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 @c TODO: inspirational headword
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::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 @cindex lyrics, entering
82 @cindex entering lyrics
83 @cindex punctuation in lyrics
84 @cindex lyrics punctuation
85 @cindex spaces in lyrics
86 @cindex quotes in lyrics
89 @c TODO should we explain hyphens here
91 Lyrics are entered in a special input mode, which can be introduced
92 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
93 @code{\lyricsto}. In this mode the input @code{d} is not parsed as
94 the pitch @notation{D}, but rather as a one-letter syllable of text.
95 In other words, syllables are entered like notes but with pitches
101 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
104 There are two main methods for specifying the horizontal placement
105 of the syllables, either by specifying the duration of each syllable
106 explicitly, as in the example above, or by leaving the lyrics to be
107 aligned automatically to a melody or other voice of music, using
108 @code{\addlyrics} or @code{\lyricsto}. The former method is
109 described below in @ref{Manual syllable durations}. The latter
110 method is described in @ref{Automatic syllable durations}.
112 A word or syllable of lyrics begins with an alphabetic character
113 (plus some other characters, see below) and is terminated by any
114 white space or a digit. Later characters in the syllable can be any
115 character that is not a digit or white space.
117 Because any character that is not a digit or white space is regarded
118 as part of the syllable, a word is valid even if it ends with
119 @code{@}}, which often leads to the following mistake:
122 \lyricmode @{ lah lah lah@}
125 In this example, the @code{@}} is included in the final syllable, so the
126 opening brace is not balanced and the input file will probably not
127 compile. Instead, braces should always be surrounded with white space:
130 \lyricmode @{ lah lah lah @}
133 @cindex overrides in lyric mode
134 @funindex \override in \lyricmode
136 Similarly, in lyric mode, a period will be included in the
137 alphabetic sequence that it follows. As a consequence, spaces
138 must be inserted around the period in @code{\override} commands.
142 \override Score.LyricText #'font-shape = #'italic
149 \override Score . LyricText #'font-shape = #'italic
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{Text encoding}.
158 @lilypond[quote,verbatim]
159 \relative c' { e4 f e d e f e2 }
160 \addlyrics { He said: “Let my peo -- ple go.” }
163 Normal quotes may be used in lyrics, but they have to be preceded
164 with a backslash character and the whole syllable has to be
165 enclosed between additional quotes. For example,
167 @lilypond[quote,verbatim]
168 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
169 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
172 The full definition of a word start in lyrics mode is somewhat more
173 complex. A word in lyrics mode is one that begins with an
174 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
175 @code{'}, the control characters @code{^A} through @code{^F},
176 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
177 character with an ASCII code over 127, or a two-character
178 combination of a backslash followed by one of @code{`}, @code{'},
179 @code{"}, or @code{^}.
181 @c " to balance double quotes for not-so-bright context-sensitive editors
188 @ref{Automatic syllable durations},
191 @ref{Manual syllable durations}.
194 @rinternals{LyricText}.
197 @node Aligning lyrics to a melody
198 @unnumberedsubsubsec Aligning lyrics to a melody
200 @cindex lyrics, aligning to a melody
201 @cindex @code{associatedVoice}
206 Lyrics are printed by interpreting them in the context called
207 @code{Lyrics}, see @ref{Contexts explained}.
210 \new Lyrics \lyricmode @{ @dots{} @}
213 Lyrics can be aligned with melodies in two main ways:
218 Lyrics can be aligned automatically, with the durations of the
219 syllables being taken from another voice of music or (in special
220 circumstances) an associated melody, using @code{\addlyrics},
221 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
222 For more details, see @ref{Automatic syllable durations}.
224 @lilypond[quote,ragged-right,verbatim]
228 \new Voice = "one" \relative c'' {
230 c4 b8. a16 g4. r8 a4 ( b ) c2
232 \new Voice = "two" \relative c' {
238 % takes durations and alignment from notes in "one"
239 \new Lyrics \lyricsto "one" {
240 Life is __ _ love, live __ life.
243 % takes durations and alignment from notes in "one" initially
244 % then switches to "two"
245 \new Lyrics \lyricsto "one" {
247 \set associatedVoice = "two" % must be set one syllable early
248 sins and sor -- rows grow.
253 The first stanza shows the normal way of entering lyrics.
255 The second stanza shows how the voice from which the lyric
256 durations are taken can be changed. This is useful if the words to
257 different stanzas fit the notes in different ways and all the
258 durations are available in Voice contexts. For more details, see
262 Lyrics can be aligned independently of the duration of any notes
263 if the durations of the syllables are specified explicitly,
264 and entered with @code{\lyricmode}.
266 @lilypond[quote,ragged-right,verbatim]
268 \new Voice = "one" \relative c'' {
270 c4 b8. a16 g4. f8 e4 d c2
273 % uses default durations of 2;
274 \new Lyrics \lyricmode {
278 % explicit durations, set to a different rhythm
279 \new Lyrics \lyricmode {
280 Life4 is love,2. live4 life.2
285 The first stanza is not aligned with the notes because the durations
286 were not specified, and the default value of 2 is used for each
289 The second stanza shows how the words can be aligned quite
290 independently from the notes. This is useful if the words to
291 different stanzas fit the notes in different ways and the required
292 durations are not available in a music context. For more details
293 see @ref{Manual syllable durations}. This technical is also useful
294 when setting dialogue over music; for examples showing this, see
295 @ref{Dialogue over music}.
297 When entered in this way the words are left-aligned to the notes
298 by default, but may be center-aligned to the notes of a melody by
299 specifying an associated voice, if one exists. For details, see
300 @ref{Manual syllable durations}.
306 @rlearning{Aligning lyrics to a melody}.
311 @node Automatic syllable durations
312 @unnumberedsubsubsec Automatic syllable durations
314 @cindex syllable durations, automatic
315 @cindex lyrics and melodies
316 @cindex associatedVoice
320 Lyrics can be automatically aligned to the notes of a melody in
326 by specifying the named Voice context containing the melody with
330 by introducing the lyrics with @code{\addlyrics} and placing them
331 immediately after the Voice context containing the melody,
334 by setting the @code{associatedVoice} property, the alignment of
335 the lyrics may be switched to a different named Voice context at
340 In all three methods hyphens can be drawn between the syllables of
341 a word and extender lines can be drawn beyond the end of a word. For
342 details, see @ref{Extenders and hyphens}.
344 The @code{Voice} context containing the melody to which the lyrics
345 are being aligned must not have @qq{died}, or the lyrics after that
346 point will be lost. This can happen if there are periods when that
347 voice has nothing to do. For methods of keeping contexts alive, see
348 @ref{Keeping contexts alive}.
350 @subheading Using @code{\lyricsto}
355 Lyrics can be aligned under a melody automatically by specifying
356 the named Voice context containing the melody with
359 @lilypond[quote,verbatim,relative=2]
361 \new Voice = "melody" {
364 \new Lyrics \lyricsto "melody" {
371 This aligns the lyrics to the notes of the named @code{Voice}
372 context, which must already exist. Therefore normally the
373 @code{Voice} context is specified first, followed by the
374 @code{Lyrics} context. The lyrics themselves follow the
375 @code{\lyricsto} command. The @code{\lyricsto} command
376 invokes lyric mode automatically, so the @code{\lyricmode} keyword
377 may be omitted. By default, the lyrics are placed underneath the
378 notes. For other placements, see @ref{Placing lyrics vertically}.
380 @subheading Using @code{\addlyrics}
385 The @code{\addlyrics} command is just a convenient shortcut that
386 can sometimes be used instead of having to set up the lyrics
387 through a more complicated LilyPond structure.
391 \addlyrics @{ LYRICS @}
398 \new Voice = "blah" @{ MUSIC @}
399 \new Lyrics \lyricsto "blah" @{ LYRICS @}
404 @lilypond[verbatim,quote]
407 \relative c' { c2 e4 g2. }
408 \addlyrics { play the game }
412 More stanzas can be added by adding more
413 @code{\addlyrics} sections:
416 @lilypond[ragged-right,verbatim,fragment,quote]
418 \relative c' { c2 e4 g2. }
419 \addlyrics { play the game }
420 \addlyrics { speel het spel }
421 \addlyrics { joue le jeu }
424 The command @code{\addlyrics} cannot handle polyphonic settings.
425 For these cases one should use @code{\lyricsto}.
427 @subheading Using associatedVoice
429 The melody to which the lyrics are being aligned can be changed by
430 setting the @code{associatedVoice} property,
433 \set associatedVoice = #"lala"
438 The value of the property (here: @code{"lala"}) should be the name
439 of a @code{Voice} context. For technical reasons, the @code{\set}
440 command must be placed one syllable before the one to which the
441 change in voice is to apply.
443 Here is an example demonstrating its use:
445 @lilypond[quote,ragged-right,verbatim]
449 \new Voice = "one" \relative c'' {
451 c4 b8. a16 g4. r8 a4 ( b ) c2
453 \new Voice = "two" \relative c' {
458 % takes durations and alignment from notes in "one" initially
459 % then switches to "two"
460 \new Lyrics \lyricsto "one" {
462 \set associatedVoice = "two" % must be set one syllable early
463 sins and sor -- rows grow.
470 @ref{Extenders and hyphens}.
472 @node Manual syllable durations
473 @unnumberedsubsubsec Manual syllable durations
475 In some complex vocal music, it may be desirable to place lyrics
476 completely independently of notes. In this case do not use
477 @code{\lyricsto} or @code{\addlyrics} and do not set
478 @code{associatedVoice}. Syllables are entered like notes --
479 but with pitches replaced by text -- and the duration of each
480 syllable is entered explicitly after the syllable.
482 By default, syllables will be left-aligned to the corresponding
483 musical moment. Hyphenated lines may be drawn between syllables
484 as usual, but extender lines cannot be drawn when there is no
487 Here are two examples:
489 @lilypond[relative=1,verbatim,quote]
491 \new Voice = "melody" {
495 \new Lyrics \lyricmode {
502 @lilypond[quote,verbatim,ragged-right]
524 This technique is useful when writing dialogue over music, see
525 @ref{Dialogue over music}.
527 To center-align syllables on the notes at the corresponding musical
528 moments, set @code{associatedVoice} to the name of the Voice context
529 containing those notes. When @code{associatedVoice} is set, both
530 double hyphens and double underscores can be used to draw
531 hyphenated lines and extenders under melismata correctly.
533 @lilypond[relative=1,verbatim,quote]
535 \new Voice = "melody" {
539 \new Lyrics \lyricmode {
540 \set associatedVoice = #"melody"
546 @c TODO see also feature request 707 - show how to do this with manual durations
550 @ref{Dialogue over music},
551 @ref{Keeping contexts alive}.
558 @node Multiple syllables to one note
559 @unnumberedsubsubsec Multiple syllables to one note
562 @cindex spaces, in lyrics
563 @cindex quotes, in lyrics
564 @cindex ties, in lyrics
566 In order to assign more than one syllable to a single note with
567 spaces between the syllables, you can surround the phrase with
568 quotes or use a @code{_} character. Alternatively, you can use
569 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
570 tie is implemented with the Unicode character U+203F, so be
571 sure to have a font (like DejaVuLGC) installed that includes this
574 @lilypond[quote,ragged-right,fragment,verbatim]
576 \relative c' { c2 e4 g2 e4 }
577 \addlyrics { gran- de_a- mi- go }
578 \addlyrics { pu- "ro y ho-" nes- to }
579 \addlyrics { pu- ro~y~ho- nes- to }
585 @rinternals{LyricCombineMusic}.
588 @node Multiple notes to one syllable
589 @unnumberedsubsubsec Multiple notes to one syllable
593 @cindex phrasing, in lyrics
595 @funindex \melismaEnd
597 Sometimes, particularly in Medieval music, several notes are to be
598 sung on one syllable; such vocalises are called melismata, or
599 @rglos{melisma}s. The syllable to a melisma is usually
600 left-aligned with the first note of the melisma.
602 When a melisma occurs on a syllable other that the last one in a
603 word, that syllable is usually joined to the following one with a
604 hyphenated line. This is indicated by placing a double hyphen,
605 @code{--}, immediately after the syllable.
607 Alternatively, when a melisma occurs on the last or only syllable in
608 a word an extender line is usually drawn from the end of the syllable
609 to the last note of the melisma. This is indicated by placing a
610 double underscore, @code{__}, immediately after the word.
612 There are five ways in which melismata can be indicated:
617 Melismata are created automatically over notes which are tied
620 @lilypond[quote,relative=2,verbatim]
622 \new Voice = "melody" {
628 \new Lyrics \lyricsto "melody" {
635 Melismata can be created automatically from the music by placing
636 slurs over the notes of each melisma. This is the usual way of
639 @lilypond[quote,relative=2,verbatim]
641 \new Voice = "melody" {
646 \new Lyrics \lyricsto "melody" {
653 Notes are considered a melisma if they are manually beamed,
654 providing automatic beaming is switched off. See
655 @ref{Setting automatic beam behavior}.
657 @lilypond[quote,relative=2,verbatim]
659 \new Voice = "melody" {
665 \new Lyrics \lyricsto "melody" {
671 Clearly this is not suited to melisma over notes which are longer
675 An unslurred group of notes will be treated as a melisma if they
676 are bracketed between @code{\melisma} and @code{\melismaEnd}.
678 @lilypond[quote,relative=2,verbatim]
680 \new Voice = "melody" {
688 \new Lyrics \lyricsto "melody" {
694 Note that this method cannot be used to indicate two melismata if
695 the first one is immediately followed by another.
698 A melisma can be defined entirely in the lyrics by entering a
699 single underscore character, @code{_}, for every extra note that has
700 to be added to the melisma.
702 @lilypond[verbatim, quote, relative=2]
704 \new Voice = "melody" {
709 \new Lyrics \lyricsto "melody" {
710 Ki -- ri -- _ _ _ e __ _ _
717 It is possible to have ties, slurs and manual beams in the melody
718 without their indicating melismata. To do this, set
719 @code{melismaBusyProperties} and indicate the melismata with single
720 underscores in the lyrics, one underscore for each extra note:
722 @lilypond[relative=1,verbatim,quote]
724 \new Voice = "melody" {
726 \set melismaBusyProperties = #'()
731 \new Lyrics \lyricsto "melody" {
732 Ky -- _ _ _ _ ri -- _ _ e __ _
737 Other settings for @code{melismaBusyProperties} can be used to
738 include or exclude ties, slurs, and beams from the automatic
739 detection of melismata; see @code{melismaBusyProperties} in
740 @rinternals{Tunable context properties}.
754 @rlearning{Aligning lyrics to a melody}.
757 @ref{Aligning lyrics to a melody},
758 @ref{Automatic syllable durations},
759 @ref{Setting automatic beam behavior}.
762 @rinternals{Tunable context properties}.
766 Extender lines under melismata are not created automatically; they
767 must be inserted manually with a double underscore.
770 @unnumberedsubsubsec Skipping notes
772 Making a lyric line run slower than the melody can be achieved by
773 inserting @code{\skip}s into the lyrics. For every @code{\skip},
774 the text will be delayed by another note. The @code{\skip} command
775 must be followed by a valid duration, but this is ignored when
776 @code{\skip} is used in lyrics which derive their durations from the
777 notes in an associated melody through @code{\addlyrics} or
780 @lilypond[verbatim,ragged-right,quote]
781 \relative c' { c c g' }
789 @node Extenders and hyphens
790 @unnumberedsubsubsec Extenders and hyphens
795 @c leave this as samp. -gp
796 In the last syllable of a word, melismata are sometimes indicated with
797 a long horizontal line starting in the melisma syllable, and ending in
798 the next one. Such a line is called an extender line, and it is
799 entered as @samp{ __ } (note the spaces before and after the two
800 underscore characters).
802 @warning{Melismata are indicated in the score with extender lines,
803 which are entered as one double underscore; but short melismata can
804 also be entered by skipping individual notes, which are entered as
805 single underscore characters; these do not make an extender line to be
810 @c leave this as samp. -gp
811 Centered hyphens are entered as @samp{ -- } between syllables of a same word
812 (note the spaces before and after the two hyphen characters). The hyphen
813 will be centered between the syllables, and its length will be adjusted
814 depending on the space between the syllables.
816 In tightly engraved music, hyphens can be removed. Whether this
817 happens can be controlled with the @code{minimum-distance} (minimum
818 distance between two syllables) and the @code{minimum-length}
819 (threshold below which hyphens are removed).
824 @rinternals{LyricExtender},
825 @rinternals{LyricHyphen}.
828 @node Techniques specific to lyrics
829 @subsection Techniques specific to lyrics
831 @c TODO this whole section is to be reorganised
834 * Working with lyrics and variables::
835 * Placing lyrics vertically::
836 * Placing syllables horizontally::
837 * Lyrics and repeats::
843 @node Working with lyrics and variables
844 @unnumberedsubsubsec Working with lyrics and variables
846 @cindex lyrics, using variables
848 Variables containing lyrics can be created, but the lyrics must be
849 entered in lyric mode:
851 @lilypond[quote,verbatim]
852 musicOne = \relative c'' {
853 c4 b8. a16 g4. f8 e4 d c2
855 verseOne = \lyricmode {
856 Joy to the world, the Lord is come.
864 \new Lyrics \lyricsto "one" {
871 Durations do not need to be added if the variable is to be invoked
872 with @code{\addlyrics} or @code{\lyricsto}.
874 For different or more complex orderings, the best way is to define
875 the music and lyric variables first, then set up the hierarchy of
876 staves and lyrics, omitting the lyrics and then add the lyrics using
877 @code{\context} underneath. This ensures that the voices referenced
878 by @code{\lyricsto} have always been defined earlier. For example:
880 @lilypond[quote,verbatim]
881 sopranoMusic = \relative c'' { c4 c c c }
882 contraltoMusic = \relative c'' { a4 a a a }
883 sopranoWords = \lyricmode { Sop -- ra -- no words }
884 contraltoWords = \lyricmode { Con -- tral -- to words }
889 \new Voice = "sopranos" {
893 \new Lyrics = "sopranos"
894 \new Lyrics = "contraltos"
896 \new Voice = "contraltos" {
900 \context Lyrics = "sopranos" {
901 \lyricsto "sopranos" {
905 \context Lyrics = "contraltos" {
906 \lyricsto "contraltos" {
917 @ref{Placing lyrics vertically}.
920 @rinternals{LyricCombineMusic},
924 @node Placing lyrics vertically
925 @unnumberedsubsubsec Placing lyrics vertically
927 @cindex placement of lyrics
928 @cindex lyrics, positioning
930 Depending on the type of music, lyrics may be positioned
931 above the staff, below the staff, or between staves. Placing
932 lyrics below the associated staff is the easiest, and can be
933 achieved by simply defining the Lyrics context below the Staff
936 @lilypond[quote,verbatim]
940 \new Voice = "melody" {
941 \relative c'' { c4 c c c }
953 Lyrics may be positioned above the staff using one of
954 two methods. The simplest is to use the same syntax as
955 above and explicitly specify the position of the lyrics:
957 @lilypond[quote,verbatim]
960 \new Staff = "staff" {
961 \new Voice = "melody" {
962 \relative c'' { c4 c c c }
965 \new Lyrics \with { alignAboveContext = "staff" } {
974 Alternatively, a two-step process may be used. First the Lyrics
975 context is declared (without any content) before the Staff and
976 Voice contexts, then the @code{\lyricsto} command comes after
977 the Voice declaration it references, as follows:
979 @lilypond[quote,verbatim]
982 \new Lyrics = "lyrics"
984 \new Voice = "melody" {
985 \relative c'' { c4 c c c }
988 \context Lyrics = "lyrics" {
997 When there are two voices on separate staves the lyrics may be
998 placed between the staves using either of these methods. Here
999 is an example of the second method:
1001 @lilypond[quote,verbatim]
1005 \new Voice = "sopranos" {
1006 \relative c'' { c4 c c c }
1009 \new Lyrics = "sopranos"
1010 \new Lyrics = "contraltos"
1012 \new Voice = "contraltos" {
1013 \relative c'' { a4 a a a }
1016 \context Lyrics = "sopranos" {
1017 \lyricsto "sopranos" {
1018 Sop -- ra -- no words
1021 \context Lyrics = "contraltos" {
1022 \lyricsto "contraltos" {
1023 Con -- tral -- to words
1030 Other combinations of lyrics and staves may be generated by
1031 elaborating these examples, or by examining the
1032 @rlearning{Vocal ensembles} templates in the Learning Manual.
1036 @rlearning{Vocal ensembles}.
1039 @ref{Aligning contexts},
1040 @ref{Creating contexts}.
1042 @node Placing syllables horizontally
1043 @unnumberedsubsubsec Placing syllables horizontally
1045 @cindex Spacing lyrics
1046 @cindex Lyrics, increasing space between
1048 To increase the spacing between lyrics, set the @code{minimum-distance}
1049 property of @code{LyricSpace}.
1051 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1054 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1058 longtext longtext longtext longtext
1059 longtext longtext longtext longtext
1064 To make this change for all lyrics in the score, set the property in the
1067 @lilypond[verbatim,quote,ragged-right]
1074 longtext longtext longtext longtext
1075 longtext longtext longtext longtext
1080 \override LyricSpace #'minimum-distance = #1.0
1087 @c This snippet has been renamed to "lyrics-alignment.ly"
1088 @c update as soon as lsr/is updated -vv
1089 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1090 @c {lyrics-alignment.ly}
1092 @c TODO: move to LSR -vv
1095 Checking to make sure that text scripts and lyrics are within the margins is
1096 a relatively large computational task. To speed up processing, LilyPond does
1097 not perform such calculations by default; to enable it, use
1100 \override Score.PaperColumn #'keep-inside-line = ##t
1103 To make lyrics avoid bar lines as well, use
1109 \consists "Bar_engraver"
1110 \consists "Separating_line_group_engraver"
1111 \override BarLine #'transparent = ##t
1116 @c TODO Create and add lsr example of lyricMelismaAlignment
1117 @c It's used like this to center-align all lyric syllables,
1118 @c even when notes are tied. -td
1123 \context { \Score lyricMelismaAlignment = #0 }
1128 @node Lyrics and repeats
1129 @unnumberedsubsubsec Lyrics and repeats
1131 @cindex repeats and lyrics
1132 @cindex lyrics, repeating
1134 @subheading Simple repeats
1136 Repeats in @emph{music} are fully described elsewhere; see
1137 @ref{Repeats}. This section explains how to add lyrics to repeated
1140 Lyrics to a section of music that is repeated should be surrounded
1141 by exactly the same repeat construct as the music, if the words are
1144 @lilypond[verbatim,quote]
1148 \new Voice = "melody" {
1151 \repeat volta 2 { b4 b b b }
1156 \lyricsto "melody" {
1157 Not re -- peat -- ed.
1158 \repeat volta 2 { Re -- peat -- ed twice. }
1165 The words will then be correctly expanded if the repeats are
1168 @lilypond[verbatim,quote]
1173 \new Voice = "melody" {
1176 \repeat volta 2 { b4 b b b }
1181 \lyricsto "melody" {
1182 Not re -- peat -- ed.
1183 \repeat volta 2 { Re -- peat -- ed twice. }
1191 If the repeated section is to be unfolded and has different words,
1192 simply enter all the words:
1194 @lilypond[verbatim,quote,ragged-right]
1198 \new Voice = "melody" {
1201 \repeat unfold 2 { b4 b b b }
1206 \lyricsto "melody" {
1207 Not re -- peat -- ed.
1208 The first time words.
1209 Sec -- ond time words.
1219 When the words to a repeated volta section are different, the words
1220 to each repeat must be entered in separate @code{Lyrics} contexts.
1221 Earlier unrepeated sections must be skipped in the second and
1222 subsequent repeats. The easiest way to skip several notes is to
1223 use @code{\repeat unfold} around the @code{\skip} command.
1225 Note: do not use an underscore, @code{_}, to skip notes in this
1226 particular case. As this syntax indicates a melisma, it will cause
1227 the preceding syllable to be left-aligned.
1229 @warning{The @code{@bs{}skip} command must be followed by a number,
1230 but this number is ignored in lyrics which derive their durations
1231 from the notes in an associated melody through @code{\addlyrics} or
1232 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1233 value, irrespective of the value of the following number.}
1235 @lilypond[verbatim,quote]
1239 \new Voice = "melody" {
1242 \repeat volta 2 { b4 b b b }
1247 \lyricsto "melody" {
1248 Not re -- peat -- ed.
1249 The first time words.
1253 \lyricsto "melody" {
1254 % skip 4 notes of any duration
1255 \repeat unfold 4 { \skip 1 }
1256 Sec -- ond time words.
1263 @cindex lyrics, repeating with a temporary voice
1265 An alternative way, which avoids skips and having to count notes,
1266 is to use a temporary voice for the repeated section. This may be
1267 preferable if the earlier sections are still subject to change. A
1268 temporary voice can be inserted anywhere in the main music stream
1269 in parallel with it, as shown below, but it may be necessary to
1270 keep the main voice alive in complex scores when using this
1271 technique; see @ref{Keeping contexts alive}.
1273 @lilypond[verbatim,quote,ragged-right]
1277 \new Voice = "singleVoice" {
1278 \relative c'' { a4 a a a }
1279 \new Voice = "repeatVoice" {
1280 \relative c'' \repeat volta 3 { b4 b b b }
1282 \relative c'' { c4 c c c }
1286 \lyricsto "singleVoice" {
1287 Not re -- peat -- ed.
1288 The end sec -- tion.
1290 \lyricsto "repeatVoice" {
1291 The first time words.
1295 \lyricsto "repeatVoice" {
1296 Sec -- ond time words.
1300 \lyricsto "repeatVoice" {
1301 The third time words.
1308 @c TODO lowering a common line of lyrics
1310 @subheading Repeats with alternative endings
1312 @cindex lyrics, repeats with alternative endings
1313 @cindex repeating lyrics with alternative endings
1314 @cindex alternative endings and lyrics
1316 If the words of the repeated section are the same, exactly the
1317 same structure can be used for both the lyrics and music.
1319 @lilypond[quote,verbatim]
1324 \new Voice = "melody" {
1327 \repeat volta 2 { b4 b }
1328 \alternative { { b b } { b c } }
1333 \lyricsto "melody" {
1334 Not re -- peat -- ed.
1335 \repeat volta 2 { Re -- peat -- }
1336 \alternative { { ed twice. } { ed twice. } }
1343 But when the repeated section has different words, a repeat
1344 construct cannot be used around the words and @code{\skip} commands
1345 have to be inserted manually as described in the previous section to
1346 skip over the notes in the alternative sections which do not apply.
1348 @lilypond[verbatim,quote,ragged-right]
1353 \new Voice = "melody" {
1355 \repeat volta 2 { b4 b }
1356 \alternative { { b b } { b c } }
1362 \lyricsto "melody" {
1363 The first time words.
1364 \repeat unfold 2 { \skip 1 }
1369 \lyricsto "melody" {
1371 \repeat unfold 2 { \skip 1 }
1379 @cindex lyrics and tied notes
1380 @funindex \repeatTie
1382 When a note is tied over into two or more alternative endings a
1383 tie is used to carry the note into the first alternative ending and
1384 a @code{\repeatTie} is used in the second and subsequent endings.
1385 This structure causes difficult alignment problems when lyrics are
1386 involved and increasing the length of the alternative sections so
1387 the tied notes are contained wholly within them may give a more
1390 The tie creates a melisma into the first alternative, but not into
1391 the second and subsequent alternatives, so to align the lyrics
1392 correctly it is necessary to disable the automatic creation of
1393 melismata over the volta section and insert manual skips.
1395 @lilypond[quote,verbatim]
1400 \new Voice = "melody" {
1402 \set melismaBusyProperties = #'()
1403 \repeat volta 2 { b4 b ~}
1404 \alternative { { b b } { b \repeatTie c } }
1405 \unset melismaBusyProperties
1411 \lyricsto "melody" {
1412 \repeat volta 2 { Here's a __ }
1424 Note that if @code{\unfoldRepeats} is used around a section
1425 containing @code{\repeatTie}, the @code{\repeatTie} should be
1426 removed to avoid both types of tie being printed.
1428 When the repeated section has different words a @code{\repeat}
1429 cannot be used around the lyrics and @code{\skip} commands need to
1430 be inserted manually, as before.
1432 @lilypond[quote,verbatim]
1437 \new Voice = "melody" {
1439 \repeat volta 2 { b4 b ~}
1440 \alternative { { b b } { b \repeatTie c } }
1446 \lyricsto "melody" {
1448 \repeat unfold 2 { \skip 1 }
1452 \lyricsto "melody" {
1454 \repeat unfold 2 { \skip 1 }
1462 If you wish to show extenders and hyphens into and out of
1463 alternative sections these must be inserted manually.
1465 @lilypond[quote,verbatim]
1470 \new Voice = "melody" {
1472 \repeat volta 2 { b4 b ~}
1473 \alternative { { b b } { b \repeatTie c } }
1479 \lyricsto "melody" {
1481 \repeat unfold 2 { \skip 1 }
1485 \lyricsto "melody" {
1498 @unnumberedsubsubsec Divisi lyrics
1500 @cindex divided lyrics
1501 @cindex lyrics, divided
1503 When just the words and rhythms of the two parts differ with the
1504 pitches remaining the same, temporarily turning off the automatic
1505 detection of melismata and indicating the melisma in the lyrics
1506 may be the appropriate method to use:
1508 @lilypond[quote,verbatim]
1511 \new Voice = "melody" {
1513 \set melismaBusyProperties = #'()
1517 \unset melismaBusyProperties
1521 \new Lyrics \lyricsto "melody" {
1522 They shall not o -- ver -- come
1524 \new Lyrics \lyricsto "melody" {
1531 When both music and words differ it may be better to display
1532 the differing music and lyrics by naming voice contexts and
1533 attaching lyrics to those specific contexts:
1535 @lilypond[verbatim,ragged-right,quote]
1538 \new Voice = "melody" {
1545 \new Voice = "splitpart" {
1555 \new Lyrics \lyricsto "melody" {
1556 They shall not o -- ver -- come
1558 \new Lyrics \lyricsto "splitpart" {
1570 * Adding stanza numbers::
1571 * Adding dynamics marks to stanzas::
1572 * Adding singers' names to stanzas::
1573 * Stanzas with different rhythms::
1574 * Printing stanzas at the end::
1575 * Printing stanzas at the end in multiple columns::
1579 @node Adding stanza numbers
1580 @unnumberedsubsubsec Adding stanza numbers
1582 @cindex stanza number
1584 Stanza numbers can be added by setting @code{stanza}, e.g.,
1586 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1588 \time 3/4 g2 e4 a2 f4 g2.
1590 \set stanza = #"1. "
1591 Hi, my name is Bert.
1593 \set stanza = #"2. "
1594 Oh, ché -- ri, je t'aime
1600 These numbers are put just before the start of the first syllable.
1602 @c TODO Create and add snippet to show how two lines of a
1603 @c stanza can be grouped together, along these lines:
1604 @c (might need improving a bit) -td
1607 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1611 \set stanza = \markup { "1. " \leftbrace }
1612 \lyricmode { Child, you're mine and I love you.
1613 Lend thine ear to what I say.
1619 % \set stanza = \markup { " "}
1620 \lyricmode { Child, I have no great -- er joy
1621 Than to have you walk in truth.
1627 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1628 c'8 c' c' c' c' c' c'4 }
1629 } \addlyrics { \stanzaOneOne }
1630 \addlyrics { \stanzaOneThree }
1634 @node Adding dynamics marks to stanzas
1635 @unnumberedsubsubsec Adding dynamics marks to stanzas
1637 Stanzas differing in loudness may be indicated by putting a
1638 dynamics mark before each stanza. In LilyPond, everything coming in
1639 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1640 are no different. For technical reasons, you have to set the stanza
1641 outside @code{\lyricmode}:
1643 @lilypond[quote,ragged-right,verbatim]
1645 \set stanza = \markup { \dynamic "ff" "1. " }
1652 \new Voice = "tune" {
1656 \new Lyrics \lyricsto "tune" \text
1660 @node Adding singers' names to stanzas
1661 @unnumberedsubsubsec Adding singers' names to stanzas
1664 @cindex name of singer
1666 Names of singers can also be added. They are printed at the start of
1667 the line, just like instrument names. They are created by setting
1668 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1670 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1672 \time 3/4 g2 e4 a2 f4 g2.
1674 \set vocalName = #"Bert "
1675 Hi, my name is Bert.
1677 \set vocalName = #"Ernie "
1678 Oh, ché -- ri, je t'aime
1682 @node Stanzas with different rhythms
1683 @unnumberedsubsubsec Stanzas with different rhythms
1685 Often, different stanzas of one song are put to one melody in slightly
1686 differing ways. Such variations can still be captured with
1689 @subsubheading Ignoring melismata
1691 One possibility is that the text has a melisma in one stanza, but
1692 multiple syllables in another one. One solution is to make the faster
1693 voice ignore the melisma. This is done by setting
1694 @code{ignoreMelismata} in the Lyrics context.
1696 @lilypond[verbatim,ragged-right,quote]
1698 \relative c' \new Voice = "lahlah" {
1699 \set Staff.autoBeaming = ##f
1705 \new Lyrics \lyricsto "lahlah" {
1708 \new Lyrics \lyricsto "lahlah" {
1710 \set ignoreMelismata = ##t
1712 \unset ignoreMelismata
1719 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1720 not work if prefixed with @code{\once}. It is necessary to use
1721 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1724 @subsubheading Adding syllables to grace notes
1726 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1727 syllables when using @code{\lyricsto}, but this behavior can be
1730 @lilypond[verbatim,ragged-right,quote]
1732 f4 \appoggiatura a32 b4
1733 \grace { f16[ a16] } b2
1734 \afterGrace b2 { f16[ a16] }
1735 \appoggiatura a32 b4
1740 \set includeGraceNotes = ##t
1743 after -- grace case,
1744 \set ignoreMelismata = ##t
1751 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1752 set at latest one syllable before the one which is to be put under a
1753 grace note. For the case of a grace note at the very beginning of a
1754 piece of music, consider using a @code{\with} or @code{\context}
1757 @lilypond[verbatim,ragged-right,quote]
1759 \new Voice = melody \relative c' {
1760 \grace { c16[( d e f] }
1763 \new Lyrics \with { includeGraceNotes = ##t }
1770 @subsubheading Switching to an alternative melody
1772 More complex variations in text underlay are possible. It is possible
1773 to switch the melody for a line of lyrics during the text. This is
1774 done by setting the @code{associatedVoice} property. In the example
1776 @lilypond[ragged-right,quote]
1778 \relative c' \new Voice = "lahlah" {
1779 \set Staff.autoBeaming = ##f
1782 \new Voice = "alternative" {
1785 % show associations clearly.
1786 \override NoteColumn #'force-hshift = #-3
1797 \new Lyrics \lyricsto "lahlah" {
1798 Ju -- ras -- sic Park
1800 \new Lyrics \lyricsto "lahlah" {
1801 % Tricky: need to set associatedVoice
1802 % one syllable too soon!
1803 \set associatedVoice = alternative % applies to "ran"
1807 \set associatedVoice = lahlah % applies to "rus"
1813 the text for the first stanza is set to a melody called @q{lahlah},
1816 \new Lyrics \lyricsto "lahlah" @{
1817 Ju -- ras -- sic Park
1822 The second stanza initially is set to the @code{lahlah} context, but
1823 for the syllable @q{ran}, it switches to a different melody.
1824 This is achieved with
1826 \set associatedVoice = alternative
1830 Here, @code{alternative} is the name of the @code{Voice} context
1831 containing the triplet.
1833 @c TODO: make this easier to understand -vv
1834 This command must be one syllable too early, before @q{Ty} in this
1835 case. In other words, changing the associatedVoice happens one step
1836 later than expected. This is for technical reasons, and it is not a
1840 \new Lyrics \lyricsto "lahlah" @{
1841 \set associatedVoice = alternative % applies to "ran"
1845 \set associatedVoice = lahlah % applies to "rus"
1851 The underlay is switched back to the starting situation by assigning
1852 @code{lahlah} to @code{associatedVoice}.
1855 @node Printing stanzas at the end
1856 @unnumberedsubsubsec Printing stanzas at the end
1858 Sometimes it is appropriate to have one stanza set
1859 to the music, and the rest added in verse form at
1860 the end of the piece. This can be accomplished by adding
1861 the extra verses into a @code{\markup} section outside
1862 of the main score block. Notice that there are two
1863 different ways to force linebreaks when using
1866 @lilypond[ragged-right,verbatim,quote]
1867 melody = \relative c' {
1873 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1874 its fleece was white as snow.
1878 \new Voice = "one" { \melody }
1879 \new Lyrics \lyricsto "one" \text
1885 \line{ All the children laughed and played }
1886 \line{ To see a lamb at school. }
1893 Mary took it home again,
1895 It was against the rule."
1900 @node Printing stanzas at the end in multiple columns
1901 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1903 When a piece of music has many verses, they are often printed in
1904 multiple columns across the page. An outdented verse number often
1905 introduces each verse. The following example shows how to produce such
1908 @lilypond[ragged-right,quote,verbatim]
1909 melody = \relative c' {
1914 \set stanza = #"1." This is verse one.
1919 \new Voice = "one" { \melody }
1920 \new Lyrics \lyricsto "one" \text
1927 \hspace #0.1 % moves the column off the left margin;
1928 % can be removed if space on the page is tight
1932 "This is verse two."
1936 \hspace #0.1 % adds vertical spacing between verses
1939 "This is verse three."
1944 \hspace #0.1 % adds horizontal spacing between columns;
1945 % if they are still too close, add more " " pairs
1946 % until the result looks good
1950 "This is verse four."
1954 \hspace #0.1 % adds vertical spacing between verses
1957 "This is verse five."
1962 \hspace #0.1 % gives some extra space on the right margin;
1963 % can be removed if page space is tight
1970 Internals Reference:
1971 @rinternals{LyricText},
1972 @rinternals{StanzaNumber}.
1979 * References for songs::
1983 @node References for songs
1984 @unnumberedsubsubsec References for songs
1986 Songs are usually written on three staves with the melody for the
1987 singer on the top staff and two staves of piano accompaniment at
1988 the bottom. The lyrics of the first stanza are printed immediately
1989 underneath the top staff. If there are just a small number of
1990 further stanzas these can be printed immediately under the first
1991 one, but if there are more stanzas than can be easily accommodated
1992 there the second and subsequent stanzas are printed after the music
1993 as stand-alone text.
1995 All the notational elements needed to write songs are fully described
2001 For constructing the staff layout, see @ref{Displaying staves}.
2004 For writing piano music, see
2005 @ref{Keyboard and other multi-staff instruments}.
2008 For writing the lyrics to a melody line, see
2009 @ref{Common notation for vocal music}.
2012 For placing the lyrics, see @ref{Placing lyrics vertically}.
2015 For entering stanzas, see @ref{Stanzas}.
2018 Songs are frequently printed with the chording indicated by chord
2019 names above the staves. This is described in
2020 @ref{Displaying chords}.
2023 To print fret diagrams of the chords for guitar accompaniment or
2024 accompaniment by other fretted instruments, see @qq{Fret diagram
2025 markups} in @ref{Common notation for fretted strings}.
2034 @ref{Common notation for vocal music},
2035 @ref{Displaying chords},
2036 @ref{Displaying staves},
2037 @ref{Keyboard and other multi-staff instruments},
2038 @ref{Placing lyrics vertically},
2042 @unnumberedsubsubsec Lead sheets
2044 Lead sheets may be printed by combining vocal parts and @q{chord mode};
2045 this syntax is explained in @ref{Chord notation}.
2048 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2049 {simple-lead-sheet.ly}
2053 @ref{Chord notation}.
2064 This section discusses notation issues that relate most directly
2065 to choral music. This includes anthems, part songs, oratorio,
2069 * References for choral::
2070 * Score layouts for choral::
2074 @node References for choral
2075 @unnumberedsubsubsec References for choral
2077 Choral music is usually notated on two, three or four staves within
2078 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2079 beneath in a @code{PianoStaff} group, which is usually reduced in
2080 size for @emph{a capella} choral works. The notes for each vocal
2081 part are placed in a @code{Voice} context, with each staff
2082 being given either a single vocal part (i.e., one @code{Voice}) or
2083 a pair of vocal parts (i.e., two @code{Voice}s).
2085 Words are placed in @code{Lyrics} contexts, either underneath each
2086 corresponding music staff, or one above and one below the music
2087 staff if this contains the music for two parts.
2089 Several common topics in choral music are described fully elsewhere:
2094 An introduction to creating an SATB vocal score can be found in
2095 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2098 Several templates suitable for various styles of choral music can
2099 also be found in the Learning Manual, see
2100 @rlearning{Vocal ensembles}.
2103 For information about @code{ChoirStaff} and @code{PianoStaff} see
2104 @ref{Grouping staves}.
2107 Shape noteheads, as used in Sacred Harp and similar notation, are
2108 described in @ref{Shape note heads}.
2111 When two vocal parts share a staff the stems, ties, slurs, etc., of
2112 the higher part will be directed up and those of the lower part
2113 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2114 @ref{Single-staff polyphony}.
2125 @rlearning{Four-part SATB vocal score},
2126 @rlearning{Vocal ensembles}.
2129 @ref{Context layout order},
2130 @ref{Grouping staves},
2131 @ref{Shape note heads},
2132 @ref{Single-staff polyphony}.
2134 Internals Reference:
2135 @rinternals{ChoirStaff},
2136 @rinternals{Lyrics},
2137 @rinternals{PianoStaff}.
2139 @node Score layouts for choral
2140 @unnumberedsubsubsec Score layouts for choral
2142 Choral music containing four staves, with or without piano
2143 accompaniment, is usually laid out with two systems per page.
2144 Depending on the page size, achieving this may require changes
2145 to several default settings. The following settings should be
2151 The global staff size can be modified to change the overall size
2152 of the elements of the score. See @ref{Setting the staff size}.
2155 The distances between the systems, the staves and the lyrics can
2156 all be adjusted independently. See @ref{Vertical spacing}.
2159 The dimensions of the vertical layout variables can be displayed as
2160 an aid to adjusting the vertical spacing. This and other
2161 possibilities for fitting the music onto fewer pages are described
2162 in @ref{Fitting music onto fewer pages}.
2165 If the number of systems per page changes from one to two it is
2166 customary to indicate this with a system separator mark between
2167 the two systems. See @ref{Separating systems}.
2170 For details of other page formatting properties, see
2171 @ref{Page formatting}.
2176 Dynamic markings by default are placed below the staff, but in
2177 choral music they are usually placed above the staff in order to
2178 avoid the lyrics. The predefined command @code{\dynamicUp} does
2179 this for the dynamic markings in a single @code{Voice} context.
2180 If there are many @code{Voice} contexts this predefined command
2181 would have to be placed in every one. Alternatively its expanded
2182 form can be used to place all dynamic markings in the entire score
2183 above their respective staves, as shown here:
2185 @lilypond[verbatim,quote]
2190 \relative c'' { g4\f g g g }
2195 \relative c' { d4 d d\p d }
2202 \override DynamicText #'direction = #UP
2203 \override DynamicLineSpanner #'direction = #UP
2210 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2214 @ref{Changing spacing},
2215 @ref{Displaying spacing},
2216 @ref{Fitting music onto fewer pages},
2217 @ref{Page formatting},
2219 @ref{Separating systems},
2220 @ref{Setting the staff size},
2221 @ref{Using an extra voice for breaks},
2222 @ref{Vertical spacing}.
2224 Internals Reference:
2225 @rinternals{VerticalAxisGroup},
2226 @rinternals{StaffGrouper}.
2229 @node Divided voices
2230 @unnumberedsubsubsec Divided voices
2232 @cindex voices, divided
2234 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2235 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2239 @ref{Expressive marks as lines}.
2242 @node Opera and stage musicals
2243 @subsection Opera and stage musicals
2245 The music, lyrics and dialogue to opera and stage musicals are
2246 usually set out in one or more of the following forms:
2251 A @emph{Conductors' Score} containing the full orchestral and vocal
2252 parts, together with libretto cues if there are spoken passages.
2255 @emph{Orchestral Parts} containing the music for the individual
2256 instruments of the orchestra or band.
2259 A @emph{Vocal Score} containing all vocal parts with piano
2260 accompaniment. The accompaniment is usually an orchestral
2261 reduction, and if so the name of the original orchestral instrument
2262 is often indicated. Vocal scores sometimes includes stage
2263 directions and libretto cues.
2266 A @emph{Vocal Book} containing just the vocal parts
2267 (no accompaniment), sometimes combined with the libretto.
2270 A @emph{Libretto} containing the extended passages of spoken
2271 dialogue usually found in musicals, together with the words to the
2272 sung parts. Stage directions are usually included. LilyPond can
2273 be used to typeset libretti but as they contain no music
2274 alternative methods may be preferable.
2278 The sections in the LilyPond documentation which cover the topics
2279 needed to create scores in the styles commonly found in opera and
2280 musicals are indicated in the References below. This is followed
2281 by sections covering those techniques which are peculiar to
2282 typesetting opera and musical scores.
2285 * References for opera and stage musicals::
2289 * Dialogue over music::
2292 @node References for opera and stage musicals
2293 @unnumberedsubsubsec References for opera and stage musicals
2298 A conductors' score contains many grouped staves and lyrics. Ways
2299 of grouping staves is shown in @ref{Grouping staves}. To nest
2300 groups of staves see @ref{Nested staff groups}.
2303 The printing of empty staves in conductors' scores and vocal scores
2304 is often suppressed. To create such a @qq{Frenched score} see
2305 @ref{Hiding staves}.
2308 Writing orchestral parts is covered in @ref{Writing parts}.
2309 Other sections in the Specialist notation chapter may be relevant,
2310 depending on the orchestration used. Many instruments are
2311 transposing instruments, see @ref{Instrument transpositions}.
2314 If the number of systems per page changes from page to page it is
2315 customary to separate the systems with a system separator mark.
2316 See @ref{Separating systems}.
2319 For details of other page formatting properties, see
2320 @ref{Page formatting}.
2323 Dialogue cues and stage directions can be inserted with markup.
2324 See @ref{Text}. Extensive stage directions can be inserted with
2325 a section of stand-alone markup between two @code{\score} blocks.
2326 See @ref{Separate text}.
2332 @rglos{Frenched score},
2333 @rglos{Frenched staves},
2334 @rglos{transposing instrument}.
2337 @ref{Grouping staves},
2338 @ref{Hiding staves},
2339 @ref{Instrument transpositions},
2340 @ref{Nested staff groups},
2341 @ref{Page formatting},
2342 @ref{Separating systems},
2344 @ref{Writing parts},
2348 @node Character names
2349 @unnumberedsubsubsec Character names
2351 @cindex character names
2352 @cindex names, character
2354 Character names are usually shown to the left of the staff when the
2355 staff is dedicated to that character alone. The instrument name can
2356 be used for this purpose.
2358 @lilypond[quote,verbatim,ragged-right]
2362 \set Staff.instrumentName = #"Kaspar"
2363 \set Staff.shortInstrumentName = #"Kas"
2372 \set Staff.instrumentName = #"Melchior"
2373 \set Staff.shortInstrumentName = #"Mel"
2384 When two or more characters share a staff the character's name is
2385 usually printed above the staff at the start of every section
2386 applying to that character. This can be done with markup. Often a
2387 specific font is used for this purpose.
2389 @lilypond[quote,verbatim,relative=1]
2391 c4^\markup \fontsize #1 \smallCaps Kaspar
2394 a4^\markup \fontsize #1 \smallCaps Melchior
2397 c4^\markup \fontsize #1 \smallCaps Kaspar
2401 Alternatively, if there are many character changes, it may be
2402 easier to set up @qq{instrument} definitions for each character at
2403 the top level so that @code{\instrumentSwitch} can be used to
2404 indicate each change.
2406 @lilypond[quote,verbatim]
2407 \addInstrumentDefinition #"kaspar"
2408 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2409 (shortInstrumentName . "Kas.")
2410 (clefGlyph . "clefs.G")
2411 (clefOctavation . -7)
2412 (middleCPosition . 1)
2414 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2415 (midiInstrument . "voice oohs"))
2417 \addInstrumentDefinition #"melchior"
2418 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2419 (shortInstrumentName . "Mel.")
2420 (clefGlyph . "clefs.F")
2421 (clefOctavation . 0)
2422 (middleCPosition . 6)
2424 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2425 (midiInstrument . "voice aahs"))
2428 \instrumentSwitch "kaspar"
2430 \instrumentSwitch "melchior"
2432 \instrumentSwitch "kaspar"
2439 @ref{Instrument names},
2440 @ref{Scheme functions},
2442 @ref{Text markup commands}.
2445 @rextend{Markup construction in Scheme}.
2448 @unnumberedsubsubsec Musical cues
2450 @cindex musical cues
2451 @cindex cues, musical
2453 Musical cues can be inserted in Vocal Scores, Vocal Books and
2454 Orchestral Parts to indicate what music in another part
2455 immediately precedes an entry. Also, cues are often inserted in the
2456 piano reduction in Vocal Scores to indicate what each orchestral
2457 instrument is playing. This aids the conductor when a full
2458 Conductors' Score is not available.
2460 The basic mechanism for inserting cues is fully explained in the
2461 main text, see @ref{Quoting other voices} and
2462 @ref{Formatting cue notes}. But when many cues have to be
2463 inserted, for example, as an aid to a conductor in a vocal score,
2464 the instrument name must be positioned carefully just before and
2465 close to the start of the cued notes. The following example shows
2466 how this is done. Note that the name of the grob for overriding
2467 the cued instrument name is @code{InstrumentSwitch}.
2469 @lilypond[quote,verbatim]
2470 flute = \relative c'' {
2473 \addQuote "flute" { \flute }
2475 pianoRH = \relative c'' {
2477 % position name of cued instrument just before the cued notes
2478 \once \override CueVoice.InstrumentSwitch
2479 #'self-alignment-X = #RIGHT
2480 % position name of cued instrument above the staff
2481 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2482 \set CueVoice.instrumentCueName = "Flute"
2483 \cueDuring "flute" #UP { g4 bes4 }
2485 pianoLH = \relative c { c4 <c' e> e, <g c> }
2500 If a transposing instrument is being cued the instrument part should
2501 specify its key so the conversion of its cued notes will be done
2502 automatically. The example below shows this transposition for a
2503 B-flat clarinet. The notes in this example are low on the staff so
2504 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2505 down) and the instrument name is positioned below the staff. Note
2506 also that the piano right-hand voice is explicitly declared. This
2507 is because the cued notes in this example begin at the start of the
2508 first bar and this would otherwise cause the entire piano right-hand
2509 notes to be placed in a @code{CueVoice} context.
2511 @lilypond[quote,verbatim]
2512 clarinet = \relative c' {
2516 \addQuote "clarinet" { \clarinet }
2518 pianoRH = \relative c'' {
2520 % position name of cued instrument just before the cued notes
2521 \once \override CueVoice.InstrumentSwitch
2522 #'self-alignment-X = #RIGHT
2523 % position name of cued instrument below the staff
2524 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2525 \set CueVoice.instrumentCueName = "Clar."
2526 \cueDuring "clarinet" #DOWN { c4. g8 }
2529 pianoLH = \relative c { c4 <c' e> e, <g c> }
2548 From these two examples it is clear that inserting many cues in a
2549 Vocal Score would be extremely tedious, and the notes of the piano
2550 part would be obscured by the many overrides. However, as the
2551 following snippet shows, it is possible to define a music function
2552 to reduce the amount of typing and to make the piano notes clearer.
2555 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2556 {adding-orchestral-cues-to-a-vocal-score.ly}
2563 @ref{Aligning objects},
2564 @ref{Direction and placement},
2565 @ref{Formatting cue notes},
2566 @ref{Quoting other voices},
2567 @ref{Using music functions}.
2572 Internals Reference:
2573 @rinternals{InstrumentSwitch},
2574 @rinternals{CueVoice}.
2577 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2578 and all cue notes are placed in that context. This means it is not
2579 possible to have two overlapping sequences of cued notes by this
2580 technique. Overlapping sequences could be entered by explicitly
2581 declaring separate @code{CueVoice} contexts and using
2582 @code{\quoteDuring} to extract and insert the cued notes.
2586 @unnumberedsubsubsec Spoken music
2589 @cindex Sprechgesang
2590 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2591 without pitch but still with rhythm; these are notated by cross
2592 note heads, as demonstrated in @ref{Special note heads}.
2594 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2595 @c add "showing the rhythm of a melody" snip
2596 @c add "one staff-line notation"
2597 @c add "improvisation" ref
2598 @c add "lyrics independents of notes" ref
2600 @node Dialogue over music
2601 @unnumberedsubsubsec Dialogue over music
2603 Dialogue over music is usually printed over the staves in an italic
2604 font, with the start of each phrase keyed in to a particular music
2607 For short interjections a simple markup suffices.
2609 @lilypond[quote,verbatim,relative=2]
2610 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2611 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2615 For longer phrases it may be necessary to expand the music to make
2616 the words fit neatly. There is no provision in LilyPond to do this
2617 fully automatically, and some manual intervention to layout the
2618 page will be necessary.
2620 For long phrases or for passages with a lot of closely packed
2621 dialogue, using a Lyrics context will give better results. The
2622 Lyrics context should not be associated with a music Voice; instead
2623 each section of dialogue should be given an explicit duration. If
2624 there is a gap in the dialogue, the final word should be separated
2625 from the rest and the duration split between them so that the
2626 underlying music spaces out smoothly.
2628 If the dialogue extends for more than one line it will be necessary
2629 to manually insert @code{\break}s and adjust the placing of the
2630 dialogue to avoid running into the right margin. The final word of
2631 the last measure on a line should also be separated out, as above.
2633 Here is an example illustating how this might be done.
2635 @c This should be a snippet, but it can't be as it needs to be
2636 @c manually adjusted to suit the imposed line length. -td
2638 @lilypond[quote,verbatim,ragged-right]
2639 music = \relative c'' {
2640 \repeat unfold 3 { a4 a a a }
2643 dialogue = \lyricmode {
2645 \fontsize #1 \upright \smallCaps Abe:
2646 "Say this over measures one and"
2650 "and this over measure"4*3
2657 \override LyricText #'font-shape = #'italic
2658 \override LyricText #'self-alignment-X = #LEFT
2662 \new Voice { \music }
2668 @c TODO show use of \column to produce dialogue on two lines
2672 @ref{Manual syllable durations},
2676 @rinternals{LyricText}.
2679 @node Chants psalms and hymns
2680 @subsection Chants psalms and hymns
2685 @cindex religious music
2687 The music and words for chants, psalms and hymns usually follow a
2688 well-established format in any particular church. Although the
2689 formats may differ from church to church the type-setting problems
2690 which arise are broadly similar, and are covered in this section.
2693 * References for chants and psalms::
2695 * Pointing a psalm::
2696 * Partial measures in hymn tunes::
2699 @node References for chants and psalms
2700 @unnumberedsubsubsec References for chants and psalms
2702 Typesetting Gregorian chant in various styles of ancient notation
2703 is described in @ref{Ancient notation}.
2707 @ref{Ancient notation}.
2710 @node Setting a chant
2711 @unnumberedsubsubsec Setting a chant
2713 Modern chant settings use modern notation with varying numbers of
2714 elements taken from ancient notation. Some of the elements and
2715 methods to consider are shown here.
2717 Chants often use quarter notes without stems to indicate the pitch,
2718 with the rhythm being taken from the spoken rhythm of the words.
2720 @lilypond[verbatim,quote]
2721 stemOff = { \override Staff.Stem #'transparent = ##t }
2730 Chants often omit the bar lines or use shortened or dotted bar
2731 lines to indicate pauses in the music. To omit all bar lines from
2732 all staves remove the bar line engraver completely:
2734 @lilypond[verbatim,quote]
2755 \remove Bar_engraver
2761 Bar lines can also be removed on a staff-by-staff basis:
2763 @lilypond[verbatim, quote]
2767 \with { \remove Bar_engraver } {
2785 To remove bar lines from just a section of music treat it as a
2786 cadenza. If the section is long you may need to insert dummy
2787 barlines with @code{\bar ""} to show where the line should break.
2789 @lilypond[verbatim,quote,relative=2]
2802 Rests or pauses in chants can be indicated by modified bar lines.
2804 @lilypond[verbatim, quote,relative=2]
2819 Alternatively, the notation used in Gregorian chant for pauses or
2820 rests is sometimes used even though the rest of the notation is
2821 modern. This uses a modified @code{\breathe} mark:
2823 @lilypond[verbatim,quote]
2825 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2826 \once \override BreathingSign #'Y-offset = #0
2830 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2831 \once \override BreathingSign #'Y-offset = #0
2835 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2836 \once \override BreathingSign #'Y-offset = #0
2840 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2841 \once \override BreathingSign #'Y-offset = #0
2859 \remove Bar_engraver
2865 Chants usually omit the time signature and often omit the clef too.
2867 @lilypond[verbatim,quote]
2879 \remove Bar_engraver
2880 \remove Time_signature_engraver
2881 \remove Clef_engraver
2887 Chants for psalms in the Anglican tradition are usually either
2888 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2889 of 7 bars. Each group of 7 bars is divided into two halves,
2890 corresponding to the two halves of each verse, usually separated by
2891 a double bar line. Only whole and half notes are used. The 1st bar
2892 in each half always contains a single chord of whole notes. This is
2893 the @qq{reciting note}. Chants are usually centered on the page.
2895 @lilypond[verbatim,quote]
2896 SopranoMusic = \relative g' {
2897 g1 | c2 b | a1 | \bar "||"
2898 a1 | d2 c | c b | c1 | \bar "||"
2901 AltoMusic = \relative c' {
2903 f1 | f2 e | d d | e1 |
2906 TenorMusic = \relative a {
2908 d1 | g,2 g | g g | g1 |
2911 BassMusic = \relative c {
2913 d1 | b2 c | g' g | c,1 |
2920 % Use markup to center the chant on the page
2929 \new Voice = "Soprano" <<
2933 \new Voice = "Alto" <<
2941 \new Voice = "Tenor" <<
2945 \new Voice = "Bass" <<
2955 \override SpacingSpanner
2956 #'base-shortest-duration = #(ly:make-moment 1 2)
2960 \remove "Time_signature_engraver"
2968 Some other approaches to setting such a chant are shown in the first
2969 of the following snippets.
2973 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2974 {chant-or-psalms-notation.ly}
2976 Canticles and other liturgical texts may be set more freely, and
2977 may use notational elements from ancient music. Often the words
2978 are shown underneath and aligned with the notes. If so, the notes
2979 are spaced in accordance with the syllables rather than the notes'
2982 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2983 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2987 @rlearning{Visibility and color of objects},
2988 @rlearning{Vocal ensembles}.
2991 @ref{Ancient notation},
2993 @ref{Modifying context plug-ins},
2994 @ref{Typesetting Gregorian chant},
2995 @ref{Unmetered music},
2996 @ref{Visibility of objects}.
2999 @node Pointing a psalm
3000 @unnumberedsubsubsec Pointing a psalm
3002 The words to an Anglican psalm are usually printed in separate
3003 verses centered underneath the chant.
3005 Single chants (with 7 bars) are repeated for every verse. Double
3006 chants (with 14 bars) are repeated for every pair of verses. Marks
3007 are inserted in the words to show how they should be fitted to the
3008 chant. Each verse is divided into two halves. A colon is usually
3009 used to indicate this division. This corresponds to the double bar
3010 line in the music. The words before the colon are sung to the first
3011 three bars of music; the words after the colon are sung to the last
3014 Single bar lines (or in some psalters an inverted comma or similar
3015 symbol) are inserted between words to indicate where the bar lines
3016 in the music fall. In markup mode a single bar line can be entered
3017 with the bar check symbol, @code{|}.
3019 @lilypond[verbatim,quote]
3024 \line { O come let us sing | unto the | Lord : let }
3025 \line { us heartily rejoice in the | strength of | our }
3026 \line { sal- | -vation. }
3033 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3034 For details, see @ref{Fonts}.
3036 @lilypond[verbatim,quote]
3038 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3044 \line { O come let us sing \tick unto the \tick Lord : let }
3046 us heartily rejoice in the \tick strength of \tick our
3048 \line { sal \tick vation. }
3055 Where there is one whole note in a bar all the words corresponding
3056 to that bar are recited on that one note in speech rhythm. Where
3057 there are two notes in a bar there will usually be only one or two
3058 corresponding syllables. If there are more that two syllables a
3059 dot is usually inserted to indicate where the change in note occurs.
3061 @lilypond[verbatim,quote]
3063 \raise #0.7 \musicglyph #"dots.dot"
3066 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3073 O come let us sing \tick unto \dot the \tick Lord : let
3076 us heartily rejoice in the \tick strength of \tick our
3078 \line { sal \tick vation. }
3085 In some psalters an asterisk is used to indicate a break in a
3086 recited section instead of a comma, and stressed or slightly
3087 lengthened syllables are indicated in bold text.
3089 @lilypond[verbatim,quote]
3091 \raise #0.7 \musicglyph #"dots.dot"
3094 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3100 \line { Today if ye will hear his voice * }
3102 \concat { \bold hard en }
3103 | not your | hearts : as in the pro-
3105 \line { vocation * and as in the \bold day of tempt- | }
3106 \line { -ation | in the | wilderness. }
3113 In other psalters an accent is placed over the syllable to indicate
3116 @lilypond[verbatim,quote]
3118 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3125 O come let us \concat {
3126 si \combine \tick ng
3128 | unto the | Lord : let
3131 us heartily \concat {
3132 rejo \combine \tick ice
3134 in the | strength of | our
3136 \line { sal- | -vation. }
3143 The use of markup to center text, and arrange lines in columns is
3144 described in @ref{Formatting text}.
3146 Most of these elements are shown in one or other of the two verses
3147 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3151 @rlearning{Vocal ensembles}.
3155 @ref{Formatting text}.
3158 @node Partial measures in hymn tunes
3159 @unnumberedsubsubsec Partial measures in hymn tunes
3161 Hymn tunes frequently start and end every line of music with
3162 partial measures so that each line of music corresponds exactly
3163 with a line of text. This requires a @code{\partial} command at
3164 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3165 commands at the end of each line.
3167 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3171 @node Ancient vocal music
3172 @subsection Ancient vocal music
3174 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3178 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3179 @c and "Transcription of Ancient music with incipit" snippet. -vv
3183 @ref{Ancient notation}.