1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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15 @lilypondfile[quote]{vocal-headword.ly}
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
96 @unnumberedsubsubsec Entering lyrics
98 @cindex lyrics, entering
99 @cindex entering lyrics
100 @cindex formatting in lyrics
101 @cindex lyrics, formatting
102 @cindex punctuation in lyrics
103 @cindex lyrics punctuation
104 @cindex spaces in lyrics
105 @cindex quotes in lyrics
108 @c TODO should we explain hyphens here
110 Lyrics are entered in a special input mode, which can be introduced
111 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
112 @code{\lyricsto}. In this special input mode, the input @code{d}
113 is not parsed as the pitch @notation{D}, but rather as a one-letter
114 syllable of text. In other words, syllables are entered like notes
115 but with pitches replaced by text.
120 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
123 There are two main methods for specifying the horizontal placement
124 of the syllables, either by specifying the duration of each syllable
125 explicitly, as in the example above, or by leaving the lyrics to be
126 aligned automatically to a melody or other voice of music, using
127 @code{\addlyrics} or @code{\lyricsto}. The former method is
128 described below in @ref{Manual syllable durations}. The latter
129 method is described in @ref{Automatic syllable durations}.
131 A word or syllable of lyrics begins with an alphabetic character
132 (plus some other characters, see below) and is terminated by any
133 white space or a digit. Later characters in the syllable can be any
134 character that is not a digit or white space.
136 Because any character that is not a digit or white space is regarded
137 as part of the syllable, a word is valid even if it ends with
138 @code{@}}, which often leads to the following mistake:
141 \lyricmode @{ lah lah lah@}
144 In this example, the @code{@}} is included in the final syllable, so the
145 opening brace is not balanced and the input file will probably not
146 compile. Instead, braces should always be surrounded with white space:
149 \lyricmode @{ lah lah lah @}
152 Punctuation, lyrics with accented characters, characters from
153 non-English languages, or special characters (such as the heart
154 symbol or slanted quotes), may simply be inserted directly
155 into the input file, providing it is saved with UTF-8 encoding.
156 For more information, see @ref{Special characters}.
158 @lilypond[quote,verbatim]
159 \relative c'' { d8 c16 a bes8 f e' d c4 }
160 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
163 Normal quotes may be used in lyrics, but they have to be preceded
164 with a backslash character and the whole syllable has to be
165 enclosed between additional quotes. For example,
167 @lilypond[quote,verbatim]
168 \relative 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
183 Great control over the appearance of lyrics comes from using
184 @code{\markup} inside the lyrics themselves. For explanation of many
185 options, see @ref{Formatting text}.
189 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
190 {formatting-lyrics-syllables.ly}
198 @ref{Automatic syllable durations},
200 @ref{Formatting text},
202 @ref{Manual syllable durations},
203 @ref{Special characters}.
206 @rinternals{LyricText}.
212 @node Aligning lyrics to a melody
213 @unnumberedsubsubsec Aligning lyrics to a melody
215 @cindex lyrics, aligning to a melody
216 @cindex @code{associatedVoice}
221 Lyrics are printed by interpreting them in the context called
222 @code{Lyrics}, see @ref{Contexts explained}.
225 \new Lyrics \lyricmode @{ @dots{} @}
228 Lyrics can be aligned with melodies in two main ways:
233 Lyrics can be aligned automatically, with the durations of the
234 syllables being taken from another voice of music or (in special
235 circumstances) an associated melody, using @code{\addlyrics},
236 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
237 For more details, see @ref{Automatic syllable durations}.
239 @lilypond[quote,ragged-right,verbatim]
243 \new Voice = "one" \relative c'' {
245 c4 b8. a16 g4. r8 a4 ( b ) c2
247 \new Voice = "two" \relative c' {
253 % takes durations and alignment from notes in "one"
254 \new Lyrics \lyricsto "one" {
255 Life is __ _ love, live __ life.
258 % takes durations and alignment from notes in "one" initially
259 % then switches to "two"
260 \new Lyrics \lyricsto "one" {
262 \set associatedVoice = "two" % must be set one syllable early
263 sins and sor -- rows grow.
268 The first stanza shows the normal way of entering lyrics.
270 The second stanza shows how the voice from which the lyric
271 durations are taken can be changed. This is useful if the words to
272 different stanzas fit the notes in different ways and all the
273 durations are available in Voice contexts. For more details, see
277 Lyrics can be aligned independently of the duration of any notes
278 if the durations of the syllables are specified explicitly,
279 and entered with @code{\lyricmode}.
281 @lilypond[quote,ragged-right,verbatim]
283 \new Voice = "one" \relative c'' {
285 c4 b8. a16 g4. f8 e4 d c2
288 % uses previous explicit duration of 2;
289 \new Lyrics \lyricmode {
293 % explicit durations, set to a different rhythm
294 \new Lyrics \lyricmode {
295 Life4 is love,2. live4 life.2
300 The first stanza is not aligned with the notes because the durations
301 were not specified, and the previous value of 2 is used for each
304 The second stanza shows how the words can be aligned quite
305 independently from the notes. This is useful if the words to
306 different stanzas fit the notes in different ways and the required
307 durations are not available in a music context. For more details
308 see @ref{Manual syllable durations}. This technique is also useful
309 when setting dialogue over music; for examples showing this, see
310 @ref{Dialogue over music}.
312 When entered in this way the words are left-aligned to the notes
313 by default, but may be center-aligned to the notes of a melody by
314 specifying an associated voice, if one exists. For details, see
315 @ref{Manual syllable durations}.
321 @rlearning{Aligning lyrics to a melody}.
324 @ref{Contexts explained},
325 @ref{Automatic syllable durations},
327 @ref{Manual syllable durations},
328 @ref{Dialogue over music},
329 @ref{Manual syllable durations}.
335 @node Automatic syllable durations
336 @unnumberedsubsubsec Automatic syllable durations
338 @cindex syllable durations, automatic
339 @cindex lyrics and melodies
340 @cindex associatedVoice
344 Lyrics can be automatically aligned to the notes of a melody in
350 by specifying the named Voice context containing the melody with
354 by introducing the lyrics with @code{\addlyrics} and placing them
355 immediately after the Voice context containing the melody,
358 by setting the @code{associatedVoice} property, the alignment of
359 the lyrics may be switched to a different named Voice context at
364 In all three methods hyphens can be drawn between the syllables of
365 a word and extender lines can be drawn beyond the end of a word. For
366 details, see @ref{Extenders and hyphens}.
368 The @code{Voice} context containing the melody to which the lyrics
369 are being aligned must not have @qq{died}, or the lyrics after that
370 point will be lost. This can happen if there are periods when that
371 voice has nothing to do. For methods of keeping contexts alive, see
372 @ref{Keeping contexts alive}.
374 @subheading Using @code{\lyricsto}
379 Lyrics can be aligned under a melody automatically by specifying
380 the named Voice context containing the melody with
383 @lilypond[quote,verbatim,relative=2]
385 \new Voice = "melody" {
388 \new Lyrics \lyricsto "melody" {
395 This aligns the lyrics to the notes of the named @code{Voice}
396 context, which must already exist. Therefore normally the
397 @code{Voice} context is specified first, followed by the
398 @code{Lyrics} context. The lyrics themselves follow the
399 @code{\lyricsto} command. The @code{\lyricsto} command
400 invokes lyric mode automatically, so the @code{\lyricmode} keyword
401 may be omitted. By default, the lyrics are placed underneath the
402 notes. For other placements, see @ref{Placing lyrics vertically}.
404 @subheading Using @code{\addlyrics}
409 The @code{\addlyrics} command is just a convenient shortcut that
410 can sometimes be used instead of having to set up the lyrics
411 through a more complicated LilyPond structure.
415 \addlyrics @{ LYRICS @}
422 \new Voice = "blah" @{ MUSIC @}
423 \new Lyrics \lyricsto "blah" @{ LYRICS @}
428 @lilypond[verbatim,quote]
431 \relative c' { c2 e4 g2. }
432 \addlyrics { play the game }
436 More stanzas can be added by adding more
437 @code{\addlyrics} sections:
440 @lilypond[ragged-right,verbatim,quote]
443 \relative c' { c2 e4 g2. }
444 \addlyrics { play the game }
445 \addlyrics { speel het spel }
446 \addlyrics { joue le jeu }
450 The command @code{\addlyrics} cannot handle polyphonic settings.
451 For these cases one should use @code{\lyricsto}.
453 @subheading Using associatedVoice
455 The melody to which the lyrics are being aligned can be changed by
456 setting the @code{associatedVoice} property,
459 \set associatedVoice = #"lala"
464 The value of the property (here: @code{"lala"}) should be the name
465 of a @code{Voice} context. For technical reasons, the @code{\set}
466 command must be placed one syllable before the one to which the
467 change in voice is to apply.
469 Here is an example demonstrating its use:
471 @lilypond[quote,ragged-right,verbatim]
475 \new Voice = "one" \relative c'' {
477 c4 b8. a16 g4. r8 a4 ( b ) c2
479 \new Voice = "two" \relative c' {
484 % takes durations and alignment from notes in "one" initially
485 % then switches to "two"
486 \new Lyrics \lyricsto "one" {
488 \set associatedVoice = "two" % must be set one syllable early
489 sins and sor -- rows grow.
496 @ref{Extenders and hyphens},
497 @ref{Keeping contexts alive},
498 @ref{Placing lyrics vertically}.
501 @node Manual syllable durations
502 @unnumberedsubsubsec Manual syllable durations
504 In some complex vocal music, it may be desirable to place lyrics
505 completely independently of notes. In this case do not use
506 @code{\lyricsto} or @code{\addlyrics} and do not set
507 @code{associatedVoice}. Syllables are entered like notes --
508 but with pitches replaced by text -- and the duration of each
509 syllable is entered explicitly after the syllable.
511 By default, syllables will be left-aligned to the corresponding
512 musical moment. Hyphenated lines may be drawn between syllables
513 as usual, but extender lines cannot be drawn when there is no
516 Here are two examples:
518 @lilypond[relative=1,verbatim,quote]
520 \new Voice = "melody" {
524 \new Lyrics \lyricmode {
531 @lilypond[quote,verbatim,ragged-right]
553 This technique is useful when writing dialogue over music, see
554 @ref{Dialogue over music}.
556 To center-align syllables on the notes at the corresponding musical
557 moments, set @code{associatedVoice} to the name of the Voice context
558 containing those notes. When @code{associatedVoice} is set, both
559 double hyphens and double underscores can be used to draw
560 hyphenated lines and extenders under melismata correctly.
562 @lilypond[relative=1,verbatim,quote]
564 \new Voice = "melody" {
568 \new Lyrics \lyricmode {
569 \set associatedVoice = #"melody"
575 @c TODO see also feature request 707 - show how to do this with manual durations
579 @ref{Dialogue over music}.
586 @node Multiple syllables to one note
587 @unnumberedsubsubsec Multiple syllables to one note
590 @cindex spaces, in lyrics
591 @cindex quotes, in lyrics
592 @cindex ties, in lyrics
594 In order to assign more than one syllable to a single note with
595 spaces between the syllables, you can surround the phrase with
596 quotes or use a @code{_} character. Alternatively, you can use
597 the tilde symbol (@code{~}) to get a lyric tie.
599 @lilypond[quote,ragged-right,verbatim,relative=2]
602 r8 b c fis, fis c' b e,
606 \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
607 Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
609 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
610 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
616 @rinternals{LyricCombineMusic}.
619 @node Multiple notes to one syllable
620 @unnumberedsubsubsec Multiple notes to one syllable
624 @cindex phrasing, in lyrics
626 @funindex \melismaEnd
628 Sometimes, particularly in Medieval and baroque music, several notes are
629 sung on one syllable; this is called melisma, see
630 @rglos{melisma}. The syllable to a melisma is usually
631 left-aligned with the first note of the melisma.
633 When a melisma occurs on a syllable other that the last one in a
634 word, that syllable is usually joined to the following one with a
635 hyphenated line. This is indicated by placing a double hyphen,
636 @w{@code{--}}, immediately after the syllable.
638 Alternatively, when a melisma occurs on the last or only syllable in
639 a word an extender line is usually drawn from the end of the syllable
640 to the last note of the melisma. This is indicated by placing a
641 double underscore, @code{__}, immediately after the word.
643 There are five ways in which melismata can be indicated:
648 Melismata are created automatically over notes which are tied
651 @lilypond[quote,relative=2,verbatim]
653 \new Voice = "melody" {
659 \new Lyrics \lyricsto "melody" {
666 Melismata can be created automatically from the music by placing
667 slurs over the notes of each melisma. This is the usual way of
670 @lilypond[quote,relative=2,verbatim]
672 \new Voice = "melody" {
677 \new Lyrics \lyricsto "melody" {
683 Note that phrasing slurs do not affect the creation of melismata.
686 Notes are considered a melisma if they are manually beamed,
687 providing automatic beaming is switched off. See
688 @ref{Setting automatic beam behavior}.
690 @lilypond[quote,relative=2,verbatim]
692 \new Voice = "melody" {
698 \new Lyrics \lyricsto "melody" {
704 Clearly this is not suited to melismata over notes which are longer
708 An unslurred group of notes will be treated as a melisma if they
709 are bracketed between @code{\melisma} and @code{\melismaEnd}.
711 @lilypond[quote,relative=2,verbatim]
713 \new Voice = "melody" {
721 \new Lyrics \lyricsto "melody" {
728 A melisma can be defined entirely in the lyrics by entering a
729 single underscore character, @code{_}, for every extra note that has
730 to be added to the melisma.
732 @lilypond[verbatim, quote, relative=2]
734 \new Voice = "melody" {
739 \new Lyrics \lyricsto "melody" {
740 Ky -- ri -- _ _ _ e __ _ _
747 It is possible to have ties, slurs and manual beams in the melody
748 without their indicating melismata. To do this, set
749 @code{melismaBusyProperties}:
751 @lilypond[relative=1,verbatim,quote]
753 \new Voice = "melody" {
755 \set melismaBusyProperties = #'()
759 \new Lyrics \lyricsto "melody" {
760 Ky -- ri -- e e -- le -- i -- son
765 Other settings for @code{melismaBusyProperties} can be used to
766 selectively include or exclude ties, slurs, and beams from the
767 automatic detection of melismata; see @code{melismaBusyProperties}
768 in @rinternals{Tunable context properties}.
770 Alternatively, if all melismata indications are to be ignored,
771 @code{ignoreMelismata} may be set true;
772 see @ref{Stanzas with different rhythms}.
774 If a melisma is required during a passage in which
775 @code{melismaBusyProperties} is active, it may be indicated by
776 placing a single underscore in the lyrics for each note which
777 should be included in the melisma:
779 @lilypond[relative=1,verbatim,quote]
781 \new Voice = "melody" {
783 \set melismaBusyProperties = #'()
787 \new Lyrics \lyricsto "melody" {
788 Ky -- ri -- _ e __ _ _ _
806 @rlearning{Aligning lyrics to a melody}.
809 @ref{Aligning lyrics to a melody},
810 @ref{Automatic syllable durations},
811 @ref{Setting automatic beam behavior},
812 @ref{Stanzas with different rhythms}.
815 @rinternals{Tunable context properties}.
818 Extender lines under melismata are not created automatically; they
819 must be inserted manually with a double underscore.
822 @node Extenders and hyphens
823 @unnumberedsubsubsec Extenders and hyphens
828 @c TODO cf Multiple notes to one syllable; should this be merged in?
830 @c leave this as samp. -gp
831 In the last syllable of a word, melismata are sometimes indicated with
832 a long horizontal line starting in the melisma syllable, and ending in
833 the next one. Such a line is called an extender line, and it is
834 entered as @samp{ __ } (note the spaces before and after the two
835 underscore characters).
837 @warning{Melismata are indicated in the score with extender lines,
838 which are entered as one double underscore; but short melismata can
839 also be entered by skipping individual notes, which are entered as
840 single underscore characters; these do not make an extender line to be
845 @c leave this as samp. -gp
846 Centered hyphens are entered as @samp{ -- } between syllables of a
847 same word (note the spaces before and after the two hyphen
848 characters). The hyphen will be centered between the syllables, and
849 its length will be adjusted depending on the space between the
852 In tightly engraved music, hyphens can be removed. Whether this
853 happens can be controlled with the @code{minimum-distance} (minimum
854 distance between two syllables) and the @code{minimum-length}
855 (threshold below which hyphens are removed) properties of
860 @rinternals{LyricExtender},
861 @rinternals{LyricHyphen}.
864 @node Techniques specific to lyrics
865 @subsection Techniques specific to lyrics
867 @c TODO this whole section is to be reorganised
870 * Working with lyrics and variables::
871 * Placing lyrics vertically::
872 * Placing syllables horizontally::
873 * Lyrics and repeats::
879 @node Working with lyrics and variables
880 @unnumberedsubsubsec Working with lyrics and variables
882 @cindex lyrics, using variables
884 Variables containing lyrics can be created, but the lyrics must be
885 entered in lyric mode:
887 @lilypond[quote,verbatim]
888 musicOne = \relative c'' {
889 c4 b8. a16 g4. f8 e4 d c2
891 verseOne = \lyricmode {
892 Joy to the world, the Lord is come.
900 \new Lyrics \lyricsto "one" {
907 Durations do not need to be added if the variable is to be invoked
908 with @code{\addlyrics} or @code{\lyricsto}.
910 For different or more complex orderings, the best way is to define
911 the music and lyric variables first, then set up the hierarchy of
912 staves and lyrics, omitting the lyrics themselves, and then add the
913 lyrics using @code{\context} underneath. This ensures that the
914 voices referenced by @code{\lyricsto} have always been defined
915 earlier. For example:
917 @lilypond[quote,verbatim]
918 sopranoMusic = \relative c'' { c4 c c c }
919 contraltoMusic = \relative c'' { a4 a a a }
920 sopranoWords = \lyricmode { Sop -- ra -- no words }
921 contraltoWords = \lyricmode { Con -- tral -- to words }
926 \new Voice = "sopranos" {
930 \new Lyrics = "sopranos"
931 \new Lyrics = "contraltos"
933 \new Voice = "contraltos" {
937 \context Lyrics = "sopranos" {
938 \lyricsto "sopranos" {
942 \context Lyrics = "contraltos" {
943 \lyricsto "contraltos" {
953 @ref{Placing lyrics vertically}.
956 @rinternals{LyricCombineMusic},
960 @node Placing lyrics vertically
961 @unnumberedsubsubsec Placing lyrics vertically
963 @cindex placement of lyrics
964 @cindex lyrics, positioning
966 Depending on the type of music, lyrics may be positioned
967 above the staff, below the staff, or between staves. Placing
968 lyrics below the associated staff is the easiest, and can be
969 achieved by simply defining the Lyrics context below the Staff
972 @lilypond[quote,verbatim]
976 \new Voice = "melody" {
977 \relative c'' { c4 c c c }
989 Lyrics may be positioned above the staff using one of
990 two methods. The simplest (and preferred) method
991 is to use the same syntax as above and explicitly
992 specify the position of the lyrics:
994 @lilypond[quote,verbatim]
997 \new Staff = "staff" {
998 \new Voice = "melody" {
999 \relative c'' { c4 c c c }
1002 \new Lyrics \with { alignAboveContext = "staff" } {
1003 \lyricsto "melody" {
1011 Alternatively, a two-step process may be used. First the Lyrics
1012 context is declared (without any content) before the Staff and
1013 Voice contexts, then the @code{\lyricsto} command is placed after
1014 the Voice declaration it references by using @code{\context}, as
1017 @lilypond[quote,verbatim]
1020 \new Lyrics = "lyrics" \with {
1021 % lyrics above a staff should have this override
1022 \override VerticalAxisGroup.staff-affinity = #DOWN
1025 \new Voice = "melody" {
1026 \relative c'' { c4 c c c }
1029 \context Lyrics = "lyrics" {
1030 \lyricsto "melody" {
1038 When there are two voices on separate staves the lyrics may be
1039 placed between the staves using either of these methods. Here
1040 is an example of the second method:
1042 @lilypond[quote,verbatim]
1046 \new Voice = "sopranos" {
1047 \relative c'' { c4 c c c }
1050 \new Lyrics = "sopranos"
1051 \new Lyrics = "contraltos" \with {
1052 % lyrics above a staff should have this override
1053 \override VerticalAxisGroup.staff-affinity = #DOWN
1056 \new Voice = "contraltos" {
1057 \relative c'' { a4 a a a }
1060 \context Lyrics = "sopranos" {
1061 \lyricsto "sopranos" {
1062 Sop -- ra -- no words
1065 \context Lyrics = "contraltos" {
1066 \lyricsto "contraltos" {
1067 Con -- tral -- to words
1074 Other combinations of lyrics and staves may be generated by
1075 elaborating these examples, or by examining the templates in the
1076 Learning Manual, see @rlearning{Vocal ensembles templates}.
1079 @lilypondfile[verbatim,quote,texidoc,doctitle]
1080 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1084 @rlearning{Vocal ensembles templates}.
1087 @ref{Context layout order},
1088 @ref{Creating and referencing contexts}.
1091 @node Placing syllables horizontally
1092 @unnumberedsubsubsec Placing syllables horizontally
1094 @cindex Spacing lyrics
1095 @cindex Lyrics, increasing space between
1097 To increase the spacing between lyrics, set the
1098 @code{minimum-distance} property of @code{LyricSpace}.
1100 @lilypond[relative=1,verbatim,quote,ragged-right]
1103 \override Lyrics.LyricSpace.minimum-distance = #1.0
1107 longtext longtext longtext longtext
1108 longtext longtext longtext longtext
1113 To make this change for all lyrics in the score, set the property in the
1114 @code{\layout} block.
1116 @lilypond[verbatim,quote,ragged-right]
1123 longtext longtext longtext longtext
1124 longtext longtext longtext longtext
1129 \override LyricSpace.minimum-distance = #1.0
1136 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1137 {lyrics-alignment.ly}
1139 @c TODO: move to LSR -vv
1141 Checking to make sure that text scripts and lyrics are within the margins
1142 requires additional calculations. To speed up processing slightly, this
1143 feature can be disabled:
1146 \override Score.PaperColumn.keep-inside-line = ##f
1149 To make lyrics avoid bar lines as well, use
1155 \consists "Bar_engraver"
1156 \consists "Separating_line_group_engraver"
1157 \override BarLine.transparent = ##t
1162 @node Lyrics and repeats
1163 @unnumberedsubsubsec Lyrics and repeats
1165 @cindex repeats and lyrics
1166 @cindex lyrics, repeating
1168 @subheading Simple repeats
1170 Repeats in @emph{music} are fully described elsewhere; see
1171 @ref{Repeats}. This section explains how to add lyrics to repeated
1174 Lyrics to a section of music that is repeated should be surrounded
1175 by exactly the same repeat construct as the music, if the words are
1178 @lilypond[verbatim,quote]
1182 \new Voice = "melody" {
1185 \repeat volta 2 { b4 b b b }
1190 \lyricsto "melody" {
1191 Not re -- peat -- ed.
1192 \repeat volta 2 { Re -- peat -- ed twice. }
1199 The words will then be correctly expanded if the repeats are
1202 @lilypond[verbatim,quote]
1207 \new Voice = "melody" {
1210 \repeat volta 2 { b4 b b b }
1215 \lyricsto "melody" {
1216 Not re -- peat -- ed.
1217 \repeat volta 2 { Re -- peat -- ed twice. }
1225 If the repeated section is to be unfolded and has different words,
1226 simply enter all the words:
1228 @lilypond[verbatim,quote,ragged-right]
1232 \new Voice = "melody" {
1235 \repeat unfold 2 { b4 b b b }
1240 \lyricsto "melody" {
1241 Not re -- peat -- ed.
1242 The first time words.
1243 Sec -- ond time words.
1250 When the words to a repeated volta section are different, the words
1251 to each repeat must be entered in separate @code{Lyrics} contexts,
1252 correctly nested in parallel sections:
1254 @lilypond[verbatim,quote]
1258 \new Voice = "melody" {
1261 \repeat volta 2 { b4 b b b }
1265 \new Lyrics \lyricsto "melody" {
1266 Not re -- peat -- ed.
1268 { The first time words. }
1270 \set associatedVoice = "melody"
1271 Sec -- ond time words.
1279 More verses may be added in a similar way:
1281 @lilypond[verbatim,quote]
1285 \new Voice = "singleVoice" {
1288 \repeat volta 3 { b4 b b b }
1293 \new Lyrics \lyricsto "singleVoice" {
1294 Not re -- peat -- ed.
1296 { The first time words. }
1298 \set associatedVoice = "singleVoice"
1299 Sec -- ond time words.
1302 \set associatedVoice = "singleVoice"
1303 The third time words.
1306 The end sec -- tion.
1312 @cindex alignBelowContext
1313 @funindex alignBelowContext
1315 However, if this construct is embedded within a multi-staved
1316 context such as a @code{ChoirStaff} the lyrics of the second and
1317 third verses will appear beneath the bottom staff.
1319 To position them correctly use @code{alignBelowContext}:
1321 @lilypond[verbatim,quote]
1325 \new Voice = "melody" {
1328 \repeat volta 3 { b4 b b b }
1333 \new Lyrics = "firstVerse" \lyricsto "melody" {
1334 Not re -- peat -- ed.
1336 { The first time words. }
1337 \new Lyrics = "secondVerse"
1338 \with { alignBelowContext = #"firstVerse" } {
1339 \set associatedVoice = "melody"
1340 Sec -- ond time words.
1342 \new Lyrics = "thirdVerse"
1343 \with { alignBelowContext = #"secondVerse" } {
1344 \set associatedVoice = "melody"
1345 The third time words.
1348 The end sec -- tion.
1350 \new Voice = "harmony" {
1352 f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1361 @c TODO positioning a common line of lyrics
1363 @subheading Repeats with alternative endings
1365 @cindex lyrics, repeats with alternative endings
1366 @cindex repeating lyrics with alternative endings
1367 @cindex alternative endings and lyrics
1369 If the words of the repeated section are the same, exactly the
1370 same structure can be used for both the lyrics and music.
1372 @lilypond[quote,verbatim]
1377 \new Voice = "melody" {
1380 \repeat volta 2 { b4 b }
1381 \alternative { { b b } { b c } }
1386 \lyricsto "melody" {
1387 Not re -- peat -- ed.
1388 \repeat volta 2 { Re -- peat -- }
1389 \alternative { { ed twice. } { ed twice. } }
1397 @cindex skipping notes in lyrics
1398 @cindex lyrics, skipping notes
1400 But when the repeated section has different words, a repeat
1401 construct cannot be used around the words and @code{\skip} commands
1402 have to be inserted manually to skip over the notes in the
1403 alternative sections which do not apply.
1405 Note: do not use an underscore, @code{_}, to skip notes -- an
1406 underscore indicates a melisma, causing the preceding syllable
1409 @warning{The @code{@bs{}skip} command must be followed by a number,
1410 but this number is ignored in lyrics which derive their durations
1411 from the notes in an associated melody through @code{\addlyrics} or
1412 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1413 value, irrespective of the value of the following number.}
1415 @lilypond[verbatim,quote,ragged-right]
1420 \new Voice = "melody" {
1422 \repeat volta 2 { b4 b }
1423 \alternative { { b b } { b c } }
1429 \lyricsto "melody" {
1430 The first time words.
1431 \repeat unfold 2 { \skip 1 }
1436 \lyricsto "melody" {
1438 \repeat unfold 2 { \skip 1 }
1446 @cindex lyrics and tied notes
1447 @funindex \repeatTie
1449 When a note is tied over into two or more alternative endings a
1450 tie is used to carry the note into the first alternative ending and
1451 a @code{\repeatTie} is used in the second and subsequent endings.
1452 This structure causes difficult alignment problems when lyrics are
1453 involved and increasing the length of the alternative sections so
1454 the tied notes are contained wholly within them may give a more
1457 The tie creates a melisma into the first alternative, but not into
1458 the second and subsequent alternatives, so to align the lyrics
1459 correctly it is necessary to disable the automatic creation of
1460 melismata over the volta section and insert manual skips.
1462 @lilypond[quote,verbatim]
1467 \new Voice = "melody" {
1469 \set melismaBusyProperties = #'()
1470 \repeat volta 2 { b4 b ~}
1471 \alternative { { b b } { b \repeatTie c } }
1472 \unset melismaBusyProperties
1478 \lyricsto "melody" {
1479 \repeat volta 2 { Here's a __ }
1491 Note that if @code{\unfoldRepeats} is used around a section
1492 containing @code{\repeatTie}, the @code{\repeatTie} should be
1493 removed to avoid both types of tie being printed.
1495 When the repeated section has different words a @code{\repeat}
1496 cannot be used around the lyrics and @code{\skip} commands need to
1497 be inserted manually, as before.
1499 @lilypond[quote,verbatim]
1504 \new Voice = "melody" {
1506 \repeat volta 2 { b4 b ~}
1507 \alternative { { b b } { b \repeatTie c } }
1513 \lyricsto "melody" {
1515 \repeat unfold 2 { \skip 1 }
1519 \lyricsto "melody" {
1521 \repeat unfold 2 { \skip 1 }
1529 If you wish to show extenders and hyphens into and out of
1530 alternative sections these must be inserted manually.
1532 @lilypond[quote,verbatim]
1537 \new Voice = "melody" {
1539 \repeat volta 2 { b4 b ~}
1540 \alternative { { b b } { b \repeatTie c } }
1546 \lyricsto "melody" {
1548 \repeat unfold 2 { \skip 1 }
1552 \lyricsto "melody" {
1564 @ref{Keeping contexts alive},
1569 @unnumberedsubsubsec Divisi lyrics
1571 @cindex divided lyrics
1572 @cindex lyrics, divided
1574 When just the words and rhythms of the two parts differ with the
1575 pitches remaining the same, temporarily turning off the automatic
1576 detection of melismata and indicating the melisma in the lyrics
1577 may be the appropriate method to use:
1579 @lilypond[quote,verbatim]
1582 \new Voice = "melody" {
1584 \set melismaBusyProperties = #'()
1588 \unset melismaBusyProperties
1592 \new Lyrics \lyricsto "melody" {
1593 They shall not o -- ver -- come
1595 \new Lyrics \lyricsto "melody" {
1602 When both music and words differ it may be better to display
1603 the differing music and lyrics by naming voice contexts and
1604 attaching lyrics to those specific contexts:
1606 @lilypond[verbatim,ragged-right,quote]
1609 \new Voice = "melody" {
1616 \new Voice = "splitpart" {
1626 \new Lyrics \lyricsto "melody" {
1627 They shall not o -- ver -- come
1629 \new Lyrics \lyricsto "splitpart" {
1636 It is common in choral music to have a voice part split for
1637 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1638 construct, where the two (or more) musical expressions are
1639 separated by double backslashes, might seem the proper way to
1640 set the split voices. This construct, however, will assign
1641 @strong{all} the expressions within it to @strong{NEW Voice
1642 contexts} which will result in @emph{no lyrics} being set for
1643 them since the lyrics will be set to the original voice context
1644 -- not, typically, what one wants. The temporary polyphonic
1645 passage is the proper construct to use, see section
1646 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1653 * Adding stanza numbers::
1654 * Adding dynamics marks to stanzas::
1655 * Adding singers' names to stanzas::
1656 * Stanzas with different rhythms::
1657 * Printing stanzas at the end::
1658 * Printing stanzas at the end in multiple columns::
1662 @node Adding stanza numbers
1663 @unnumberedsubsubsec Adding stanza numbers
1665 @cindex stanza number
1667 Stanza numbers can be added by setting @code{stanza}, e.g.,
1669 @lilypond[quote,ragged-right,verbatim,relative=2]
1671 \time 3/4 g2 e4 a2 f4 g2.
1673 \set stanza = #"1. "
1674 Hi, my name is Bert.
1676 \set stanza = #"2. "
1677 Oh, ché -- ri, je t'aime
1683 These numbers are put just before the start of the first syllable.
1685 @c TODO Create and add snippet to show how two lines of a
1686 @c stanza can be grouped together, along these lines:
1687 @c (might need improving a bit) -td
1690 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1694 \set stanza = \markup { "1. " \leftbrace }
1695 \lyricmode { Child, you're mine and I love you.
1696 Lend thine ear to what I say.
1702 % \set stanza = \markup { " "}
1703 \lyricmode { Child, I have no great -- er joy
1704 Than to have you walk in truth.
1710 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1711 c'8 c' c' c' c' c' c'4 }
1712 } \addlyrics { \stanzaOneOne }
1713 \addlyrics { \stanzaOneThree }
1717 @node Adding dynamics marks to stanzas
1718 @unnumberedsubsubsec Adding dynamics marks to stanzas
1720 Stanzas differing in loudness may be indicated by putting a
1721 dynamics mark before each stanza. In LilyPond, everything coming in
1722 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1723 marks are no different. For technical reasons, you have to set the
1724 stanza outside @code{\lyricmode}:
1726 @lilypond[quote,ragged-right,verbatim]
1728 \set stanza = \markup { \dynamic "ff" "1. " }
1735 \new Voice = "tune" {
1739 \new Lyrics \lyricsto "tune" \text
1743 @node Adding singers' names to stanzas
1744 @unnumberedsubsubsec Adding singers' names to stanzas
1747 @cindex name of singer
1749 Names of singers can also be added. They are printed at the start of
1750 the line, just like instrument names. They are created by setting
1751 @code{vocalName}. A short version may be entered as
1752 @code{shortVocalName}.
1754 @lilypond[ragged-right,quote,verbatim,relative=2]
1756 \time 3/4 g2 e4 a2 f4 g2.
1758 \set vocalName = #"Bert "
1759 Hi, my name is Bert.
1761 \set vocalName = #"Ernie "
1762 Oh, ché -- ri, je t'aime
1766 @node Stanzas with different rhythms
1767 @unnumberedsubsubsec Stanzas with different rhythms
1769 Often, different stanzas of one song are put to one melody in slightly
1770 differing ways. Such variations can still be captured with
1773 @subsubheading Ignoring melismata
1775 One possibility is that the text has a melisma in one stanza, but
1776 multiple syllables in another. One solution is to make the faster
1777 voice ignore the melisma. This is done by setting
1778 @code{ignoreMelismata} in the Lyrics context.
1780 @lilypond[verbatim,ragged-right,quote]
1782 \relative c' \new Voice = "lahlah" {
1783 \set Staff.autoBeaming = ##f
1789 \new Lyrics \lyricsto "lahlah" {
1792 \new Lyrics \lyricsto "lahlah" {
1794 \set ignoreMelismata = ##t
1796 \unset ignoreMelismata
1803 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1804 not work if prefixed with @code{\once}. It is necessary to use
1805 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1808 @subsubheading Adding syllables to grace notes
1810 @cindex grace notes and lyrics
1811 @cindex lyrics on grace notes
1813 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1814 syllables when using @code{\lyricsto}, but this behavior can be
1817 @lilypond[verbatim,ragged-right,quote]
1819 \new Voice = melody \relative c' {
1820 f4 \appoggiatura a32 b4
1821 \grace { f16[ a16] } b2
1822 \afterGrace b2 { f16[ a16] }
1823 \appoggiatura a32 b4
1829 \set includeGraceNotes = ##t
1832 after -- grace case,
1833 \set ignoreMelismata = ##t
1841 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1842 set at latest one syllable before the one which is to be put under a
1843 grace note. For the case of a grace note at the very beginning of a
1844 piece of music, consider using a @code{\with} or @code{\context}
1847 @lilypond[verbatim,ragged-right,quote]
1849 \new Voice = melody \relative c' {
1850 \grace { c16[( d e f] }
1853 \new Lyrics \with { includeGraceNotes = ##t }
1860 @subsubheading Switching to an alternative melody
1862 @cindex associatedVoice
1863 @cindex alternative melody, switching to
1865 More complex variations in setting lyrics to music are possible.
1866 The melody to which the lyrics are being set can be changed from
1867 within the lyrics by setting the @code{associatedVoice} property:
1869 @lilypond[verbatim,quote]
1871 \relative c' \new Voice = "lahlah" {
1872 \set Staff.autoBeaming = ##f
1875 \new Voice = "alternative" {
1878 % show associations clearly.
1879 \override NoteColumn.force-hshift = #-3
1890 \new Lyrics \lyricsto "lahlah" {
1891 Ju -- ras -- sic Park
1893 \new Lyrics \lyricsto "lahlah" {
1894 % Tricky: need to set associatedVoice
1895 % one syllable too soon!
1896 \set associatedVoice = "alternative" % applies to "ran"
1900 \set associatedVoice = "lahlah" % applies to "rus"
1906 The text for the first stanza is set to the melody called
1907 @q{lahlah} in the usual way, but the second stanza is set initally
1908 to the @code{lahlah} context and is then switched to the
1909 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1913 \set associatedVoice = "alternative" % applies to "ran"
1917 \set associatedVoice = "lahlah" % applies to "rus"
1922 Here, @code{alternative} is the name of the @code{Voice} context
1923 containing the triplet.
1925 Note the placement of the @code{\set associatedVoice} command --
1926 it appears to be one syllable too early, but this is correct.
1928 @warning{The @code{\set associatedVoice} command must be placed
1929 one syllable @emph{before} the one at which the switch to the new
1930 voice is to occur. In other words, changing the associated Voice
1931 happens one syllable later than expected. This is for technical
1932 reasons, and it is not a bug.}
1935 @node Printing stanzas at the end
1936 @unnumberedsubsubsec Printing stanzas at the end
1938 Sometimes it is appropriate to have one stanza set
1939 to the music, and the rest added in verse form at
1940 the end of the piece. This can be accomplished by adding
1941 the extra verses into a @code{\markup} section outside
1942 of the main score block. Notice that there are two
1943 different ways to force linebreaks when using
1946 @lilypond[ragged-right,verbatim,quote]
1947 melody = \relative c' {
1953 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1954 its fleece was white as snow.
1958 \new Voice = "one" { \melody }
1959 \new Lyrics \lyricsto "one" \text
1965 \line{ All the children laughed and played }
1966 \line{ To see a lamb at school. }
1973 Mary took it home again,
1975 It was against the rule."
1980 @node Printing stanzas at the end in multiple columns
1981 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1983 When a piece of music has many verses, they are often printed in
1984 multiple columns across the page. An outdented verse number often
1985 introduces each verse. The following example shows how to produce such
1988 @lilypond[ragged-right,quote,verbatim]
1989 melody = \relative c' {
1994 \set stanza = #"1." This is verse one.
2000 \new Voice = "one" { \melody }
2001 \new Lyrics \lyricsto "one" \text
2008 \hspace #0.1 % moves the column off the left margin;
2009 % can be removed if space on the page is tight
2013 "This is verse two."
2017 \combine \null \vspace #0.1 % adds vertical spacing between verses
2020 "This is verse three."
2025 \hspace #0.1 % adds horizontal spacing between columns;
2029 "This is verse four."
2033 \combine \null \vspace #0.1 % adds vertical spacing between verses
2036 "This is verse five."
2041 \hspace #0.1 % gives some extra space on the right margin;
2042 % can be removed if page space is tight
2049 Internals Reference:
2050 @rinternals{LyricText},
2051 @rinternals{StanzaNumber}.
2058 * References for songs::
2062 @node References for songs
2063 @unnumberedsubsubsec References for songs
2065 Songs are usually written on three staves with the melody for the
2066 singer on the top staff and two staves of piano accompaniment at
2067 the bottom. The lyrics of the first stanza are printed immediately
2068 underneath the top staff. If there are just a small number of
2069 further stanzas these can be printed immediately under the first
2070 one, but if there are more stanzas than can be easily accommodated
2071 there the second and subsequent stanzas are printed after the music
2072 as stand-alone text.
2074 All the notational elements needed to write songs are fully described
2080 For constructing the staff layout, see @ref{Displaying staves}.
2083 For writing piano music, see
2084 @ref{Keyboard and other multi-staff instruments}.
2087 For writing the lyrics to a melody line, see
2088 @ref{Common notation for vocal music}.
2091 For placing the lyrics, see @ref{Placing lyrics vertically}.
2094 For entering stanzas, see @ref{Stanzas}.
2097 Songs are frequently printed with the chording indicated by chord
2098 names above the staves. This is described in @ref{Displaying chords}.
2101 To print fret diagrams of the chords for guitar accompaniment or
2102 accompaniment by other fretted instruments, see @qq{Fret diagram
2103 markups} in @ref{Common notation for fretted strings}.
2112 @ref{Common notation for vocal music},
2113 @ref{Displaying chords},
2114 @ref{Displaying staves},
2115 @ref{Keyboard and other multi-staff instruments},
2116 @ref{Placing lyrics vertically},
2124 @unnumberedsubsubsec Lead sheets
2126 Lead sheets may be printed by combining vocal parts and
2127 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2130 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2131 {simple-lead-sheet.ly}
2135 @ref{Chord notation}.
2146 This section discusses notation issues that relate most directly
2147 to choral music. This includes anthems, part songs, oratorio,
2151 * References for choral::
2152 * Score layouts for choral::
2156 @node References for choral
2157 @unnumberedsubsubsec References for choral
2159 Choral music is usually notated on two, three or four staves within
2160 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2161 beneath in a @code{PianoStaff} group, which is usually reduced in
2162 size for rehearsal of @emph{a cappella} choral works. The notes for
2163 each vocal part are placed in a @code{Voice} context, with each staff
2164 being given either a single vocal part (i.e., one @code{Voice}) or
2165 a pair of vocal parts (i.e., two @code{Voice}s).
2167 Words are placed in @code{Lyrics} contexts, either underneath each
2168 corresponding music staff, or one above and one below the music
2169 staff if this contains the music for two parts.
2171 Several common topics in choral music are described fully elsewhere:
2176 An introduction to creating an SATB vocal score can be found in
2177 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2180 Several templates suitable for various styles of choral music can
2181 also be found in the Learning Manual, see
2182 @rlearning{Vocal ensembles templates}.
2185 For information about @code{ChoirStaff} and @code{PianoStaff} see
2186 @ref{Grouping staves}.
2189 Shape note heads, as used in Sacred Harp and similar notation, are
2190 described in @ref{Shape note heads}.
2193 When two vocal parts share a staff the stems, ties, slurs, etc., of
2194 the higher part will be directed up and those of the lower part
2195 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2196 @ref{Single-staff polyphony}.
2199 When a vocal part temporarily splits, you should use
2200 @emph{Temporary polyphonic passages}
2201 (see @ref{Single-staff polyphony}).
2212 @rlearning{Four-part SATB vocal score},
2213 @rlearning{Vocal ensembles templates}.
2216 @ref{Context layout order},
2217 @ref{Grouping staves},
2218 @ref{Shape note heads},
2219 @ref{Single-staff polyphony}.
2224 Internals Reference:
2225 @rinternals{ChoirStaff},
2226 @rinternals{Lyrics},
2227 @rinternals{PianoStaff}.
2230 @node Score layouts for choral
2231 @unnumberedsubsubsec Score layouts for choral
2233 Choral music containing four staves, with or without piano
2234 accompaniment, is usually laid out with two systems per page.
2235 Depending on the page size, achieving this may require changes
2236 to several default settings. The following settings should be
2242 The global staff size can be modified to change the overall size
2243 of the elements of the score. See @ref{Setting the staff size}.
2246 The distances between the systems, the staves and the lyrics can
2247 all be adjusted independently. See @ref{Vertical spacing}.
2250 The dimensions of the vertical layout variables can be displayed as
2251 an aid to adjusting the vertical spacing. This and other
2252 possibilities for fitting the music onto fewer pages are described
2253 in @ref{Fitting music onto fewer pages}.
2256 If the number of systems per page changes from one to two it is
2257 customary to indicate this with a system separator mark between
2258 the two systems. See @ref{Separating systems}.
2261 For details of other page formatting properties, see
2267 Dynamic markings by default are placed below the staff, but in
2268 choral music they are usually placed above the staff in order to
2269 avoid the lyrics. The predefined command @code{\dynamicUp} does
2270 this for the dynamic markings in a single @code{Voice} context.
2271 If there are many @code{Voice} contexts this predefined command
2272 would have to be placed in every one. Alternatively its expanded
2273 form can be used to place all dynamic markings in the entire score
2274 above their respective staves, as shown here:
2276 @lilypond[verbatim,quote]
2281 \relative c'' { g4\f g g g }
2286 \relative c' { d4 d d\p d }
2293 \override DynamicText.direction = #UP
2294 \override DynamicLineSpanner.direction = #UP
2301 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2305 @ref{Changing spacing},
2306 @ref{Displaying spacing},
2307 @ref{Fitting music onto fewer pages},
2310 @ref{Separating systems},
2311 @ref{Setting the staff size},
2312 @ref{Using an extra voice for breaks},
2313 @ref{Vertical spacing}.
2315 Internals Reference:
2316 @rinternals{VerticalAxisGroup},
2317 @rinternals{StaffGrouper}.
2320 @node Divided voices
2321 @unnumberedsubsubsec Divided voices
2323 @cindex voices, divided
2325 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2326 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2330 @ref{Expressive marks as lines}.
2333 @node Opera and stage musicals
2334 @subsection Opera and stage musicals
2336 The music, lyrics and dialogue to opera and stage musicals are
2337 usually set out in one or more of the following forms:
2342 A @emph{Conductors' Score} containing the full orchestral and vocal
2343 parts, together with libretto cues if there are spoken passages.
2346 @emph{Orchestral Parts} containing the music for the individual
2347 instruments of the orchestra or band.
2350 A @emph{Vocal Score} containing all vocal parts with piano
2351 accompaniment. The accompaniment is usually an orchestral
2352 reduction, and if so the name of the original orchestral instrument
2353 is often indicated. Vocal scores sometimes includes stage
2354 directions and libretto cues.
2357 A @emph{Vocal Book} containing just the vocal parts
2358 (no accompaniment), sometimes combined with the libretto.
2361 A @emph{Libretto} containing the extended passages of spoken
2362 dialogue usually found in musicals, together with the words to the
2363 sung parts. Stage directions are usually included. LilyPond can
2364 be used to typeset libretti but as they contain no music
2365 alternative methods may be preferable.
2369 The sections in the LilyPond documentation which cover the topics
2370 needed to create scores in the styles commonly found in opera and
2371 musicals are indicated in the References below. This is followed
2372 by sections covering those techniques which are peculiar to
2373 typesetting opera and musical scores.
2376 * References for opera and stage musicals::
2380 * Dialogue over music::
2383 @node References for opera and stage musicals
2384 @unnumberedsubsubsec References for opera and stage musicals
2389 A conductors' score contains many grouped staves and lyrics. Ways
2390 of grouping staves is shown in @ref{Grouping staves}. To nest
2391 groups of staves see @ref{Nested staff groups}.
2394 The printing of empty staves in conductors' scores and vocal scores
2395 is often suppressed. To create such a @qq{Frenched score} see
2396 @ref{Hiding staves}.
2399 Writing orchestral parts is covered in @ref{Writing parts}.
2400 Other sections in the Specialist notation chapter may be relevant,
2401 depending on the orchestration used. Many instruments are
2402 transposing instruments, see @ref{Instrument transpositions}.
2405 If the number of systems per page changes from page to page it is
2406 customary to separate the systems with a system separator mark.
2407 See @ref{Separating systems}.
2410 For details of other page formatting properties, see
2414 Dialogue cues, stage directions and footnotes can be inserted, see
2415 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2416 can also be added with a section of stand-alone markups between two
2417 @code{\score} blocks, see @ref{Separate text}.
2423 @rglos{Frenched score},
2424 @rglos{Frenched staves},
2425 @rglos{transposing instrument}.
2428 @ref{Creating footnotes},
2429 @ref{Grouping staves},
2430 @ref{Hiding staves},
2431 @ref{Instrument transpositions},
2432 @ref{Nested staff groups},
2434 @ref{Separating systems},
2436 @ref{Writing parts},
2443 @node Character names
2444 @unnumberedsubsubsec Character names
2446 @cindex character names
2447 @cindex names, character
2449 Character names are usually shown to the left of the staff when the
2450 staff is dedicated to that character alone:
2452 @lilypond[quote,verbatim,ragged-right]
2456 \set Staff.vocalName = \markup \smallCaps Kaspar
2457 \set Staff.shortVocalName = \markup \smallCaps Kas.
2466 \set Staff.vocalName = \markup \smallCaps Melchior
2467 \set Staff.shortVocalName = \markup \smallCaps Mel
2478 When two or more characters share a staff the character's name is
2479 usually printed above the staff at the start of every section
2480 applying to that character. This can be done with markup. Often a
2481 specific font is used for this purpose.
2483 @lilypond[quote,verbatim,relative=1]
2485 c4^\markup \fontsize #1 \smallCaps Kaspar
2488 a4^\markup \fontsize #1 \smallCaps Melchior
2491 c4^\markup \fontsize #1 \smallCaps Kaspar
2495 Alternatively, if there are many character changes, it may be
2496 easier to set up @qq{instrument} definitions for each character at
2497 the top level so that @code{\instrumentSwitch} can be used to
2498 indicate each change.
2500 @lilypond[quote,verbatim]
2501 \addInstrumentDefinition #"kaspar"
2502 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2503 (shortInstrumentName . "Kas.")
2504 (clefGlyph . "clefs.G")
2505 (clefTransposition . -7)
2506 (middleCPosition . 1)
2508 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2509 (midiInstrument . "voice oohs"))
2511 \addInstrumentDefinition #"melchior"
2512 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2513 (shortInstrumentName . "Mel.")
2514 (clefGlyph . "clefs.F")
2515 (clefTransposition . 0)
2516 (middleCPosition . 6)
2518 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2519 (midiInstrument . "choir aahs"))
2522 \instrumentSwitch "kaspar"
2524 \instrumentSwitch "melchior"
2526 \instrumentSwitch "kaspar"
2533 @ref{Instrument names},
2534 @ref{Scheme functions},
2536 @ref{Text markup commands}.
2539 @rextend{Markup construction in Scheme}.
2543 @unnumberedsubsubsec Musical cues
2545 @cindex musical cues
2546 @cindex cues, musical
2548 Musical cues can be inserted in Vocal Scores, Vocal Books and
2549 Orchestral Parts to indicate what music in another part
2550 immediately precedes an entry. Also, cues are often inserted in the
2551 piano reduction in Vocal Scores to indicate what each orchestral
2552 instrument is playing. This aids the conductor when a full
2553 Conductors' Score is not available.
2555 The basic mechanism for inserting cues is fully explained in the
2556 main text, see @ref{Quoting other voices} and
2557 @ref{Formatting cue notes}. But when many cues have to be
2558 inserted, for example, as an aid to a conductor in a vocal score,
2559 the instrument name must be positioned carefully just before and
2560 close to the start of the cue notes. The following example shows
2563 @lilypond[quote,verbatim]
2564 flute = \relative c'' {
2567 \addQuote "flute" { \flute }
2569 pianoRH = \relative c'' {
2571 % position name of cue-ing instrument just before the cue notes,
2572 % and above the staff
2574 \override InstrumentSwitch.self-alignment-X = #RIGHT
2575 \set instrumentCueName = "Flute"
2577 \cueDuring "flute" #UP { g4 bes4 }
2579 pianoLH = \relative c { c4 <c' e> e, <g c> }
2594 If a transposing instrument is being quoted the instrument part should
2595 specify its key so the conversion of its cue notes will be done
2596 automatically. The example below shows this transposition for a
2597 B-flat clarinet. The notes in this example are low on the staff so
2598 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2599 down) and the instrument name is positioned below the staff. Note
2600 also that the piano right-hand voice is explicitly declared. This
2601 is because the cue notes in this example begin at the start of the
2602 first bar and this would otherwise cause the entire piano right-hand
2603 notes to be placed in a @code{CueVoice} context.
2605 @lilypond[quote,verbatim]
2606 clarinet = \relative c' {
2610 \addQuote "clarinet" { \clarinet }
2612 pianoRH = \relative c'' {
2614 % position name of cue-ing instrument below the staff
2616 \override InstrumentSwitch.self-alignment-X = #RIGHT
2617 \override InstrumentSwitch.direction = #DOWN
2618 \set instrumentCueName = "Clar."
2620 \cueDuring "clarinet" #DOWN { c4. g8 }
2623 pianoLH = \relative c { c4 <c' e> e, <g c> }
2642 From these two examples it is clear that inserting many cues in a
2643 Vocal Score would be tedious, and the notes of the piano part would
2644 become obscured. However, as the following snippet shows, it is
2645 possible to define a music function to reduce the amount of typing
2646 and to make the piano notes clearer.
2649 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2650 {adding-orchestral-cues-to-a-vocal-score.ly}
2657 @ref{Aligning objects},
2658 @ref{Direction and placement},
2659 @ref{Formatting cue notes},
2660 @ref{Quoting other voices},
2661 @ref{Using music functions}.
2666 Internals Reference:
2667 @rinternals{InstrumentSwitch},
2668 @rinternals{CueVoice}.
2671 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2672 and all cue notes are placed in that context. This means it is not
2673 possible to have two overlapping sequences of cue notes by this
2674 technique. Overlapping sequences could be entered by explicitly
2675 declaring separate @code{CueVoice} contexts and using
2676 @code{\quoteDuring} to extract and insert the cue notes.
2680 @unnumberedsubsubsec Spoken music
2683 @cindex Sprechgesang
2684 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2685 speak without pitch but still with rhythm; these are notated by cross
2686 note heads, as demonstrated in @ref{Special note heads}.
2688 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2689 @c add "showing the rhythm of a melody" snip
2690 @c add "one staff-line notation"
2691 @c add "improvisation" ref
2692 @c add "lyrics independents of notes" ref
2694 @node Dialogue over music
2695 @unnumberedsubsubsec Dialogue over music
2697 Dialogue over music is usually printed over the staves in an italic
2698 font, with the start of each phrase keyed in to a particular music
2701 For short interjections a simple markup suffices.
2703 @lilypond[quote,verbatim,relative=2]
2704 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2705 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2709 For longer phrases it may be necessary to expand the music to make
2710 the words fit neatly. There is no provision in LilyPond to do this
2711 fully automatically, and some manual intervention to layout the
2712 page will be necessary.
2714 For long phrases or for passages with a lot of closely packed
2715 dialogue, using a Lyrics context will give better results. The
2716 Lyrics context should not be associated with a music Voice; instead
2717 each section of dialogue should be given an explicit duration. If
2718 there is a gap in the dialogue, the final word should be separated
2719 from the rest and the duration split between them so that the
2720 underlying music spaces out smoothly.
2722 If the dialogue extends for more than one line it will be necessary
2723 to manually insert @code{\break}s and adjust the placing of the
2724 dialogue to avoid running into the right margin. The final word of
2725 the last measure on a line should also be separated out, as above.
2727 Here is an example illustrating how this might be done.
2729 @c This should be a snippet, but it can't be as it needs to be
2730 @c manually adjusted to suit the imposed line length. -td
2732 @lilypond[quote,verbatim,ragged-right]
2733 music = \relative c'' {
2734 \repeat unfold 3 { a4 a a a }
2737 dialogue = \lyricmode {
2739 \fontsize #1 \upright \smallCaps Abe:
2740 "Say this over measures one and"
2744 "and this over measure"4*3
2751 \override LyricText.font-shape = #'italic
2752 \override LyricText.self-alignment-X = #LEFT
2756 \new Voice { \music }
2762 @c TODO show use of \column to produce dialogue on two lines
2766 @ref{Manual syllable durations},
2770 @rinternals{LyricText}.
2773 @node Chants psalms and hymns
2774 @subsection Chants psalms and hymns
2779 @cindex religious music
2781 The music and words for chants, psalms and hymns usually follow a
2782 well-established format in any particular church. Although the
2783 formats may differ from church to church the type-setting problems
2784 which arise are broadly similar, and are covered in this section.
2787 * References for chants and psalms::
2789 * Pointing a psalm::
2790 * Partial measures in hymn tunes::
2793 @node References for chants and psalms
2794 @unnumberedsubsubsec References for chants and psalms
2796 Typesetting Gregorian chant in various styles of ancient notation
2797 is described in @ref{Ancient notation}.
2801 @ref{Ancient notation}.
2807 @node Setting a chant
2808 @unnumberedsubsubsec Setting a chant
2810 Modern chant settings use modern notation with varying numbers of
2811 elements taken from ancient notation. Some of the elements and
2812 methods to consider are shown here.
2814 Chants often use quarter notes without stems to indicate the pitch,
2815 with the rhythm being taken from the spoken rhythm of the words.
2817 @lilypond[verbatim,quote]
2818 stemOff = { \override Staff.Stem.transparent = ##t }
2827 Chants often omit the bar lines or use shortened or dotted bar
2828 lines to indicate pauses in the music. To omit all bar lines from
2829 all staves remove the bar line engraver completely:
2831 @lilypond[verbatim,quote]
2852 \remove "Bar_engraver"
2858 Bar lines can also be removed on a staff-by-staff basis:
2860 @lilypond[verbatim, quote]
2864 \with { \remove "Bar_engraver" } {
2882 To remove bar lines from just a section of music treat it as a
2883 cadenza. If the section is long you may need to insert dummy
2884 bar lines with @code{\bar ""} to show where the line should break.
2886 @lilypond[verbatim,quote,relative=2]
2899 Rests or pauses in chants can be indicated by modified bar lines.
2901 @lilypond[verbatim, quote,relative=2]
2916 Alternatively, the notation used in Gregorian chant for pauses or
2917 rests is sometimes used even though the rest of the notation is
2918 modern. This uses a modified @code{\breathe} mark:
2920 @lilypond[verbatim,quote]
2922 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
2923 \once \override BreathingSign.Y-offset = #0
2927 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
2928 \once \override BreathingSign.Y-offset = #0
2932 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
2933 \once \override BreathingSign.Y-offset = #0
2937 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
2938 \once \override BreathingSign.Y-offset = #0
2956 \remove "Bar_engraver"
2962 Chants usually omit the time signature and often omit the clef too.
2964 @lilypond[verbatim,quote]
2976 \remove "Bar_engraver"
2977 \remove "Time_signature_engraver"
2978 \remove "Clef_engraver"
2984 Chants for psalms in the Anglican tradition are usually either
2985 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2986 of 7 bars. Each group of 7 bars is divided into two halves,
2987 corresponding to the two halves of each verse, usually separated by
2988 a double bar line. Only whole and half notes are used. The 1st bar
2989 in each half always contains a single chord of whole notes. This is
2990 the @qq{reciting note}. Chants are usually centered on the page.
2992 @lilypond[verbatim,quote]
2993 SopranoMusic = \relative g' {
2994 g1 | c2 b | a1 | \bar "||"
2995 a1 | d2 c | c b | c1 | \bar "||"
2998 AltoMusic = \relative c' {
3000 f1 | f2 e | d d | e1 |
3003 TenorMusic = \relative a {
3005 d1 | g,2 g | g g | g1 |
3008 BassMusic = \relative c {
3010 d1 | b2 c | g' g | c,1 |
3017 % Use markup to center the chant on the page
3026 \new Voice = "Soprano" <<
3030 \new Voice = "Alto" <<
3038 \new Voice = "Tenor" <<
3042 \new Voice = "Bass" <<
3052 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3056 \remove "Time_signature_engraver"
3064 Some other approaches to setting such a chant are shown in the first
3065 of the following snippets.
3069 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3070 {chant-or-psalms-notation.ly}
3072 Canticles and other liturgical texts may be set more freely, and
3073 may use notational elements from ancient music. Often the words
3074 are shown underneath and aligned with the notes. If so, the notes
3075 are spaced in accordance with the syllables rather than the notes'
3078 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3079 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3083 @rlearning{Visibility and color of objects},
3084 @rlearning{Vocal ensembles templates}.
3087 @ref{Ancient notation},
3089 @ref{Modifying context plug-ins},
3090 @ref{Typesetting Gregorian chant},
3091 @ref{Unmetered music},
3092 @ref{Visibility of objects}.
3095 @node Pointing a psalm
3096 @unnumberedsubsubsec Pointing a psalm
3098 The words to an Anglican psalm are usually printed in separate
3099 verses centered underneath the chant.
3101 Single chants (with 7 bars) are repeated for every verse. Double
3102 chants (with 14 bars) are repeated for every pair of verses. Marks
3103 are inserted in the words to show how they should be fitted to the
3104 chant. Each verse is divided into two halves. A colon is usually
3105 used to indicate this division. This corresponds to the double bar
3106 line in the music. The words before the colon are sung to the first
3107 three bars of music; the words after the colon are sung to the last
3110 Single bar lines (or in some psalters an inverted comma or similar
3111 symbol) are inserted between words to indicate where the bar lines
3112 in the music fall. In markup mode a single bar line can be entered
3113 with the bar check symbol, @code{|}.
3115 @lilypond[verbatim,quote]
3120 \line { O come let us sing | unto the | Lord : let }
3121 \line { us heartily rejoice in the | strength of | our }
3122 \line { sal- | -vation. }
3129 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3130 For details, see @ref{Fonts}.
3132 @lilypond[verbatim,quote]
3134 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3140 \line { O come let us sing \tick unto the \tick Lord : let }
3142 us heartily rejoice in the \tick strength of \tick our
3144 \line { sal \tick vation. }
3151 Where there is one whole note in a bar all the words corresponding
3152 to that bar are recited on that one note in speech rhythm. Where
3153 there are two notes in a bar there will usually be only one or two
3154 corresponding syllables. If there are more that two syllables a
3155 dot is usually inserted to indicate where the change in note occurs.
3157 @lilypond[verbatim,quote]
3159 \raise #0.7 \musicglyph #"dots.dot"
3162 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3169 O come let us sing \tick unto \dot the \tick Lord : let
3172 us heartily rejoice in the \tick strength of \tick our
3174 \line { sal \tick vation. }
3181 In some psalters an asterisk is used to indicate a break in a
3182 recited section instead of a comma, and stressed or slightly
3183 lengthened syllables are indicated in bold text.
3185 @lilypond[verbatim,quote]
3187 \raise #0.7 \musicglyph #"dots.dot"
3190 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3196 \line { Today if ye will hear his voice * }
3198 \concat { \bold hard en }
3199 | not your | hearts : as in the pro-
3201 \line { vocation * and as in the \bold day of tempt- | }
3202 \line { -ation | in the | wilderness. }
3209 In other psalters an accent is placed over the syllable to indicate
3212 @lilypond[verbatim,quote]
3214 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3221 O come let us \concat {
3222 si \combine \tick ng
3224 | unto the | Lord : let
3227 us heartily \concat {
3228 rejo \combine \tick ice
3230 in the | strength of | our
3232 \line { sal- | -vation. }
3239 The use of markup to center text, and arrange lines in columns is
3240 described in @ref{Formatting text}.
3242 Most of these elements are shown in one or other of the two verses
3243 in the template, see @rlearning{Psalms}.
3248 @rlearning{Vocal ensembles templates}.
3252 @ref{Formatting text}.
3255 @node Partial measures in hymn tunes
3256 @unnumberedsubsubsec Partial measures in hymn tunes
3258 Hymn tunes frequently start and end every line of music with
3259 partial measures so that each line of music corresponds exactly
3260 with a line of text. This requires a @code{\partial} command at
3261 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3262 commands at the end of each line.
3264 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3268 @node Ancient vocal music
3269 @subsection Ancient vocal music
3271 Ancient vocal music is supported, as explained in
3272 @ref{Ancient notation}.
3276 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3277 @c and "Transcription of Ancient music with incipit" snippet. -vv
3281 @ref{Ancient notation}.