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
205 Lyrics are printed by interpreting them in the context called
206 @code{Lyrics}, see @ref{Contexts explained}.
209 \new Lyrics \lyricmode @{ @dots{} @}
212 Lyrics can be aligned with melodies in two main ways:
217 They can be aligned automatically, with the durations of the
218 syllables being taken from an associated melody or other voice
219 of music, using @code{\addlyrics} or @code{\lyricsto}. See
220 @ref{Automatic syllable durations}.
223 They can be aligned independently of the duration of any notes
224 if the durations of the syllables are specified explicitly,
225 and entered with @code{\lyricmode}. See
226 @ref{Manual syllable durations}.
230 The following example compares different ways to align lyrics.
232 @lilypond[quote,ragged-right,verbatim]
234 \new Voice = "one" \relative c'' {
237 c4 b8. a16 g4. f8 e4 d c2
240 % uses default durations of 2;
241 \new Lyrics \lyricmode {
245 % explicit durations; left-aligned by default
246 \new Lyrics \lyricmode {
247 Joy4 to8. the16 world!4. the8 Lord4 is come.2
250 % takes durations and alignment from notes in "one"
251 \new Lyrics \lyricsto "one" {
252 No more let sins and sor -- rows grow.
257 The first stanza is not aligned with the notes because the durations
258 were not specified, and the default value of 2 is used for each
259 word. This can be useful for dialogue over music; for more, see
260 @ref{Dialogue over music}.
262 The second stanza with explicitly specified durations is
263 aligned to the notes because the durations are the same as the
264 corresponding notes. The words are left-aligned to the notes by
265 default. Useful if the words to different stanzas fit the notes in
268 The third stanza shows the normal way of entering lyrics.
272 @rlearning{Aligning lyrics to a melody}.
277 @node Automatic syllable durations
278 @unnumberedsubsubsec Automatic syllable durations
280 @cindex syllable durations, automatic
281 @cindex lyrics and melodies
283 Lyrics are aligned and typeset with the help of skips, hyphens and
286 The @code{Voice} context containing the melody to which the lyrics
287 are being aligned must not have @qq{died}, or the lyrics after that
288 point will be lost. This can happen if there are periods when that
289 voice has nothing to do. For methods of keeping contexts alive, see
290 @ref{Keeping contexts alive}.
292 The lyrics can be aligned under a given melody
293 automatically. This is achieved by combining the
294 melody and the lyrics with the @code{\lyricsto} expression
297 \new Lyrics \lyricsto @var{name} @{ @dots{} @}
301 This aligns the lyrics to the
302 notes of the @code{Voice} context called @var{name}, which must
303 already exist. Therefore normally the @code{Voice} is specified first, and
304 then the lyrics are specified with @code{\lyricsto}. The command
305 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
306 @code{\lyricmode} keyword may be omitted.
311 The @code{\addlyrics} command is actually just a convenient shortcut
312 that can sometimes be used instead of having to set up the lyrics
313 through a more complicated LilyPond structure.
317 \addlyrics @{ LYRICS @}
324 \new Voice = "blah" @{ music @}
325 \new Lyrics \lyricsto "blah" @{ LYRICS @}
330 @lilypond[ragged-right,verbatim,fragment,quote]
332 \relative c' { c2 e4 g2. }
333 \addlyrics { play the game }
336 More stanzas can be added by adding more
337 @code{\addlyrics} sections:
339 @lilypond[ragged-right,verbatim,fragment,quote]
341 \relative c' { c2 e4 g2. }
342 \addlyrics { play the game }
343 \addlyrics { speel het spel }
344 \addlyrics { joue le jeu }
347 The command @code{\addlyrics} cannot handle polyphony settings.
348 For these cases one should use @code{\lyricsto} and
349 @code{\lyricmode}, for details see @ref{Entering lyrics}.
351 @node Manual syllable durations
352 @unnumberedsubsubsec Manual syllable durations
354 Lyrics can also be entered without @code{\addlyrics} or
355 @code{\lyricsto}. In this case, syllables are entered like
356 notes -- but with pitches replaced by text -- and the duration
357 of each syllable must be entered explicitly. For example:
364 The alignment to a melody can be specified with the
365 @code{associatedVoice} property,
368 \set associatedVoice = #"lala"
372 The value of the property (here: @code{"lala"}) should be the name of
373 a @code{Voice} context. Without this setting, extender lines
374 will not be formatted properly.
376 Here is an example demonstrating manual lyric durations,
378 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
379 << \new Voice = "melody" {
383 \new Lyrics \lyricmode {
384 \set associatedVoice = #"melody"
392 @ref{Keeping contexts alive}.
399 @node Multiple syllables to one note
400 @unnumberedsubsubsec Multiple syllables to one note
403 @cindex spaces, in lyrics
404 @cindex quotes, in lyrics
405 @cindex ties, in lyrics
407 In order to assign more than one syllable to a single note with
408 spaces between the syllables, you can surround the phrase with
409 quotes or use a @code{_} character. Alternatively, you can use
410 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
411 tie is implemented with the Unicode character U+203F, so be
412 sure to have a font (like DejaVuLGC) installed that includes this
415 @lilypond[quote,ragged-right,fragment,verbatim]
417 \relative c' { c2 e4 g2 e4 }
418 \addlyrics { gran- de_a- mi- go }
419 \addlyrics { pu- "ro y ho-" nes- to }
420 \addlyrics { pu- ro~y~ho- nes- to }
426 @rinternals{LyricCombineMusic}.
429 @node Multiple notes to one syllable
430 @unnumberedsubsubsec Multiple notes to one syllable
434 @cindex phrasing, in lyrics
436 @funindex \melismaEnd
438 Sometimes, particularly in Medieval music, several notes are to be
439 sung on one syllable; such vocalises are called melismata, or
440 @rglos{melisma}s. The syllable to a melisma is usually
441 left-aligned with the first note of the melisma.
443 When a melisma occurs on a syllable other that the last one in a
444 word, that syllable is usually joined to the following one with a
445 hyphenated line. This is indicated by placing a double hyphen,
446 @code{--}, immediately after the syllable.
448 Alternatively, when a melisma occurs on the last or only syllable in
449 a word an extender line is usually drawn from the end of the syllable
450 to the last note of the melisma. This is indicated by placing a
451 double underscore, @code{__}, immediately after the word.
453 There are five ways in which melismata can be indicated:
458 Melismata are created automatically over notes which are tied
461 @lilypond[quote,relative=2,verbatim]
463 \new Voice = "melody" {
469 \new Lyrics \lyricsto "melody" {
476 Melismata can be created automatically from the music by placing
477 slurs over the notes of each melisma. This is the usual way of
480 @lilypond[quote,relative=2,verbatim]
482 \new Voice = "melody" {
487 \new Lyrics \lyricsto "melody" {
494 Notes are considered a melisma if they are manually beamed,
495 providing automatic beaming is switched off. See
496 @ref{Setting automatic beam behavior}.
498 @lilypond[quote,relative=2,verbatim]
500 \new Voice = "melody" {
506 \new Lyrics \lyricsto "melody" {
512 Clearly this is not suited to melisma over notes which are longer
516 An unslurred group of notes will be treated as a melisma if they
517 are bracketed between @code{\melisma} and @code{\melismaEnd}.
519 @lilypond[quote,relative=2,verbatim]
521 \new Voice = "melody" {
529 \new Lyrics \lyricsto "melody" {
535 Note that this method cannot be used to indicate two melismata if
536 the first one is immediately followed by another.
539 A melisma can be defined entirely in the lyrics by entering a
540 single underscore character, @code{_}, for every extra note that has
541 to be added to the melisma.
543 @lilypond[verbatim, quote, relative=2]
545 \new Voice = "melody" {
550 \new Lyrics \lyricsto "melody" {
551 Ki -- ri -- _ _ _ e __ _ _
558 It is possible to have ties, slurs and manual beams in the melody
559 without their indicating melismata. To do this, set
560 @code{melismaBusyProperties} and indicate the melismata with single
561 underscores in the lyrics, one underscore for each extra note:
563 @lilypond[relative=1,verbatim,quote]
565 \new Voice = "melody" {
567 \set melismaBusyProperties = #'()
572 \new Lyrics \lyricsto "melody" {
573 Ky -- _ _ _ _ ri -- _ _ e __ _
578 Other settings for @code{melismaBusyProperties} can be used to
579 include or exclude ties, slurs, and beams from the automatic
580 detection of melismata; see @code{melismaBusyProperties} in
581 @rinternals{Tunable context properties}.
595 @rlearning{Aligning lyrics to a melody}.
598 @ref{Aligning lyrics to a melody},
599 @ref{Automatic syllable durations},
600 @ref{Setting automatic beam behavior}.
603 @rinternals{Tunable context properties}.
607 Extender lines under melismata are not created automatically; they
608 must be inserted manually with a double underscore.
611 @unnumberedsubsubsec Skipping notes
613 Making a lyric line run slower than the melody can be achieved by
614 inserting @code{\skip}s into the lyrics. For every @code{\skip},
615 the text will be delayed by another note. The @code{\skip} command
616 must be followed by a valid duration, but this is ignored when
617 @code{\skip} is used in lyrics which derive their durations from the
618 notes in an associated melody through @code{\addlyrics} or
621 @lilypond[verbatim,ragged-right,quote]
622 \relative c' { c c g' }
630 @node Extenders and hyphens
631 @unnumberedsubsubsec Extenders and hyphens
636 @c leave this as samp. -gp
637 In the last syllable of a word, melismata are sometimes indicated with
638 a long horizontal line starting in the melisma syllable, and ending in
639 the next one. Such a line is called an extender line, and it is
640 entered as @samp{ __ } (note the spaces before and after the two
641 underscore characters).
643 @warning{Melismata are indicated in the score with extender lines,
644 which are entered as one double underscore; but short melismata can
645 also be entered by skipping individual notes, which are entered as
646 single underscore characters; these do not make an extender line to be
651 @c leave this as samp. -gp
652 Centered hyphens are entered as @samp{ -- } between syllables of a same word
653 (note the spaces before and after the two hyphen characters). The hyphen
654 will be centered between the syllables, and its length will be adjusted
655 depending on the space between the syllables.
657 In tightly engraved music, hyphens can be removed. Whether this
658 happens can be controlled with the @code{minimum-distance} (minimum
659 distance between two syllables) and the @code{minimum-length}
660 (threshold below which hyphens are removed).
665 @rinternals{LyricExtender},
666 @rinternals{LyricHyphen}.
669 @node Techniques specific to lyrics
670 @subsection Techniques specific to lyrics
672 @c TODO this whole section is to be reorganised
675 * Working with lyrics and variables::
676 * Lyrics and repeats::
678 * Lyrics independent of notes::
679 * Spacing out syllables::
680 * Placement of lyrics::
685 @node Working with lyrics and variables
686 @unnumberedsubsubsec Working with lyrics and variables
688 @c TODO rewrite this section
690 @cindex lyrics, variables
692 To define variables containing lyrics, the function @code{\lyricmode}
693 must be used. Durations do not need to be added if the variable is
694 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
696 @lilypond[quote,verbatim]
697 verseOne = \lyricmode { Joy to the world, the Lord is come. }
700 \new Voice = "one" \relative c'' {
703 c4 b8. a16 g4. f8 e4 d c2
705 \addlyrics { \verseOne }
710 For different or more complex orderings, the best way is to set up the
711 hierarchy of staves and lyrics first, e.g.,
714 \new Voice = "soprano" @{ @emph{music} @}
715 \new Lyrics = "sopranoLyrics" @{ s1 @}
716 \new Lyrics = "tenorLyrics" @{ s1 @}
717 \new Voice = "tenor" @{ @emph{music} @}
722 and then combine the appropriate melodies and lyric lines:
725 \context Lyrics = sopranoLyrics \lyricsto "soprano"
730 The final input would resemble
733 <<\new ChoirStaff << @emph{setup the music} >>
734 \lyricsto "soprano" @emph{etc}
735 \lyricsto "alto" @emph{etc}
741 @c TODO: document \new Staff << Voice \lyricsto >> bug
743 @rinternals{LyricCombineMusic},
747 @node Lyrics and repeats
748 @unnumberedsubsubsec Lyrics and repeats
750 @cindex repeats and lyrics
751 @cindex lyrics, repeating
753 @subheading Simple repeats
755 Repeats in @emph{music} are fully described elsewhere; see
756 @ref{Repeats}. This section explains how to add lyrics to repeated
759 Lyrics to a section of music that is repeated should be surrounded
760 by exactly the same repeat construct as the music, if the words are
763 @lilypond[verbatim,quote]
767 \new Voice = "melody" {
770 \repeat volta 2 { b4 b b b }
776 Not re -- peat -- ed.
777 \repeat volta 2 { Re -- peat -- ed twice. }
784 The words will then be correctly expanded if the repeats are
787 @lilypond[verbatim,quote]
792 \new Voice = "melody" {
795 \repeat volta 2 { b4 b b b }
801 Not re -- peat -- ed.
802 \repeat volta 2 { Re -- peat -- ed twice. }
810 If the repeated section is to be unfolded and has different words,
811 simply enter all the words:
813 @lilypond[verbatim,quote,ragged-right]
817 \new Voice = "melody" {
820 \repeat unfold 2 { b4 b b b }
826 Not re -- peat -- ed.
827 The first time words.
828 Sec -- ond time words.
838 When the words to a repeated volta section are different, the words
839 to each repeat must be entered in separate @code{Lyrics} contexts.
840 Earlier unrepeated sections must be skipped in the second and
841 subsequent repeats. The easiest way to skip several notes is to
842 use @code{\repeat unfold} around the @code{\skip} command.
844 Note: do not use an underscore, @code{_}, to skip notes in this
845 particular case. As this syntax indicates a melisma, it will cause
846 the preceding syllable to be left-aligned.
848 @warning{The @code{@bs{}skip} command must be followed by a number,
849 but this number is ignored in lyrics which derive their durations
850 from the notes in an associated melody through @code{\addlyrics} or
851 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
852 value, irrespective of the value of the following number.}
854 @lilypond[verbatim,quote]
858 \new Voice = "melody" {
861 \repeat volta 2 { b4 b b b }
867 Not re -- peat -- ed.
868 The first time words.
873 % skip 4 notes of any duration
874 \repeat unfold 4 { \skip 1 }
875 Sec -- ond time words.
882 @cindex lyrics, repeating with a temporary voice
884 An alternative way, which avoids skips and having to count notes,
885 is to use a temporary voice for the repeated section. This may be
886 preferable if the earlier sections are still subject to change. A
887 temporary voice can be inserted anywhere in the main music stream
888 in parallel with it, as shown below, but it may be necessary to
889 keep the main voice alive in complex scores when using this
890 technique; see @ref{Keeping contexts alive}.
892 @lilypond[verbatim,quote,ragged-right]
896 \new Voice = "singleVoice" {
897 \relative c'' { a4 a a a }
898 \new Voice = "repeatVoice" {
899 \relative c'' \repeat volta 3 { b4 b b b }
901 \relative c'' { c4 c c c }
905 \lyricsto "singleVoice" {
906 Not re -- peat -- ed.
909 \lyricsto "repeatVoice" {
910 The first time words.
914 \lyricsto "repeatVoice" {
915 Sec -- ond time words.
919 \lyricsto "repeatVoice" {
920 The third time words.
927 @c TODO lowering a common line of lyrics
929 @subheading Repeats with alternative endings
931 @cindex lyrics, repeats with alternative endings
932 @cindex repeating lyrics with alternative endings
933 @cindex alternative endings and lyrics
935 If the words of the repeated section are the same, exactly the
936 same structure can be used for both the lyrics and music.
938 @lilypond[quote,verbatim]
943 \new Voice = "melody" {
946 \repeat volta 2 { b4 b }
947 \alternative { { b b } { b c } }
953 Not re -- peat -- ed.
954 \repeat volta 2 { Re -- peat -- }
955 \alternative { { ed twice. } { ed twice. } }
962 But when the repeated section has different words, a repeat
963 construct cannot be used around the words and @code{\skip} commands
964 have to be inserted manually as described in the previous section to
965 skip over the notes in the alternative sections which do not apply.
967 @lilypond[verbatim,quote,ragged-right]
972 \new Voice = "melody" {
974 \repeat volta 2 { b4 b }
975 \alternative { { b b } { b c } }
982 The first time words.
983 \repeat unfold 2 { \skip 1 }
990 \repeat unfold 2 { \skip 1 }
998 @cindex lyrics and tied notes
1001 When a note is tied over into two or more alternative endings a
1002 tie is used to carry the note into the first alternative ending and
1003 a @code{\repeatTie} is used in the second and subsequent endings.
1004 This structure causes difficult alignment problems when lyrics are
1005 involved and increasing the length of the alternative sections so
1006 the tied notes are contained wholly within them may give a more
1009 The tie creates a melisma into the first alternative, but not into
1010 the second and subsequent alternatives, so to align the lyrics
1011 correctly it is necessary to disable the automatic creation of
1012 melismata over the volta section and insert manual skips.
1014 @lilypond[quote,verbatim]
1019 \new Voice = "melody" {
1021 \set melismaBusyProperties = #'()
1022 \repeat volta 2 { b4 b ~}
1023 \alternative { { b b } { b \repeatTie c } }
1024 \unset melismaBusyProperties
1030 \lyricsto "melody" {
1031 \repeat volta 2 { Here's a __ }
1043 Note that if @code{\unfoldRepeats} is used around a section
1044 containing @code{\repeatTie}, the @code{\repeatTie} should be
1045 removed to avoid both types of tie being printed.
1047 When the repeated section has different words a @code{\repeat}
1048 cannot be used around the lyrics and @code{\skip} commands need to
1049 be inserted manually, as before.
1051 @lilypond[quote,verbatim]
1056 \new Voice = "melody" {
1058 \repeat volta 2 { b4 b ~}
1059 \alternative { { b b } { b \repeatTie c } }
1065 \lyricsto "melody" {
1067 \repeat unfold 2 { \skip 1 }
1071 \lyricsto "melody" {
1073 \repeat unfold 2 { \skip 1 }
1081 If you wish to show extenders and hyphens into and out of
1082 alternative sections these must be inserted manually.
1084 @lilypond[quote,verbatim]
1089 \new Voice = "melody" {
1091 \repeat volta 2 { b4 b ~}
1092 \alternative { { b b } { b \repeatTie c } }
1098 \lyricsto "melody" {
1100 \repeat unfold 2 { \skip 1 }
1104 \lyricsto "melody" {
1117 @unnumberedsubsubsec Divisi lyrics
1119 @cindex divided lyrics
1120 @cindex lyrics, divided
1122 When just the words and rhythms of the two parts differ with the
1123 pitches remaining the same, temporarily turning off the automatic
1124 detection of melismata and indicating the melisma in the lyrics
1125 may be the appropriate method to use:
1127 @lilypond[quote,verbatim]
1130 \new Voice = "melody" {
1132 \set melismaBusyProperties = #'()
1136 \unset melismaBusyProperties
1140 \new Lyrics \lyricsto "melody" {
1141 They shall not o -- ver -- come
1143 \new Lyrics \lyricsto "melody" {
1150 When both music and words differ it may be better to display
1151 the differing music and lyrics by naming voice contexts and
1152 attaching lyrics to those specific contexts:
1154 @lilypond[verbatim,ragged-right,quote]
1157 \new Voice = "melody" {
1164 \new Voice = "splitpart" {
1174 \new Lyrics \lyricsto "melody" {
1175 They shall not o -- ver -- come
1177 \new Lyrics \lyricsto "splitpart" {
1185 @node Lyrics independent of notes
1186 @unnumberedsubsubsec Lyrics independent of notes
1188 @c TODO remove this section? Don't use DevNull
1189 @c should be all in Manual Syllable durations
1191 @cindex Devnull context
1193 In some complex vocal music, it may be desirable to place
1194 lyrics completely independently of notes. Music defined
1195 inside @code{lyricrhythm} disappears into the
1196 @code{Devnull} context, but the rhythms can still be used
1197 to place the lyrics.
1199 @lilypond[quote,verbatim,ragged-right]
1202 \tag #'music { c''2 }
1203 \tag #'lyricrhythm { c''4. c''8 }
1207 lyr = \lyricmode { I like my cat! }
1210 \new Staff \keepWithTag #'music \voice
1211 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1212 \new Lyrics \lyricsto "nowhere" \lyr
1213 \new Staff { c'8 c' c' c' c' c' c' c'
1214 c' c' c' c' c' c' c' c' }
1218 This method is recommended only if the music in the @code{Devnull}
1219 context does not contain melismata. Melismata are defined by the
1220 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
1221 makes the voice/lyrics links to get lost, and so does the info on
1222 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
1223 the implicit melismata get ignored.
1225 @c Conclusion: do not use devnull for lyrics -FV
1227 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
1229 @node Spacing out syllables
1230 @unnumberedsubsubsec Spacing out syllables
1232 @c TODO move to second item
1234 @cindex Spacing lyrics
1235 @cindex Lyrics, increasing space between
1237 To increase the spacing between lyrics, set the @code{minimum-distance}
1238 property of @code{LyricSpace}.
1240 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1243 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1247 longtext longtext longtext longtext
1248 longtext longtext longtext longtext
1253 To make this change for all lyrics in the score, set the property in the
1256 @lilypond[verbatim,quote,ragged-right]
1263 longtext longtext longtext longtext
1264 longtext longtext longtext longtext
1269 \override LyricSpace #'minimum-distance = #1.0
1276 @c This snippet has been renamed to "lyrics-alignment.ly"
1277 @c update as soon as lsr/is updated -vv
1278 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1279 @c {lyrics-alignment.ly}
1281 @c TODO: move to LSR -vv
1284 Checking to make sure that text scripts and lyrics are within the margins is
1285 a relatively large computational task. To speed up processing, LilyPond does
1286 not perform such calculations by default; to enable it, use
1289 \override Score.PaperColumn #'keep-inside-line = ##t
1292 To make lyrics avoid bar lines as well, use
1298 \consists "Bar_engraver"
1299 \consists "Separating_line_group_engraver"
1300 \override BarLine #'transparent = ##t
1305 @c TODO Create and add lsr example of lyricMelismaAlignment
1306 @c It's used like this to center-align all lyric syllables,
1307 @c even when notes are tied. -td
1312 \context { \Score lyricMelismaAlignment = #0 }
1317 @node Placement of lyrics
1318 @unnumberedsubsubsec Placement of lyrics
1320 @cindex placement of lyrics
1321 @cindex lyrics, positioning
1323 @c TODO Add text from -user
1325 Lyrics are positioned above the staff, below the staff, or between
1326 staves, depending on the type of music. To place lyrics below the
1327 associated staff simply define the Lyrics context below the Staff
1330 @lilypond[quote,verbatim]
1334 \new Voice = "melody" {
1335 \relative c'' { c4 c c c }
1339 \lyricsto "melody" {
1347 To position lyrics above the staff, place the declaration of the
1348 Lyrics context before the Staff and Voice contexts, but the
1349 @code{\lyricsto} command must come after the Voice declaration it
1350 references, like this:
1352 @lilypond[quote,verbatim]
1355 \new Lyrics = "lyrics"
1357 \new Voice = "melody" {
1358 \relative c'' { c4 c c c }
1361 \context Lyrics = "lyrics" {
1362 \lyricsto "melody" {
1370 Alternatively, the position of the lyrics may be specified
1373 @lilypond[quote,verbatim]
1376 \new Staff = "staff" {
1377 \new Voice = "melody" {
1378 \relative c'' { c4 c c c }
1381 \new Lyrics \with { alignAboveContext = "staff" } {
1382 \lyricsto "melody" {
1390 When there are two voices on separate staves the lyrics may be
1391 placed between the staves using either of these methods. Here
1392 is an example of the first method:
1394 @lilypond[quote,verbatim]
1398 \new Voice = "sopranos" {
1399 \relative c'' { c4 c c c }
1402 \new Lyrics = "sopranos"
1403 \new Lyrics = "contraltos"
1405 \new Voice = "contraltos" {
1406 \relative c'' { a4 a a a }
1409 \context Lyrics = "sopranos" {
1410 \lyricsto "sopranos" {
1411 Sop -- ra -- no words
1414 \context Lyrics = "contraltos" {
1415 \lyricsto "contraltos" {
1416 Con -- tral -- to words
1423 Other combinations of lyrics and staves may be generated by
1424 elaborating these examples, or by examining the SATB templates in
1425 the Learning Manual.
1429 @rlearning{Vocal ensembles}.
1432 @ref{Aligning contexts},
1433 @ref{Creating contexts}.
1439 * Adding stanza numbers::
1440 * Adding dynamics marks to stanzas::
1441 * Adding singers' names to stanzas::
1442 * Stanzas with different rhythms::
1443 * Printing stanzas at the end::
1444 * Printing stanzas at the end in multiple columns::
1448 @node Adding stanza numbers
1449 @unnumberedsubsubsec Adding stanza numbers
1451 @cindex stanza number
1453 Stanza numbers can be added by setting @code{stanza}, e.g.,
1455 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1457 \time 3/4 g2 e4 a2 f4 g2.
1459 \set stanza = #"1. "
1460 Hi, my name is Bert.
1462 \set stanza = #"2. "
1463 Oh, ché -- ri, je t'aime
1469 These numbers are put just before the start of the first syllable.
1471 @c TODO Create and add snippet to show how two lines of a
1472 @c stanza can be grouped together, along these lines:
1473 @c (might need improving a bit) -td
1476 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1480 \set stanza = \markup { "1. " \leftbrace }
1481 \lyricmode { Child, you're mine and I love you.
1482 Lend thine ear to what I say.
1488 % \set stanza = \markup { " "}
1489 \lyricmode { Child, I have no great -- er joy
1490 Than to have you walk in truth.
1496 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1497 c'8 c' c' c' c' c' c'4 }
1498 } \addlyrics { \stanzaOneOne }
1499 \addlyrics { \stanzaOneThree }
1503 @node Adding dynamics marks to stanzas
1504 @unnumberedsubsubsec Adding dynamics marks to stanzas
1506 Stanzas differing in loudness may be indicated by putting a
1507 dynamics mark before each stanza. In LilyPond, everything coming in
1508 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1509 are no different. For technical reasons, you have to set the stanza
1510 outside @code{\lyricmode}:
1512 @lilypond[quote,ragged-right,verbatim]
1514 \set stanza = \markup { \dynamic "ff" "1. " }
1521 \new Voice = "tune" {
1525 \new Lyrics \lyricsto "tune" \text
1529 @node Adding singers' names to stanzas
1530 @unnumberedsubsubsec Adding singers' names to stanzas
1533 @cindex name of singer
1535 Names of singers can also be added. They are printed at the start of
1536 the line, just like instrument names. They are created by setting
1537 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1539 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1541 \time 3/4 g2 e4 a2 f4 g2.
1543 \set vocalName = #"Bert "
1544 Hi, my name is Bert.
1546 \set vocalName = #"Ernie "
1547 Oh, ché -- ri, je t'aime
1551 @node Stanzas with different rhythms
1552 @unnumberedsubsubsec Stanzas with different rhythms
1554 Often, different stanzas of one song are put to one melody in slightly
1555 differing ways. Such variations can still be captured with
1558 @subsubheading Ignoring melismata
1560 One possibility is that the text has a melisma in one stanza, but
1561 multiple syllables in another one. One solution is to make the faster
1562 voice ignore the melisma. This is done by setting
1563 @code{ignoreMelismata} in the Lyrics context.
1565 @lilypond[verbatim,ragged-right,quote]
1567 \relative c' \new Voice = "lahlah" {
1568 \set Staff.autoBeaming = ##f
1574 \new Lyrics \lyricsto "lahlah" {
1577 \new Lyrics \lyricsto "lahlah" {
1579 \set ignoreMelismata = ##t
1581 \unset ignoreMelismata
1588 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1589 not work if prefixed with @code{\once}. It is necessary to use
1590 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1593 @subsubheading Adding syllables to grace notes
1595 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1596 syllables when using @code{\lyricsto}, but this behavior can be
1599 @lilypond[verbatim,ragged-right,quote]
1601 f4 \appoggiatura a32 b4
1602 \grace { f16[ a16] } b2
1603 \afterGrace b2 { f16[ a16] }
1604 \appoggiatura a32 b4
1609 \set includeGraceNotes = ##t
1612 after -- grace case,
1613 \set ignoreMelismata = ##t
1620 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1621 set at latest one syllable before the one which is to be put under a
1622 grace note. For the case of a grace note at the very beginning of a
1623 piece of music, consider using a @code{\with} or @code{\context}
1626 @lilypond[verbatim,ragged-right,quote]
1628 \new Voice = melody \relative c' {
1629 \grace { c16[( d e f] }
1632 \new Lyrics \with { includeGraceNotes = ##t }
1639 @subsubheading Switching to an alternative melody
1641 More complex variations in text underlay are possible. It is possible
1642 to switch the melody for a line of lyrics during the text. This is
1643 done by setting the @code{associatedVoice} property. In the example
1645 @lilypond[ragged-right,quote]
1647 \relative c' \new Voice = "lahlah" {
1648 \set Staff.autoBeaming = ##f
1651 \new Voice = "alternative" {
1654 % show associations clearly.
1655 \override NoteColumn #'force-hshift = #-3
1666 \new Lyrics \lyricsto "lahlah" {
1667 Ju -- ras -- sic Park
1669 \new Lyrics \lyricsto "lahlah" {
1670 % Tricky: need to set associatedVoice
1671 % one syllable too soon!
1672 \set associatedVoice = alternative % applies to "ran"
1676 \set associatedVoice = lahlah % applies to "rus"
1682 the text for the first stanza is set to a melody called @q{lahlah},
1685 \new Lyrics \lyricsto "lahlah" @{
1686 Ju -- ras -- sic Park
1691 The second stanza initially is set to the @code{lahlah} context, but
1692 for the syllable @q{ran}, it switches to a different melody.
1693 This is achieved with
1695 \set associatedVoice = alternative
1699 Here, @code{alternative} is the name of the @code{Voice} context
1700 containing the triplet.
1702 @c TODO: make this easier to understand -vv
1703 This command must be one syllable too early, before @q{Ty} in this
1704 case. In other words, changing the associatedVoice happens one step
1705 later than expected. This is for technical reasons, and it is not a
1709 \new Lyrics \lyricsto "lahlah" @{
1710 \set associatedVoice = alternative % applies to "ran"
1714 \set associatedVoice = lahlah % applies to "rus"
1720 The underlay is switched back to the starting situation by assigning
1721 @code{lahlah} to @code{associatedVoice}.
1724 @node Printing stanzas at the end
1725 @unnumberedsubsubsec Printing stanzas at the end
1727 Sometimes it is appropriate to have one stanza set
1728 to the music, and the rest added in verse form at
1729 the end of the piece. This can be accomplished by adding
1730 the extra verses into a @code{\markup} section outside
1731 of the main score block. Notice that there are two
1732 different ways to force linebreaks when using
1735 @lilypond[ragged-right,verbatim,quote]
1736 melody = \relative c' {
1742 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1743 its fleece was white as snow.
1747 \new Voice = "one" { \melody }
1748 \new Lyrics \lyricsto "one" \text
1754 \line{ All the children laughed and played }
1755 \line{ To see a lamb at school. }
1762 Mary took it home again,
1764 It was against the rule."
1769 @node Printing stanzas at the end in multiple columns
1770 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1772 When a piece of music has many verses, they are often printed in
1773 multiple columns across the page. An outdented verse number often
1774 introduces each verse. The following example shows how to produce such
1777 @lilypond[ragged-right,quote,verbatim]
1778 melody = \relative c' {
1783 \set stanza = #"1." This is verse one.
1788 \new Voice = "one" { \melody }
1789 \new Lyrics \lyricsto "one" \text
1796 \hspace #0.1 % moves the column off the left margin;
1797 % can be removed if space on the page is tight
1801 "This is verse two."
1805 \hspace #0.1 % adds vertical spacing between verses
1808 "This is verse three."
1813 \hspace #0.1 % adds horizontal spacing between columns;
1814 % if they are still too close, add more " " pairs
1815 % until the result looks good
1819 "This is verse four."
1823 \hspace #0.1 % adds vertical spacing between verses
1826 "This is verse five."
1831 \hspace #0.1 % gives some extra space on the right margin;
1832 % can be removed if page space is tight
1839 Internals Reference:
1840 @rinternals{LyricText},
1841 @rinternals{StanzaNumber}.
1848 * References for songs::
1852 @node References for songs
1853 @unnumberedsubsubsec References for songs
1855 Songs are usually written on three staves with the melody for the
1856 singer on the top staff and two staves of piano accompaniment at
1857 the bottom. The lyrics of the first stanza are printed immediately
1858 underneath the top staff. If there are just a small number of
1859 further stanzas these can be printed immediately under the first
1860 one, but if there are more stanzas than can be easily accommodated
1861 there the second and subsequent stanzas are printed after the music
1862 as stand-alone text.
1864 All the notational elements needed to write songs are fully described
1870 For constructing the staff layout, see @ref{Displaying staves}.
1873 For writing piano music, see
1874 @ref{Keyboard and other multi-staff instruments}.
1877 For writing the lyrics to a melody line, see
1878 @ref{Common notation for vocal music}.
1881 For placing the lyrics, see @ref{Placement of lyrics}.
1884 For entering stanzas, see @ref{Stanzas}.
1887 Songs are frequently printed with the chording indicated by chord
1888 names above the staves. This is described in
1889 @ref{Displaying chords}.
1892 To print fret diagrams of the chords for guitar accompaniment or
1893 accompaniment by other fretted instruments, see @qq{Fret diagram
1894 markups} in @ref{Common notation for fretted strings}.
1903 @ref{Common notation for vocal music},
1904 @ref{Displaying chords},
1905 @ref{Displaying staves},
1906 @ref{Keyboard and other multi-staff instruments},
1907 @ref{Placement of lyrics},
1911 @unnumberedsubsubsec Lead sheets
1913 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1914 this syntax is explained in @ref{Chord notation}.
1917 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1918 {simple-lead-sheet.ly}
1922 @ref{Chord notation}.
1933 This section discusses notation issues that relate most directly
1934 to choral music. This includes anthems, part songs, oratorio,
1938 * References for choral::
1939 * Score layouts for choral::
1943 @node References for choral
1944 @unnumberedsubsubsec References for choral
1946 Choral music is usually notated on two, three or four staves within
1947 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1948 beneath in a @code{PianoStaff} group, which is usually reduced in
1949 size for @emph{a capella} choral works. The notes for each vocal
1950 part are placed in a @code{Voice} context, with each staff
1951 being given either a single vocal part (i.e., one @code{Voice}) or
1952 a pair of vocal parts (i.e., two @code{Voice}s).
1954 Words are placed in @code{Lyrics} contexts, either underneath each
1955 corresponding music staff, or one above and one below the music
1956 staff if this contains the music for two parts.
1958 Several common topics in choral music are described fully elsewhere:
1963 An introduction to creating an SATB vocal score can be found in
1964 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1967 Several templates suitable for various styles of choral music can
1968 also be found in the Learning Manual, see
1969 @rlearning{Vocal ensembles}.
1972 For information about @code{ChoirStaff} and @code{PianoStaff} see
1973 @ref{Grouping staves}.
1976 Shape noteheads, as used in Sacred Harp and similar notation, are
1977 described in @ref{Shape note heads}.
1980 When two vocal parts share a staff the stems, ties, slurs, etc., of
1981 the higher part will be directed up and those of the lower part
1982 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1983 @ref{Single-staff polyphony}.
1994 @rlearning{Four-part SATB vocal score},
1995 @rlearning{Vocal ensembles}.
1998 @ref{Context layout order},
1999 @ref{Grouping staves},
2000 @ref{Shape note heads},
2001 @ref{Single-staff polyphony}.
2003 Internals Reference:
2004 @rinternals{ChoirStaff},
2005 @rinternals{Lyrics},
2006 @rinternals{PianoStaff}.
2008 @node Score layouts for choral
2009 @unnumberedsubsubsec Score layouts for choral
2011 Choral music containing four staves, with or without piano
2012 accompaniment, is usually laid out with two systems per page.
2013 Depending on the page size, achieving this may require changes
2014 to several default settings. The following settings should be
2020 The global staff size can be modified to change the overall size
2021 of the elements of the score. See @ref{Setting the staff size}.
2024 The distances between the systems, the staves and the lyrics can
2025 all be adjusted independently. See @ref{Vertical spacing}.
2028 The dimensions of the vertical layout variables can be displayed as
2029 an aid to adjusting the vertical spacing. This and other
2030 possibilities for fitting the music onto fewer pages are described
2031 in @ref{Fitting music onto fewer pages}.
2034 If the number of systems per page changes from one to two it is
2035 customary to indicate this with a system separator mark between
2036 the two systems. See @ref{Separating systems}.
2039 For details of other page formatting properties, see
2040 @ref{Page formatting}.
2045 Dynamic markings by default are placed below the staff, but in
2046 choral music they are usually placed above the staff in order to
2047 avoid the lyrics. The predefined command @code{\dynamicUp} does
2048 this for the dynamic markings in a single @code{Voice} context.
2049 If there are many @code{Voice} contexts this predefined command
2050 would have to be placed in every one. Alternatively its expanded
2051 form can be used to place all dynamic markings in the entire score
2052 above their respective staves, as shown here:
2054 @lilypond[verbatim,quote]
2059 \relative c'' { g4\f g g g }
2064 \relative c' { d4 d d\p d }
2071 \override DynamicText #'direction = #UP
2072 \override DynamicLineSpanner #'direction = #UP
2079 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2083 @ref{Changing spacing},
2084 @ref{Displaying spacing},
2085 @ref{Fitting music onto fewer pages},
2086 @ref{Page formatting},
2088 @ref{Separating systems},
2089 @ref{Setting the staff size},
2090 @ref{Using an extra voice for breaks},
2091 @ref{Vertical spacing}.
2093 Internals Reference:
2094 @rinternals{VerticalAxisGroup},
2095 @rinternals{StaffGrouper}.
2098 @node Divided voices
2099 @unnumberedsubsubsec Divided voices
2101 @cindex voices, divided
2103 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2104 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2108 @ref{Expressive marks as lines}.
2111 @node Opera and stage musicals
2112 @subsection Opera and stage musicals
2114 The music, lyrics and dialogue to opera and stage musicals are
2115 usually set out in one or more of the following forms:
2120 A @emph{Conductors' Score} containing the full orchestral and vocal
2121 parts, together with libretto cues if there are spoken passages.
2124 @emph{Orchestral Parts} containing the music for the individual
2125 instruments of the orchestra or band.
2128 A @emph{Vocal Score} containing all vocal parts with piano
2129 accompaniment. The accompaniment is usually an orchestral
2130 reduction, and if so the name of the original orchestral instrument
2131 is often indicated. Vocal scores sometimes includes stage
2132 directions and libretto cues.
2135 A @emph{Vocal Book} containing just the vocal parts
2136 (no accompaniment), sometimes combined with the libretto.
2139 A @emph{Libretto} containing the extended passages of spoken
2140 dialogue usually found in musicals, together with the words to the
2141 sung parts. Stage directions are usually included. LilyPond can
2142 be used to typeset libretti but as they contain no music
2143 alternative methods may be preferable.
2147 The sections in the LilyPond documentation which cover the topics
2148 needed to create scores in the styles commonly found in opera and
2149 musicals are indicated in the References below. This is followed
2150 by sections covering those techniques which are peculiar to
2151 typesetting opera and musical scores.
2154 * References for opera and stage musicals::
2158 * Dialogue over music::
2161 @node References for opera and stage musicals
2162 @unnumberedsubsubsec References for opera and stage musicals
2167 A conductors' score contains many grouped staves and lyrics. Ways
2168 of grouping staves is shown in @ref{Grouping staves}. To nest
2169 groups of staves see @ref{Nested staff groups}.
2172 The printing of empty staves in conductors' scores and vocal scores
2173 is often suppressed. To create such a @qq{Frenched score} see
2174 @ref{Hiding staves}.
2177 Writing orchestral parts is covered in @ref{Writing parts}.
2178 Other sections in the Specialist notation chapter may be relevant,
2179 depending on the orchestration used. Many instruments are
2180 transposing instruments, see @ref{Instrument transpositions}.
2183 If the number of systems per page changes from page to page it is
2184 customary to separate the systems with a system separator mark.
2185 See @ref{Separating systems}.
2188 For details of other page formatting properties, see
2189 @ref{Page formatting}.
2192 Dialogue cues and stage directions can be inserted with markup.
2193 See @ref{Text}. Extensive stage directions can be inserted with
2194 a section of stand-alone markup between two @code{\score} blocks.
2195 See @ref{Separate text}.
2201 @rglos{Frenched score},
2202 @rglos{Frenched staves},
2203 @rglos{transposing instrument}.
2206 @ref{Grouping staves},
2207 @ref{Hiding staves},
2208 @ref{Instrument transpositions},
2209 @ref{Nested staff groups},
2210 @ref{Page formatting},
2211 @ref{Separating systems},
2213 @ref{Writing parts},
2217 @node Character names
2218 @unnumberedsubsubsec Character names
2220 @cindex character names
2221 @cindex names, character
2223 Character names are usually shown to the left of the staff when the
2224 staff is dedicated to that character alone. The instrument name can
2225 be used for this purpose.
2227 @lilypond[quote,verbatim,ragged-right]
2231 \set Staff.instrumentName = #"Kaspar"
2232 \set Staff.shortInstrumentName = #"Kas"
2241 \set Staff.instrumentName = #"Melchior"
2242 \set Staff.shortInstrumentName = #"Mel"
2253 When two or more characters share a staff the character's name is
2254 usually printed above the staff at the start of every section
2255 applying to that character. This can be done with markup. Often a
2256 specific font is used for this purpose.
2258 @lilypond[quote,verbatim,relative=1]
2260 c4^\markup \fontsize #1 \smallCaps Kaspar
2263 a4^\markup \fontsize #1 \smallCaps Melchior
2266 c4^\markup \fontsize #1 \smallCaps Kaspar
2270 Alternatively, if there are many character changes, it may be
2271 easier to set up @qq{instrument} definitions for each character at
2272 the top level so that @code{\instrumentSwitch} can be used to
2273 indicate each change.
2275 @lilypond[quote,verbatim]
2276 \addInstrumentDefinition #"kaspar"
2277 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2278 (shortInstrumentName . "Kas.")
2279 (clefGlyph . "clefs.G")
2280 (clefOctavation . -7)
2281 (middleCPosition . 1)
2283 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2284 (midiInstrument . "voice oohs"))
2286 \addInstrumentDefinition #"melchior"
2287 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2288 (shortInstrumentName . "Mel.")
2289 (clefGlyph . "clefs.F")
2290 (clefOctavation . 0)
2291 (middleCPosition . 6)
2293 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2294 (midiInstrument . "voice aahs"))
2297 \instrumentSwitch "kaspar"
2299 \instrumentSwitch "melchior"
2301 \instrumentSwitch "kaspar"
2308 @ref{Instrument names},
2309 @ref{Scheme functions},
2311 @ref{Text markup commands}.
2314 @rextend{Markup construction in Scheme}.
2317 @unnumberedsubsubsec Musical cues
2319 @cindex musical cues
2320 @cindex cues, musical
2322 Musical cues can be inserted in Vocal Scores, Vocal Books and
2323 Orchestral Parts to indicate what music in another part
2324 immediately precedes an entry. Also, cues are often inserted in the
2325 piano reduction in Vocal Scores to indicate what each orchestral
2326 instrument is playing. This aids the conductor when a full
2327 Conductors' Score is not available.
2329 The basic mechanism for inserting cues is fully explained in the
2330 main text, see @ref{Quoting other voices} and
2331 @ref{Formatting cue notes}. But when many cues have to be
2332 inserted, for example, as an aid to a conductor in a vocal score,
2333 the instrument name must be positioned carefully just before and
2334 close to the start of the cued notes. The following example shows
2335 how this is done. Note that the name of the grob for overriding
2336 the cued instrument name is @code{InstrumentSwitch}.
2338 @lilypond[quote,verbatim]
2339 flute = \relative c'' {
2342 \addQuote "flute" { \flute }
2344 pianoRH = \relative c'' {
2346 % position name of cued instrument just before the cued notes
2347 \once \override CueVoice.InstrumentSwitch
2348 #'self-alignment-X = #RIGHT
2349 % position name of cued instrument above the staff
2350 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2351 \set CueVoice.instrumentCueName = "Flute"
2352 \cueDuring "flute" #UP { g4 bes4 }
2354 pianoLH = \relative c { c4 <c' e> e, <g c> }
2369 If a transposing instrument is being cued the instrument part should
2370 specify its key so the conversion of its cued notes will be done
2371 automatically. The example below shows this transposition for a
2372 B-flat clarinet. The notes in this example are low on the staff so
2373 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2374 down) and the instrument name is positioned below the staff. Note
2375 also that the piano right-hand voice is explicitly declared. This
2376 is because the cued notes in this example begin at the start of the
2377 first bar and this would otherwise cause the entire piano right-hand
2378 notes to be placed in a @code{CueVoice} context.
2380 @lilypond[quote,verbatim]
2381 clarinet = \relative c' {
2385 \addQuote "clarinet" { \clarinet }
2387 pianoRH = \relative c'' {
2389 % position name of cued instrument just before the cued notes
2390 \once \override CueVoice.InstrumentSwitch
2391 #'self-alignment-X = #RIGHT
2392 % position name of cued instrument below the staff
2393 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2394 \set CueVoice.instrumentCueName = "Clar."
2395 \cueDuring "clarinet" #DOWN { c4. g8 }
2398 pianoLH = \relative c { c4 <c' e> e, <g c> }
2417 From these two examples it is clear that inserting many cues in a
2418 Vocal Score would be extremely tedious, and the notes of the piano
2419 part would be obscured by the many overrides. However, as the
2420 following snippet shows, it is possible to define a music function
2421 to reduce the amount of typing and to make the piano notes clearer.
2424 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2425 {adding-orchestral-cues-to-a-vocal-score.ly}
2432 @ref{Aligning objects},
2433 @ref{Direction and placement},
2434 @ref{Formatting cue notes},
2435 @ref{Quoting other voices},
2436 @ref{Using music functions}.
2441 Internals Reference:
2442 @rinternals{InstrumentSwitch},
2443 @rinternals{CueVoice}.
2446 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2447 and all cue notes are placed in that context. This means it is not
2448 possible to have two overlapping sequences of cued notes by this
2449 technique. Overlapping sequences could be entered by explicitly
2450 declaring separate @code{CueVoice} contexts and using
2451 @code{\quoteDuring} to extract and insert the cued notes.
2455 @unnumberedsubsubsec Spoken music
2458 @cindex Sprechgesang
2459 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2460 without pitch but still with rhythm; these are notated by cross
2461 note heads, as demonstrated in @ref{Special note heads}.
2463 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2464 @c add "showing the rhythm of a melody" snip
2465 @c add "one staff-line notation"
2466 @c add "improvisation" ref
2467 @c add "lyrics independents of notes" ref
2469 @node Dialogue over music
2470 @unnumberedsubsubsec Dialogue over music
2472 Dialogue over music is usually printed over the staves in an italic
2473 font, with the start of each phrase keyed in to a particular music
2476 For short interjections a simple markup suffices.
2478 @lilypond[quote,verbatim,relative=2]
2479 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2480 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2484 For longer phrases it may be necessary to expand the music to make
2485 the words fit neatly. There is no provision in LilyPond to do this
2486 fully automatically, and some manual intervention to layout the
2487 page will be necessary.
2489 For long phrases or for passages with a lot of closely packed
2490 dialogue, using a Lyrics context will give better results. The
2491 Lyrics context should not be associated with a music Voice; instead
2492 each section of dialogue should be given an explicit duration. If
2493 there is a gap in the dialogue, the final word should be separated
2494 from the rest and the duration split between them so that the
2495 underlying music spaces out smoothly.
2497 If the dialogue extends for more than one line it will be necessary
2498 to manually insert @code{\break}s and adjust the placing of the
2499 dialogue to avoid running into the right margin. The final word of
2500 the last measure on a line should also be separated out, as above.
2502 Here is an example illustating how this might be done.
2504 @c This should be a snippet, but it can't be as it needs to be
2505 @c manually adjusted to suit the imposed line length. -td
2507 @lilypond[quote,verbatim,ragged-right]
2508 music = \relative c'' {
2509 \repeat unfold 3 { a4 a a a }
2512 dialogue = \lyricmode {
2514 \fontsize #1 \upright \smallCaps Abe:
2515 "Say this over measures one and"
2519 "and this over measure"4*3
2526 \override LyricText #'font-shape = #'italic
2527 \override LyricText #'self-alignment-X = #LEFT
2531 \new Voice { \music }
2537 @c TODO show use of \column to produce dialogue on two lines
2541 @ref{Manual syllable durations},
2545 @rinternals{LyricText}.
2548 @node Chants psalms and hymns
2549 @subsection Chants psalms and hymns
2554 @cindex religious music
2556 The music and words for chants, psalms and hymns usually follow a
2557 well-established format in any particular church. Although the
2558 formats may differ from church to church the type-setting problems
2559 which arise are broadly similar, and are covered in this section.
2562 * References for chants and psalms::
2564 * Pointing a psalm::
2565 * Partial measures in hymn tunes::
2568 @node References for chants and psalms
2569 @unnumberedsubsubsec References for chants and psalms
2571 Typesetting Gregorian chant in various styles of ancient notation
2572 is described in @ref{Ancient notation}.
2576 @ref{Ancient notation}.
2579 @node Setting a chant
2580 @unnumberedsubsubsec Setting a chant
2582 Modern chant settings use modern notation with varying numbers of
2583 elements taken from ancient notation. Some of the elements and
2584 methods to consider are shown here.
2586 Chants often use quarter notes without stems to indicate the pitch,
2587 with the rhythm being taken from the spoken rhythm of the words.
2589 @lilypond[verbatim,quote]
2590 stemOff = { \override Staff.Stem #'transparent = ##t }
2599 Chants often omit the bar lines or use shortened or dotted bar
2600 lines to indicate pauses in the music. To omit all bar lines from
2601 all staves remove the bar line engraver completely:
2603 @lilypond[verbatim,quote]
2624 \remove Bar_engraver
2630 Bar lines can also be removed on a staff-by-staff basis:
2632 @lilypond[verbatim, quote]
2636 \with { \remove Bar_engraver } {
2654 To remove bar lines from just a section of music treat it as a
2655 cadenza. If the section is long you may need to insert dummy
2656 barlines with @code{\bar ""} to show where the line should break.
2658 @lilypond[verbatim,quote,relative=2]
2671 Rests or pauses in chants can be indicated by modified bar lines.
2673 @lilypond[verbatim, quote,relative=2]
2688 Alternatively, the notation used in Gregorian chant for pauses or
2689 rests is sometimes used even though the rest of the notation is
2690 modern. This uses a modified @code{\breathe} mark:
2692 @lilypond[verbatim,quote]
2694 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2695 \once \override BreathingSign #'Y-offset = #0
2699 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2700 \once \override BreathingSign #'Y-offset = #0
2704 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2705 \once \override BreathingSign #'Y-offset = #0
2709 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2710 \once \override BreathingSign #'Y-offset = #0
2728 \remove Bar_engraver
2734 Chants usually omit the time signature and often omit the clef too.
2736 @lilypond[verbatim,quote]
2748 \remove Bar_engraver
2749 \remove Time_signature_engraver
2750 \remove Clef_engraver
2756 Chants for psalms in the Anglican tradition are usually either
2757 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2758 of 7 bars. Each group of 7 bars is divided into two halves,
2759 corresponding to the two halves of each verse, usually separated by
2760 a double bar line. Only whole and half notes are used. The 1st bar
2761 in each half always contains a single chord of whole notes. This is
2762 the @qq{reciting note}. Chants are usually centered on the page.
2764 @lilypond[verbatim,quote]
2765 SopranoMusic = \relative g' {
2766 g1 | c2 b | a1 | \bar "||"
2767 a1 | d2 c | c b | c1 | \bar "||"
2770 AltoMusic = \relative c' {
2772 f1 | f2 e | d d | e1 |
2775 TenorMusic = \relative a {
2777 d1 | g,2 g | g g | g1 |
2780 BassMusic = \relative c {
2782 d1 | b2 c | g' g | c,1 |
2789 % Use markup to center the chant on the page
2798 \new Voice = "Soprano" <<
2802 \new Voice = "Alto" <<
2810 \new Voice = "Tenor" <<
2814 \new Voice = "Bass" <<
2824 \override SpacingSpanner
2825 #'base-shortest-duration = #(ly:make-moment 1 2)
2829 \remove "Time_signature_engraver"
2837 Some other approaches to setting such a chant are shown in the first
2838 of the following snippets.
2842 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2843 {chant-or-psalms-notation.ly}
2845 Canticles and other liturgical texts may be set more freely, and
2846 may use notational elements from ancient music. Often the words
2847 are shown underneath and aligned with the notes. If so, the notes
2848 are spaced in accordance with the syllables rather than the notes'
2851 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2852 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2856 @rlearning{Visibility and color of objects},
2857 @rlearning{Vocal ensembles}.
2860 @ref{Ancient notation},
2862 @ref{Modifying context plug-ins},
2863 @ref{Typesetting Gregorian chant},
2864 @ref{Unmetered music},
2865 @ref{Visibility of objects}.
2868 @node Pointing a psalm
2869 @unnumberedsubsubsec Pointing a psalm
2871 The words to an Anglican psalm are usually printed in separate
2872 verses centered underneath the chant.
2874 Single chants (with 7 bars) are repeated for every verse. Double
2875 chants (with 14 bars) are repeated for every pair of verses. Marks
2876 are inserted in the words to show how they should be fitted to the
2877 chant. Each verse is divided into two halves. A colon is usually
2878 used to indicate this division. This corresponds to the double bar
2879 line in the music. The words before the colon are sung to the first
2880 three bars of music; the words after the colon are sung to the last
2883 Single bar lines (or in some psalters an inverted comma or similar
2884 symbol) are inserted between words to indicate where the bar lines
2885 in the music fall. In markup mode a single bar line can be entered
2886 with the bar check symbol, @code{|}.
2888 @lilypond[verbatim,quote]
2893 \line { O come let us sing | unto the | Lord : let }
2894 \line { us heartily rejoice in the | strength of | our }
2895 \line { sal- | -vation. }
2902 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2903 For details, see @ref{Fonts}.
2905 @lilypond[verbatim,quote]
2907 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2913 \line { O come let us sing \tick unto the \tick Lord : let }
2915 us heartily rejoice in the \tick strength of \tick our
2917 \line { sal \tick vation. }
2924 Where there is one whole note in a bar all the words corresponding
2925 to that bar are recited on that one note in speech rhythm. Where
2926 there are two notes in a bar there will usually be only one or two
2927 corresponding syllables. If there are more that two syllables a
2928 dot is usually inserted to indicate where the change in note occurs.
2930 @lilypond[verbatim,quote]
2932 \raise #0.7 \musicglyph #"dots.dot"
2935 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2942 O come let us sing \tick unto \dot the \tick Lord : let
2945 us heartily rejoice in the \tick strength of \tick our
2947 \line { sal \tick vation. }
2954 In some psalters an asterisk is used to indicate a break in a
2955 recited section instead of a comma, and stressed or slightly
2956 lengthened syllables are indicated in bold text.
2958 @lilypond[verbatim,quote]
2960 \raise #0.7 \musicglyph #"dots.dot"
2963 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2969 \line { Today if ye will hear his voice * }
2971 \concat { \bold hard en }
2972 | not your | hearts : as in the pro-
2974 \line { vocation * and as in the \bold day of tempt- | }
2975 \line { -ation | in the | wilderness. }
2982 In other psalters an accent is placed over the syllable to indicate
2985 @lilypond[verbatim,quote]
2987 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2994 O come let us \concat {
2995 si \combine \tick ng
2997 | unto the | Lord : let
3000 us heartily \concat {
3001 rejo \combine \tick ice
3003 in the | strength of | our
3005 \line { sal- | -vation. }
3012 The use of markup to center text, and arrange lines in columns is
3013 described in @ref{Formatting text}.
3015 Most of these elements are shown in one or other of the two verses
3016 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3020 @rlearning{Vocal ensembles}.
3024 @ref{Formatting text}.
3027 @node Partial measures in hymn tunes
3028 @unnumberedsubsubsec Partial measures in hymn tunes
3030 Hymn tunes frequently start and end every line of music with
3031 partial measures so that each line of music corresponds exactly
3032 with a line of text. This requires a @code{\partial} command at
3033 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3034 commands at the end of each line.
3036 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3040 @node Ancient vocal music
3041 @subsection Ancient vocal music
3043 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3047 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3048 @c and "Transcription of Ancient music with incipit" snippet. -vv
3052 @ref{Ancient notation}.