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 { d''8 c16 a bes8 f ees' 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 { \time 3/4 e'4 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 interpreted in @code{\lyricmode} and printed in a
222 @code{Lyrics} context, see @ref{Contexts explained}.
225 \new Lyrics \lyricmode @{ @dots{} @}
228 Two variants of @code{\lyricmode} additionally set an associated
229 context used to synchronise the lyric syllables to music. The more
230 convenient @code{\addlyrics} immediately follows the musical content
231 of the Voice context with which it should be synchronised, implicitly
232 creating a Lyrics context of its own. The more versatile
233 @code{\lyricsto} requires both specifying the associated Voice context
234 by name and explicitly creating a containing Lyrics context. For
235 details see @ref{Automatic syllable durations}.
237 Lyrics can be aligned with melodies in two main ways:
242 Lyrics can be aligned automatically, with the durations of the
243 syllables being taken from another voice of music or (in special
244 circumstances) an associated melody, using @code{\addlyrics},
245 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
246 For more details, see @ref{Automatic syllable durations}.
248 @lilypond[quote,ragged-right,verbatim]
252 \new Voice = "one" \relative c'' {
254 c4 b8. a16 g4. r8 a4 ( b ) c2
256 \new Voice = "two" \relative c' {
262 % takes durations and alignment from notes in "one"
263 \new Lyrics \lyricsto "one" {
264 Life is __ _ love, live __ life.
267 % takes durations and alignment from notes in "one" initially
268 % then switches to "two"
269 \new Lyrics \lyricsto "one" {
271 \set associatedVoice = "two" % must be set one syllable early
272 sins and sor -- rows grow.
277 The first stanza shows the normal way of entering lyrics.
279 The second stanza shows how the voice from which the lyric
280 durations are taken can be changed. This is useful if the words to
281 different stanzas fit the notes in different ways and all the
282 durations are available in Voice contexts. For more details, see
286 Lyrics can be aligned independently of the duration of any notes
287 if the durations of the syllables are specified explicitly,
288 and entered with @code{\lyricmode}.
290 @lilypond[quote,ragged-right,verbatim]
292 \new Voice = "one" \relative {
294 c''4 b8. a16 g4. f8 e4 d c2
297 % uses previous explicit duration of 2;
298 \new Lyrics \lyricmode {
302 % explicit durations, set to a different rhythm
303 \new Lyrics \lyricmode {
304 Life4 is love,2. live4 life.2
309 The first stanza is not aligned with the notes because the durations
310 were not specified, and the previous value of 2 is used for each
313 The second stanza shows how the words can be aligned quite
314 independently from the notes. This is useful if the words to
315 different stanzas fit the notes in different ways and the required
316 durations are not available in a music context. For more details
317 see @ref{Manual syllable durations}. This technique is also useful
318 when setting dialogue over music; for examples showing this, see
319 @ref{Dialogue over music}.
325 @rlearning{Aligning lyrics to a melody}.
328 @ref{Contexts explained},
329 @ref{Automatic syllable durations},
331 @ref{Manual syllable durations},
332 @ref{Dialogue over music},
333 @ref{Manual syllable durations}.
339 @node Automatic syllable durations
340 @unnumberedsubsubsec Automatic syllable durations
342 @cindex syllable durations, automatic
343 @cindex lyrics and melodies
344 @cindex associatedVoice
348 Lyrics can be automatically aligned to the notes of a melody in
354 by specifying the named Voice context containing the melody with
358 by introducing the lyrics with @code{\addlyrics} and placing them
359 immediately after the Voice context containing the melody,
362 by setting the @code{associatedVoice} property, the alignment of
363 the lyrics may be switched to a different named Voice context at
368 In all three methods hyphens can be drawn between the syllables of
369 a word and extender lines can be drawn beyond the end of a word. For
370 details, see @ref{Extenders and hyphens}.
372 The @code{Voice} context containing the melody to which the lyrics
373 are being aligned must not have @qq{died}, or the lyrics after that
374 point will be lost. This can happen if there are periods when that
375 voice has nothing to do. For methods of keeping contexts alive, see
376 @ref{Keeping contexts alive}.
378 @subheading Using @code{\lyricsto}
383 Lyrics can be aligned under a melody automatically by specifying
384 the named Voice context containing the melody with
387 @lilypond[quote,verbatim,relative=2]
389 \new Voice = "melody" {
392 \new Lyrics \lyricsto "melody" {
399 This aligns the lyrics to the notes of the named @code{Voice}
400 context, which must already exist. Therefore normally the
401 @code{Voice} context is specified first, followed by the
402 @code{Lyrics} context. The lyrics themselves follow the
403 @code{\lyricsto} command. The @code{\lyricsto} command
404 invokes lyric mode automatically. By default, the lyrics are placed
405 underneath the notes. For other placements, see
406 @ref{Placing lyrics vertically}.
408 @subheading Using @code{\addlyrics}
413 The @code{\addlyrics} command is just a convenient shortcut that
414 can sometimes be used instead of having to set up the lyrics
415 through a more complicated LilyPond structure.
419 \addlyrics @{ LYRICS @}
426 \new Voice = "blah" @{ MUSIC @}
427 \new Lyrics \lyricsto "blah" @{ LYRICS @}
432 @lilypond[verbatim,quote]
435 \relative { c'2 e4 g2. }
436 \addlyrics { play the game }
440 More stanzas can be added by adding more
441 @code{\addlyrics} sections:
444 @lilypond[ragged-right,verbatim,quote]
447 \relative { c'2 e4 g2. }
448 \addlyrics { play the game }
449 \addlyrics { speel het spel }
450 \addlyrics { joue le jeu }
454 The command @code{\addlyrics} cannot handle polyphonic settings.
455 Also, it cannot be used to associate lyrics to a @code{TabVoice}.
456 For these cases one should use @code{\lyricsto}.
458 @subheading Using associatedVoice
460 The melody to which the lyrics are being aligned can be changed by
461 setting the @code{associatedVoice} property,
464 \set associatedVoice = #"lala"
469 The value of the property (here: @code{"lala"}) should be the name
470 of a @code{Voice} context. For technical reasons, the @code{\set}
471 command must be placed one syllable before the one to which the
472 change in voice is to apply.
474 Here is an example demonstrating its use:
476 @lilypond[quote,ragged-right,verbatim]
480 \new Voice = "one" \relative c'' {
482 c4 b8. a16 g4. r8 a4 ( b ) c2
484 \new Voice = "two" \relative c' {
489 % takes durations and alignment from notes in "one" initially
490 % then switches to "two"
491 \new Lyrics \lyricsto "one" {
493 \set associatedVoice = "two" % must be set one syllable early
494 sins and sor -- rows grow.
501 @ref{Extenders and hyphens},
502 @ref{Keeping contexts alive},
503 @ref{Placing lyrics vertically}.
506 @node Manual syllable durations
507 @unnumberedsubsubsec Manual syllable durations
509 In some complex vocal music, it may be desirable to place lyrics
510 completely independently of notes. In this case do not use
511 @code{\lyricsto} or @code{\addlyrics} and do not set
512 @code{associatedVoice}. Syllables are entered like notes --
513 but with pitches replaced by text -- and the duration of each
514 syllable is entered explicitly after the syllable.
516 Hyphenated lines may be drawn between syllables
517 as usual, but extender lines cannot be drawn when there is no
520 Here are two examples:
522 @lilypond[relative=1,verbatim,quote]
524 \new Voice = "melody" {
527 \new Lyrics \lyricmode {
528 c4. -- a -- f -- f -- e2. -- e
534 @lilypond[quote,verbatim,ragged-right]
556 This technique is useful when writing dialogue over music, see
557 @ref{Dialogue over music}.
559 To change syllable alignment, simply override the @code{self-alignment-X}
562 @lilypond[relative=1,verbatim,quote]
564 \new Voice = "melody" {
568 \new Lyrics \lyricmode {
569 \override LyricText.self-alignment-X = #LEFT
577 @ref{Dialogue over music}.
584 @node Multiple syllables to one note
585 @unnumberedsubsubsec Multiple syllables to one note
588 @cindex spaces, in lyrics
589 @cindex quotes, in lyrics
590 @cindex ties, in lyrics
592 In order to assign more than one syllable to a single note with
593 spaces between the syllables, you can surround the phrase with
594 quotes or use a @code{_} character. Alternatively, you can use
595 the tilde symbol (@code{~}) to get a lyric tie.
597 @lilypond[quote,ragged-right,verbatim,relative=2]
600 r8 b c fis, fis c' b e,
604 \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
605 Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
607 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
608 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
614 @rinternals{LyricCombineMusic}.
617 @node Multiple notes to one syllable
618 @unnumberedsubsubsec Multiple notes to one syllable
622 @cindex phrasing, in lyrics
624 @funindex \melismaEnd
626 Sometimes, particularly in Medieval and baroque music, several notes are
627 sung on one syllable; this is called melisma, see
628 @rglos{melisma}. The syllable to a melisma is usually
629 left-aligned with the first note of the melisma.
631 When a melisma occurs on a syllable other than the last one in a
632 word, that syllable is usually joined to the following one with a
633 hyphenated line. This is indicated by placing a double hyphen,
634 @w{@code{--}}, immediately after the syllable.
636 Alternatively, when a melisma occurs on the last or only syllable in
637 a word an extender line is usually drawn from the end of the syllable
638 to the last note of the melisma. This is indicated by placing a
639 double underscore, @code{__}, immediately after the word.
641 There are five ways in which melismata can be indicated:
646 Melismata are created automatically over notes which are tied
649 @lilypond[quote,relative=2,verbatim]
651 \new Voice = "melody" {
657 \new Lyrics \lyricsto "melody" {
664 Melismata can be created automatically from the music by placing
665 slurs over the notes of each melisma. This is the usual way of
668 @lilypond[quote,relative=2,verbatim]
670 \new Voice = "melody" {
675 \new Lyrics \lyricsto "melody" {
681 Note that phrasing slurs do not affect the creation of melismata.
684 Notes are considered a melisma if they are manually beamed,
685 providing automatic beaming is switched off. See
686 @ref{Setting automatic beam behavior}.
688 @lilypond[quote,relative=2,verbatim]
690 \new Voice = "melody" {
696 \new Lyrics \lyricsto "melody" {
702 Clearly this is not suited to melismata over notes which are longer
706 An unslurred group of notes will be treated as a melisma if they
707 are bracketed between @code{\melisma} and @code{\melismaEnd}.
709 @lilypond[quote,relative=2,verbatim]
711 \new Voice = "melody" {
719 \new Lyrics \lyricsto "melody" {
726 A melisma can be defined entirely in the lyrics by entering a
727 single underscore character, @code{_}, for every extra note that has
728 to be added to the melisma.
730 @lilypond[verbatim, quote, relative=2]
732 \new Voice = "melody" {
737 \new Lyrics \lyricsto "melody" {
738 Ky -- ri -- _ _ _ e __ _ _
745 It is possible to have ties, slurs and manual beams in the melody
746 without their indicating melismata. To do this, set
747 @code{melismaBusyProperties}:
749 @lilypond[relative=1,verbatim,quote]
751 \new Voice = "melody" {
753 \set melismaBusyProperties = #'()
757 \new Lyrics \lyricsto "melody" {
758 Ky -- ri -- e e -- le -- i -- son
763 Other settings for @code{melismaBusyProperties} can be used to
764 selectively include or exclude ties, slurs, and beams from the
765 automatic detection of melismata; see @code{melismaBusyProperties}
766 in @rinternals{Tunable context properties}.
768 Alternatively, if all melismata indications are to be ignored,
769 @code{ignoreMelismata} may be set true;
770 see @ref{Stanzas with different rhythms}.
772 If a melisma is required during a passage in which
773 @code{melismaBusyProperties} is active, it may be indicated by
774 placing a single underscore in the lyrics for each note which
775 should be included in the melisma:
777 @lilypond[relative=1,verbatim,quote]
779 \new Voice = "melody" {
781 \set melismaBusyProperties = #'()
785 \new Lyrics \lyricsto "melody" {
786 Ky -- ri -- _ e __ _ _ _
804 @rlearning{Aligning lyrics to a melody}.
807 @ref{Aligning lyrics to a melody},
808 @ref{Automatic syllable durations},
809 @ref{Setting automatic beam behavior},
810 @ref{Stanzas with different rhythms}.
813 @rinternals{Tunable context properties}.
816 Extender lines under melismata are not created automatically; they
817 must be inserted manually with a double underscore.
820 @node Extenders and hyphens
821 @unnumberedsubsubsec Extenders and hyphens
826 @c TODO cf Multiple notes to one syllable; should this be merged in?
828 @c leave this as samp. -gp
829 In the last syllable of a word, melismata are sometimes indicated with
830 a long horizontal line starting in the melisma syllable, and ending in
831 the next one. Such a line is called an extender line, and it is
832 entered as @samp{ __ } (note the spaces before and after the two
833 underscore characters).
835 @warning{Melismata are indicated in the score with extender lines,
836 which are entered as one double underscore; but short melismata can
837 also be entered by skipping individual notes, which are entered as
838 single underscore characters; these do not make an extender line to be
843 @c leave this as samp. -gp
844 Centered hyphens are entered as @samp{ -- } between syllables of a
845 same word (note the spaces before and after the two hyphen
846 characters). The hyphen will be centered between the syllables, and
847 its length will be adjusted depending on the space between the
850 In tightly engraved music, hyphens can be removed. Whether this
851 happens can be controlled with the @code{minimum-distance} (minimum
852 distance between two syllables) and the @code{minimum-length}
853 (threshold below which hyphens are removed) properties of
858 @rinternals{LyricExtender},
859 @rinternals{LyricHyphen}.
862 @node Techniques specific to lyrics
863 @subsection Techniques specific to lyrics
865 @c TODO this whole section is to be reorganised
868 * Working with lyrics and variables::
869 * Placing lyrics vertically::
870 * Placing syllables horizontally::
871 * Lyrics and repeats::
873 * Polyphony with shared lyrics::
878 @node Working with lyrics and variables
879 @unnumberedsubsubsec Working with lyrics and variables
881 @cindex lyrics, using variables
883 Variables containing lyrics can be created, but the lyrics must be
884 entered in lyric mode:
886 @lilypond[quote,verbatim]
887 musicOne = \relative {
888 c''4 b8. a16 g4. f8 e4 d c2
890 verseOne = \lyricmode {
891 Joy to the world, the Lord is come.
899 \new Lyrics \lyricsto "one" {
906 Durations do not need to be added if the variable is to be invoked
907 with @code{\addlyrics} or @code{\lyricsto}.
909 For different or more complex orderings, the best way is to define
910 the music and lyric variables first, then set up the hierarchy of
911 staves and lyrics, omitting the lyrics themselves, and then add the
912 lyrics using @code{\context} underneath. This ensures that the
913 voices referenced by @code{\lyricsto} have always been defined
914 earlier. For example:
916 @lilypond[quote,verbatim]
917 sopranoMusic = \relative { c''4 c c c }
918 contraltoMusic = \relative { a'4 a a a }
919 sopranoWords = \lyricmode { Sop -- ra -- no words }
920 contraltoWords = \lyricmode { Con -- tral -- to words }
925 \new Voice = "sopranos" {
929 \new Lyrics = "sopranos"
930 \new Lyrics = "contraltos"
932 \new Voice = "contraltos" {
936 \context Lyrics = "sopranos" {
937 \lyricsto "sopranos" {
941 \context Lyrics = "contraltos" {
942 \lyricsto "contraltos" {
952 @ref{Placing lyrics vertically}.
955 @rinternals{LyricCombineMusic},
959 @node Placing lyrics vertically
960 @unnumberedsubsubsec Placing lyrics vertically
962 @cindex placement of lyrics
963 @cindex lyrics, positioning
965 Depending on the type of music, lyrics may be positioned
966 above the staff, below the staff, or between staves. Placing
967 lyrics below the associated staff is the easiest, and can be
968 achieved by simply defining the Lyrics context below the Staff
971 @lilypond[quote,verbatim]
975 \new Voice = "melody" {
976 \relative { c''4 c c c }
988 Lyrics may be positioned above the staff using one of
989 two methods. The simplest (and preferred) method
990 is to use the same syntax as above and explicitly
991 specify the position of the lyrics:
993 @lilypond[quote,verbatim]
996 \new Staff = "staff" {
997 \new Voice = "melody" {
998 \relative { c''4 c c c }
1001 \new Lyrics \with { alignAboveContext = "staff" } {
1002 \lyricsto "melody" {
1010 Alternatively, a two-step process may be used. First the Lyrics
1011 context is declared (without any content) before the Staff and
1012 Voice contexts, then the @code{\lyricsto} command is placed after
1013 the Voice declaration it references by using @code{\context}, as
1016 @lilypond[quote,verbatim]
1019 \new Lyrics = "lyrics" \with {
1020 % lyrics above a staff should have this override
1021 \override VerticalAxisGroup.staff-affinity = #DOWN
1024 \new Voice = "melody" {
1025 \relative { c''4 c c c }
1028 \context Lyrics = "lyrics" {
1029 \lyricsto "melody" {
1037 When there are two voices on separate staves the lyrics may be
1038 placed between the staves using either of these methods. Here
1039 is an example of the second method:
1041 @lilypond[quote,verbatim]
1045 \new Voice = "sopranos" {
1046 \relative { c''4 c c c }
1049 \new Lyrics = "sopranos"
1050 \new Lyrics = "contraltos" \with {
1051 % lyrics above a staff should have this override
1052 \override VerticalAxisGroup.staff-affinity = #DOWN
1055 \new Voice = "contraltos" {
1056 \relative { a'4 a a a }
1059 \context Lyrics = "sopranos" {
1060 \lyricsto "sopranos" {
1061 Sop -- ra -- no words
1064 \context Lyrics = "contraltos" {
1065 \lyricsto "contraltos" {
1066 Con -- tral -- to words
1073 Other combinations of lyrics and staves may be generated by
1074 elaborating these examples, or by examining the templates in the
1075 Learning Manual, see @rlearning{Vocal ensembles templates}.
1078 @lilypondfile[verbatim,quote,texidoc,doctitle]
1079 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1083 @rlearning{Vocal ensembles templates}.
1086 @ref{Context layout order},
1087 @ref{Creating and referencing contexts}.
1090 @node Placing syllables horizontally
1091 @unnumberedsubsubsec Placing syllables horizontally
1093 @cindex Spacing lyrics
1094 @cindex Lyrics, increasing space between
1096 To increase the spacing between lyrics, set the
1097 @code{minimum-distance} property of @code{LyricSpace}.
1099 @lilypond[relative=1,verbatim,quote,ragged-right]
1102 \override Lyrics.LyricSpace.minimum-distance = #1.0
1106 longtext longtext longtext longtext
1107 longtext longtext longtext longtext
1112 To make this change for all lyrics in the score, set the property in the
1113 @code{\layout} block.
1115 @lilypond[verbatim,quote,ragged-right]
1122 longtext longtext longtext longtext
1123 longtext longtext longtext longtext
1128 \override LyricSpace.minimum-distance = #1.0
1135 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1136 {lyrics-alignment.ly}
1138 @c TODO: move to LSR -vv
1140 Checking to make sure that text scripts and lyrics are within the margins
1141 requires additional calculations. To speed up processing slightly, this
1142 feature can be disabled:
1145 \override Score.PaperColumn.keep-inside-line = ##f
1148 To make lyrics avoid bar lines as well, use
1154 \consists "Bar_engraver"
1155 \consists "Separating_line_group_engraver"
1161 @node Lyrics and repeats
1162 @unnumberedsubsubsec Lyrics and repeats
1164 @cindex repeats and lyrics
1165 @cindex lyrics, repeating
1167 @subheading Simple repeats
1169 Repeats in @emph{music} are fully described elsewhere; see
1170 @ref{Repeats}. This section explains how to add lyrics to repeated
1173 Lyrics to a section of music that is repeated should be surrounded
1174 by exactly the same repeat construct as the music, if the words are
1177 @lilypond[verbatim,quote]
1181 \new Voice = "melody" {
1184 \repeat volta 2 { b4 b b b }
1189 \lyricsto "melody" {
1190 Not re -- peat -- ed.
1191 \repeat volta 2 { Re -- peat -- ed twice. }
1198 The words will then be correctly expanded if the repeats are
1201 @lilypond[verbatim,quote]
1206 \new Voice = "melody" {
1209 \repeat volta 2 { b4 b b b }
1214 \lyricsto "melody" {
1215 Not re -- peat -- ed.
1216 \repeat volta 2 { Re -- peat -- ed twice. }
1224 If the repeated section is to be unfolded and has different words,
1225 simply enter all the words:
1227 @lilypond[verbatim,quote,ragged-right]
1231 \new Voice = "melody" {
1234 \repeat unfold 2 { b4 b b b }
1239 \lyricsto "melody" {
1240 Not re -- peat -- ed.
1241 The first time words.
1242 Sec -- ond time words.
1249 When the words to a repeated volta section are different, the words
1250 to each repeat must be entered in separate @code{Lyrics} contexts,
1251 correctly nested in parallel sections:
1253 @lilypond[verbatim,quote]
1257 \new Voice = "melody" {
1260 \repeat volta 2 { b4 b b b }
1264 \new Lyrics \lyricsto "melody" {
1265 Not re -- peat -- ed.
1267 { The first time words. }
1269 \set associatedVoice = "melody"
1270 Sec -- ond time words.
1278 More verses may be added in a similar way:
1280 @lilypond[verbatim,quote]
1284 \new Voice = "singleVoice" {
1287 \repeat volta 3 { b4 b b b }
1292 \new Lyrics \lyricsto "singleVoice" {
1293 Not re -- peat -- ed.
1295 { The first time words. }
1297 \set associatedVoice = "singleVoice"
1298 Sec -- ond time words.
1301 \set associatedVoice = "singleVoice"
1302 The third time words.
1305 The end sec -- tion.
1311 @cindex alignBelowContext
1312 @funindex alignBelowContext
1314 However, if this construct is embedded within a multi-staved
1315 context such as a @code{ChoirStaff} the lyrics of the second and
1316 third verses will appear beneath the bottom staff.
1318 To position them correctly use @code{alignBelowContext}:
1320 @lilypond[verbatim,quote]
1324 \new Voice = "melody" {
1327 \repeat volta 3 { b4 b b b }
1332 \new Lyrics = "firstVerse" \lyricsto "melody" {
1333 Not re -- peat -- ed.
1335 { The first time words. }
1336 \new Lyrics = "secondVerse"
1337 \with { alignBelowContext = #"firstVerse" } {
1338 \set associatedVoice = "melody"
1339 Sec -- ond time words.
1341 \new Lyrics = "thirdVerse"
1342 \with { alignBelowContext = #"secondVerse" } {
1343 \set associatedVoice = "melody"
1344 The third time words.
1347 The end sec -- tion.
1349 \new Voice = "harmony" {
1351 f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1360 @c TODO positioning a common line of lyrics
1362 @subheading Repeats with alternative endings
1364 @cindex lyrics, repeats with alternative endings
1365 @cindex repeating lyrics with alternative endings
1366 @cindex alternative endings and lyrics
1368 If the words of the repeated section are the same, exactly the
1369 same structure can be used for both the lyrics and music.
1371 @lilypond[quote,verbatim]
1376 \new Voice = "melody" {
1379 \repeat volta 2 { b4 b }
1380 \alternative { { b b } { b c } }
1385 \lyricsto "melody" {
1386 Not re -- peat -- ed.
1387 \repeat volta 2 { Re -- peat -- }
1388 \alternative { { ed twice. } { ed twice. } }
1396 @cindex skipping notes in lyrics
1397 @cindex lyrics, skipping notes
1399 But when the repeated section has different words, a repeat
1400 construct cannot be used around the words and @code{\skip} commands
1401 have to be inserted manually to skip over the notes in the
1402 alternative sections which do not apply.
1404 Note: do not use an underscore, @code{_}, to skip notes -- an
1405 underscore indicates a melisma, causing the preceding syllable
1408 @warning{The @code{@bs{}skip} command must be followed by a number,
1409 but this number is ignored in lyrics which derive their durations
1410 from the notes in an associated melody through @code{\addlyrics} or
1411 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1412 value, irrespective of the value of the following number.}
1414 @lilypond[verbatim,quote,ragged-right]
1419 \new Voice = "melody" {
1421 \repeat volta 2 { b4 b }
1422 \alternative { { b b } { b c } }
1428 \lyricsto "melody" {
1429 The first time words.
1430 \repeat unfold 2 { \skip 1 }
1435 \lyricsto "melody" {
1437 \repeat unfold 2 { \skip 1 }
1445 @cindex lyrics and tied notes
1446 @funindex \repeatTie
1448 When a note is tied over into two or more alternative endings a
1449 tie is used to carry the note into the first alternative ending and
1450 a @code{\repeatTie} is used in the second and subsequent endings.
1451 This structure causes difficult alignment problems when lyrics are
1452 involved and increasing the length of the alternative sections so
1453 the tied notes are contained wholly within them may give a more
1456 The tie creates a melisma into the first alternative, but not into
1457 the second and subsequent alternatives, so to align the lyrics
1458 correctly it is necessary to disable the automatic creation of
1459 melismata over the volta section and insert manual skips.
1461 @lilypond[quote,verbatim]
1466 \new Voice = "melody" {
1468 \set melismaBusyProperties = #'()
1469 \repeat volta 2 { b4 b ~}
1470 \alternative { { b b } { b \repeatTie c } }
1471 \unset melismaBusyProperties
1477 \lyricsto "melody" {
1478 \repeat volta 2 { Here's a __ }
1490 Note that if @code{\unfoldRepeats} is used around a section
1491 containing @code{\repeatTie}, the @code{\repeatTie} should be
1492 removed to avoid both types of tie being printed.
1494 When the repeated section has different words a @code{\repeat}
1495 cannot be used around the lyrics and @code{\skip} commands need to
1496 be inserted manually, as before.
1498 @lilypond[quote,verbatim]
1503 \new Voice = "melody" {
1505 \repeat volta 2 { b4 b ~}
1506 \alternative { { b b } { b \repeatTie c } }
1512 \lyricsto "melody" {
1514 \repeat unfold 2 { \skip 1 }
1518 \lyricsto "melody" {
1520 \repeat unfold 2 { \skip 1 }
1528 If you wish to show extenders and hyphens into and out of
1529 alternative sections these must be inserted manually.
1531 @lilypond[quote,verbatim]
1536 \new Voice = "melody" {
1538 \repeat volta 2 { b4 b ~}
1539 \alternative { { b b } { b \repeatTie c } }
1545 \lyricsto "melody" {
1547 \repeat unfold 2 { \skip 1 }
1551 \lyricsto "melody" {
1563 @ref{Keeping contexts alive},
1568 @unnumberedsubsubsec Divisi lyrics
1570 @cindex divided lyrics
1571 @cindex lyrics, divided
1573 When just the words and rhythms of the two parts differ with the
1574 pitches remaining the same, temporarily turning off the automatic
1575 detection of melismata and indicating the melisma in the lyrics
1576 may be the appropriate method to use:
1578 @lilypond[quote,verbatim]
1581 \new Voice = "melody" {
1583 \set melismaBusyProperties = #'()
1587 \unset melismaBusyProperties
1591 \new Lyrics \lyricsto "melody" {
1592 They shall not o -- ver -- come
1594 \new Lyrics \lyricsto "melody" {
1601 When both music and words differ it may be better to display
1602 the differing music and lyrics by naming voice contexts and
1603 attaching lyrics to those specific contexts:
1605 @lilypond[verbatim,ragged-right,quote]
1608 \new Voice = "melody" {
1615 \new Voice = "splitpart" {
1625 \new Lyrics \lyricsto "melody" {
1626 They shall not o -- ver -- come
1628 \new Lyrics \lyricsto "splitpart" {
1635 It is common in choral music to have a voice part split for
1636 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1637 construct, where the two (or more) musical expressions are
1638 separated by double backslashes, might seem the proper way to
1639 set the split voices. This construct, however, will assign
1640 @strong{all} the expressions within it to @strong{NEW Voice
1641 contexts} which will result in @emph{no lyrics} being set for
1642 them since the lyrics will be set to the original voice context
1643 -- not, typically, what one wants. The temporary polyphonic
1644 passage is the proper construct to use, see section
1645 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1648 @node Polyphony with shared lyrics
1649 @unnumberedsubsubsec Polyphony with shared lyrics
1652 @cindex polyphony, shared lyrics
1653 @cindex lyrics, shared among voices
1654 @cindex \partcombine and lyrics
1655 @funindex \partcombine
1657 When two voices with different rhythms share the same lyrics,
1658 aligning the lyrics to one of the voices may lead to problems in
1659 the other voice. For example, the second lyric extender below is
1660 too short, since the lyrics are aligned only to the top voice:
1662 @lilypond[quote,verbatim]
1663 soprano = \relative { b'8( c d c) d2 }
1664 alto = \relative { g'2 b8( a g a) }
1665 words = \lyricmode { la __ la __ }
1668 \new Voice = "sopranoVoice" { \voiceOne \soprano }
1669 \new Voice { \voiceTwo \alto }
1670 \new Lyrics \lyricsto "sopranoVoice" \words
1674 To get the desired result, align the lyrics to a new
1675 @code{NullVoice} context containing a suitable combination of the
1676 two voices. The notes of the @code{NullVoice} context do not
1677 appear on the printed page, but can be used to align the lyrics
1680 @lilypond[quote,verbatim]
1681 soprano = \relative { b'8( c d c) d2 }
1682 alto = \relative { g'2 b8( a g a) }
1683 aligner = \relative { b'8( c d c) b( a g a) }
1684 words = \lyricmode { la __ la __ }
1687 \new Voice { \voiceOne \soprano }
1688 \new Voice { \voiceTwo \alto }
1689 \new NullVoice = "aligner" \aligner
1690 \new Lyrics \lyricsto "aligner" \words
1694 This method also can be used with the @code{\partcombine}
1695 function, which does not allow lyrics on its own:
1697 @lilypond[quote,verbatim]
1698 soprano = \relative { b'8( c d c) d2 }
1699 alto = \relative { g'2 b8( a g a) }
1700 aligner = \relative { b'8( c d c) b( a g a) }
1701 words = \lyricmode { la __ la __ }
1704 \new Voice \partcombine \soprano \alto
1705 \new NullVoice = "aligner" \aligner
1706 \new Lyrics \lyricsto "aligner" \words
1711 The @code{\addLyrics} function only works with @code{Voice} lyrics
1712 and so cannot be used with @code{NullVoice}.
1715 The @code{\partcombine} function is described in
1716 @ref{Automatic part combining}.
1718 Lastly, this method can be used even when the voices are in
1719 different staves, and is not limited to only two voices:
1721 @lilypond[quote,verbatim]
1722 soprano = \relative { b'8( c d c) d2 }
1723 altoOne = \relative { g'2 b8( a b4) }
1724 altoTwo = \relative { d'2 g4( fis8 g) }
1725 aligner = \relative { b'8( c d c) d( d d d) }
1726 words = \lyricmode { la __ la __ }
1730 \new NullVoice = "aligner" \aligner
1731 \new Lyrics \lyricsto "aligner" \words
1732 \new Staff \partcombine \altoOne \altoTwo
1740 * Adding stanza numbers::
1741 * Adding dynamics marks to stanzas::
1742 * Adding singers' names to stanzas::
1743 * Stanzas with different rhythms::
1744 * Printing stanzas at the end::
1745 * Printing stanzas at the end in multiple columns::
1749 @node Adding stanza numbers
1750 @unnumberedsubsubsec Adding stanza numbers
1752 @cindex stanza number
1754 Stanza numbers can be added by setting @code{stanza}, e.g.,
1756 @lilypond[quote,ragged-right,verbatim,relative=2]
1758 \time 3/4 g2 e4 a2 f4 g2.
1760 \set stanza = #"1. "
1761 Hi, my name is Bert.
1763 \set stanza = #"2. "
1764 Oh, ché -- ri, je t'aime
1770 These numbers are put just before the start of the first syllable.
1772 @c TODO Create and add snippet to show how two lines of a
1773 @c stanza can be grouped together, along these lines:
1774 @c (might need improving a bit) -td
1777 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1781 \set stanza = \markup { "1. " \leftbrace }
1782 \lyricmode { Child, you're mine and I love you.
1783 Lend thine ear to what I say.
1789 % \set stanza = \markup { " "}
1790 \lyricmode { Child, I have no great -- er joy
1791 Than to have you walk in truth.
1797 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1798 c'8 c' c' c' c' c' c'4 }
1799 } \addlyrics { \stanzaOneOne }
1800 \addlyrics { \stanzaOneThree }
1804 @node Adding dynamics marks to stanzas
1805 @unnumberedsubsubsec Adding dynamics marks to stanzas
1807 Stanzas differing in loudness may be indicated by putting a
1808 dynamics mark before each stanza. In LilyPond, everything coming in
1809 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1810 marks are no different. For technical reasons, you have to set the
1811 stanza outside @code{\lyricmode}:
1813 @lilypond[quote,ragged-right,verbatim]
1815 \set stanza = \markup { \dynamic "ff" "1. " }
1822 \new Voice = "tune" {
1826 \new Lyrics \lyricsto "tune" \text
1830 @node Adding singers' names to stanzas
1831 @unnumberedsubsubsec Adding singers' names to stanzas
1834 @cindex name of singer
1836 Names of singers can also be added. They are printed at the start of
1837 the line, just like instrument names. They are created by setting
1838 @code{vocalName}. A short version may be entered as
1839 @code{shortVocalName}.
1841 @lilypond[ragged-right,quote,verbatim,relative=2]
1843 \time 3/4 g2 e4 a2 f4 g2.
1845 \set vocalName = #"Bert "
1846 Hi, my name is Bert.
1848 \set vocalName = #"Ernie "
1849 Oh, ché -- ri, je t'aime
1853 @node Stanzas with different rhythms
1854 @unnumberedsubsubsec Stanzas with different rhythms
1856 Often, different stanzas of one song are put to one melody in slightly
1857 differing ways. Such variations can still be captured with
1860 @subsubheading Ignoring melismata
1862 One possibility is that the text has a melisma in one stanza, but
1863 multiple syllables in another. One solution is to make the faster
1864 voice ignore the melisma. This is done by setting
1865 @code{ignoreMelismata} in the Lyrics context.
1867 @lilypond[verbatim,ragged-right,quote]
1869 \relative c' \new Voice = "lahlah" {
1870 \set Staff.autoBeaming = ##f
1876 \new Lyrics \lyricsto "lahlah" {
1879 \new Lyrics \lyricsto "lahlah" {
1881 \set ignoreMelismata = ##t
1883 \unset ignoreMelismata
1890 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1891 not work if prefixed with @code{\once}. It is necessary to use
1892 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1895 @subsubheading Adding syllables to grace notes
1897 @cindex grace notes and lyrics
1898 @cindex lyrics on grace notes
1900 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1901 syllables when using @code{\lyricsto}, but this behavior can be
1904 @lilypond[verbatim,ragged-right,quote]
1906 \new Voice = melody \relative {
1907 f'4 \appoggiatura a32 b4
1908 \grace { f16 a16 } b2
1909 \afterGrace b2 { f16[ a16] }
1910 \appoggiatura a32 b4
1916 \set includeGraceNotes = ##t
1919 after -- grace case,
1920 \set ignoreMelismata = ##t
1928 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1929 set at latest one syllable before the one which is to be put under a
1930 grace note. For the case of a grace note at the very beginning of a
1931 piece of music, consider using a @code{\with} or @code{\context}
1934 @lilypond[verbatim,ragged-right,quote]
1936 \new Voice = melody \relative c' {
1937 \grace { c16( d e f }
1940 \new Lyrics \with { includeGraceNotes = ##t }
1947 @subsubheading Switching to an alternative melody
1949 @cindex associatedVoice
1950 @cindex alternative melody, switching to
1952 More complex variations in setting lyrics to music are possible.
1953 The melody to which the lyrics are being set can be changed from
1954 within the lyrics by setting the @code{associatedVoice} property:
1956 @lilypond[verbatim,quote]
1958 \relative c' \new Voice = "lahlah" {
1959 \set Staff.autoBeaming = ##f
1962 \new Voice = "alternative" {
1965 % show associations clearly.
1966 \override NoteColumn.force-hshift = #-3
1977 \new Lyrics \lyricsto "lahlah" {
1978 Ju -- ras -- sic Park
1980 \new Lyrics \lyricsto "lahlah" {
1981 % Tricky: need to set associatedVoice
1982 % one syllable too soon!
1983 \set associatedVoice = "alternative" % applies to "ran"
1987 \set associatedVoice = "lahlah" % applies to "rus"
1993 The text for the first stanza is set to the melody called
1994 @q{lahlah} in the usual way, but the second stanza is set initally
1995 to the @code{lahlah} context and is then switched to the
1996 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
2000 \set associatedVoice = "alternative" % applies to "ran"
2004 \set associatedVoice = "lahlah" % applies to "rus"
2009 Here, @code{alternative} is the name of the @code{Voice} context
2010 containing the triplet.
2012 Note the placement of the @code{\set associatedVoice} command --
2013 it appears to be one syllable too early, but this is correct.
2015 @warning{The @code{\set associatedVoice} command must be placed
2016 one syllable @emph{before} the one at which the switch to the new
2017 voice is to occur. In other words, changing the associated Voice
2018 happens one syllable later than expected. This is for technical
2019 reasons, and it is not a bug.}
2022 @node Printing stanzas at the end
2023 @unnumberedsubsubsec Printing stanzas at the end
2025 Sometimes it is appropriate to have one stanza set
2026 to the music, and the rest added in verse form at
2027 the end of the piece. This can be accomplished by adding
2028 the extra verses into a @code{\markup} section outside
2029 of the main score block. Notice that there are two
2030 different ways to force linebreaks when using
2033 @lilypond[ragged-right,verbatim,quote]
2034 melody = \relative {
2035 e' d c d | e e e e |
2040 \set stanza = #"1." Ma- ry had a lit- tle lamb,
2041 its fleece was white as snow.
2045 \new Voice = "one" { \melody }
2046 \new Lyrics \lyricsto "one" \text
2052 \line{ All the children laughed and played }
2053 \line{ To see a lamb at school. }
2060 Mary took it home again,
2062 It was against the rule."
2067 @node Printing stanzas at the end in multiple columns
2068 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
2070 When a piece of music has many verses, they are often printed in
2071 multiple columns across the page. An outdented verse number often
2072 introduces each verse. The following example shows how to produce such
2075 @lilypond[ragged-right,quote,verbatim]
2076 melody = \relative {
2081 \set stanza = #"1." This is verse one.
2087 \new Voice = "one" { \melody }
2088 \new Lyrics \lyricsto "one" \text
2095 \hspace #0.1 % moves the column off the left margin;
2096 % can be removed if space on the page is tight
2100 "This is verse two."
2104 \combine \null \vspace #0.1 % adds vertical spacing between verses
2107 "This is verse three."
2112 \hspace #0.1 % adds horizontal spacing between columns;
2116 "This is verse four."
2120 \combine \null \vspace #0.1 % adds vertical spacing between verses
2123 "This is verse five."
2128 \hspace #0.1 % gives some extra space on the right margin;
2129 % can be removed if page space is tight
2136 Internals Reference:
2137 @rinternals{LyricText},
2138 @rinternals{StanzaNumber}.
2145 * References for songs::
2149 @node References for songs
2150 @unnumberedsubsubsec References for songs
2152 Songs are usually written on three staves with the melody for the
2153 singer on the top staff and two staves of piano accompaniment at
2154 the bottom. The lyrics of the first stanza are printed immediately
2155 underneath the top staff. If there are just a small number of
2156 further stanzas these can be printed immediately under the first
2157 one, but if there are more stanzas than can be easily accommodated
2158 there the second and subsequent stanzas are printed after the music
2159 as stand-alone text.
2161 All the notational elements needed to write songs are fully described
2167 For constructing the staff layout, see @ref{Displaying staves}.
2170 For writing piano music, see
2171 @ref{Keyboard and other multi-staff instruments}.
2174 For writing the lyrics to a melody line, see
2175 @ref{Common notation for vocal music}.
2178 For placing the lyrics, see @ref{Placing lyrics vertically}.
2181 For entering stanzas, see @ref{Stanzas}.
2184 Songs are frequently printed with the chording indicated by chord
2185 names above the staves. This is described in @ref{Displaying chords}.
2188 To print fret diagrams of the chords for guitar accompaniment or
2189 accompaniment by other fretted instruments, see @qq{Fret diagram
2190 markups} in @ref{Common notation for fretted strings}.
2199 @ref{Common notation for vocal music},
2200 @ref{Displaying chords},
2201 @ref{Displaying staves},
2202 @ref{Keyboard and other multi-staff instruments},
2203 @ref{Placing lyrics vertically},
2211 @unnumberedsubsubsec Lead sheets
2213 Lead sheets may be printed by combining vocal parts and
2214 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2217 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2218 {simple-lead-sheet.ly}
2222 @ref{Chord notation}.
2233 This section discusses notation issues that relate most directly
2234 to choral music. This includes anthems, part songs, oratorio,
2238 * References for choral::
2239 * Score layouts for choral::
2243 @node References for choral
2244 @unnumberedsubsubsec References for choral
2246 Choral music is usually notated on two, three or four staves within
2247 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2248 beneath in a @code{PianoStaff} group, which is usually reduced in
2249 size for rehearsal of @emph{a cappella} choral works. The notes for
2250 each vocal part are placed in a @code{Voice} context, with each staff
2251 being given either a single vocal part (i.e., one @code{Voice}) or
2252 a pair of vocal parts (i.e., two @code{Voice}s).
2254 Words are placed in @code{Lyrics} contexts, either underneath each
2255 corresponding music staff, or one above and one below the music
2256 staff if this contains the music for two parts.
2258 Several common topics in choral music are described fully elsewhere:
2263 An introduction to creating an SATB vocal score can be found in
2264 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2265 There is also a built-in template which simplifies the entry of
2266 SATB vocal music, see @rlearning{Built-in templates}.
2269 Several templates suitable for various styles of choral music can
2270 also be found in the Learning Manual, see
2271 @rlearning{Vocal ensembles templates}.
2274 For information about @code{ChoirStaff} and @code{PianoStaff} see
2275 @ref{Grouping staves}.
2278 Shape note heads, as used in Sacred Harp and similar notation, are
2279 described in @ref{Shape note heads}.
2282 When two vocal parts share a staff the stems, ties, slurs, etc., of
2283 the higher part will be directed up and those of the lower part
2284 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2285 @ref{Single-staff polyphony}.
2288 When a vocal part temporarily splits, you should use
2289 @emph{Temporary polyphonic passages}
2290 (see @ref{Single-staff polyphony}).
2301 @rlearning{Four-part SATB vocal score},
2302 @rlearning{Vocal ensembles templates}.
2305 @ref{Context layout order},
2306 @ref{Grouping staves},
2307 @ref{Shape note heads},
2308 @ref{Single-staff polyphony}.
2313 Internals Reference:
2314 @rinternals{ChoirStaff},
2315 @rinternals{Lyrics},
2316 @rinternals{PianoStaff}.
2319 @node Score layouts for choral
2320 @unnumberedsubsubsec Score layouts for choral
2322 Choral music containing four staves, with or without piano
2323 accompaniment, is usually laid out with two systems per page.
2324 Depending on the page size, achieving this may require changes
2325 to several default settings. The following settings should be
2331 The global staff size can be modified to change the overall size
2332 of the elements of the score. See @ref{Setting the staff size}.
2335 The distances between the systems, the staves and the lyrics can
2336 all be adjusted independently. See @ref{Vertical spacing}.
2339 The dimensions of the vertical layout variables can be displayed as
2340 an aid to adjusting the vertical spacing. This and other
2341 possibilities for fitting the music onto fewer pages are described
2342 in @ref{Fitting music onto fewer pages}.
2345 If the number of systems per page changes from one to two it is
2346 customary to indicate this with a system separator mark between
2347 the two systems. See @ref{Separating systems}.
2350 For details of other page formatting properties, see
2356 Dynamic markings by default are placed below the staff, but in
2357 choral music they are usually placed above the staff in order to
2358 avoid the lyrics. The predefined command @code{\dynamicUp} does
2359 this for the dynamic markings in a single @code{Voice} context.
2360 If there are many @code{Voice} contexts this predefined command
2361 would have to be placed in every one. Alternatively its expanded
2362 form can be used to place all dynamic markings in the entire score
2363 above their respective staves, as shown here:
2365 @lilypond[verbatim,quote]
2370 \relative { g'4\f g g g }
2375 \relative { d'4 d d\p d }
2382 \override DynamicText.direction = #UP
2383 \override DynamicLineSpanner.direction = #UP
2390 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2394 @ref{Changing spacing},
2395 @ref{Displaying spacing},
2396 @ref{Fitting music onto fewer pages},
2399 @ref{Separating systems},
2400 @ref{Setting the staff size},
2402 @ref{Vertical spacing}.
2404 Internals Reference:
2405 @rinternals{VerticalAxisGroup},
2406 @rinternals{StaffGrouper}.
2409 @node Divided voices
2410 @unnumberedsubsubsec Divided voices
2412 @cindex voices, divided
2414 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2415 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2419 @ref{Expressive marks as lines}.
2422 @node Opera and stage musicals
2423 @subsection Opera and stage musicals
2425 The music, lyrics and dialogue to opera and stage musicals are
2426 usually set out in one or more of the following forms:
2431 A @emph{Conductors' Score} containing the full orchestral and vocal
2432 parts, together with libretto cues if there are spoken passages.
2435 @emph{Orchestral Parts} containing the music for the individual
2436 instruments of the orchestra or band.
2439 A @emph{Vocal Score} containing all vocal parts with piano
2440 accompaniment. The accompaniment is usually an orchestral
2441 reduction, and if so the name of the original orchestral instrument
2442 is often indicated. Vocal scores sometimes includes stage
2443 directions and libretto cues.
2446 A @emph{Vocal Book} containing just the vocal parts
2447 (no accompaniment), sometimes combined with the libretto.
2450 A @emph{Libretto} containing the extended passages of spoken
2451 dialogue usually found in musicals, together with the words to the
2452 sung parts. Stage directions are usually included. LilyPond can
2453 be used to typeset libretti but as they contain no music
2454 alternative methods may be preferable.
2458 The sections in the LilyPond documentation which cover the topics
2459 needed to create scores in the styles commonly found in opera and
2460 musicals are indicated in the References below. This is followed
2461 by sections covering those techniques which are peculiar to
2462 typesetting opera and musical scores.
2465 * References for opera and stage musicals::
2469 * Dialogue over music::
2472 @node References for opera and stage musicals
2473 @unnumberedsubsubsec References for opera and stage musicals
2478 A conductors' score contains many grouped staves and lyrics. Ways
2479 of grouping staves is shown in @ref{Grouping staves}. To nest
2480 groups of staves see @ref{Nested staff groups}.
2483 The printing of empty staves in conductors' scores and vocal scores
2484 is often suppressed. To create such a @qq{Frenched score} see
2485 @ref{Hiding staves}.
2488 Writing orchestral parts is covered in @ref{Writing parts}.
2489 Other sections in the Specialist notation chapter may be relevant,
2490 depending on the orchestration used. Many instruments are
2491 transposing instruments, see @ref{Instrument transpositions}.
2494 If the number of systems per page changes from page to page it is
2495 customary to separate the systems with a system separator mark.
2496 See @ref{Separating systems}.
2499 For details of other page formatting properties, see
2503 Dialogue cues, stage directions and footnotes can be inserted, see
2504 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2505 can also be added with a section of stand-alone markups between two
2506 @code{\score} blocks, see @ref{Separate text}.
2512 @rglos{Frenched score},
2513 @rglos{Frenched staves},
2514 @rglos{transposing instrument}.
2517 @ref{Creating footnotes},
2518 @ref{Grouping staves},
2519 @ref{Hiding staves},
2520 @ref{Instrument transpositions},
2521 @ref{Nested staff groups},
2523 @ref{Separating systems},
2525 @ref{Writing parts},
2532 @node Character names
2533 @unnumberedsubsubsec Character names
2535 @cindex character names
2536 @cindex names, character
2538 Character names are usually shown to the left of the staff when the
2539 staff is dedicated to that character alone:
2541 @lilypond[quote,verbatim,ragged-right]
2545 \set Staff.vocalName = \markup \smallCaps Kaspar
2546 \set Staff.shortVocalName = \markup \smallCaps Kas.
2555 \set Staff.vocalName = \markup \smallCaps Melchior
2556 \set Staff.shortVocalName = \markup \smallCaps Mel
2567 When two or more characters share a staff the character's name is
2568 usually printed above the staff at the start of every section
2569 applying to that character. This can be done with markup. Often a
2570 specific font is used for this purpose.
2572 @lilypond[quote,verbatim,relative=1]
2574 c4^\markup \fontsize #1 \smallCaps Kaspar
2577 a4^\markup \fontsize #1 \smallCaps Melchior
2580 c4^\markup \fontsize #1 \smallCaps Kaspar
2584 Alternatively, if there are many character changes, it may be easier
2585 to set up variables to hold the definitions for each character so
2586 that the switch of characters can be indicated easily and concisely.
2588 @lilypond[quote,verbatim]
2591 \set Staff.shortVocalName = "Kas."
2592 \set Staff.midiInstrument = "voice oohs"
2593 <>^\markup \smallCaps "Kaspar"
2598 \set Staff.shortVocalName = "Mel."
2599 \set Staff.midiInstrument = "choir aahs"
2600 <>^\markup \smallCaps "Melchior"
2615 @rlearning{Organizing pieces with variables}.
2619 @ref{Text markup commands}.
2623 @unnumberedsubsubsec Musical cues
2625 @cindex musical cues
2626 @cindex cues, musical
2628 Musical cues can be inserted in Vocal Scores, Vocal Books and
2629 Orchestral Parts to indicate what music in another part
2630 immediately precedes an entry. Also, cues are often inserted in the
2631 piano reduction in Vocal Scores to indicate what each orchestral
2632 instrument is playing. This aids the conductor when a full
2633 Conductors' Score is not available.
2635 The basic mechanism for inserting cues is fully explained in the
2636 main text, see @ref{Quoting other voices} and
2637 @ref{Formatting cue notes}. But when many cues have to be
2638 inserted, for example, as an aid to a conductor in a vocal score,
2639 the instrument name must be positioned carefully just before and
2640 close to the start of the cue notes. The following example shows
2643 @lilypond[quote,verbatim]
2647 \addQuote "flute" { \flute }
2649 pianoRH = \relative {
2651 % position name of cue-ing instrument just before the cue notes,
2652 % and above the staff
2653 <>^\markup { \right-align { \tiny "Flute" } }
2654 \cueDuring "flute" #UP { g4 bes4 }
2656 pianoLH = \relative { c4 <c' e> e, <g c> }
2671 If a transposing instrument is being quoted the instrument part should
2672 specify its key so the conversion of its cue notes will be done
2673 automatically. The example below shows this transposition for a
2674 B-flat clarinet. The notes in this example are low on the staff so
2675 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2676 down) and the instrument name is positioned below the staff.
2678 @lilypond[quote,verbatim]
2679 clarinet = \relative c' {
2683 \addQuote "clarinet" { \clarinet }
2685 pianoRH = \relative c'' {
2687 % position name of cue-ing instrument below the staff
2688 <>_\markup { \right-align { \tiny "Clar." } }
2689 \cueDuring "clarinet" #DOWN { c4. g8 }
2692 pianoLH = \relative { c4 <c' e> e, <g c> }
2711 From these two examples it is clear that inserting many cues in a
2712 Vocal Score would be tedious, and the notes of the piano part would
2713 become obscured. However, as the following snippet shows, it is
2714 possible to define a music function to reduce the amount of typing
2715 and to make the piano notes clearer.
2718 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2719 {adding-orchestral-cues-to-a-vocal-score.ly}
2726 @ref{Aligning objects},
2727 @ref{Direction and placement},
2728 @ref{Formatting cue notes},
2729 @ref{Quoting other voices},
2730 @ref{Using music functions}.
2735 Internals Reference:
2736 @rinternals{CueVoice}.
2739 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2740 and all cue notes are placed in that context. This means it is not
2741 possible to have two overlapping sequences of cue notes by this
2742 technique. Overlapping sequences could be entered by explicitly
2743 declaring separate @code{CueVoice} contexts and using
2744 @code{\quoteDuring} to extract and insert the cue notes.
2748 @unnumberedsubsubsec Spoken music
2751 @cindex Sprechgesang
2752 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2753 speak without pitch but still with rhythm; these are notated by cross
2754 note heads, as demonstrated in @ref{Special note heads}.
2756 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2757 @c add "showing the rhythm of a melody" snip
2758 @c add "one staff-line notation"
2759 @c add "improvisation" ref
2760 @c add "lyrics independents of notes" ref
2762 @node Dialogue over music
2763 @unnumberedsubsubsec Dialogue over music
2765 Dialogue over music is usually printed over the staves in an italic
2766 font, with the start of each phrase keyed in to a particular music
2769 For short interjections a simple markup suffices.
2771 @lilypond[quote,verbatim,relative=2]
2772 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2773 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2777 For longer phrases it may be necessary to expand the music to make
2778 the words fit neatly. There is no provision in LilyPond to do this
2779 fully automatically, and some manual intervention to layout the
2780 page will be necessary.
2782 For long phrases or for passages with a lot of closely packed
2783 dialogue, using a Lyrics context will give better results. The
2784 Lyrics context should not be associated with a music Voice; instead
2785 each section of dialogue should be given an explicit duration. If
2786 there is a gap in the dialogue, the final word should be separated
2787 from the rest and the duration split between them so that the
2788 underlying music spaces out smoothly.
2790 If the dialogue extends for more than one line it will be necessary
2791 to manually insert @code{\break}s and adjust the placing of the
2792 dialogue to avoid running into the right margin. The final word of
2793 the last measure on a line should also be separated out, as above.
2795 Here is an example illustrating how this might be done.
2797 @c This should be a snippet, but it can't be as it needs to be
2798 @c manually adjusted to suit the imposed line length. -td
2800 @lilypond[quote,verbatim,ragged-right]
2801 music = \relative c'' {
2802 \repeat unfold 3 { a4 a a a }
2805 dialogue = \lyricmode {
2807 \fontsize #1 \upright \smallCaps Abe:
2808 "Say this over measures one and"
2812 "and this over measure"4*3
2819 \override LyricText.font-shape = #'italic
2820 \override LyricText.self-alignment-X = #LEFT
2824 \new Voice { \music }
2830 @c TODO show use of \column to produce dialogue on two lines
2834 @ref{Manual syllable durations},
2838 @rinternals{LyricText}.
2841 @node Chants psalms and hymns
2842 @subsection Chants psalms and hymns
2847 @cindex religious music
2849 The music and words for chants, psalms and hymns usually follow a
2850 well-established format in any particular church. Although the
2851 formats may differ from church to church the type-setting problems
2852 which arise are broadly similar, and are covered in this section.
2855 * References for chants and psalms::
2857 * Pointing a psalm::
2858 * Partial measures in hymn tunes::
2861 @node References for chants and psalms
2862 @unnumberedsubsubsec References for chants and psalms
2864 Typesetting Gregorian chant in various styles of ancient notation
2865 is described in @ref{Ancient notation}.
2869 @ref{Ancient notation}.
2875 @node Setting a chant
2876 @unnumberedsubsubsec Setting a chant
2878 Modern chant settings use modern notation with varying numbers of
2879 elements taken from ancient notation. Some of the elements and
2880 methods to consider are shown here.
2882 Chants often use quarter notes without stems to indicate the pitch,
2883 with the rhythm being taken from the spoken rhythm of the words.
2885 @lilypond[verbatim,quote]
2886 stemOff = { \hide Staff.Stem }
2895 Chants often omit the bar lines or use shortened or dotted bar
2896 lines to indicate pauses in the music. To omit all bar lines from
2897 all staves remove the bar line engraver completely:
2899 @lilypond[verbatim,quote]
2920 \remove "Bar_engraver"
2926 Bar lines can also be removed on a staff-by-staff basis:
2928 @lilypond[verbatim, quote]
2932 \with { \remove "Bar_engraver" } {
2950 To remove bar lines from just a section of music treat it as a
2951 cadenza. If the section is long you may need to insert dummy
2952 bar lines with @code{\bar ""} to show where the line should break.
2954 @lilypond[verbatim,quote,relative=2]
2967 Rests or pauses in chants can be indicated by modified bar lines.
2969 @lilypond[verbatim, quote,relative=2]
2984 Alternatively, the notation used in Gregorian chant for pauses or
2985 rests is sometimes used even though the rest of the notation is
2986 modern. This uses a modified @code{\breathe} mark:
2988 @lilypond[verbatim,quote]
2990 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
2991 \once \override BreathingSign.Y-offset = #0
2995 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
2996 \once \override BreathingSign.Y-offset = #0
3000 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
3001 \once \override BreathingSign.Y-offset = #0
3005 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
3006 \once \override BreathingSign.Y-offset = #0
3024 \remove "Bar_engraver"
3030 Chants usually omit the time signature and often omit the clef too.
3032 @lilypond[verbatim,quote]
3044 \remove "Bar_engraver"
3045 \remove "Time_signature_engraver"
3046 \remove "Clef_engraver"
3052 Chants for psalms in the Anglican tradition are usually either
3053 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
3054 of 7 bars. Each group of 7 bars is divided into two halves,
3055 corresponding to the two halves of each verse, usually separated by
3056 a double bar line. Only whole and half notes are used. The 1st bar
3057 in each half always contains a single chord of whole notes. This is
3058 the @qq{reciting note}. Chants are usually centered on the page.
3060 @lilypond[verbatim,quote]
3061 SopranoMusic = \relative {
3062 g'1 | c2 b | a1 | \bar "||"
3063 a1 | d2 c | c b | c1 | \bar "||"
3066 AltoMusic = \relative {
3068 f1 | f2 e | d d | e1 |
3071 TenorMusic = \relative {
3073 d1 | g,2 g | g g | g1 |
3076 BassMusic = \relative {
3078 d1 | b2 c | g' g | c,1 |
3085 % Use markup to center the chant on the page
3094 \new Voice = "Soprano" <<
3098 \new Voice = "Alto" <<
3106 \new Voice = "Tenor" <<
3110 \new Voice = "Bass" <<
3120 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3124 \remove "Time_signature_engraver"
3132 Some other approaches to setting such a chant are shown in the first
3133 of the following snippets.
3137 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3138 {chant-or-psalms-notation.ly}
3140 Canticles and other liturgical texts may be set more freely, and
3141 may use notational elements from ancient music. Often the words
3142 are shown underneath and aligned with the notes. If so, the notes
3143 are spaced in accordance with the syllables rather than the notes'
3146 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3147 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3151 @rlearning{Visibility and color of objects},
3152 @rlearning{Vocal ensembles templates}.
3155 @ref{Ancient notation},
3157 @ref{Modifying context plug-ins},
3158 @ref{Typesetting Gregorian chant},
3159 @ref{Unmetered music},
3160 @ref{Visibility of objects}.
3163 @node Pointing a psalm
3164 @unnumberedsubsubsec Pointing a psalm
3166 The words to an Anglican psalm are usually printed in separate
3167 verses centered underneath the chant.
3169 Single chants (with 7 bars) are repeated for every verse. Double
3170 chants (with 14 bars) are repeated for every pair of verses. Marks
3171 are inserted in the words to show how they should be fitted to the
3172 chant. Each verse is divided into two halves. A colon is usually
3173 used to indicate this division. This corresponds to the double bar
3174 line in the music. The words before the colon are sung to the first
3175 three bars of music; the words after the colon are sung to the last
3178 Single bar lines (or in some psalters an inverted comma or similar
3179 symbol) are inserted between words to indicate where the bar lines
3180 in the music fall. In markup mode a single bar line can be entered
3181 with the bar check symbol, @code{|}.
3183 @lilypond[verbatim,quote]
3188 \line { O come let us sing | unto the | Lord : let }
3189 \line { us heartily rejoice in the | strength of | our }
3190 \line { sal- | -vation. }
3197 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3198 For details, see @ref{Fonts}.
3200 @lilypond[verbatim,quote]
3202 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3208 \line { O come let us sing \tick unto the \tick Lord : let }
3210 us heartily rejoice in the \tick strength of \tick our
3212 \line { sal \tick vation. }
3219 Where there is one whole note in a bar all the words corresponding
3220 to that bar are recited on that one note in speech rhythm. Where
3221 there are two notes in a bar there will usually be only one or two
3222 corresponding syllables. If there are more that two syllables a
3223 dot is usually inserted to indicate where the change in note occurs.
3225 @lilypond[verbatim,quote]
3227 \raise #0.7 \musicglyph #"dots.dot"
3230 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3237 O come let us sing \tick unto \dot the \tick Lord : let
3240 us heartily rejoice in the \tick strength of \tick our
3242 \line { sal \tick vation. }
3249 In some psalters an asterisk is used to indicate a break in a
3250 recited section instead of a comma, and stressed or slightly
3251 lengthened syllables are indicated in bold text.
3253 @lilypond[verbatim,quote]
3255 \raise #0.7 \musicglyph #"dots.dot"
3258 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3264 \line { Today if ye will hear his voice * }
3266 \concat { \bold hard en }
3267 | not your | hearts : as in the pro-
3269 \line { vocation * and as in the \bold day of tempt- | }
3270 \line { -ation | in the | wilderness. }
3277 In other psalters an accent is placed over the syllable to indicate
3280 @lilypond[verbatim,quote]
3282 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3289 O come let us \concat {
3290 si \combine \tick ng
3292 | unto the | Lord : let
3295 us heartily \concat {
3296 rejo \combine \tick ice
3298 in the | strength of | our
3300 \line { sal- | -vation. }
3307 The use of markup to center text, and arrange lines in columns is
3308 described in @ref{Formatting text}.
3310 Most of these elements are shown in one or other of the two verses
3311 in the template, see @rlearning{Psalms}.
3316 @rlearning{Vocal ensembles templates}.
3320 @ref{Formatting text}.
3323 @node Partial measures in hymn tunes
3324 @unnumberedsubsubsec Partial measures in hymn tunes
3326 Hymn tunes frequently start and end every line of music with
3327 partial measures so that each line of music corresponds exactly
3328 with a line of text. This requires a @code{\partial} command at
3329 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3330 commands at the end of each line.
3332 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3336 @node Ancient vocal music
3337 @subsection Ancient vocal music
3339 Ancient vocal music is supported, as explained in
3340 @ref{Ancient notation}.
3344 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3345 @c and "Transcription of Ancient music with incipit" snippet. -vv
3349 @ref{Ancient notation}.