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'
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15 @lilypondfile[quote]{vocal-headword.ly}
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
95 @unnumberedsubsubsec Entering lyrics
97 @cindex lyrics, entering
98 @cindex entering lyrics
99 @cindex formatting in lyrics
100 @cindex lyrics, formatting
101 @cindex punctuation in lyrics
102 @cindex lyrics punctuation
103 @cindex spaces in lyrics
104 @cindex quotes in lyrics
107 @c TODO should we explain hyphens here
109 Lyrics are entered in a special input mode, which can be introduced
110 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
111 @code{\lyricsto}. In this special input mode, the input @code{d}
112 is not parsed as the pitch @notation{D}, but rather as a one-letter
113 syllable of text. In other words, syllables are entered like notes
114 but with pitches replaced by text.
119 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
122 There are two main methods for specifying the horizontal placement
123 of the syllables, either by specifying the duration of each syllable
124 explicitly, as in the example above, or by leaving the lyrics to be
125 aligned automatically to a melody or other voice of music, using
126 @code{\addlyrics} or @code{\lyricsto}. The former method is
127 described below in @ref{Manual syllable durations}. The latter
128 method is described in @ref{Automatic syllable durations}.
130 A word or syllable of lyrics begins with an alphabetic character
131 (plus some other characters, see below) and is terminated by any
132 white space or a digit. Later characters in the syllable can be any
133 character that is not a digit or white space.
135 Because any character that is not a digit or white space is regarded
136 as part of the syllable, a word is valid even if it ends with
137 @code{@}}, which often leads to the following mistake:
140 \lyricmode @{ lah lah lah@}
143 In this example, the @code{@}} is included in the final syllable, so the
144 opening brace is not balanced and the input file will probably not
145 compile. Instead, braces should always be surrounded with white space:
148 \lyricmode @{ lah lah lah @}
151 @cindex overrides in lyric mode
152 @funindex \override in \lyricmode
154 Similarly, in lyric mode, a period will be included in the
155 alphabetic sequence that it follows. As a consequence, spaces
156 must be inserted around the period in @code{\override} commands.
160 \override Score.LyricText #'font-shape = #'italic
167 \override Score . LyricText #'font-shape = #'italic
170 Punctuation, lyrics with accented characters, characters from
171 non-English languages, or special characters (such as the heart
172 symbol or slanted quotes), may simply be inserted directly
173 into the input file, providing it is saved with UTF-8 encoding.
174 For more information, see @ref{Text encoding}.
176 @lilypond[quote,verbatim]
177 \relative c'' { d8 c16 a bes8 f e' d c4 }
178 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
181 Normal quotes may be used in lyrics, but they have to be preceded
182 with a backslash character and the whole syllable has to be
183 enclosed between additional quotes. For example,
185 @lilypond[quote,verbatim]
186 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
187 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
190 The full definition of a word start in lyrics mode is somewhat more
191 complex. A word in lyrics mode is one that begins with an
192 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
193 @code{'}, the control characters @code{^A} through @code{^F},
194 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
195 character with an ASCII code over 127, or a two-character
196 combination of a backslash followed by one of @code{`}, @code{'},
197 @code{"}, or @code{^}.
199 @c " to balance double quotes for not-so-bright context-sensitive editors
201 Great control over the appearance of lyrics comes from using
202 @code{\markup} inside the lyrics themselves. For explanation of many
203 options, see @ref{Formatting text}.
207 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
208 {formatting-lyrics-syllables.ly}
216 @ref{Automatic syllable durations},
218 @ref{Formatting text},
220 @ref{Manual syllable durations},
224 @rinternals{LyricText}.
229 @node Aligning lyrics to a melody
230 @unnumberedsubsubsec Aligning lyrics to a melody
232 @cindex lyrics, aligning to a melody
233 @cindex @code{associatedVoice}
238 Lyrics are printed by interpreting them in the context called
239 @code{Lyrics}, see @ref{Contexts explained}.
242 \new Lyrics \lyricmode @{ @dots{} @}
245 Lyrics can be aligned with melodies in two main ways:
250 Lyrics can be aligned automatically, with the durations of the
251 syllables being taken from another voice of music or (in special
252 circumstances) an associated melody, using @code{\addlyrics},
253 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
254 For more details, see @ref{Automatic syllable durations}.
256 @lilypond[quote,ragged-right,verbatim]
260 \new Voice = "one" \relative c'' {
262 c4 b8. a16 g4. r8 a4 ( b ) c2
264 \new Voice = "two" \relative c' {
270 % takes durations and alignment from notes in "one"
271 \new Lyrics \lyricsto "one" {
272 Life is __ _ love, live __ life.
275 % takes durations and alignment from notes in "one" initially
276 % then switches to "two"
277 \new Lyrics \lyricsto "one" {
279 \set associatedVoice = "two" % must be set one syllable early
280 sins and sor -- rows grow.
285 The first stanza shows the normal way of entering lyrics.
287 The second stanza shows how the voice from which the lyric
288 durations are taken can be changed. This is useful if the words to
289 different stanzas fit the notes in different ways and all the
290 durations are available in Voice contexts. For more details, see
294 Lyrics can be aligned independently of the duration of any notes
295 if the durations of the syllables are specified explicitly,
296 and entered with @code{\lyricmode}.
298 @lilypond[quote,ragged-right,verbatim]
300 \new Voice = "one" \relative c'' {
302 c4 b8. a16 g4. f8 e4 d c2
305 % uses previous explicit duration of 2;
306 \new Lyrics \lyricmode {
310 % explicit durations, set to a different rhythm
311 \new Lyrics \lyricmode {
312 Life4 is love,2. live4 life.2
317 The first stanza is not aligned with the notes because the durations
318 were not specified, and the previous value of 2 is used for each
321 The second stanza shows how the words can be aligned quite
322 independently from the notes. This is useful if the words to
323 different stanzas fit the notes in different ways and the required
324 durations are not available in a music context. For more details
325 see @ref{Manual syllable durations}. This technique is also useful
326 when setting dialogue over music; for examples showing this, see
327 @ref{Dialogue over music}.
329 When entered in this way the words are left-aligned to the notes
330 by default, but may be center-aligned to the notes of a melody by
331 specifying an associated voice, if one exists. For details, see
332 @ref{Manual syllable durations}.
338 @rlearning{Aligning lyrics to a melody}.
341 @ref{Contexts explained},
342 @ref{Automatic syllable durations}.
344 @ref{Manual syllable durations},
345 @ref{Dialogue over music},
346 @ref{Manual syllable durations}.
351 @node Automatic syllable durations
352 @unnumberedsubsubsec Automatic syllable durations
354 @cindex syllable durations, automatic
355 @cindex lyrics and melodies
356 @cindex associatedVoice
360 Lyrics can be automatically aligned to the notes of a melody in
366 by specifying the named Voice context containing the melody with
370 by introducing the lyrics with @code{\addlyrics} and placing them
371 immediately after the Voice context containing the melody,
374 by setting the @code{associatedVoice} property, the alignment of
375 the lyrics may be switched to a different named Voice context at
380 In all three methods hyphens can be drawn between the syllables of
381 a word and extender lines can be drawn beyond the end of a word. For
382 details, see @ref{Extenders and hyphens}.
384 The @code{Voice} context containing the melody to which the lyrics
385 are being aligned must not have @qq{died}, or the lyrics after that
386 point will be lost. This can happen if there are periods when that
387 voice has nothing to do. For methods of keeping contexts alive, see
388 @ref{Keeping contexts alive}.
390 @subheading Using @code{\lyricsto}
395 Lyrics can be aligned under a melody automatically by specifying
396 the named Voice context containing the melody with
399 @lilypond[quote,verbatim,relative=2]
401 \new Voice = "melody" {
404 \new Lyrics \lyricsto "melody" {
411 This aligns the lyrics to the notes of the named @code{Voice}
412 context, which must already exist. Therefore normally the
413 @code{Voice} context is specified first, followed by the
414 @code{Lyrics} context. The lyrics themselves follow the
415 @code{\lyricsto} command. The @code{\lyricsto} command
416 invokes lyric mode automatically, so the @code{\lyricmode} keyword
417 may be omitted. By default, the lyrics are placed underneath the
418 notes. For other placements, see @ref{Placing lyrics vertically}.
420 @subheading Using @code{\addlyrics}
425 The @code{\addlyrics} command is just a convenient shortcut that
426 can sometimes be used instead of having to set up the lyrics
427 through a more complicated LilyPond structure.
431 \addlyrics @{ LYRICS @}
438 \new Voice = "blah" @{ MUSIC @}
439 \new Lyrics \lyricsto "blah" @{ LYRICS @}
444 @lilypond[verbatim,quote]
447 \relative c' { c2 e4 g2. }
448 \addlyrics { play the game }
452 More stanzas can be added by adding more
453 @code{\addlyrics} sections:
456 @lilypond[ragged-right,verbatim,quote]
459 \relative c' { c2 e4 g2. }
460 \addlyrics { play the game }
461 \addlyrics { speel het spel }
462 \addlyrics { joue le jeu }
466 The command @code{\addlyrics} cannot handle polyphonic settings.
467 For these cases one should use @code{\lyricsto}.
469 @subheading Using associatedVoice
471 The melody to which the lyrics are being aligned can be changed by
472 setting the @code{associatedVoice} property,
475 \set associatedVoice = #"lala"
480 The value of the property (here: @code{"lala"}) should be the name
481 of a @code{Voice} context. For technical reasons, the @code{\set}
482 command must be placed one syllable before the one to which the
483 change in voice is to apply.
485 Here is an example demonstrating its use:
487 @lilypond[quote,ragged-right,verbatim]
491 \new Voice = "one" \relative c'' {
493 c4 b8. a16 g4. r8 a4 ( b ) c2
495 \new Voice = "two" \relative c' {
500 % takes durations and alignment from notes in "one" initially
501 % then switches to "two"
502 \new Lyrics \lyricsto "one" {
504 \set associatedVoice = "two" % must be set one syllable early
505 sins and sor -- rows grow.
512 @ref{Extenders and hyphens},
513 @ref{Keeping contexts alive},
514 @ref{Placing lyrics vertically}.
516 @node Manual syllable durations
517 @unnumberedsubsubsec Manual syllable durations
519 In some complex vocal music, it may be desirable to place lyrics
520 completely independently of notes. In this case do not use
521 @code{\lyricsto} or @code{\addlyrics} and do not set
522 @code{associatedVoice}. Syllables are entered like notes --
523 but with pitches replaced by text -- and the duration of each
524 syllable is entered explicitly after the syllable.
526 By default, syllables will be left-aligned to the corresponding
527 musical moment. Hyphenated lines may be drawn between syllables
528 as usual, but extender lines cannot be drawn when there is no
531 Here are two examples:
533 @lilypond[relative=1,verbatim,quote]
535 \new Voice = "melody" {
539 \new Lyrics \lyricmode {
546 @lilypond[quote,verbatim,ragged-right]
568 This technique is useful when writing dialogue over music, see
569 @ref{Dialogue over music}.
571 To center-align syllables on the notes at the corresponding musical
572 moments, set @code{associatedVoice} to the name of the Voice context
573 containing those notes. When @code{associatedVoice} is set, both
574 double hyphens and double underscores can be used to draw
575 hyphenated lines and extenders under melismata correctly.
577 @lilypond[relative=1,verbatim,quote]
579 \new Voice = "melody" {
583 \new Lyrics \lyricmode {
584 \set associatedVoice = #"melody"
590 @c TODO see also feature request 707 - show how to do this with manual durations
594 @ref{Dialogue over music}.
601 @node Multiple syllables to one note
602 @unnumberedsubsubsec Multiple syllables to one note
605 @cindex spaces, in lyrics
606 @cindex quotes, in lyrics
607 @cindex ties, in lyrics
609 In order to assign more than one syllable to a single note with
610 spaces between the syllables, you can surround the phrase with
611 quotes or use a @code{_} character. Alternatively, you can use
612 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
613 tie is implemented with the Unicode character U+203F, so be
614 sure to use a font for this glyph which actually contains it.
615 Freely available fonts with a lyric tie are, for example,
616 `FreeSerif' (a Times clone), `DejaVuSans' (but not
617 `DejaVuSerif'), or `TeXGyreSchola' (a Century Schoolbook
620 @lilypond[quote,ragged-right,verbatim]
623 \relative c' { c2 e4 g2 e4 }
624 \addlyrics { gran- de_a- mi- go }
625 \addlyrics { pu- "ro y ho-" nes- to }
626 \addlyrics { pu- ro~y~ho- nes- to }
633 @rinternals{LyricCombineMusic}.
636 @node Multiple notes to one syllable
637 @unnumberedsubsubsec Multiple notes to one syllable
641 @cindex phrasing, in lyrics
643 @funindex \melismaEnd
645 Sometimes, particularly in Medieval music, several notes are to be
646 sung on one syllable; such vocalises are called melismata, or
647 @rglos{melisma}s. The syllable to a melisma is usually
648 left-aligned with the first note of the melisma.
650 When a melisma occurs on a syllable other that the last one in a
651 word, that syllable is usually joined to the following one with a
652 hyphenated line. This is indicated by placing a double hyphen,
653 @code{--}, immediately after the syllable.
655 Alternatively, when a melisma occurs on the last or only syllable in
656 a word an extender line is usually drawn from the end of the syllable
657 to the last note of the melisma. This is indicated by placing a
658 double underscore, @code{__}, immediately after the word.
660 There are five ways in which melismata can be indicated:
665 Melismata are created automatically over notes which are tied
668 @lilypond[quote,relative=2,verbatim]
670 \new Voice = "melody" {
676 \new Lyrics \lyricsto "melody" {
683 Melismata can be created automatically from the music by placing
684 slurs over the notes of each melisma. This is the usual way of
687 @lilypond[quote,relative=2,verbatim]
689 \new Voice = "melody" {
694 \new Lyrics \lyricsto "melody" {
701 Notes are considered a melisma if they are manually beamed,
702 providing automatic beaming is switched off. See
703 @ref{Setting automatic beam behavior}.
705 @lilypond[quote,relative=2,verbatim]
707 \new Voice = "melody" {
713 \new Lyrics \lyricsto "melody" {
719 Clearly this is not suited to melismata over notes which are longer
723 An unslurred group of notes will be treated as a melisma if they
724 are bracketed between @code{\melisma} and @code{\melismaEnd}.
726 @lilypond[quote,relative=2,verbatim]
728 \new Voice = "melody" {
736 \new Lyrics \lyricsto "melody" {
742 Note that this method cannot be used to indicate two melismata if
743 the first one is immediately followed by another.
746 A melisma can be defined entirely in the lyrics by entering a
747 single underscore character, @code{_}, for every extra note that has
748 to be added to the melisma.
750 @lilypond[verbatim, quote, relative=2]
752 \new Voice = "melody" {
757 \new Lyrics \lyricsto "melody" {
758 Ky -- ri -- _ _ _ e __ _ _
765 It is possible to have ties, slurs and manual beams in the melody
766 without their indicating melismata. To do this, set
767 @code{melismaBusyProperties}:
769 @lilypond[relative=1,verbatim,quote]
771 \new Voice = "melody" {
773 \set melismaBusyProperties = #'()
777 \new Lyrics \lyricsto "melody" {
778 Ky -- ri -- e e -- le -- i -- son
783 Other settings for @code{melismaBusyProperties} can be used to
784 selectively include or exclude ties, slurs, and beams from the
785 automatic detection of melismata; see @code{melismaBusyProperties}
786 in @rinternals{Tunable context properties}.
788 Alternatively, if all melismata indications are to be ignored,
789 @code{ignoreMelismata} may be set true;
790 see @ref{Stanzas with different rhythms}.
792 If a melisma is required during a passage in which
793 @code{melismaBusyProperties} is active, it may be indicated by
794 placing a single underscore in the lyrics for each note which
795 should be included in the melisma:
797 @lilypond[relative=1,verbatim,quote]
799 \new Voice = "melody" {
801 \set melismaBusyProperties = #'()
805 \new Lyrics \lyricsto "melody" {
806 Ky -- ri -- _ e __ _ _ _
824 @rlearning{Aligning lyrics to a melody}.
827 @ref{Aligning lyrics to a melody},
828 @ref{Automatic syllable durations},
829 @ref{Setting automatic beam behavior},
830 @ref{Stanzas with different rhythms}.
833 @rinternals{Tunable context properties}.
837 Extender lines under melismata are not created automatically; they
838 must be inserted manually with a double underscore.
841 @node Extenders and hyphens
842 @unnumberedsubsubsec Extenders and hyphens
847 @c TODO cf Multiple notes to one syllable; should this be merged in?
849 @c leave this as samp. -gp
850 In the last syllable of a word, melismata are sometimes indicated with
851 a long horizontal line starting in the melisma syllable, and ending in
852 the next one. Such a line is called an extender line, and it is
853 entered as @samp{ __ } (note the spaces before and after the two
854 underscore characters).
856 @warning{Melismata are indicated in the score with extender lines,
857 which are entered as one double underscore; but short melismata can
858 also be entered by skipping individual notes, which are entered as
859 single underscore characters; these do not make an extender line to be
864 @c leave this as samp. -gp
865 Centered hyphens are entered as @samp{ -- } between syllables of a
866 same word (note the spaces before and after the two hyphen
867 characters). The hyphen will be centered between the syllables, and
868 its length will be adjusted depending on the space between the
871 In tightly engraved music, hyphens can be removed. Whether this
872 happens can be controlled with the @code{minimum-distance} (minimum
873 distance between two syllables) and the @code{minimum-length}
874 (threshold below which hyphens are removed) properties of
880 @rinternals{LyricExtender},
881 @rinternals{LyricHyphen}.
884 @node Techniques specific to lyrics
885 @subsection Techniques specific to lyrics
887 @c TODO this whole section is to be reorganised
890 * Working with lyrics and variables::
891 * Placing lyrics vertically::
892 * Placing syllables horizontally::
893 * Lyrics and repeats::
899 @node Working with lyrics and variables
900 @unnumberedsubsubsec Working with lyrics and variables
902 @cindex lyrics, using variables
904 Variables containing lyrics can be created, but the lyrics must be
905 entered in lyric mode:
907 @lilypond[quote,verbatim]
908 musicOne = \relative c'' {
909 c4 b8. a16 g4. f8 e4 d c2
911 verseOne = \lyricmode {
912 Joy to the world, the Lord is come.
920 \new Lyrics \lyricsto "one" {
927 Durations do not need to be added if the variable is to be invoked
928 with @code{\addlyrics} or @code{\lyricsto}.
930 For different or more complex orderings, the best way is to define
931 the music and lyric variables first, then set up the hierarchy of
932 staves and lyrics, omitting the lyrics themselves, and then add the
933 lyrics using @code{\context} underneath. This ensures that the
934 voices referenced by @code{\lyricsto} have always been defined
935 earlier. For example:
937 @lilypond[quote,verbatim]
938 sopranoMusic = \relative c'' { c4 c c c }
939 contraltoMusic = \relative c'' { a4 a a a }
940 sopranoWords = \lyricmode { Sop -- ra -- no words }
941 contraltoWords = \lyricmode { Con -- tral -- to words }
946 \new Voice = "sopranos" {
950 \new Lyrics = "sopranos"
951 \new Lyrics = "contraltos"
953 \new Voice = "contraltos" {
957 \context Lyrics = "sopranos" {
958 \lyricsto "sopranos" {
962 \context Lyrics = "contraltos" {
963 \lyricsto "contraltos" {
974 @ref{Placing lyrics vertically}.
977 @rinternals{LyricCombineMusic},
981 @node Placing lyrics vertically
982 @unnumberedsubsubsec Placing lyrics vertically
984 @cindex placement of lyrics
985 @cindex lyrics, positioning
987 Depending on the type of music, lyrics may be positioned
988 above the staff, below the staff, or between staves. Placing
989 lyrics below the associated staff is the easiest, and can be
990 achieved by simply defining the Lyrics context below the Staff
993 @lilypond[quote,verbatim]
997 \new Voice = "melody" {
998 \relative c'' { c4 c c c }
1002 \lyricsto "melody" {
1010 Lyrics may be positioned above the staff using one of
1011 two methods. The simplest (and preferred) method
1012 is to use the same syntax as above and explicitly
1013 specify the position of the lyrics:
1015 @lilypond[quote,verbatim]
1018 \new Staff = "staff" {
1019 \new Voice = "melody" {
1020 \relative c'' { c4 c c c }
1023 \new Lyrics \with { alignAboveContext = "staff" } {
1024 \lyricsto "melody" {
1032 Alternatively, a two-step process may be used. First the Lyrics
1033 context is declared (without any content) before the Staff and
1034 Voice contexts, then the @code{\lyricsto} command is placed after
1035 the Voice declaration it references by using @code{\context}, as
1038 @lilypond[quote,verbatim]
1041 \new Lyrics = "lyrics" \with {
1042 % lyrics above a staff should have this override
1043 \override VerticalAxisGroup #'staff-affinity = #DOWN
1046 \new Voice = "melody" {
1047 \relative c'' { c4 c c c }
1050 \context Lyrics = "lyrics" {
1051 \lyricsto "melody" {
1059 When there are two voices on separate staves the lyrics may be
1060 placed between the staves using either of these methods. Here
1061 is an example of the second method:
1063 @lilypond[quote,verbatim]
1067 \new Voice = "sopranos" {
1068 \relative c'' { c4 c c c }
1071 \new Lyrics = "sopranos"
1072 \new Lyrics = "contraltos" \with {
1073 % lyrics above a staff should have this override
1074 \override VerticalAxisGroup #'staff-affinity = #DOWN
1077 \new Voice = "contraltos" {
1078 \relative c'' { a4 a a a }
1081 \context Lyrics = "sopranos" {
1082 \lyricsto "sopranos" {
1083 Sop -- ra -- no words
1086 \context Lyrics = "contraltos" {
1087 \lyricsto "contraltos" {
1088 Con -- tral -- to words
1095 Other combinations of lyrics and staves may be generated by
1096 elaborating these examples, or by examining the
1097 @rlearning{Vocal ensembles} templates in the Learning Manual.
1100 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1101 {lyrics-old-spacing-settings.ly}
1105 @rlearning{Vocal ensembles}.
1108 @ref{Aligning contexts},
1109 @ref{Creating contexts}.
1111 @node Placing syllables horizontally
1112 @unnumberedsubsubsec Placing syllables horizontally
1114 @cindex Spacing lyrics
1115 @cindex Lyrics, increasing space between
1117 To increase the spacing between lyrics, set the
1118 @code{minimum-distance} property of @code{LyricSpace}.
1120 @lilypond[relative=1,verbatim,quote,ragged-right]
1123 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1127 longtext longtext longtext longtext
1128 longtext longtext longtext longtext
1133 To make this change for all lyrics in the score, set the property in the
1134 @code{\layout} block.
1136 @lilypond[verbatim,quote,ragged-right]
1143 longtext longtext longtext longtext
1144 longtext longtext longtext longtext
1149 \override LyricSpace #'minimum-distance = #1.0
1156 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1157 {lyrics-alignment.ly}
1159 @c TODO: move to LSR -vv
1161 Checking to make sure that text scripts and lyrics are within the margins
1162 required additional calculations. To speed up processing slighty, this
1163 feature can be disabled:
1166 \override Score.PaperColumn #'keep-inside-line = ##f
1169 To make lyrics avoid bar lines as well, use
1175 \consists "Bar_engraver"
1176 \consists "Separating_line_group_engraver"
1177 \override BarLine #'transparent = ##t
1182 @c TODO Create and add lsr example of lyricMelismaAlignment
1183 @c It's used like this to center-align all lyric syllables,
1184 @c even when notes are tied. -td
1189 \context { \Score lyricMelismaAlignment = #0 }
1194 @node Lyrics and repeats
1195 @unnumberedsubsubsec Lyrics and repeats
1197 @cindex repeats and lyrics
1198 @cindex lyrics, repeating
1200 @subheading Simple repeats
1202 Repeats in @emph{music} are fully described elsewhere; see
1203 @ref{Repeats}. This section explains how to add lyrics to repeated
1206 Lyrics to a section of music that is repeated should be surrounded
1207 by exactly the same repeat construct as the music, if the words are
1210 @lilypond[verbatim,quote]
1214 \new Voice = "melody" {
1217 \repeat volta 2 { b4 b b b }
1222 \lyricsto "melody" {
1223 Not re -- peat -- ed.
1224 \repeat volta 2 { Re -- peat -- ed twice. }
1231 The words will then be correctly expanded if the repeats are
1234 @lilypond[verbatim,quote]
1239 \new Voice = "melody" {
1242 \repeat volta 2 { b4 b b b }
1247 \lyricsto "melody" {
1248 Not re -- peat -- ed.
1249 \repeat volta 2 { Re -- peat -- ed twice. }
1257 If the repeated section is to be unfolded and has different words,
1258 simply enter all the words:
1260 @lilypond[verbatim,quote,ragged-right]
1264 \new Voice = "melody" {
1267 \repeat unfold 2 { b4 b b b }
1272 \lyricsto "melody" {
1273 Not re -- peat -- ed.
1274 The first time words.
1275 Sec -- ond time words.
1282 When the words to a repeated volta section are different, the words
1283 to each repeat must be entered in separate @code{Lyrics} contexts,
1284 correctly nested in parallel sections:
1286 @lilypond[verbatim,quote]
1290 \new Voice = "melody" {
1293 \repeat volta 2 { b4 b b b }
1297 \new Lyrics \lyricsto "melody" {
1298 Not re -- peat -- ed.
1300 { The first time words. }
1302 \set associatedVoice = "melody"
1303 Sec -- ond time words.
1311 More verses may be added in a similar way:
1313 @lilypond[verbatim,quote]
1317 \new Voice = "singleVoice" {
1320 \repeat volta 3 { b4 b b b }
1325 \new Lyrics \lyricsto "singleVoice" {
1326 Not re -- peat -- ed.
1328 { The first time words. }
1330 \set associatedVoice = "singleVoice"
1331 Sec -- ond time words.
1334 \set associatedVoice = "singleVoice"
1335 The third time words.
1338 The end sec -- tion.
1345 @c TODO positioning a common line of lyrics
1347 @subheading Repeats with alternative endings
1349 @cindex lyrics, repeats with alternative endings
1350 @cindex repeating lyrics with alternative endings
1351 @cindex alternative endings and lyrics
1353 If the words of the repeated section are the same, exactly the
1354 same structure can be used for both the lyrics and music.
1356 @lilypond[quote,verbatim]
1361 \new Voice = "melody" {
1364 \repeat volta 2 { b4 b }
1365 \alternative { { b b } { b c } }
1370 \lyricsto "melody" {
1371 Not re -- peat -- ed.
1372 \repeat volta 2 { Re -- peat -- }
1373 \alternative { { ed twice. } { ed twice. } }
1381 @cindex skipping notes in lyrics
1382 @cindex lyrics, skipping notes
1384 But when the repeated section has different words, a repeat
1385 construct cannot be used around the words and @code{\skip} commands
1386 have to be inserted manually to skip over the notes in the
1387 alternative sections which do not apply.
1389 Note: do not use an underscore, @code{_}, to skip notes -- an
1390 underscore indicates a melisma, causing the preceding syllable
1393 @warning{The @code{@bs{}skip} command must be followed by a number,
1394 but this number is ignored in lyrics which derive their durations
1395 from the notes in an associated melody through @code{\addlyrics} or
1396 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1397 value, irrespective of the value of the following number.}
1399 @lilypond[verbatim,quote,ragged-right]
1404 \new Voice = "melody" {
1406 \repeat volta 2 { b4 b }
1407 \alternative { { b b } { b c } }
1413 \lyricsto "melody" {
1414 The first time words.
1415 \repeat unfold 2 { \skip 1 }
1420 \lyricsto "melody" {
1422 \repeat unfold 2 { \skip 1 }
1430 @cindex lyrics and tied notes
1431 @funindex \repeatTie
1433 When a note is tied over into two or more alternative endings a
1434 tie is used to carry the note into the first alternative ending and
1435 a @code{\repeatTie} is used in the second and subsequent endings.
1436 This structure causes difficult alignment problems when lyrics are
1437 involved and increasing the length of the alternative sections so
1438 the tied notes are contained wholly within them may give a more
1441 The tie creates a melisma into the first alternative, but not into
1442 the second and subsequent alternatives, so to align the lyrics
1443 correctly it is necessary to disable the automatic creation of
1444 melismata over the volta section and insert manual skips.
1446 @lilypond[quote,verbatim]
1451 \new Voice = "melody" {
1453 \set melismaBusyProperties = #'()
1454 \repeat volta 2 { b4 b ~}
1455 \alternative { { b b } { b \repeatTie c } }
1456 \unset melismaBusyProperties
1462 \lyricsto "melody" {
1463 \repeat volta 2 { Here's a __ }
1475 Note that if @code{\unfoldRepeats} is used around a section
1476 containing @code{\repeatTie}, the @code{\repeatTie} should be
1477 removed to avoid both types of tie being printed.
1479 When the repeated section has different words a @code{\repeat}
1480 cannot be used around the lyrics and @code{\skip} commands need to
1481 be inserted manually, as before.
1483 @lilypond[quote,verbatim]
1488 \new Voice = "melody" {
1490 \repeat volta 2 { b4 b ~}
1491 \alternative { { b b } { b \repeatTie c } }
1497 \lyricsto "melody" {
1499 \repeat unfold 2 { \skip 1 }
1503 \lyricsto "melody" {
1505 \repeat unfold 2 { \skip 1 }
1513 If you wish to show extenders and hyphens into and out of
1514 alternative sections these must be inserted manually.
1516 @lilypond[quote,verbatim]
1521 \new Voice = "melody" {
1523 \repeat volta 2 { b4 b ~}
1524 \alternative { { b b } { b \repeatTie c } }
1530 \lyricsto "melody" {
1532 \repeat unfold 2 { \skip 1 }
1536 \lyricsto "melody" {
1548 @ref{Keeping contexts alive},
1553 @unnumberedsubsubsec Divisi lyrics
1555 @cindex divided lyrics
1556 @cindex lyrics, divided
1558 When just the words and rhythms of the two parts differ with the
1559 pitches remaining the same, temporarily turning off the automatic
1560 detection of melismata and indicating the melisma in the lyrics
1561 may be the appropriate method to use:
1563 @lilypond[quote,verbatim]
1566 \new Voice = "melody" {
1568 \set melismaBusyProperties = #'()
1572 \unset melismaBusyProperties
1576 \new Lyrics \lyricsto "melody" {
1577 They shall not o -- ver -- come
1579 \new Lyrics \lyricsto "melody" {
1586 When both music and words differ it may be better to display
1587 the differing music and lyrics by naming voice contexts and
1588 attaching lyrics to those specific contexts:
1590 @lilypond[verbatim,ragged-right,quote]
1593 \new Voice = "melody" {
1600 \new Voice = "splitpart" {
1610 \new Lyrics \lyricsto "melody" {
1611 They shall not o -- ver -- come
1613 \new Lyrics \lyricsto "splitpart" {
1625 * Adding stanza numbers::
1626 * Adding dynamics marks to stanzas::
1627 * Adding singers' names to stanzas::
1628 * Stanzas with different rhythms::
1629 * Printing stanzas at the end::
1630 * Printing stanzas at the end in multiple columns::
1634 @node Adding stanza numbers
1635 @unnumberedsubsubsec Adding stanza numbers
1637 @cindex stanza number
1639 Stanza numbers can be added by setting @code{stanza}, e.g.,
1641 @lilypond[quote,ragged-right,verbatim,relative=2]
1643 \time 3/4 g2 e4 a2 f4 g2.
1645 \set stanza = #"1. "
1646 Hi, my name is Bert.
1648 \set stanza = #"2. "
1649 Oh, ché -- ri, je t'aime
1655 These numbers are put just before the start of the first syllable.
1657 @c TODO Create and add snippet to show how two lines of a
1658 @c stanza can be grouped together, along these lines:
1659 @c (might need improving a bit) -td
1662 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1666 \set stanza = \markup { "1. " \leftbrace }
1667 \lyricmode { Child, you're mine and I love you.
1668 Lend thine ear to what I say.
1674 % \set stanza = \markup { " "}
1675 \lyricmode { Child, I have no great -- er joy
1676 Than to have you walk in truth.
1682 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1683 c'8 c' c' c' c' c' c'4 }
1684 } \addlyrics { \stanzaOneOne }
1685 \addlyrics { \stanzaOneThree }
1689 @node Adding dynamics marks to stanzas
1690 @unnumberedsubsubsec Adding dynamics marks to stanzas
1692 Stanzas differing in loudness may be indicated by putting a
1693 dynamics mark before each stanza. In LilyPond, everything coming in
1694 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1695 marks are no different. For technical reasons, you have to set the
1696 stanza outside @code{\lyricmode}:
1698 @lilypond[quote,ragged-right,verbatim]
1700 \set stanza = \markup { \dynamic "ff" "1. " }
1707 \new Voice = "tune" {
1711 \new Lyrics \lyricsto "tune" \text
1715 @node Adding singers' names to stanzas
1716 @unnumberedsubsubsec Adding singers' names to stanzas
1719 @cindex name of singer
1721 Names of singers can also be added. They are printed at the start of
1722 the line, just like instrument names. They are created by setting
1723 @code{vocalName}. A short version may be entered as
1724 @code{shortVocalName}.
1726 @lilypond[ragged-right,quote,verbatim,relative=2]
1728 \time 3/4 g2 e4 a2 f4 g2.
1730 \set vocalName = #"Bert "
1731 Hi, my name is Bert.
1733 \set vocalName = #"Ernie "
1734 Oh, ché -- ri, je t'aime
1738 @node Stanzas with different rhythms
1739 @unnumberedsubsubsec Stanzas with different rhythms
1741 Often, different stanzas of one song are put to one melody in slightly
1742 differing ways. Such variations can still be captured with
1745 @subsubheading Ignoring melismata
1747 One possibility is that the text has a melisma in one stanza, but
1748 multiple syllables in another. One solution is to make the faster
1749 voice ignore the melisma. This is done by setting
1750 @code{ignoreMelismata} in the Lyrics context.
1752 @lilypond[verbatim,ragged-right,quote]
1754 \relative c' \new Voice = "lahlah" {
1755 \set Staff.autoBeaming = ##f
1761 \new Lyrics \lyricsto "lahlah" {
1764 \new Lyrics \lyricsto "lahlah" {
1766 \set ignoreMelismata = ##t
1768 \unset ignoreMelismata
1775 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1776 not work if prefixed with @code{\once}. It is necessary to use
1777 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1780 @subsubheading Adding syllables to grace notes
1782 @cindex grace notes and lyrics
1783 @cindex lyrics on grace notes
1785 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1786 syllables when using @code{\lyricsto}, but this behavior can be
1789 @lilypond[verbatim,ragged-right,quote]
1791 \new Voice = melody \relative c' {
1792 f4 \appoggiatura a32 b4
1793 \grace { f16[ a16] } b2
1794 \afterGrace b2 { f16[ a16] }
1795 \appoggiatura a32 b4
1801 \set includeGraceNotes = ##t
1804 after -- grace case,
1805 \set ignoreMelismata = ##t
1813 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1814 set at latest one syllable before the one which is to be put under a
1815 grace note. For the case of a grace note at the very beginning of a
1816 piece of music, consider using a @code{\with} or @code{\context}
1819 @lilypond[verbatim,ragged-right,quote]
1821 \new Voice = melody \relative c' {
1822 \grace { c16[( d e f] }
1825 \new Lyrics \with { includeGraceNotes = ##t }
1832 @subsubheading Switching to an alternative melody
1834 @cindex associatedVoice
1835 @cindex alternative melody, switching to
1837 More complex variations in setting lyrics to music are possible.
1838 The melody to which the lyrics are being set can be changed from
1839 within the lyrics by setting the @code{associatedVoice} property:
1841 @lilypond[verbatim,quote]
1843 \relative c' \new Voice = "lahlah" {
1844 \set Staff.autoBeaming = ##f
1847 \new Voice = "alternative" {
1850 % show associations clearly.
1851 \override NoteColumn #'force-hshift = #-3
1862 \new Lyrics \lyricsto "lahlah" {
1863 Ju -- ras -- sic Park
1865 \new Lyrics \lyricsto "lahlah" {
1866 % Tricky: need to set associatedVoice
1867 % one syllable too soon!
1868 \set associatedVoice = "alternative" % applies to "ran"
1872 \set associatedVoice = "lahlah" % applies to "rus"
1878 The text for the first stanza is set to the melody called
1879 @q{lahlah} in the usual way, but the second stanza is set initally
1880 to the @code{lahlah} context and is then switched to the
1881 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1885 \set associatedVoice = "alternative" % applies to "ran"
1889 \set associatedVoice = "lahlah" % applies to "rus"
1894 Here, @code{alternative} is the name of the @code{Voice} context
1895 containing the triplet.
1897 Note the placement of the @code{\set associatedVoice} command --
1898 it appears to be one syllable too early, but this is correct.
1900 @warning{The @code{\set associatedVoice} command must be placed
1901 one syllable @emph{before} the one at which the switch to the new
1902 voice is to occur. In other words, changing the associated Voice
1903 happens one syllable later than expected. This is for technical
1904 reasons, and it is not a bug.}
1907 @node Printing stanzas at the end
1908 @unnumberedsubsubsec Printing stanzas at the end
1910 Sometimes it is appropriate to have one stanza set
1911 to the music, and the rest added in verse form at
1912 the end of the piece. This can be accomplished by adding
1913 the extra verses into a @code{\markup} section outside
1914 of the main score block. Notice that there are two
1915 different ways to force linebreaks when using
1918 @lilypond[ragged-right,verbatim,quote]
1919 melody = \relative c' {
1925 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1926 its fleece was white as snow.
1930 \new Voice = "one" { \melody }
1931 \new Lyrics \lyricsto "one" \text
1937 \line{ All the children laughed and played }
1938 \line{ To see a lamb at school. }
1945 Mary took it home again,
1947 It was against the rule."
1952 @node Printing stanzas at the end in multiple columns
1953 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1955 When a piece of music has many verses, they are often printed in
1956 multiple columns across the page. An outdented verse number often
1957 introduces each verse. The following example shows how to produce such
1960 @lilypond[ragged-right,quote,verbatim]
1961 melody = \relative c' {
1966 \set stanza = #"1." This is verse one.
1972 \new Voice = "one" { \melody }
1973 \new Lyrics \lyricsto "one" \text
1980 \hspace #0.1 % moves the column off the left margin;
1981 % can be removed if space on the page is tight
1985 "This is verse two."
1989 \hspace #0.1 % adds vertical spacing between verses
1992 "This is verse three."
1997 \hspace #0.1 % adds horizontal spacing between columns;
1998 % if they are still too close, add more " " pairs
1999 % until the result looks good
2003 "This is verse four."
2007 \hspace #0.1 % adds vertical spacing between verses
2010 "This is verse five."
2015 \hspace #0.1 % gives some extra space on the right margin;
2016 % can be removed if page space is tight
2023 Internals Reference:
2024 @rinternals{LyricText},
2025 @rinternals{StanzaNumber}.
2032 * References for songs::
2036 @node References for songs
2037 @unnumberedsubsubsec References for songs
2039 Songs are usually written on three staves with the melody for the
2040 singer on the top staff and two staves of piano accompaniment at
2041 the bottom. The lyrics of the first stanza are printed immediately
2042 underneath the top staff. If there are just a small number of
2043 further stanzas these can be printed immediately under the first
2044 one, but if there are more stanzas than can be easily accommodated
2045 there the second and subsequent stanzas are printed after the music
2046 as stand-alone text.
2048 All the notational elements needed to write songs are fully described
2054 For constructing the staff layout, see @ref{Displaying staves}.
2057 For writing piano music, see
2058 @ref{Keyboard and other multi-staff instruments}.
2061 For writing the lyrics to a melody line, see
2062 @ref{Common notation for vocal music}.
2065 For placing the lyrics, see @ref{Placing lyrics vertically}.
2068 For entering stanzas, see @ref{Stanzas}.
2071 Songs are frequently printed with the chording indicated by chord
2072 names above the staves. This is described in @ref{Displaying chords}.
2075 To print fret diagrams of the chords for guitar accompaniment or
2076 accompaniment by other fretted instruments, see @qq{Fret diagram
2077 markups} in @ref{Common notation for fretted strings}.
2086 @ref{Common notation for vocal music},
2087 @ref{Displaying chords},
2088 @ref{Displaying staves},
2089 @ref{Keyboard and other multi-staff instruments},
2090 @ref{Placing lyrics vertically},
2097 @unnumberedsubsubsec Lead sheets
2099 Lead sheets may be printed by combining vocal parts and
2100 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2103 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2104 {simple-lead-sheet.ly}
2108 @ref{Chord notation}.
2119 This section discusses notation issues that relate most directly
2120 to choral music. This includes anthems, part songs, oratorio,
2124 * References for choral::
2125 * Score layouts for choral::
2129 @node References for choral
2130 @unnumberedsubsubsec References for choral
2132 Choral music is usually notated on two, three or four staves within
2133 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2134 beneath in a @code{PianoStaff} group, which is usually reduced in
2135 size for @emph{a capella} choral works. The notes for each vocal
2136 part are placed in a @code{Voice} context, with each staff
2137 being given either a single vocal part (i.e., one @code{Voice}) or
2138 a pair of vocal parts (i.e., two @code{Voice}s).
2140 Words are placed in @code{Lyrics} contexts, either underneath each
2141 corresponding music staff, or one above and one below the music
2142 staff if this contains the music for two parts.
2144 Several common topics in choral music are described fully elsewhere:
2149 An introduction to creating an SATB vocal score can be found in
2150 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2153 Several templates suitable for various styles of choral music can
2154 also be found in the Learning Manual, see
2155 @rlearning{Vocal ensembles}.
2158 For information about @code{ChoirStaff} and @code{PianoStaff} see
2159 @ref{Grouping staves}.
2162 Shape note heads, as used in Sacred Harp and similar notation, are
2163 described in @ref{Shape note heads}.
2166 When two vocal parts share a staff the stems, ties, slurs, etc., of
2167 the higher part will be directed up and those of the lower part
2168 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2169 @ref{Single-staff polyphony}.
2180 @rlearning{Four-part SATB vocal score},
2181 @rlearning{Vocal ensembles}.
2184 @ref{Context layout order},
2185 @ref{Grouping staves},
2186 @ref{Shape note heads},
2187 @ref{Single-staff polyphony}.
2192 Internals Reference:
2193 @rinternals{ChoirStaff},
2194 @rinternals{Lyrics},
2195 @rinternals{PianoStaff}.
2197 @node Score layouts for choral
2198 @unnumberedsubsubsec Score layouts for choral
2200 Choral music containing four staves, with or without piano
2201 accompaniment, is usually laid out with two systems per page.
2202 Depending on the page size, achieving this may require changes
2203 to several default settings. The following settings should be
2209 The global staff size can be modified to change the overall size
2210 of the elements of the score. See @ref{Setting the staff size}.
2213 The distances between the systems, the staves and the lyrics can
2214 all be adjusted independently. See @ref{Vertical spacing}.
2217 The dimensions of the vertical layout variables can be displayed as
2218 an aid to adjusting the vertical spacing. This and other
2219 possibilities for fitting the music onto fewer pages are described
2220 in @ref{Fitting music onto fewer pages}.
2223 If the number of systems per page changes from one to two it is
2224 customary to indicate this with a system separator mark between
2225 the two systems. See @ref{Separating systems}.
2228 For details of other page formatting properties, see
2234 Dynamic markings by default are placed below the staff, but in
2235 choral music they are usually placed above the staff in order to
2236 avoid the lyrics. The predefined command @code{\dynamicUp} does
2237 this for the dynamic markings in a single @code{Voice} context.
2238 If there are many @code{Voice} contexts this predefined command
2239 would have to be placed in every one. Alternatively its expanded
2240 form can be used to place all dynamic markings in the entire score
2241 above their respective staves, as shown here:
2243 @lilypond[verbatim,quote]
2248 \relative c'' { g4\f g g g }
2253 \relative c' { d4 d d\p d }
2260 \override DynamicText #'direction = #UP
2261 \override DynamicLineSpanner #'direction = #UP
2268 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2272 @ref{Changing spacing},
2273 @ref{Displaying spacing},
2274 @ref{Fitting music onto fewer pages},
2277 @ref{Separating systems},
2278 @ref{Setting the staff size},
2279 @ref{Using an extra voice for breaks},
2280 @ref{Vertical spacing}.
2282 Internals Reference:
2283 @rinternals{VerticalAxisGroup},
2284 @rinternals{StaffGrouper}.
2287 @node Divided voices
2288 @unnumberedsubsubsec Divided voices
2290 @cindex voices, divided
2292 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2293 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2297 @ref{Expressive marks as lines}.
2300 @node Opera and stage musicals
2301 @subsection Opera and stage musicals
2303 The music, lyrics and dialogue to opera and stage musicals are
2304 usually set out in one or more of the following forms:
2309 A @emph{Conductors' Score} containing the full orchestral and vocal
2310 parts, together with libretto cues if there are spoken passages.
2313 @emph{Orchestral Parts} containing the music for the individual
2314 instruments of the orchestra or band.
2317 A @emph{Vocal Score} containing all vocal parts with piano
2318 accompaniment. The accompaniment is usually an orchestral
2319 reduction, and if so the name of the original orchestral instrument
2320 is often indicated. Vocal scores sometimes includes stage
2321 directions and libretto cues.
2324 A @emph{Vocal Book} containing just the vocal parts
2325 (no accompaniment), sometimes combined with the libretto.
2328 A @emph{Libretto} containing the extended passages of spoken
2329 dialogue usually found in musicals, together with the words to the
2330 sung parts. Stage directions are usually included. LilyPond can
2331 be used to typeset libretti but as they contain no music
2332 alternative methods may be preferable.
2336 The sections in the LilyPond documentation which cover the topics
2337 needed to create scores in the styles commonly found in opera and
2338 musicals are indicated in the References below. This is followed
2339 by sections covering those techniques which are peculiar to
2340 typesetting opera and musical scores.
2343 * References for opera and stage musicals::
2347 * Dialogue over music::
2350 @node References for opera and stage musicals
2351 @unnumberedsubsubsec References for opera and stage musicals
2356 A conductors' score contains many grouped staves and lyrics. Ways
2357 of grouping staves is shown in @ref{Grouping staves}. To nest
2358 groups of staves see @ref{Nested staff groups}.
2361 The printing of empty staves in conductors' scores and vocal scores
2362 is often suppressed. To create such a @qq{Frenched score} see
2363 @ref{Hiding staves}.
2366 Writing orchestral parts is covered in @ref{Writing parts}.
2367 Other sections in the Specialist notation chapter may be relevant,
2368 depending on the orchestration used. Many instruments are
2369 transposing instruments, see @ref{Instrument transpositions}.
2372 If the number of systems per page changes from page to page it is
2373 customary to separate the systems with a system separator mark.
2374 See @ref{Separating systems}.
2377 For details of other page formatting properties, see
2381 Dialogue cues and stage directions can be inserted with markup.
2382 See @ref{Text}. Extensive stage directions can be inserted with
2383 a section of stand-alone markup between two @code{\score} blocks.
2384 See @ref{Separate text}.
2390 @rglos{Frenched score},
2391 @rglos{Frenched staves},
2392 @rglos{transposing instrument}.
2395 @ref{Grouping staves},
2396 @ref{Hiding staves},
2397 @ref{Instrument transpositions},
2398 @ref{Nested staff groups},
2400 @ref{Separating systems},
2402 @ref{Writing parts},
2409 @node Character names
2410 @unnumberedsubsubsec Character names
2412 @cindex character names
2413 @cindex names, character
2415 Character names are usually shown to the left of the staff when the
2416 staff is dedicated to that character alone:
2418 @lilypond[quote,verbatim,ragged-right]
2422 \set Staff.vocalName = \markup \smallCaps Kaspar
2423 \set Staff.shortVocalName = \markup \smallCaps Kas.
2432 \set Staff.vocalName = \markup \smallCaps Melchior
2433 \set Staff.shortVocalName = \markup \smallCaps Mel
2444 When two or more characters share a staff the character's name is
2445 usually printed above the staff at the start of every section
2446 applying to that character. This can be done with markup. Often a
2447 specific font is used for this purpose.
2449 @lilypond[quote,verbatim,relative=1]
2451 c4^\markup \fontsize #1 \smallCaps Kaspar
2454 a4^\markup \fontsize #1 \smallCaps Melchior
2457 c4^\markup \fontsize #1 \smallCaps Kaspar
2461 Alternatively, if there are many character changes, it may be
2462 easier to set up @qq{instrument} definitions for each character at
2463 the top level so that @code{\instrumentSwitch} can be used to
2464 indicate each change.
2466 @lilypond[quote,verbatim]
2467 \addInstrumentDefinition #"kaspar"
2468 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2469 (shortInstrumentName . "Kas.")
2470 (clefGlyph . "clefs.G")
2471 (clefOctavation . -7)
2472 (middleCPosition . 1)
2474 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2475 (midiInstrument . "voice oohs"))
2477 \addInstrumentDefinition #"melchior"
2478 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2479 (shortInstrumentName . "Mel.")
2480 (clefGlyph . "clefs.F")
2481 (clefOctavation . 0)
2482 (middleCPosition . 6)
2484 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2485 (midiInstrument . "voice aahs"))
2488 \instrumentSwitch "kaspar"
2490 \instrumentSwitch "melchior"
2492 \instrumentSwitch "kaspar"
2499 @ref{Instrument names},
2500 @ref{Scheme functions},
2502 @ref{Text markup commands}.
2505 @rextend{Markup construction in Scheme}.
2508 @unnumberedsubsubsec Musical cues
2510 @cindex musical cues
2511 @cindex cues, musical
2513 Musical cues can be inserted in Vocal Scores, Vocal Books and
2514 Orchestral Parts to indicate what music in another part
2515 immediately precedes an entry. Also, cues are often inserted in the
2516 piano reduction in Vocal Scores to indicate what each orchestral
2517 instrument is playing. This aids the conductor when a full
2518 Conductors' Score is not available.
2520 The basic mechanism for inserting cues is fully explained in the
2521 main text, see @ref{Quoting other voices} and
2522 @ref{Formatting cue notes}. But when many cues have to be
2523 inserted, for example, as an aid to a conductor in a vocal score,
2524 the instrument name must be positioned carefully just before and
2525 close to the start of the cue notes. The following example shows
2528 @lilypond[quote,verbatim]
2529 flute = \relative c'' {
2532 \addQuote "flute" { \flute }
2534 pianoRH = \relative c'' {
2536 % position name of cue-ing instrument just before the cue notes,
2537 % and above the staff
2538 s1*0^\markup { \right-align { \tiny "Flute" } }
2539 \cueDuring "flute" #UP { g4 bes4 }
2541 pianoLH = \relative c { c4 <c' e> e, <g c> }
2556 If a transposing instrument is being quoted the instrument part should
2557 specify its key so the conversion of its cue notes will be done
2558 automatically. The example below shows this transposition for a
2559 B-flat clarinet. The notes in this example are low on the staff so
2560 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2561 down) and the instrument name is positioned below the staff. Note
2562 also that the piano right-hand voice is explicitly declared. This
2563 is because the cue notes in this example begin at the start of the
2564 first bar and this would otherwise cause the entire piano right-hand
2565 notes to be placed in a @code{CueVoice} context.
2567 @lilypond[quote,verbatim]
2568 clarinet = \relative c' {
2572 \addQuote "clarinet" { \clarinet }
2574 pianoRH = \relative c'' {
2576 % position name of cue-ing instrument below the staff
2577 s1*0_\markup { \right-align { \tiny "Clar." } }
2578 \cueDuring "clarinet" #DOWN { c4. g8 }
2581 pianoLH = \relative c { c4 <c' e> e, <g c> }
2600 From these two examples it is clear that inserting many cues in a
2601 Vocal Score would be tedious, and the notes of the piano part would
2602 become obscured. However, as the following snippet shows, it is
2603 possible to define a music function to reduce the amount of typing
2604 and to make the piano notes clearer.
2607 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2608 {adding-orchestral-cues-to-a-vocal-score.ly}
2615 @ref{Aligning objects},
2616 @ref{Direction and placement},
2617 @ref{Formatting cue notes},
2618 @ref{Quoting other voices},
2619 @ref{Using music functions}.
2624 Internals Reference:
2625 @rinternals{InstrumentSwitch},
2626 @rinternals{CueVoice}.
2629 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2630 and all cue notes are placed in that context. This means it is not
2631 possible to have two overlapping sequences of cue notes by this
2632 technique. Overlapping sequences could be entered by explicitly
2633 declaring separate @code{CueVoice} contexts and using
2634 @code{\quoteDuring} to extract and insert the cue notes.
2638 @unnumberedsubsubsec Spoken music
2641 @cindex Sprechgesang
2642 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2643 speak without pitch but still with rhythm; these are notated by cross
2644 note heads, as demonstrated in @ref{Special note heads}.
2646 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2647 @c add "showing the rhythm of a melody" snip
2648 @c add "one staff-line notation"
2649 @c add "improvisation" ref
2650 @c add "lyrics independents of notes" ref
2652 @node Dialogue over music
2653 @unnumberedsubsubsec Dialogue over music
2655 Dialogue over music is usually printed over the staves in an italic
2656 font, with the start of each phrase keyed in to a particular music
2659 For short interjections a simple markup suffices.
2661 @lilypond[quote,verbatim,relative=2]
2662 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2663 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2667 For longer phrases it may be necessary to expand the music to make
2668 the words fit neatly. There is no provision in LilyPond to do this
2669 fully automatically, and some manual intervention to layout the
2670 page will be necessary.
2672 For long phrases or for passages with a lot of closely packed
2673 dialogue, using a Lyrics context will give better results. The
2674 Lyrics context should not be associated with a music Voice; instead
2675 each section of dialogue should be given an explicit duration. If
2676 there is a gap in the dialogue, the final word should be separated
2677 from the rest and the duration split between them so that the
2678 underlying music spaces out smoothly.
2680 If the dialogue extends for more than one line it will be necessary
2681 to manually insert @code{\break}s and adjust the placing of the
2682 dialogue to avoid running into the right margin. The final word of
2683 the last measure on a line should also be separated out, as above.
2685 Here is an example illustrating how this might be done.
2687 @c This should be a snippet, but it can't be as it needs to be
2688 @c manually adjusted to suit the imposed line length. -td
2690 @lilypond[quote,verbatim,ragged-right]
2691 music = \relative c'' {
2692 \repeat unfold 3 { a4 a a a }
2695 dialogue = \lyricmode {
2697 \fontsize #1 \upright \smallCaps Abe:
2698 "Say this over measures one and"
2702 "and this over measure"4*3
2709 \override LyricText #'font-shape = #'italic
2710 \override LyricText #'self-alignment-X = #LEFT
2714 \new Voice { \music }
2720 @c TODO show use of \column to produce dialogue on two lines
2724 @ref{Manual syllable durations},
2728 @rinternals{LyricText}.
2731 @node Chants psalms and hymns
2732 @subsection Chants psalms and hymns
2737 @cindex religious music
2739 The music and words for chants, psalms and hymns usually follow a
2740 well-established format in any particular church. Although the
2741 formats may differ from church to church the type-setting problems
2742 which arise are broadly similar, and are covered in this section.
2745 * References for chants and psalms::
2747 * Pointing a psalm::
2748 * Partial measures in hymn tunes::
2751 @node References for chants and psalms
2752 @unnumberedsubsubsec References for chants and psalms
2754 Typesetting Gregorian chant in various styles of ancient notation
2755 is described in @ref{Ancient notation}.
2759 @ref{Ancient notation}.
2765 @node Setting a chant
2766 @unnumberedsubsubsec Setting a chant
2768 Modern chant settings use modern notation with varying numbers of
2769 elements taken from ancient notation. Some of the elements and
2770 methods to consider are shown here.
2772 Chants often use quarter notes without stems to indicate the pitch,
2773 with the rhythm being taken from the spoken rhythm of the words.
2775 @lilypond[verbatim,quote]
2776 stemOff = { \override Staff.Stem #'transparent = ##t }
2785 Chants often omit the bar lines or use shortened or dotted bar
2786 lines to indicate pauses in the music. To omit all bar lines from
2787 all staves remove the bar line engraver completely:
2789 @lilypond[verbatim,quote]
2810 \remove Bar_engraver
2816 Bar lines can also be removed on a staff-by-staff basis:
2818 @lilypond[verbatim, quote]
2822 \with { \remove Bar_engraver } {
2840 To remove bar lines from just a section of music treat it as a
2841 cadenza. If the section is long you may need to insert dummy
2842 bar lines with @code{\bar ""} to show where the line should break.
2844 @lilypond[verbatim,quote,relative=2]
2857 Rests or pauses in chants can be indicated by modified bar lines.
2859 @lilypond[verbatim, quote,relative=2]
2874 Alternatively, the notation used in Gregorian chant for pauses or
2875 rests is sometimes used even though the rest of the notation is
2876 modern. This uses a modified @code{\breathe} mark:
2878 @lilypond[verbatim,quote]
2880 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2881 \once \override BreathingSign #'Y-offset = #0
2885 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2886 \once \override BreathingSign #'Y-offset = #0
2890 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2891 \once \override BreathingSign #'Y-offset = #0
2895 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2896 \once \override BreathingSign #'Y-offset = #0
2914 \remove Bar_engraver
2920 Chants usually omit the time signature and often omit the clef too.
2922 @lilypond[verbatim,quote]
2934 \remove Bar_engraver
2935 \remove Time_signature_engraver
2936 \remove Clef_engraver
2942 Chants for psalms in the Anglican tradition are usually either
2943 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2944 of 7 bars. Each group of 7 bars is divided into two halves,
2945 corresponding to the two halves of each verse, usually separated by
2946 a double bar line. Only whole and half notes are used. The 1st bar
2947 in each half always contains a single chord of whole notes. This is
2948 the @qq{reciting note}. Chants are usually centered on the page.
2950 @lilypond[verbatim,quote]
2951 SopranoMusic = \relative g' {
2952 g1 | c2 b | a1 | \bar "||"
2953 a1 | d2 c | c b | c1 | \bar "||"
2956 AltoMusic = \relative c' {
2958 f1 | f2 e | d d | e1 |
2961 TenorMusic = \relative a {
2963 d1 | g,2 g | g g | g1 |
2966 BassMusic = \relative c {
2968 d1 | b2 c | g' g | c,1 |
2975 % Use markup to center the chant on the page
2984 \new Voice = "Soprano" <<
2988 \new Voice = "Alto" <<
2996 \new Voice = "Tenor" <<
3000 \new Voice = "Bass" <<
3010 \override SpacingSpanner
3011 #'base-shortest-duration = #(ly:make-moment 1 2)
3015 \remove "Time_signature_engraver"
3023 Some other approaches to setting such a chant are shown in the first
3024 of the following snippets.
3028 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3029 {chant-or-psalms-notation.ly}
3031 Canticles and other liturgical texts may be set more freely, and
3032 may use notational elements from ancient music. Often the words
3033 are shown underneath and aligned with the notes. If so, the notes
3034 are spaced in accordance with the syllables rather than the notes'
3037 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3038 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3042 @rlearning{Visibility and color of objects},
3043 @rlearning{Vocal ensembles}.
3046 @ref{Ancient notation},
3048 @ref{Modifying context plug-ins},
3049 @ref{Typesetting Gregorian chant},
3050 @ref{Unmetered music},
3051 @ref{Visibility of objects}.
3054 @node Pointing a psalm
3055 @unnumberedsubsubsec Pointing a psalm
3057 The words to an Anglican psalm are usually printed in separate
3058 verses centered underneath the chant.
3060 Single chants (with 7 bars) are repeated for every verse. Double
3061 chants (with 14 bars) are repeated for every pair of verses. Marks
3062 are inserted in the words to show how they should be fitted to the
3063 chant. Each verse is divided into two halves. A colon is usually
3064 used to indicate this division. This corresponds to the double bar
3065 line in the music. The words before the colon are sung to the first
3066 three bars of music; the words after the colon are sung to the last
3069 Single bar lines (or in some psalters an inverted comma or similar
3070 symbol) are inserted between words to indicate where the bar lines
3071 in the music fall. In markup mode a single bar line can be entered
3072 with the bar check symbol, @code{|}.
3074 @lilypond[verbatim,quote]
3079 \line { O come let us sing | unto the | Lord : let }
3080 \line { us heartily rejoice in the | strength of | our }
3081 \line { sal- | -vation. }
3088 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3089 For details, see @ref{Fonts}.
3091 @lilypond[verbatim,quote]
3093 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3099 \line { O come let us sing \tick unto the \tick Lord : let }
3101 us heartily rejoice in the \tick strength of \tick our
3103 \line { sal \tick vation. }
3110 Where there is one whole note in a bar all the words corresponding
3111 to that bar are recited on that one note in speech rhythm. Where
3112 there are two notes in a bar there will usually be only one or two
3113 corresponding syllables. If there are more that two syllables a
3114 dot is usually inserted to indicate where the change in note occurs.
3116 @lilypond[verbatim,quote]
3118 \raise #0.7 \musicglyph #"dots.dot"
3121 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3128 O come let us sing \tick unto \dot the \tick Lord : let
3131 us heartily rejoice in the \tick strength of \tick our
3133 \line { sal \tick vation. }
3140 In some psalters an asterisk is used to indicate a break in a
3141 recited section instead of a comma, and stressed or slightly
3142 lengthened syllables are indicated in bold text.
3144 @lilypond[verbatim,quote]
3146 \raise #0.7 \musicglyph #"dots.dot"
3149 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3155 \line { Today if ye will hear his voice * }
3157 \concat { \bold hard en }
3158 | not your | hearts : as in the pro-
3160 \line { vocation * and as in the \bold day of tempt- | }
3161 \line { -ation | in the | wilderness. }
3168 In other psalters an accent is placed over the syllable to indicate
3171 @lilypond[verbatim,quote]
3173 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3180 O come let us \concat {
3181 si \combine \tick ng
3183 | unto the | Lord : let
3186 us heartily \concat {
3187 rejo \combine \tick ice
3189 in the | strength of | our
3191 \line { sal- | -vation. }
3198 The use of markup to center text, and arrange lines in columns is
3199 described in @ref{Formatting text}.
3201 Most of these elements are shown in one or other of the two verses
3202 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3206 @rlearning{Vocal ensembles}.
3210 @ref{Formatting text}.
3213 @node Partial measures in hymn tunes
3214 @unnumberedsubsubsec Partial measures in hymn tunes
3216 Hymn tunes frequently start and end every line of music with
3217 partial measures so that each line of music corresponds exactly
3218 with a line of text. This requires a @code{\partial} command at
3219 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3220 commands at the end of each line.
3222 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3226 @node Ancient vocal music
3227 @subsection Ancient vocal music
3229 Ancient vocal music is supported, as explained in
3230 @ref{Ancient notation}.
3234 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3235 @c and "Transcription of Ancient music with incipit" snippet. -vv
3239 @ref{Ancient notation}.