lyricsto "splitpart" {
1605 * Adding stanza numbers::
1606 * Adding dynamics marks to stanzas::
1607 * Adding singers' names to stanzas::
1608 * Stanzas with different rhythms::
1609 * Printing stanzas at the end::
1610 * Printing stanzas at the end in multiple columns::
1614 @node Adding stanza numbers
1615 @unnumberedsubsubsec Adding stanza numbers
1617 @cindex stanza number
1619 Stanza numbers can be added by setting @code{stanza}, e.g.,
1621 @lilypond[quote,ragged-right,verbatim,relative=2]
1623 \time 3/4 g2 e4 a2 f4 g2.
1625 \set stanza = #"1. "
1626 Hi, my name is Bert.
1628 \set stanza = #"2. "
1629 Oh, ché -- ri, je t'aime
1635 These numbers are put just before the start of the first syllable.
1637 @c TODO Create and add snippet to show how two lines of a
1638 @c stanza can be grouped together, along these lines:
1639 @c (might need improving a bit) -td
1642 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1646 \set stanza = \markup { "1. " \leftbrace }
1647 \lyricmode { Child, you're mine and I love you.
1648 Lend thine ear to what I say.
1654 % \set stanza = \markup { " "}
1655 \lyricmode { Child, I have no great -- er joy
1656 Than to have you walk in truth.
1662 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1663 c'8 c' c' c' c' c' c'4 }
1664 } \addlyrics { \stanzaOneOne }
1665 \addlyrics { \stanzaOneThree }
1669 @node Adding dynamics marks to stanzas
1670 @unnumberedsubsubsec Adding dynamics marks to stanzas
1672 Stanzas differing in loudness may be indicated by putting a
1673 dynamics mark before each stanza. In LilyPond, everything coming in
1674 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1675 marks are no different. For technical reasons, you have to set the
1676 stanza outside @code{\lyricmode}:
1678 @lilypond[quote,ragged-right,verbatim]
1680 \set stanza = \markup { \dynamic "ff" "1. " }
1687 \new Voice = "tune" {
1691 \new Lyrics \lyricsto "tune" \text
1695 @node Adding singers' names to stanzas
1696 @unnumberedsubsubsec Adding singers' names to stanzas
1699 @cindex name of singer
1701 Names of singers can also be added. They are printed at the start of
1702 the line, just like instrument names. They are created by setting
1703 @code{vocalName}. A short version may be entered as
1704 @code{shortVocalName}.
1706 @lilypond[ragged-right,quote,verbatim,relative=2]
1708 \time 3/4 g2 e4 a2 f4 g2.
1710 \set vocalName = #"Bert "
1711 Hi, my name is Bert.
1713 \set vocalName = #"Ernie "
1714 Oh, ché -- ri, je t'aime
1718 @node Stanzas with different rhythms
1719 @unnumberedsubsubsec Stanzas with different rhythms
1721 Often, different stanzas of one song are put to one melody in slightly
1722 differing ways. Such variations can still be captured with
1725 @subsubheading Ignoring melismata
1727 One possibility is that the text has a melisma in one stanza, but
1728 multiple syllables in another. One solution is to make the faster
1729 voice ignore the melisma. This is done by setting
1730 @code{ignoreMelismata} in the Lyrics context.
1732 @lilypond[verbatim,ragged-right,quote]
1734 \relative c' \new Voice = "lahlah" {
1735 \set Staff.autoBeaming = ##f
1741 \new Lyrics \lyricsto "lahlah" {
1744 \new Lyrics \lyricsto "lahlah" {
1746 \set ignoreMelismata = ##t
1748 \unset ignoreMelismata
1755 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1756 not work if prefixed with @code{\once}. It is necessary to use
1757 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1760 @subsubheading Adding syllables to grace notes
1762 @cindex grace notes and lyrics
1763 @cindex lyrics on grace notes
1765 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1766 syllables when using @code{\lyricsto}, but this behavior can be
1769 @lilypond[verbatim,ragged-right,quote]
1771 \new Voice = melody \relative c' {
1772 f4 \appoggiatura a32 b4
1773 \grace { f16[ a16] } b2
1774 \afterGrace b2 { f16[ a16] }
1775 \appoggiatura a32 b4
1781 \set includeGraceNotes = ##t
1784 after -- grace case,
1785 \set ignoreMelismata = ##t
1793 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1794 set at latest one syllable before the one which is to be put under a
1795 grace note. For the case of a grace note at the very beginning of a
1796 piece of music, consider using a @code{\with} or @code{\context}
1799 @lilypond[verbatim,ragged-right,quote]
1801 \new Voice = melody \relative c' {
1802 \grace { c16[( d e f] }
1805 \new Lyrics \with { includeGraceNotes = ##t }
1812 @subsubheading Switching to an alternative melody
1814 @cindex associatedVoice
1815 @cindex alternative melody, switching to
1817 More complex variations in setting lyrics to music are possible.
1818 The melody to which the lyrics are being set can be changed from
1819 within the lyrics by setting the @code{associatedVoice} property:
1821 @lilypond[verbatim,quote]
1823 \relative c' \new Voice = "lahlah" {
1824 \set Staff.autoBeaming = ##f
1827 \new Voice = "alternative" {
1830 % show associations clearly.
1831 \override NoteColumn #'force-hshift = #-3
1842 \new Lyrics \lyricsto "lahlah" {
1843 Ju -- ras -- sic Park
1845 \new Lyrics \lyricsto "lahlah" {
1846 % Tricky: need to set associatedVoice
1847 % one syllable too soon!
1848 \set associatedVoice = "alternative" % applies to "ran"
1852 \set associatedVoice = "lahlah" % applies to "rus"
1858 The text for the first stanza is set to the melody called
1859 @q{lahlah} in the usual way, but the second stanza is set initally
1860 to the @code{lahlah} context and is then switched to the
1861 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1865 \set associatedVoice = "alternative" % applies to "ran"
1869 \set associatedVoice = "lahlah" % applies to "rus"
1874 Here, @code{alternative} is the name of the @code{Voice} context
1875 containing the triplet.
1877 Note the placement of the @code{\set associatedVoice} command --
1878 it appears to be one syllable too early, but this is correct.
1880 @warning{The @code{\set associatedVoice} command must be placed
1881 one syllable @emph{before} the one at which the switch to the new
1882 voice is to occur. In other words, changing the associated Voice
1883 happens one syllable later than expected. This is for technical
1884 reasons, and it is not a bug.}
1887 @node Printing stanzas at the end
1888 @unnumberedsubsubsec Printing stanzas at the end
1890 Sometimes it is appropriate to have one stanza set
1891 to the music, and the rest added in verse form at
1892 the end of the piece. This can be accomplished by adding
1893 the extra verses into a @code{\markup} section outside
1894 of the main score block. Notice that there are two
1895 different ways to force linebreaks when using
1898 @lilypond[ragged-right,verbatim,quote]
1899 melody = \relative c' {
1905 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1906 its fleece was white as snow.
1910 \new Voice = "one" { \melody }
1911 \new Lyrics \lyricsto "one" \text
1917 \line{ All the children laughed and played }
1918 \line{ To see a lamb at school. }
1925 Mary took it home again,
1927 It was against the rule."
1932 @node Printing stanzas at the end in multiple columns
1933 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1935 When a piece of music has many verses, they are often printed in
1936 multiple columns across the page. An outdented verse number often
1937 introduces each verse. The following example shows how to produce such
1940 @lilypond[ragged-right,quote,verbatim]
1941 melody = \relative c' {
1946 \set stanza = #"1." This is verse one.
1952 \new Voice = "one" { \melody }
1953 \new Lyrics \lyricsto "one" \text
1960 \hspace #0.1 % moves the column off the left margin;
1961 % can be removed if space on the page is tight
1965 "This is verse two."
1969 \vspace #0.1 % adds vertical spacing between verses
1972 "This is verse three."
1977 \hspace #0.1 % adds horizontal spacing between columns;
1981 "This is verse four."
1985 \vspace #0.1 % adds vertical spacing between verses
1988 "This is verse five."
1993 \hspace #0.1 % gives some extra space on the right margin;
1994 % can be removed if page space is tight
2001 Internals Reference:
2002 @rinternals{LyricText},
2003 @rinternals{StanzaNumber}.
2010 * References for songs::
2014 @node References for songs
2015 @unnumberedsubsubsec References for songs
2017 Songs are usually written on three staves with the melody for the
2018 singer on the top staff and two staves of piano accompaniment at
2019 the bottom. The lyrics of the first stanza are printed immediately
2020 underneath the top staff. If there are just a small number of
2021 further stanzas these can be printed immediately under the first
2022 one, but if there are more stanzas than can be easily accommodated
2023 there the second and subsequent stanzas are printed after the music
2024 as stand-alone text.
2026 All the notational elements needed to write songs are fully described
2032 For constructing the staff layout, see @ref{Displaying staves}.
2035 For writing piano music, see
2036 @ref{Keyboard and other multi-staff instruments}.
2039 For writing the lyrics to a melody line, see
2040 @ref{Common notation for vocal music}.
2043 For placing the lyrics, see @ref{Placing lyrics vertically}.
2046 For entering stanzas, see @ref{Stanzas}.
2049 Songs are frequently printed with the chording indicated by chord
2050 names above the staves. This is described in @ref{Displaying chords}.
2053 To print fret diagrams of the chords for guitar accompaniment or
2054 accompaniment by other fretted instruments, see @qq{Fret diagram
2055 markups} in @ref{Common notation for fretted strings}.
2064 @ref{Common notation for vocal music},
2065 @ref{Displaying chords},
2066 @ref{Displaying staves},
2067 @ref{Keyboard and other multi-staff instruments},
2068 @ref{Placing lyrics vertically},
2076 @unnumberedsubsubsec Lead sheets
2078 Lead sheets may be printed by combining vocal parts and
2079 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2082 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2083 {simple-lead-sheet.ly}
2087 @ref{Chord notation}.
2098 This section discusses notation issues that relate most directly
2099 to choral music. This includes anthems, part songs, oratorio,
2103 * References for choral::
2104 * Score layouts for choral::
2108 @node References for choral
2109 @unnumberedsubsubsec References for choral
2111 Choral music is usually notated on two, three or four staves within
2112 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2113 beneath in a @code{PianoStaff} group, which is usually reduced in
2114 size for @emph{a capella} choral works. The notes for each vocal
2115 part are placed in a @code{Voice} context, with each staff
2116 being given either a single vocal part (i.e., one @code{Voice}) or
2117 a pair of vocal parts (i.e., two @code{Voice}s).
2119 Words are placed in @code{Lyrics} contexts, either underneath each
2120 corresponding music staff, or one above and one below the music
2121 staff if this contains the music for two parts.
2123 Several common topics in choral music are described fully elsewhere:
2128 An introduction to creating an SATB vocal score can be found in
2129 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2132 Several templates suitable for various styles of choral music can
2133 also be found in the Learning Manual, see
2134 @rlearning{Vocal ensembles}.
2137 For information about @code{ChoirStaff} and @code{PianoStaff} see
2138 @ref{Grouping staves}.
2141 Shape note heads, as used in Sacred Harp and similar notation, are
2142 described in @ref{Shape note heads}.
2145 When two vocal parts share a staff the stems, ties, slurs, etc., of
2146 the higher part will be directed up and those of the lower part
2147 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2148 @ref{Single-staff polyphony}.
2159 @rlearning{Four-part SATB vocal score},
2160 @rlearning{Vocal ensembles}.
2163 @ref{Context layout order},
2164 @ref{Grouping staves},
2165 @ref{Shape note heads},
2166 @ref{Single-staff polyphony}.
2171 Internals Reference:
2172 @rinternals{ChoirStaff},
2173 @rinternals{Lyrics},
2174 @rinternals{PianoStaff}.
2177 @node Score layouts for choral
2178 @unnumberedsubsubsec Score layouts for choral
2180 Choral music containing four staves, with or without piano
2181 accompaniment, is usually laid out with two systems per page.
2182 Depending on the page size, achieving this may require changes
2183 to several default settings. The following settings should be
2189 The global staff size can be modified to change the overall size
2190 of the elements of the score. See @ref{Setting the staff size}.
2193 The distances between the systems, the staves and the lyrics can
2194 all be adjusted independently. See @ref{Vertical spacing}.
2197 The dimensions of the vertical layout variables can be displayed as
2198 an aid to adjusting the vertical spacing. This and other
2199 possibilities for fitting the music onto fewer pages are described
2200 in @ref{Fitting music onto fewer pages}.
2203 If the number of systems per page changes from one to two it is
2204 customary to indicate this with a system separator mark between
2205 the two systems. See @ref{Separating systems}.
2208 For details of other page formatting properties, see
2214 Dynamic markings by default are placed below the staff, but in
2215 choral music they are usually placed above the staff in order to
2216 avoid the lyrics. The predefined command @code{\dynamicUp} does
2217 this for the dynamic markings in a single @code{Voice} context.
2218 If there are many @code{Voice} contexts this predefined command
2219 would have to be placed in every one. Alternatively its expanded
2220 form can be used to place all dynamic markings in the entire score
2221 above their respective staves, as shown here:
2223 @lilypond[verbatim,quote]
2228 \relative c'' { g4\f g g g }
2233 \relative c' { d4 d d\p d }
2240 \override DynamicText #'direction = #UP
2241 \override DynamicLineSpanner #'direction = #UP
2248 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2252 @ref{Changing spacing},
2253 @ref{Displaying spacing},
2254 @ref{Fitting music onto fewer pages},
2257 @ref{Separating systems},
2258 @ref{Setting the staff size},
2259 @ref{Using an extra voice for breaks},
2260 @ref{Vertical spacing}.
2262 Internals Reference:
2263 @rinternals{VerticalAxisGroup},
2264 @rinternals{StaffGrouper}.
2267 @node Divided voices
2268 @unnumberedsubsubsec Divided voices
2270 @cindex voices, divided
2272 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2273 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2277 @ref{Expressive marks as lines}.
2280 @node Opera and stage musicals
2281 @subsection Opera and stage musicals
2283 The music, lyrics and dialogue to opera and stage musicals are
2284 usually set out in one or more of the following forms:
2289 A @emph{Conductors' Score} containing the full orchestral and vocal
2290 parts, together with libretto cues if there are spoken passages.
2293 @emph{Orchestral Parts} containing the music for the individual
2294 instruments of the orchestra or band.
2297 A @emph{Vocal Score} containing all vocal parts with piano
2298 accompaniment. The accompaniment is usually an orchestral
2299 reduction, and if so the name of the original orchestral instrument
2300 is often indicated. Vocal scores sometimes includes stage
2301 directions and libretto cues.
2304 A @emph{Vocal Book} containing just the vocal parts
2305 (no accompaniment), sometimes combined with the libretto.
2308 A @emph{Libretto} containing the extended passages of spoken
2309 dialogue usually found in musicals, together with the words to the
2310 sung parts. Stage directions are usually included. LilyPond can
2311 be used to typeset libretti but as they contain no music
2312 alternative methods may be preferable.
2316 The sections in the LilyPond documentation which cover the topics
2317 needed to create scores in the styles commonly found in opera and
2318 musicals are indicated in the References below. This is followed
2319 by sections covering those techniques which are peculiar to
2320 typesetting opera and musical scores.
2323 * References for opera and stage musicals::
2327 * Dialogue over music::
2330 @node References for opera and stage musicals
2331 @unnumberedsubsubsec References for opera and stage musicals
2336 A conductors' score contains many grouped staves and lyrics. Ways
2337 of grouping staves is shown in @ref{Grouping staves}. To nest
2338 groups of staves see @ref{Nested staff groups}.
2341 The printing of empty staves in conductors' scores and vocal scores
2342 is often suppressed. To create such a @qq{Frenched score} see
2343 @ref{Hiding staves}.
2346 Writing orchestral parts is covered in @ref{Writing parts}.
2347 Other sections in the Specialist notation chapter may be relevant,
2348 depending on the orchestration used. Many instruments are
2349 transposing instruments, see @ref{Instrument transpositions}.
2352 If the number of systems per page changes from page to page it is
2353 customary to separate the systems with a system separator mark.
2354 See @ref{Separating systems}.
2357 For details of other page formatting properties, see
2361 Dialogue cues, stage directions and footnotes can be inserted, see
2362 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2363 can also be added with a section of stand-alone markups between two
2364 @code{\score} blocks, see @ref{Separate text}.
2370 @rglos{Frenched score},
2371 @rglos{Frenched staves},
2372 @rglos{transposing instrument}.
2375 @ref{Creating footnotes},
2376 @ref{Grouping staves},
2377 @ref{Hiding staves},
2378 @ref{Instrument transpositions},
2379 @ref{Nested staff groups},
2381 @ref{Separating systems},
2383 @ref{Writing parts},
2390 @node Character names
2391 @unnumberedsubsubsec Character names
2393 @cindex character names
2394 @cindex names, character
2396 Character names are usually shown to the left of the staff when the
2397 staff is dedicated to that character alone:
2399 @lilypond[quote,verbatim,ragged-right]
2403 \set Staff.vocalName = \markup \smallCaps Kaspar
2404 \set Staff.shortVocalName = \markup \smallCaps Kas.
2413 \set Staff.vocalName = \markup \smallCaps Melchior
2414 \set Staff.shortVocalName = \markup \smallCaps Mel
2425 When two or more characters share a staff the character's name is
2426 usually printed above the staff at the start of every section
2427 applying to that character. This can be done with markup. Often a
2428 specific font is used for this purpose.
2430 @lilypond[quote,verbatim,relative=1]
2432 c4^\markup \fontsize #1 \smallCaps Kaspar
2435 a4^\markup \fontsize #1 \smallCaps Melchior
2438 c4^\markup \fontsize #1 \smallCaps Kaspar
2442 Alternatively, if there are many character changes, it may be
2443 easier to set up @qq{instrument} definitions for each character at
2444 the top level so that @code{\instrumentSwitch} can be used to
2445 indicate each change.
2447 @lilypond[quote,verbatim]
2448 \addInstrumentDefinition #"kaspar"
2449 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2450 (shortInstrumentName . "Kas.")
2451 (clefGlyph . "clefs.G")
2452 (clefOctavation . -7)
2453 (middleCPosition . 1)
2455 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2456 (midiInstrument . "voice oohs"))
2458 \addInstrumentDefinition #"melchior"
2459 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2460 (shortInstrumentName . "Mel.")
2461 (clefGlyph . "clefs.F")
2462 (clefOctavation . 0)
2463 (middleCPosition . 6)
2465 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2466 (midiInstrument . "voice aahs"))
2469 \instrumentSwitch "kaspar"
2471 \instrumentSwitch "melchior"
2473 \instrumentSwitch "kaspar"
2480 @ref{Instrument names},
2481 @ref{Scheme functions},
2483 @ref{Text markup commands}.
2486 @rextend{Markup construction in Scheme}.
2490 @unnumberedsubsubsec Musical cues
2492 @cindex musical cues
2493 @cindex cues, musical
2495 Musical cues can be inserted in Vocal Scores, Vocal Books and
2496 Orchestral Parts to indicate what music in another part
2497 immediately precedes an entry. Also, cues are often inserted in the
2498 piano reduction in Vocal Scores to indicate what each orchestral
2499 instrument is playing. This aids the conductor when a full
2500 Conductors' Score is not available.
2502 The basic mechanism for inserting cues is fully explained in the
2503 main text, see @ref{Quoting other voices} and
2504 @ref{Formatting cue notes}. But when many cues have to be
2505 inserted, for example, as an aid to a conductor in a vocal score,
2506 the instrument name must be positioned carefully just before and
2507 close to the start of the cue notes. The following example shows
2510 @lilypond[quote,verbatim]
2511 flute = \relative c'' {
2514 \addQuote "flute" { \flute }
2516 pianoRH = \relative c'' {
2518 % position name of cue-ing instrument just before the cue notes,
2519 % and above the staff
2521 \override InstrumentSwitch #'self-alignment-X = #RIGHT
2522 \set instrumentCueName = "Flute"
2524 \cueDuring "flute" #UP { g4 bes4 }
2526 pianoLH = \relative c { c4 <c' e> e, <g c> }
2541 If a transposing instrument is being quoted the instrument part should
2542 specify its key so the conversion of its cue notes will be done
2543 automatically. The example below shows this transposition for a
2544 B-flat clarinet. The notes in this example are low on the staff so
2545 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2546 down) and the instrument name is positioned below the staff. Note
2547 also that the piano right-hand voice is explicitly declared. This
2548 is because the cue notes in this example begin at the start of the
2549 first bar and this would otherwise cause the entire piano right-hand
2550 notes to be placed in a @code{CueVoice} context.
2552 @lilypond[quote,verbatim]
2553 clarinet = \relative c' {
2557 \addQuote "clarinet" { \clarinet }
2559 pianoRH = \relative c'' {
2561 % position name of cue-ing instrument below the staff
2563 \override InstrumentSwitch #'self-alignment-X = #RIGHT
2564 \override InstrumentSwitch #'direction = #DOWN
2565 \set instrumentCueName = "Clar."
2567 \cueDuring "clarinet" #DOWN { c4. g8 }
2570 pianoLH = \relative c { c4 <c' e> e, <g c> }
2589 From these two examples it is clear that inserting many cues in a
2590 Vocal Score would be tedious, and the notes of the piano part would
2591 become obscured. However, as the following snippet shows, it is
2592 possible to define a music function to reduce the amount of typing
2593 and to make the piano notes clearer.
2596 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2597 {adding-orchestral-cues-to-a-vocal-score.ly}
2604 @ref{Aligning objects},
2605 @ref{Direction and placement},
2606 @ref{Formatting cue notes},
2607 @ref{Quoting other voices},
2608 @ref{Using music functions}.
2613 Internals Reference:
2614 @rinternals{InstrumentSwitch},
2615 @rinternals{CueVoice}.
2618 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2619 and all cue notes are placed in that context. This means it is not
2620 possible to have two overlapping sequences of cue notes by this
2621 technique. Overlapping sequences could be entered by explicitly
2622 declaring separate @code{CueVoice} contexts and using
2623 @code{\quoteDuring} to extract and insert the cue notes.
2627 @unnumberedsubsubsec Spoken music
2630 @cindex Sprechgesang
2631 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2632 speak without pitch but still with rhythm; these are notated by cross
2633 note heads, as demonstrated in @ref{Special note heads}.
2635 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2636 @c add "showing the rhythm of a melody" snip
2637 @c add "one staff-line notation"
2638 @c add "improvisation" ref
2639 @c add "lyrics independents of notes" ref
2641 @node Dialogue over music
2642 @unnumberedsubsubsec Dialogue over music
2644 Dialogue over music is usually printed over the staves in an italic
2645 font, with the start of each phrase keyed in to a particular music
2648 For short interjections a simple markup suffices.
2650 @lilypond[quote,verbatim,relative=2]
2651 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2652 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2656 For longer phrases it may be necessary to expand the music to make
2657 the words fit neatly. There is no provision in LilyPond to do this
2658 fully automatically, and some manual intervention to layout the
2659 page will be necessary.
2661 For long phrases or for passages with a lot of closely packed
2662 dialogue, using a Lyrics context will give better results. The
2663 Lyrics context should not be associated with a music Voice; instead
2664 each section of dialogue should be given an explicit duration. If
2665 there is a gap in the dialogue, the final word should be separated
2666 from the rest and the duration split between them so that the
2667 underlying music spaces out smoothly.
2669 If the dialogue extends for more than one line it will be necessary
2670 to manually insert @code{\break}s and adjust the placing of the
2671 dialogue to avoid running into the right margin. The final word of
2672 the last measure on a line should also be separated out, as above.
2674 Here is an example illustrating how this might be done.
2676 @c This should be a snippet, but it can't be as it needs to be
2677 @c manually adjusted to suit the imposed line length. -td
2679 @lilypond[quote,verbatim,ragged-right]
2680 music = \relative c'' {
2681 \repeat unfold 3 { a4 a a a }
2684 dialogue = \lyricmode {
2686 \fontsize #1 \upright \smallCaps Abe:
2687 "Say this over measures one and"
2691 "and this over measure"4*3
2698 \override LyricText #'font-shape = #'italic
2699 \override LyricText #'self-alignment-X = #LEFT
2703 \new Voice { \music }
2709 @c TODO show use of \column to produce dialogue on two lines
2713 @ref{Manual syllable durations},
2717 @rinternals{LyricText}.
2720 @node Chants psalms and hymns
2721 @subsection Chants psalms and hymns
2726 @cindex religious music
2728 The music and words for chants, psalms and hymns usually follow a
2729 well-established format in any particular church. Although the
2730 formats may differ from church to church the type-setting problems
2731 which arise are broadly similar, and are covered in this section.
2734 * References for chants and psalms::
2736 * Pointing a psalm::
2737 * Partial measures in hymn tunes::
2740 @node References for chants and psalms
2741 @unnumberedsubsubsec References for chants and psalms
2743 Typesetting Gregorian chant in various styles of ancient notation
2744 is described in @ref{Ancient notation}.
2748 @ref{Ancient notation}.
2754 @node Setting a chant
2755 @unnumberedsubsubsec Setting a chant
2757 Modern chant settings use modern notation with varying numbers of
2758 elements taken from ancient notation. Some of the elements and
2759 methods to consider are shown here.
2761 Chants often use quarter notes without stems to indicate the pitch,
2762 with the rhythm being taken from the spoken rhythm of the words.
2764 @lilypond[verbatim,quote]
2765 stemOff = { \override Staff.Stem #'transparent = ##t }
2774 Chants often omit the bar lines or use shortened or dotted bar
2775 lines to indicate pauses in the music. To omit all bar lines from
2776 all staves remove the bar line engraver completely:
2778 @lilypond[verbatim,quote]
2799 \remove Bar_engraver
2805 Bar lines can also be removed on a staff-by-staff basis:
2807 @lilypond[verbatim, quote]
2811 \with { \remove Bar_engraver } {
2829 To remove bar lines from just a section of music treat it as a
2830 cadenza. If the section is long you may need to insert dummy
2831 bar lines with @code{\bar ""} to show where the line should break.
2833 @lilypond[verbatim,quote,relative=2]
2846 Rests or pauses in chants can be indicated by modified bar lines.
2848 @lilypond[verbatim, quote,relative=2]
2863 Alternatively, the notation used in Gregorian chant for pauses or
2864 rests is sometimes used even though the rest of the notation is
2865 modern. This uses a modified @code{\breathe} mark:
2867 @lilypond[verbatim,quote]
2869 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2870 \once \override BreathingSign #'Y-offset = #0
2874 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2875 \once \override BreathingSign #'Y-offset = #0
2879 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2880 \once \override BreathingSign #'Y-offset = #0
2884 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2885 \once \override BreathingSign #'Y-offset = #0
2903 \remove Bar_engraver
2909 Chants usually omit the time signature and often omit the clef too.
2911 @lilypond[verbatim,quote]
2923 \remove Bar_engraver
2924 \remove Time_signature_engraver
2925 \remove Clef_engraver
2931 Chants for psalms in the Anglican tradition are usually either
2932 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2933 of 7 bars. Each group of 7 bars is divided into two halves,
2934 corresponding to the two halves of each verse, usually separated by
2935 a double bar line. Only whole and half notes are used. The 1st bar
2936 in each half always contains a single chord of whole notes. This is
2937 the @qq{reciting note}. Chants are usually centered on the page.
2939 @lilypond[verbatim,quote]
2940 SopranoMusic = \relative g' {
2941 g1 | c2 b | a1 | \bar "||"
2942 a1 | d2 c | c b | c1 | \bar "||"
2945 AltoMusic = \relative c' {
2947 f1 | f2 e | d d | e1 |
2950 TenorMusic = \relative a {
2952 d1 | g,2 g | g g | g1 |
2955 BassMusic = \relative c {
2957 d1 | b2 c | g' g | c,1 |
2964 % Use markup to center the chant on the page
2973 \new Voice = "Soprano" <<
2977 \new Voice = "Alto" <<
2985 \new Voice = "Tenor" <<
2989 \new Voice = "Bass" <<
2999 \override SpacingSpanner
3000 #'base-shortest-duration = #(ly:make-moment 1 2)
3004 \remove "Time_signature_engraver"
3012 Some other approaches to setting such a chant are shown in the first
3013 of the following snippets.
3017 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3018 {chant-or-psalms-notation.ly}
3020 Canticles and other liturgical texts may be set more freely, and
3021 may use notational elements from ancient music. Often the words
3022 are shown underneath and aligned with the notes. If so, the notes
3023 are spaced in accordance with the syllables rather than the notes'
3026 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3027 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3031 @rlearning{Visibility and color of objects},
3032 @rlearning{Vocal ensembles}.
3035 @ref{Ancient notation},
3037 @ref{Modifying context plug-ins},
3038 @ref{Typesetting Gregorian chant},
3039 @ref{Unmetered music},
3040 @ref{Visibility of objects}.
3043 @node Pointing a psalm
3044 @unnumberedsubsubsec Pointing a psalm
3046 The words to an Anglican psalm are usually printed in separate
3047 verses centered underneath the chant.
3049 Single chants (with 7 bars) are repeated for every verse. Double
3050 chants (with 14 bars) are repeated for every pair of verses. Marks
3051 are inserted in the words to show how they should be fitted to the
3052 chant. Each verse is divided into two halves. A colon is usually
3053 used to indicate this division. This corresponds to the double bar
3054 line in the music. The words before the colon are sung to the first
3055 three bars of music; the words after the colon are sung to the last
3058 Single bar lines (or in some psalters an inverted comma or similar
3059 symbol) are inserted between words to indicate where the bar lines
3060 in the music fall. In markup mode a single bar line can be entered
3061 with the bar check symbol, @code{|}.
3063 @lilypond[verbatim,quote]
3068 \line { O come let us sing | unto the | Lord : let }
3069 \line { us heartily rejoice in the | strength of | our }
3070 \line { sal- | -vation. }
3077 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3078 For details, see @ref{Fonts}.
3080 @lilypond[verbatim,quote]
3082 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3088 \line { O come let us sing \tick unto the \tick Lord : let }
3090 us heartily rejoice in the \tick strength of \tick our
3092 \line { sal \tick vation. }
3099 Where there is one whole note in a bar all the words corresponding
3100 to that bar are recited on that one note in speech rhythm. Where
3101 there are two notes in a bar there will usually be only one or two
3102 corresponding syllables. If there are more that two syllables a
3103 dot is usually inserted to indicate where the change in note occurs.
3105 @lilypond[verbatim,quote]
3107 \raise #0.7 \musicglyph #"dots.dot"
3110 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3117 O come let us sing \tick unto \dot the \tick Lord : let
3120 us heartily rejoice in the \tick strength of \tick our
3122 \line { sal \tick vation. }
3129 In some psalters an asterisk is used to indicate a break in a
3130 recited section instead of a comma, and stressed or slightly
3131 lengthened syllables are indicated in bold text.
3133 @lilypond[verbatim,quote]
3135 \raise #0.7 \musicglyph #"dots.dot"
3138 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3144 \line { Today if ye will hear his voice * }
3146 \concat { \bold hard en }
3147 | not your | hearts : as in the pro-
3149 \line { vocation * and as in the \bold day of tempt- | }
3150 \line { -ation | in the | wilderness. }
3157 In other psalters an accent is placed over the syllable to indicate
3160 @lilypond[verbatim,quote]
3162 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3169 O come let us \concat {
3170 si \combine \tick ng
3172 | unto the | Lord : let
3175 us heartily \concat {
3176 rejo \combine \tick ice
3178 in the | strength of | our
3180 \line { sal- | -vation. }
3187 The use of markup to center text, and arrange lines in columns is
3188 described in @ref{Formatting text}.
3190 Most of these elements are shown in one or other of the two verses
3191 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3195 @rlearning{Vocal ensembles}.
3199 @ref{Formatting text}.
3202 @node Partial measures in hymn tunes
3203 @unnumberedsubsubsec Partial measures in hymn tunes
3205 Hymn tunes frequently start and end every line of music with
3206 partial measures so that each line of music corresponds exactly
3207 with a line of text. This requires a @code{\partial} command at
3208 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3209 commands at the end of each line.
3211 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3215 @node Ancient vocal music
3216 @subsection Ancient vocal music
3218 Ancient vocal music is supported, as explained in
3219 @ref{Ancient notation}.
3223 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3224 @c and "Transcription of Ancient music with incipit" snippet. -vv
3228 @ref{Ancient notation}.