1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @c TODO: inspirational headword
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 Lyrics are entered in lyric mode. This section explains how this
87 @cindex spaces, in lyrics
88 @cindex quotes, in lyrics
90 @c TODO: this section is to be rewritten.
91 Since LilyPond input files are text, there is at least one
92 issue to consider when working with vocal music:
93 song texts must be interpreted as text, not notes. For example, the
94 input@tie{}@code{d} should be interpreted as a one letter syllable,
96 Therefore, a special lyric mode has to be used, either explicitly
97 or using some abbreviated methods.
99 Lyrics are entered in a special input mode, which can be introduced
100 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
101 @code{\lyricsto}. In this mode you can enter lyrics,
102 with punctuation and accents, and the input @code{d} is not parsed as
103 a pitch, but rather as a one letter syllable. Syllables are entered
104 like notes, but with pitches replaced by text. For example,
107 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
110 There are two main methods to specify the horizontal placement
111 of the syllables, either by specifying the duration of each syllable
112 explicitly, like in the example above, or by automatically aligning
113 the lyrics to a melody or other voice of music, using @code{\addlyrics}
116 @c For more details see @ref{The Lyrics context}.
118 A word or syllable of lyrics begins with an alphabetic character, and ends
120 any space or digit. The following characters can be any character
121 that is not a digit or white space.
123 Any character that is not a digit or white space will be regarded as
124 part of the syllable; one important consequence of this is that a word
125 can end with @code{@}}, which often leads to the following mistake:
128 \lyricmode @{ lah- lah@}
131 In this example, the @code{@}} is included in the final syllable, so the
132 opening brace is not balanced and the input file will probably not
136 @funindex \property in \lyricmode
139 Similarly, a period which follows an alphabetic sequence is included in
140 the resulting string. As a consequence, spaces must be inserted around
141 property commands: do @emph{not} write
144 \override Score.LyricText #'font-shape = #'italic
151 \override Score . LyricText #'font-shape = #'italic
154 To enter lyrics with characters from non-English languages, or with
155 accented and special characters (such as the heart symbol or slanted quotes),
156 simply insert the characters directly into the input file and save
157 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
159 @lilypond[quote,ragged-right,fragment,verbatim]
160 \relative c' { e4 f e d e f e2 }
161 \addlyrics { He said: “Let my peo ple go”. }
164 To use normal quotes in lyrics, add a backslash before the
167 @lilypond[quote,ragged-right,fragment,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
175 A word in Lyrics mode begins with: an alphabetic character, @code{_},
176 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
177 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
178 any 8-bit character with ASCII code over 127, or a two-character
179 combination of a backslash followed by one of @code{`}, @code{'},
180 @code{"}, or @code{^}.
182 @c " to balance double quotes for not-so-bright context-sensitive editors
184 To define variables containing lyrics, the function @code{lyricmode}
188 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
191 \new Voice = "one" \relative c'' @{
194 c4 b8. a16 g4. f8 e4 d c2
196 \addlyrics @{ \verseOne @}
207 @rinternals{LyricText},
208 @rinternals{LyricSpace}.
211 @node Aligning lyrics to a melody
212 @unnumberedsubsubsec Aligning lyrics to a melody
218 @c TODO: this stuff is to be rewritten. -vv
220 Aligning of text with melodies can be made automatically, but if you
221 specify the durations of the syllables it can also be made manually.
222 Lyrics aligning and typesetting are prepared with the help of skips,
223 hyphens and extender lines.
225 Lyrics are printed by interpreting them in the context called
226 @code{Lyrics}; see @rinternals{Lyrics}, for more.
229 \new Lyrics \lyricmode @dots{}
232 There are two main methods to specify the horizontal placement
237 by automatically aligning
238 the lyrics to a melody or other voice of music, using @code{\addlyrics}
242 or by specifying the duration of each syllable
243 explicitly, using @code{\lyricmode}
246 The @code{Voice} context containing the melody to which the lyrics
247 are being aligned must not have @qq{died}, or the lyrics after that
248 point will be lost. This can happen if there are periods when that
249 voice has nothing to do. For methods of keeping contexts alive, see
250 @ref{Keeping contexts alive}.
253 @node Automatic syllable durations
254 @unnumberedsubsubsec Automatic syllable durations
256 @cindex syllable durations, automatic
257 @cindex lyrics and melodies
259 The lyrics can be aligned under a given melody
260 automatically. This is achieved by combining the
261 melody and the lyrics with the @code{\lyricsto} expression
264 \new Lyrics \lyricsto @var{name} @dots{}
268 This aligns the lyrics to the
269 notes of the @code{Voice} context called @var{name}, which must
270 already exist. Therefore normally the @code{Voice} is specified first, and
271 then the lyrics are specified with @code{\lyricsto}. The command
272 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
273 @code{\lyricmode} keyword may be omitted.
275 The following example uses different commands for entering lyrics.
277 @lilypond[quote,fragment,ragged-right,verbatim]
279 \new Voice = "one" \relative c'' {
282 c4 b8. a16 g4. f8 e4 d c2
285 % not recommended: left-aligned syllables
286 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
288 % wrong: durations needed
289 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
292 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
296 The second stanza is not properly aligned because the durations
297 were not specified. A solution for that would be to use @code{\lyricsto}.
301 The @code{\addlyrics} command is actually just a convenient way
302 to write a more complicated LilyPond structure that sets up the
307 \addlyrics @{ LYRICS @}
314 \new Voice = "blah" @{ music @}
315 \new Lyrics \lyricsto "blah" @{ LYRICS @}
320 @lilypond[ragged-right,verbatim,fragment,quote]
322 \relative c' { c2 e4 g2. }
323 \addlyrics { play the game }
326 More stanzas can be added by adding more
327 @code{\addlyrics} sections
329 @lilypond[ragged-right,verbatim,fragment,quote]
331 \relative c' { c2 e4 g2. }
332 \addlyrics { play the game }
333 \addlyrics { speel het spel }
334 \addlyrics { joue le jeu }
337 The command @code{\addlyrics} cannot handle polyphony settings.
338 For these cases you should use @code{\lyricsto} and
339 @code{\lyricmode}, for details see @ref{Entering lyrics}.
341 @node Manual syllable durations
342 @unnumberedsubsubsec Manual syllable durations
344 Lyrics can also be entered without @code{\addlyrics} or
345 @code{\lyricsto}. In this case,
346 syllables are entered like notes -- but with pitches replaced by text -- and the
347 duration of each syllable must be entered explicitly. For example:
354 The alignment to a melody can be specified with the
355 @code{associatedVoice} property,
358 \set associatedVoice = #"lala"
362 The value of the property (here: @code{"lala"}) should be the name of
363 a @code{Voice} context. Without this setting, extender lines
364 will not be formatted properly.
366 Here is an example demonstrating manual lyric durations,
368 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
369 << \new Voice = "melody" {
373 \new Lyrics \lyricmode {
374 \set associatedVoice = #"melody"
382 @ref{Keeping contexts alive}.
389 @node Multiple syllables to one note
390 @unnumberedsubsubsec Multiple syllables to one note
393 @cindex spaces, in lyrics
394 @cindex quotes, in lyrics
395 @cindex ties, in lyrics
397 In order to assign more than one syllable to a single note with
398 spaces between the syllables, you can surround the phrase with
399 quotes or use a @code{_} character. Alternatively, you can use
400 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
401 tie is implemented with the Unicode character U+203F, so be
402 sure to have a font (like DejaVuLGC) installed that includes this
405 @lilypond[quote,ragged-right,fragment,verbatim]
407 \relative c' { c2 e4 g2 e4 }
408 \addlyrics { gran- de_a- mi- go }
409 \addlyrics { pu- "ro y ho-" nes- to }
410 \addlyrics { pu- ro~y~ho- nes- to }
416 @rinternals{LyricCombineMusic}.
419 @c Here come the section which used to be "Melismata"
420 @c the new title might be more self-explanatory
423 @node Multiple notes to one syllable
424 @unnumberedsubsubsec Multiple notes to one syllable
428 @cindex phrasing, in lyrics
430 Sometimes, particularly in Medieval music, several notes are to be sung on one
431 single syllable; such vocalises are called melismas, or melismata.
433 @c this method seems to be the simplest; therefore
434 @c it might be better to present it first - vv
436 You can define melismata entirely in the lyrics, by entering @code{_}
437 for every extra note that has to be added to the melisma.
439 @c TODO: clarify: __ is used to crate a lyric extender,
440 @c _ is used to add a note to a melisma, so both __ and _ are needed.
443 @c duplicated: TODO fix
444 Additionally, you can make an extender line to be typeset to indicate
445 the melisma in the score, writing a double underscore next to the
446 first syllable of the melisma. This example shows the three elements
447 that are used for this purpose (all of them surrounded by spaces):
448 double hyphens to separate syllables in a word, underscores to add
449 notes to a melisma, and a double underscore to put an extender line.
451 @c wrong: extender line only on last syllable of a word. Change example
452 @lilypond[relative=1,verbatim,fragment,quote]
453 { \set melismaBusyProperties = #'()
454 c d( e) f f( e) e e }
456 { Ky -- _ _ ri __ _ _ _ e }
459 In this case, you can also have ties and slurs in the melody if you
460 set @code{melismaBusyProperties}, as is done in the example above.
462 However, the @code{\lyricsto} command can also
463 detect melismata automatically: it only puts one
464 syllable under a tied or slurred group of notes. If you want to force
465 an unslurred group of notes to be a melisma, insert @code{\melisma}
466 after the first note of the group, and @code{\melismaEnd} after the
469 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
471 \new Voice = "lala" {
479 \new Lyrics \lyricsto "lala" {
485 In addition, notes are considered a melisma if they are manually
486 beamed, and automatic beaming (see @ref{Setting automatic beam
487 behavior}) is switched off.
489 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
491 \new Voice = "lala" {
497 \new Lyrics \lyricsto "lala" {
503 @c TODO: this now links to LM -vv
504 @c umm, yeah... so what? -gp
509 A complete example of a SATB score setup is in
510 @rlearning{Vocal ensembles}.
516 @funindex \melismaEnd
522 @c @lsr{vocal,lyric@/-combine.ly}.
527 Melismata are not detected automatically, and extender lines must be
531 @unnumberedsubsubsec Skipping notes
533 Making a lyric line run slower than the melody can be achieved by
534 inserting @code{\skip}s into the lyrics. For every @code{\skip},
535 the text will be delayed by another note. The @code{\skip} command
536 must be followed by a valid duration, but this is ignored when
537 @code{\skip} is used in lyrics which derive their durations from the
538 notes in an associated melody through @code{\addlyrics} or
541 @lilypond[verbatim,ragged-right,quote]
542 \relative c' { c c g' }
550 @node Extenders and hyphens
551 @unnumberedsubsubsec Extenders and hyphens
556 @c leave this as samp. -gp
557 In the last syllable of a word, melismata are sometimes indicated with
558 a long horizontal line starting in the melisma syllable, and ending in
559 the next one. Such a line is called an extender line, and it is
560 entered as @samp{ __ } (note the spaces before and after the two
561 underscore characters).
563 @warning{Melismata are indicated in the score with extender lines,
564 which are entered as one double underscore; but short melismata can
565 also be entered by skipping individual notes, which are entered as
566 single underscore characters; these do not make an extender line to be
571 @c leave this as samp. -gp
572 Centered hyphens are entered as @samp{ -- } between syllables of a same word
573 (note the spaces before and after the two hyphen characters). The hyphen
574 will be centered between the syllables, and its length will be adjusted
575 depending on the space between the syllables.
577 In tightly engraved music, hyphens can be removed. Whether this
578 happens can be controlled with the @code{minimum-distance} (minimum
579 distance between two syllables) and the @code{minimum-length}
580 (threshold below which hyphens are removed).
585 @rinternals{LyricExtender},
586 @rinternals{LyricHyphen}.
589 @node Techniques specific to lyrics
590 @subsection Techniques specific to lyrics
592 @c TODO This whole section is to be reorganized. -vv
595 * Working with lyrics and variables::
596 * Lyrics and repeats::
598 * Lyrics independent of notes::
599 * Spacing out syllables::
600 * Placement of lyrics::
605 @node Working with lyrics and variables
606 @unnumberedsubsubsec Working with lyrics and variables
608 @cindex lyrics, variables
610 To define variables containing lyrics, the function @code{\lyricmode}
611 must be used. You do not have to enter durations though, if you add
612 @code{\addlyrics} or @code{\lyricsto}
613 when invoking your variable.
616 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
619 \new Voice = "one" \relative c'' @{
622 c4 b8. a16 g4. f8 e4 d c2
624 \addlyrics @{ \verseOne @}
629 For different or more complex orderings, the best way is to set up the
630 hierarchy of staves and lyrics first, e.g.,
633 \new Voice = "soprano" @{ @emph{music} @}
634 \new Lyrics = "sopranoLyrics" @{ s1 @}
635 \new Lyrics = "tenorLyrics" @{ s1 @}
636 \new Voice = "tenor" @{ @emph{music} @}
641 and then combine the appropriate melodies and lyric lines
644 \context Lyrics = sopranoLyrics \lyricsto "soprano"
649 The final input would resemble
652 <<\new ChoirStaff << @emph{setup the music} >>
653 \lyricsto "soprano" @emph{etc}
654 \lyricsto "alto" @emph{etc}
661 http://code.google.com/p/lilypond/issues/detail?id=329
662 The problem cannot be reproduced.
663 The following has no sense, because the issue seems to be fixed.
664 A comment is in tracker waiting for response ---FV
667 Be careful when defining a variable with lyrics that creates a new
668 context, for example, using the deprecated @code{\lyrics} command. See
669 the next erroneous example:
672 words = \lyrics{ %warning: this creates a new context
676 \new Voice = "sop" { c1 }
677 \new Lyrics \lyricsto "sop" { \words }
678 \new Voice = "alt" { c2 c }
679 \new Lyrics \lyricsto "alt" { \words }
683 the problem is that \lyricsto will try to connect the "sop" melody with the context
684 created by "\new Lyrics".
686 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
693 @c TODO: document \new Staff << Voice \lyricsto >> bug
695 @rinternals{LyricCombineMusic},
699 @node Lyrics and repeats
700 @unnumberedsubsubsec Lyrics and repeats
702 @cindex repeats and lyrics
703 @cindex lyrics, repeating
705 @subheading Simple repeats
707 Repeats in @emph{music} are fully described elsewhere; see
708 @ref{Repeats}. This section explains how to add lyrics to repeated
711 Lyrics to a section of music that is repeated should be surrounded
712 by exactly the same repeat construct as the music, if the words are
715 @lilypond[verbatim,quote]
719 \new Voice = "melody" {
722 \repeat volta 2 { b4 b b b }
728 Not re -- peat -- ed.
729 \repeat volta 2 { Re -- peat -- ed twice. }
736 The words will then be correctly expanded if the repeats are
739 @lilypond[verbatim,quote]
744 \new Voice = "melody" {
747 \repeat volta 2 { b4 b b b }
753 Not re -- peat -- ed.
754 \repeat volta 2 { Re -- peat -- ed twice. }
762 If the repeated section has different words and is unfolded simply
765 @lilypond[verbatim,quote,ragged-right]
769 \new Voice = "melody" {
772 \repeat unfold 2 { b4 b b b }
778 Not re -- peat -- ed.
779 The first time words.
780 Sec -- ond time words.
790 When the words to a repeated volta section are different the words
791 to each repeat must be entered in separate @code{Lyrics} contexts.
792 Earlier unrepeated sections must be skipped in the second and
793 subsequent repeats. The easiest way to skip several notes is to
794 use @code{\repeat unfold} around the @code{\skip} command.
796 Note: do not use an underscore, @code{_}, to skip notes as this
797 indicates a melisma and will cause the preceding syllable to be
800 @warning{The @code{@bs{}skip} command must be followed by a number,
801 but this number is ignored in lyrics which derive their durations
802 from the notes in an associated melody through @code{\addlyrics} or
803 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
804 value, irrespective of the value of the following number.}
806 @lilypond[verbatim,quote]
810 \new Voice = "melody" {
813 \repeat volta 2 { b4 b b b }
819 Not re -- peat -- ed.
820 The first time words.
825 % skip 4 notes of any duration
826 \repeat unfold 4 { \skip 1 }
827 Sec -- ond time words.
834 @cindex lyrics, repeating with a temporary voice
836 An alternative way, which avoids skips and having to count notes,
837 is to use a temporary voice for the repeated section. This may be
838 preferable if the earlier sections are still subject to change. A
839 temporary voice can be inserted anywhere in the main music stream
840 in parallel with it, as shown below, but it may be necessary to
841 keep the main voice alive in complex scores when using this
842 technique; see @ref{Keeping contexts alive}.
844 @lilypond[verbatim,quote,ragged-right]
848 \new Voice = "singleVoice" {
849 \relative c'' { a4 a a a }
850 \new Voice = "repeatVoice" {
851 \relative c'' \repeat volta 3 { b4 b b b }
853 \relative c'' { c4 c c c }
857 \lyricsto "singleVoice" {
858 Not re -- peat -- ed.
861 \lyricsto "repeatVoice" {
862 The first time words.
866 \lyricsto "repeatVoice" {
867 Sec -- ond time words.
871 \lyricsto "repeatVoice" {
872 The third time words.
879 @c TODO lowering a common line of lyrics
881 @subheading Repeats with alternative endings
883 @cindex lyrics, repeats with alternative endings
884 @cindex repeating lyrics with alternative endings
885 @cindex alternative endings and lyrics
887 If the words of the repeated section are the same, exactly the
888 same structure can be used for both the lyrics and music.
890 @lilypond[quote,verbatim]
895 \new Voice = "melody" {
898 \repeat volta 2 { b4 b }
899 \alternative { { b b } { b c } }
905 Not re -- peat -- ed.
906 \repeat volta 2 { Re -- peat -- }
907 \alternative { { ed twice. } { ed twice. } }
914 But when the repeated section has different words, a repeat
915 construct cannot be used around the words and @code{\skip} commands
916 have to be inserted manually as described in the previous section to
917 skip over the notes in the alternative sections which do not apply.
919 @lilypond[verbatim,quote,ragged-right]
924 \new Voice = "melody" {
926 \repeat volta 2 { b4 b }
927 \alternative { { b b } { b c } }
934 The first time words.
935 \repeat unfold 2 { \skip 1 }
942 \repeat unfold 2 { \skip 1 }
950 @cindex lyrics and tied notes
953 When a note is tied over into two or more alternative endings a
954 tie is used to carry the note into the first alternative ending and
955 a @code{\repeatTie} is used in the second and subsequent endings.
956 This structure causes difficult alignment problems when lyrics are
957 involved and increasing the length of the alternative sections so
958 the tied notes are contained wholly within them may give a more
961 The tie creates a melisma into the first alternative, but not into
962 the second and subsequent alternatives, so to align the lyrics
963 correctly it is necessary to disable the automatic creation of
964 melismata over the volta section and insert manual skips.
966 @lilypond[quote,verbatim]
971 \new Voice = "melody" {
973 \set melismaBusyProperties = #'()
974 \repeat volta 2 { b4 b ~}
975 \alternative { { b b } { b \repeatTie c } }
976 \unset melismaBusyProperties
983 \repeat volta 2 { Here's a __ }
995 Note that if @code{\unfoldRepeats} is used around a section
996 containing @code{\repeatTie}, the @code{\repeatTie} should be
997 removed to avoid both types of tie being printed.
999 When the repeated section has different words a @code{\repeat}
1000 cannot be used around the lyrics and @code{\skip} commands need to
1001 be inserted manually, as before.
1003 @lilypond[quote,verbatim]
1008 \new Voice = "melody" {
1010 \repeat volta 2 { b4 b ~}
1011 \alternative { { b b } { b \repeatTie c } }
1017 \lyricsto "melody" {
1019 \repeat unfold 2 { \skip 1 }
1023 \lyricsto "melody" {
1025 \repeat unfold 2 { \skip 1 }
1033 If you wish to show extenders and hyphens into and out of
1034 alternative sections these must be inserted manually.
1036 @lilypond[quote,verbatim]
1041 \new Voice = "melody" {
1043 \repeat volta 2 { b4 b ~}
1044 \alternative { { b b } { b \repeatTie c } }
1050 \lyricsto "melody" {
1052 \repeat unfold 2 { \skip 1 }
1056 \lyricsto "melody" {
1069 @unnumberedsubsubsec Divisi lyrics
1071 You can display alternate (or divisi) lyrics by naming voice
1072 contexts and attaching lyrics to those specific contexts.
1074 @lilypond[verbatim,ragged-right,quote]
1076 \new Voice = "melody" {
1081 \new Voice = "splitpart" { \voiceTwo c4 }
1086 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1087 \new Lyrics \lyricsto "splitpart" { will }
1092 You can use this trick to display different lyrics for a repeated
1095 @lilypond[verbatim,ragged-right,quote]
1097 \new Voice = "melody" \relative c' {
1099 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1101 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1104 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1106 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1107 dodo rere mimi fafa solsol }
1114 @node Lyrics independent of notes
1115 @unnumberedsubsubsec Lyrics independent of notes
1117 @cindex Devnull context
1119 In some complex vocal music, it may be desirable to place
1120 lyrics completely independently of notes. Music defined
1121 inside @code{lyricrhythm} disappears into the
1122 @code{Devnull} context, but the rhythms can still be used
1123 to place the lyrics.
1125 @lilypond[quote,verbatim,ragged-right]
1128 \tag #'music { c''2 }
1129 \tag #'lyricrhythm { c''4. c''8 }
1133 lyr = \lyricmode { I like my cat! }
1136 \new Staff \keepWithTag #'music \voice
1137 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1138 \new Lyrics \lyricsto "nowhere" \lyr
1139 \new Staff { c'8 c' c' c' c' c' c' c'
1140 c' c' c' c' c' c' c' c' }
1144 This method is recommended only if the music in the @code{Devnull}
1145 context does not contain melismata. Melismata are defined by the
1146 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
1147 makes the voice/lyrics links to get lost, and so does the info on
1148 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
1149 the implicit melismata get ignored.
1151 @c Conclusion: do not use devnull for lyrics -FV
1153 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
1155 @node Spacing out syllables
1156 @unnumberedsubsubsec Spacing out syllables
1158 @cindex Spacing lyrics
1159 @cindex Lyrics, increasing space between
1161 To increase the spacing between lyrics, set the @code{minimum-distance}
1162 property of @code{LyricSpace}.
1164 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1167 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1171 longtext longtext longtext longtext
1172 longtext longtext longtext longtext
1177 To make this change for all lyrics in the score, set the property in the
1180 @lilypond[verbatim,quote,ragged-right]
1187 longtext longtext longtext longtext
1188 longtext longtext longtext longtext
1193 \override LyricSpace #'minimum-distance = #1.0
1200 @c This snippet has been renamed to "lyrics-alignment.ly"
1201 @c update as soon as lsr/is updated -vv
1202 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1203 @c {lyrics-alignment.ly}
1205 @c TODO: move to LSR -vv
1208 Checking to make sure that text scripts and lyrics are within the margins is
1209 a relatively large computational task. To speed up processing, LilyPond does
1210 not perform such calculations by default; to enable it, use
1213 \override Score.PaperColumn #'keep-inside-line = ##t
1216 To make lyrics avoid bar lines as well, use
1222 \consists "Bar_engraver"
1223 \consists "Separating_line_group_engraver"
1224 \override BarLine #'transparent = ##t
1229 @c TODO Create and add lsr example of lyricMelismaAlignment
1230 @c It's used like this to center-align all lyric syllables,
1231 @c even when notes are tied. -td
1236 \context { \Score lyricMelismaAlignment = #0 }
1241 @node Placement of lyrics
1242 @unnumberedsubsubsec Placement of lyrics
1244 @cindex placement of lyrics
1245 @cindex lyrics, positioning
1247 @c TODO Add text from -user
1249 Lyrics are positioned above the staff, below the staff, or between
1250 staves, depending on the type of music. To place lyrics below the
1251 associated staff simply define the Lyrics context below the Staff
1254 @lilypond[quote,verbatim]
1258 \new Voice = "melody" {
1259 \relative c'' { c4 c c c }
1263 \lyricsto "melody" {
1271 To position lyrics above the staff, place the declaration of the
1272 Lyrics context before the Staff and Voice contexts, but the
1273 @code{\lyricsto} command must come after the Voice declaration it
1274 references, like this:
1276 @lilypond[quote,verbatim]
1279 \new Lyrics = "lyrics"
1281 \new Voice = "melody" {
1282 \relative c'' { c4 c c c }
1285 \context Lyrics = "lyrics" {
1286 \lyricsto "melody" {
1294 Alternatively, the position of the lyrics may be specified
1297 @lilypond[quote,verbatim]
1300 \new Staff = "staff" {
1301 \new Voice = "melody" {
1302 \relative c'' { c4 c c c }
1305 \new Lyrics \with { alignAboveContext = "staff" } {
1306 \lyricsto "melody" {
1314 When there are two voices on separate staves the lyrics may be
1315 placed between the staves using either of these methods. Here
1316 is an example of the first method:
1318 @lilypond[quote,verbatim]
1322 \new Voice = "sopranos" {
1323 \relative c'' { c4 c c c }
1326 \new Lyrics = "sopranos"
1327 \new Lyrics = "contraltos"
1329 \new Voice = "contraltos" {
1330 \relative c'' { a4 a a a }
1333 \context Lyrics = "sopranos" {
1334 \lyricsto "sopranos" {
1335 Sop -- ra -- no words
1338 \context Lyrics = "contraltos" {
1339 \lyricsto "contraltos" {
1340 Con -- tral -- to words
1347 Other combinations of lyrics and staves may be generated by
1348 elaborating these examples, or by examining the SATB templates in
1349 the Learning Manual.
1353 @rlearning{Vocal ensembles}.
1356 @ref{Aligning contexts},
1357 @ref{Creating contexts}.
1363 * Adding stanza numbers::
1364 * Adding dynamics marks to stanzas::
1365 * Adding singers' names to stanzas::
1366 * Stanzas with different rhythms::
1367 * Printing stanzas at the end::
1368 * Printing stanzas at the end in multiple columns::
1372 @node Adding stanza numbers
1373 @unnumberedsubsubsec Adding stanza numbers
1375 @cindex stanza number
1377 Stanza numbers can be added by setting @code{stanza}, e.g.,
1379 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1381 \time 3/4 g2 e4 a2 f4 g2.
1383 \set stanza = #"1. "
1384 Hi, my name is Bert.
1386 \set stanza = #"2. "
1387 Oh, ché -- ri, je t'aime
1393 These numbers are put just before the start of the first syllable.
1395 @c TODO Create and add snippet to show how two lines of a
1396 @c stanza can be grouped together, along these lines:
1397 @c (might need improving a bit) -td
1400 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1404 \set stanza = \markup { "1. " \leftbrace }
1405 \lyricmode { Child, you're mine and I love you.
1406 Lend thine ear to what I say.
1412 % \set stanza = \markup { " "}
1413 \lyricmode { Child, I have no great -- er joy
1414 Than to have you walk in truth.
1420 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1421 c'8 c' c' c' c' c' c'4 }
1422 } \addlyrics { \stanzaOneOne }
1423 \addlyrics { \stanzaOneThree }
1427 @node Adding dynamics marks to stanzas
1428 @unnumberedsubsubsec Adding dynamics marks to stanzas
1430 Stanzas differing in loudness may be indicated by putting a
1431 dynamics mark before each stanza. In LilyPond, everything coming in
1432 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1433 are no different. For technical reasons, you have to set the stanza
1434 outside @code{\lyricmode}:
1436 @lilypond[quote,ragged-right,verbatim]
1438 \set stanza = \markup { \dynamic "ff" "1. " }
1445 \new Voice = "tune" {
1449 \new Lyrics \lyricsto "tune" \text
1453 @node Adding singers' names to stanzas
1454 @unnumberedsubsubsec Adding singers' names to stanzas
1457 @cindex name of singer
1459 Names of singers can also be added. They are printed at the start of
1460 the line, just like instrument names. They are created by setting
1461 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1463 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1465 \time 3/4 g2 e4 a2 f4 g2.
1467 \set vocalName = #"Bert "
1468 Hi, my name is Bert.
1470 \set vocalName = #"Ernie "
1471 Oh, ché -- ri, je t'aime
1475 @node Stanzas with different rhythms
1476 @unnumberedsubsubsec Stanzas with different rhythms
1478 Often, different stanzas of one song are put to one melody in slightly
1479 differing ways. Such variations can still be captured with
1482 @subsubheading Ignoring melismata
1484 One possibility is that the text has a melisma in one stanza, but
1485 multiple syllables in another one. One solution is to make the faster
1486 voice ignore the melisma. This is done by setting
1487 @code{ignoreMelismata} in the Lyrics context.
1489 @lilypond[verbatim,ragged-right,quote]
1491 \relative c' \new Voice = "lahlah" {
1492 \set Staff.autoBeaming = ##f
1498 \new Lyrics \lyricsto "lahlah" {
1501 \new Lyrics \lyricsto "lahlah" {
1503 \set ignoreMelismata = ##t
1505 \unset ignoreMelismata
1512 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1513 not work if prefixed with @code{\once}. It is necessary to use
1514 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1517 @subsubheading Adding syllables to grace notes
1519 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1520 syllables when using @code{\lyricsto}, but this behavior can be
1523 @lilypond[verbatim,ragged-right,quote]
1525 f4 \appoggiatura a32 b4
1526 \grace { f16[ a16] } b2
1527 \afterGrace b2 { f16[ a16] }
1528 \appoggiatura a32 b4
1533 \set includeGraceNotes = ##t
1536 after -- grace case,
1537 \set ignoreMelismata = ##t
1544 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1545 set at latest one syllable before the one which is to be put under a
1546 grace note. For the case of a grace note at the very beginning of a
1547 piece of music, consider using a @code{\with} or @code{\context}
1550 @lilypond[verbatim,ragged-right,quote]
1552 \new Voice = melody \relative c' {
1553 \grace { c16[( d e f] }
1556 \new Lyrics \with { includeGraceNotes = ##t }
1563 @subsubheading Switching to an alternative melody
1565 More complex variations in text underlay are possible. It is possible
1566 to switch the melody for a line of lyrics during the text. This is
1567 done by setting the @code{associatedVoice} property. In the example
1569 @lilypond[ragged-right,quote]
1571 \relative c' \new Voice = "lahlah" {
1572 \set Staff.autoBeaming = ##f
1575 \new Voice = "alternative" {
1578 % show associations clearly.
1579 \override NoteColumn #'force-hshift = #-3
1590 \new Lyrics \lyricsto "lahlah" {
1591 Ju -- ras -- sic Park
1593 \new Lyrics \lyricsto "lahlah" {
1594 % Tricky: need to set associatedVoice
1595 % one syllable too soon!
1596 \set associatedVoice = alternative % applies to "ran"
1600 \set associatedVoice = lahlah % applies to "rus"
1606 the text for the first stanza is set to a melody called @q{lahlah},
1609 \new Lyrics \lyricsto "lahlah" @{
1610 Ju -- ras -- sic Park
1615 The second stanza initially is set to the @code{lahlah} context, but
1616 for the syllable @q{ran}, it switches to a different melody.
1617 This is achieved with
1619 \set associatedVoice = alternative
1623 Here, @code{alternative} is the name of the @code{Voice} context
1624 containing the triplet.
1626 @c TODO: make this easier to understand -vv
1627 This command must be one syllable too early, before @q{Ty} in this
1628 case. In other words, changing the associatedVoice happens one step
1629 later than expected. This is for technical reasons, and it is not a
1633 \new Lyrics \lyricsto "lahlah" @{
1634 \set associatedVoice = alternative % applies to "ran"
1638 \set associatedVoice = lahlah % applies to "rus"
1644 The underlay is switched back to the starting situation by assigning
1645 @code{lahlah} to @code{associatedVoice}.
1648 @node Printing stanzas at the end
1649 @unnumberedsubsubsec Printing stanzas at the end
1651 Sometimes it is appropriate to have one stanza set
1652 to the music, and the rest added in verse form at
1653 the end of the piece. This can be accomplished by adding
1654 the extra verses into a @code{\markup} section outside
1655 of the main score block. Notice that there are two
1656 different ways to force linebreaks when using
1659 @lilypond[ragged-right,verbatim,quote]
1660 melody = \relative c' {
1666 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1667 its fleece was white as snow.
1671 \new Voice = "one" { \melody }
1672 \new Lyrics \lyricsto "one" \text
1678 \line{ All the children laughed and played }
1679 \line{ To see a lamb at school. }
1686 Mary took it home again,
1688 It was against the rule."
1693 @node Printing stanzas at the end in multiple columns
1694 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1696 When a piece of music has many verses, they are often printed in
1697 multiple columns across the page. An outdented verse number often
1698 introduces each verse. The following example shows how to produce such
1701 @lilypond[ragged-right,quote,verbatim]
1702 melody = \relative c' {
1707 \set stanza = #"1." This is verse one.
1712 \new Voice = "one" { \melody }
1713 \new Lyrics \lyricsto "one" \text
1720 \hspace #0.1 % moves the column off the left margin;
1721 % can be removed if space on the page is tight
1725 "This is verse two."
1729 \hspace #0.1 % adds vertical spacing between verses
1732 "This is verse three."
1737 \hspace #0.1 % adds horizontal spacing between columns;
1738 % if they are still too close, add more " " pairs
1739 % until the result looks good
1743 "This is verse four."
1747 \hspace #0.1 % adds vertical spacing between verses
1750 "This is verse five."
1755 \hspace #0.1 % gives some extra space on the right margin;
1756 % can be removed if page space is tight
1763 Internals Reference:
1764 @rinternals{LyricText},
1765 @rinternals{StanzaNumber}.
1772 * References for songs::
1776 @node References for songs
1777 @unnumberedsubsubsec References for songs
1779 Songs are usually written on three staves with the melody for the
1780 singer on the top staff and two staves of piano accompaniment at
1781 the bottom. The lyrics of the first stanza are printed immediately
1782 underneath the top staff. If there are just a small number of
1783 further stanzas these can be printed immediately under the first
1784 one, but if there are more stanzas than can be easily accommodated
1785 there the second and subsequent stanzas are printed after the music
1786 as stand-alone text.
1788 All the notational elements needed to write songs are fully described
1794 For constructing the staff layout, see @ref{Displaying staves}.
1797 For writing piano music, see
1798 @ref{Keyboard and other multi-staff instruments}.
1801 For writing the lyrics to a melody line, see
1802 @ref{Common notation for vocal music}.
1805 For placing the lyrics, see @ref{Placement of lyrics}.
1808 For entering stanzas, see @ref{Stanzas}.
1811 Songs are frequently printed with the chording indicated by chord
1812 names above the staves. This is described in
1813 @ref{Displaying chords}.
1816 To print fret diagrams of the chords for guitar accompaniment or
1817 accompaniment by other fretted instruments, see @qq{Fret diagram
1818 markups} in @ref{Common notation for fretted strings}.
1827 @ref{Common notation for vocal music},
1828 @ref{Displaying chords},
1829 @ref{Displaying staves},
1830 @ref{Keyboard and other multi-staff instruments},
1831 @ref{Placement of lyrics},
1835 @unnumberedsubsubsec Lead sheets
1837 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1838 this syntax is explained in @ref{Chord notation}.
1841 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1842 {simple-lead-sheet.ly}
1846 @ref{Chord notation}.
1857 This section discusses notation issues that relate most directly
1858 to choral music. This includes anthems, part songs, oratorio,
1862 * References for choral::
1863 * Score layouts for choral::
1867 @node References for choral
1868 @unnumberedsubsubsec References for choral
1870 Choral music is usually notated on two, three or four staves within
1871 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1872 beneath in a @code{PianoStaff} group, which is usually reduced in
1873 size for @emph{a capella} choral works. The notes for each vocal
1874 part are placed in a @code{Voice} context, with each staff
1875 being given either a single vocal part (i.e., one @code{Voice}) or
1876 a pair of vocal parts (i.e., two @code{Voice}s).
1878 Words are placed in @code{Lyrics} contexts, either underneath each
1879 corresponding music staff, or one above and one below the music
1880 staff if this contains the music for two parts.
1882 Several common topics in choral music are described fully elsewhere:
1887 An introduction to creating an SATB vocal score can be found in
1888 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1891 Several templates suitable for various styles of choral music can
1892 also be found in the Learning Manual, see
1893 @rlearning{Vocal ensembles}.
1896 For information about @code{ChoirStaff} and @code{PianoStaff} see
1897 @ref{Grouping staves}.
1900 Shape noteheads, as used in Sacred Harp and similar notation, are
1901 described in @ref{Shape note heads}.
1904 When two vocal parts share a staff the stems, ties, slurs, etc., of
1905 the higher part will be directed up and those of the lower part
1906 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1907 @ref{Single-staff polyphony}.
1918 @rlearning{Four-part SATB vocal score},
1919 @rlearning{Vocal ensembles}.
1922 @ref{Context layout order},
1923 @ref{Grouping staves},
1924 @ref{Shape note heads},
1925 @ref{Single-staff polyphony}.
1927 Internals Reference:
1928 @rinternals{ChoirStaff},
1929 @rinternals{Lyrics},
1930 @rinternals{PianoStaff}.
1932 @node Score layouts for choral
1933 @unnumberedsubsubsec Score layouts for choral
1935 Choral music containing four staves, with or without piano
1936 accompaniment, is usually laid out with two systems per page.
1937 Depending on the page size, achieving this may require changes
1938 to several default settings. The following settings should be
1944 The global staff size can be modified to change the overall size
1945 of the elements of the score. See @ref{Setting the staff size}.
1948 The distances between the systems, the staves and the lyrics can
1949 all be adjusted independently. See @ref{Vertical spacing}.
1952 The dimensions of the vertical layout variables can be displayed as
1953 an aid to adjusting the vertical spacing. This and other
1954 possibilities for fitting the music onto fewer pages are described
1955 in @ref{Fitting music onto fewer pages}.
1958 If the number of systems per page changes from one to two it is
1959 customary to indicate this with a system separator mark between
1960 the two systems. See @ref{Separating systems}.
1963 For details of other page formatting properties, see
1964 @ref{Page formatting}.
1969 Dynamic markings by default are placed below the staff, but in
1970 choral music they are usually placed above the staff in order to
1971 avoid the lyrics. The predefined command @code{\dynamicUp} does
1972 this for the dynamic markings in a single @code{Voice} context.
1973 If there are many @code{Voice} contexts this predefined command
1974 would have to be placed in every one. Alternatively its expanded
1975 form can be used to place all dynamic markings in the entire score
1976 above their respective staves, as shown here:
1978 @lilypond[verbatim,quote]
1983 \relative c'' { g4\f g g g }
1988 \relative c' { d4 d d\p d }
1995 \override DynamicText #'direction = #UP
1996 \override DynamicLineSpanner #'direction = #UP
2003 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2007 @ref{Changing spacing},
2008 @ref{Displaying spacing},
2009 @ref{Fitting music onto fewer pages},
2010 @ref{Page formatting},
2012 @ref{Separating systems},
2013 @ref{Setting the staff size},
2014 @ref{Using an extra voice for breaks},
2015 @ref{Vertical spacing}.
2017 Internals Reference:
2018 @rinternals{VerticalAxisGroup},
2019 @rinternals{StaffGrouper}.
2022 @node Divided voices
2023 @unnumberedsubsubsec Divided voices
2025 @cindex voices, divided
2027 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2028 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2032 @ref{Expressive marks as lines}.
2035 @node Opera and stage musicals
2036 @subsection Opera and stage musicals
2038 The music, lyrics and dialogue to opera and stage musicals are
2039 usually set out in one or more of the following forms:
2044 A @emph{Conductors' Score} containing the full orchestral and vocal
2045 parts, together with libretto cues if there are spoken passages.
2048 @emph{Orchestral Parts} containing the music for the individual
2049 instruments of the orchestra or band.
2052 A @emph{Vocal Score} containing all vocal parts with piano
2053 accompaniment. The accompaniment is usually an orchestral
2054 reduction, and if so the name of the original orchestral instrument
2055 is often indicated. Vocal scores sometimes includes stage
2056 directions and libretto cues.
2059 A @emph{Vocal Book} containing just the vocal parts
2060 (no accompaniment), sometimes combined with the libretto.
2063 A @emph{Libretto} containing the extended passages of spoken
2064 dialogue usually found in musicals, together with the words to the
2065 sung parts. Stage directions are usually included. LilyPond can
2066 be used to typeset libretti but as they contain no music
2067 alternative methods may be preferable.
2071 The sections in the LilyPond documentation which cover the topics
2072 needed to create scores in the styles commonly found in opera and
2073 musicals are indicated in the References below. This is followed
2074 by sections covering those techniques which are peculiar to
2075 typesetting opera and musical scores.
2078 * References for opera and stage musicals::
2082 * Dialogue over music::
2085 @node References for opera and stage musicals
2086 @unnumberedsubsubsec References for opera and stage musicals
2091 A conductors' score contains many grouped staves and lyrics. Ways
2092 of grouping staves is shown in @ref{Grouping staves}. To nest
2093 groups of staves see @ref{Nested staff groups}.
2096 The printing of empty staves in conductors' scores and vocal scores
2097 is often suppressed. To create such a @qq{Frenched score} see
2098 @ref{Hiding staves}.
2101 Writing orchestral parts is covered in @ref{Writing parts}.
2102 Other sections in the Specialist notation chapter may be relevant,
2103 depending on the orchestration used. Many instruments are
2104 transposing instruments, see @ref{Instrument transpositions}.
2107 If the number of systems per page changes from page to page it is
2108 customary to separate the systems with a system separator mark.
2109 See @ref{Separating systems}.
2112 For details of other page formatting properties, see
2113 @ref{Page formatting}.
2116 Dialogue cues and stage directions can be inserted with markup.
2117 See @ref{Text}. Extensive stage directions can be inserted with
2118 a section of stand-alone markup between two @code{\score} blocks.
2119 See @ref{Separate text}.
2125 @rglos{Frenched score},
2126 @rglos{Frenched staves},
2127 @rglos{transposing instrument}.
2130 @ref{Grouping staves},
2131 @ref{Hiding staves},
2132 @ref{Instrument transpositions},
2133 @ref{Nested staff groups},
2134 @ref{Page formatting},
2135 @ref{Separating systems},
2137 @ref{Writing parts},
2141 @node Character names
2142 @unnumberedsubsubsec Character names
2144 @cindex character names
2145 @cindex names, character
2147 Character names are usually shown to the left of the staff when the
2148 staff is dedicated to that character alone. The instrument name can
2149 be used for this purpose.
2151 @lilypond[quote,verbatim,ragged-right]
2155 \set Staff.instrumentName = #"Kaspar"
2156 \set Staff.shortInstrumentName = #"Kas"
2165 \set Staff.instrumentName = #"Melchior"
2166 \set Staff.shortInstrumentName = #"Mel"
2177 When two or more characters share a staff the character's name is
2178 usually printed above the staff at the start of every section
2179 applying to that character. This can be done with markup. Often a
2180 specific font is used for this purpose.
2182 @lilypond[quote,verbatim,relative=1]
2184 c4^\markup \fontsize #1 \smallCaps Kaspar
2187 a4^\markup \fontsize #1 \smallCaps Melchior
2190 c4^\markup \fontsize #1 \smallCaps Kaspar
2194 Alternatively, if there are many character changes, it may be
2195 easier to set up @qq{instrument} definitions for each character at
2196 the top level so that @code{\instrumentSwitch} can be used to
2197 indicate each change.
2199 @lilypond[quote,verbatim]
2200 \addInstrumentDefinition #"kaspar"
2201 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2202 (shortInstrumentName . "Kas.")
2203 (clefGlyph . "clefs.G")
2204 (clefOctavation . -7)
2205 (middleCPosition . 1)
2207 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2208 (midiInstrument . "voice oohs"))
2210 \addInstrumentDefinition #"melchior"
2211 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2212 (shortInstrumentName . "Mel.")
2213 (clefGlyph . "clefs.F")
2214 (clefOctavation . 0)
2215 (middleCPosition . 6)
2217 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2218 (midiInstrument . "voice aahs"))
2221 \instrumentSwitch "kaspar"
2223 \instrumentSwitch "melchior"
2225 \instrumentSwitch "kaspar"
2232 @ref{Instrument names},
2233 @ref{Scheme functions},
2235 @ref{Text markup commands}.
2238 @rextend{Markup construction in Scheme}.
2241 @unnumberedsubsubsec Musical cues
2243 @cindex musical cues
2244 @cindex cues, musical
2246 Musical cues can be inserted in Vocal Scores, Vocal Books and
2247 Orchestral Parts to indicate what music in another part
2248 immediately precedes an entry. Also, cues are often inserted in the
2249 piano reduction in Vocal Scores to indicate what each orchestral
2250 instrument is playing. This aids the conductor when a full
2251 Conductors' Score is not available.
2253 The basic mechanism for inserting cues is fully explained in the
2254 main text, see @ref{Quoting other voices} and
2255 @ref{Formatting cue notes}. But when many cues have to be
2256 inserted, for example, as an aid to a conductor in a vocal score,
2257 the instrument name must be positioned carefully just before and
2258 close to the start of the cued notes. The following example shows
2259 how this is done. Note that the name of the grob for overriding
2260 the cued instrument name is @code{InstrumentSwitch}.
2262 @lilypond[quote,verbatim]
2263 flute = \relative c'' {
2266 \addQuote "flute" { \flute }
2268 pianoRH = \relative c'' {
2270 % position name of cued instrument just before the cued notes
2271 \once \override CueVoice.InstrumentSwitch
2272 #'self-alignment-X = #RIGHT
2273 % position name of cued instrument above the staff
2274 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2275 \set CueVoice.instrumentCueName = "Flute"
2276 \cueDuring "flute" #UP { g4 bes4 }
2278 pianoLH = \relative c { c4 <c' e> e, <g c> }
2293 If a transposing instrument is being cued the instrument part should
2294 specify its key so the conversion of its cued notes will be done
2295 automatically. The example below shows this transposition for a
2296 B-flat clarinet. The notes in this example are low on the staff so
2297 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2298 down) and the instrument name is positioned below the staff. Note
2299 also that the piano right-hand voice is explicitly declared. This
2300 is because the cued notes in this example begin at the start of the
2301 first bar and this would otherwise cause the entire piano right-hand
2302 notes to be placed in a @code{CueVoice} context.
2304 @lilypond[quote,verbatim]
2305 clarinet = \relative c' {
2309 \addQuote "clarinet" { \clarinet }
2311 pianoRH = \relative c'' {
2313 % position name of cued instrument just before the cued notes
2314 \once \override CueVoice.InstrumentSwitch
2315 #'self-alignment-X = #RIGHT
2316 % position name of cued instrument below the staff
2317 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2318 \set CueVoice.instrumentCueName = "Clar."
2319 \cueDuring "clarinet" #DOWN { c4. g8 }
2322 pianoLH = \relative c { c4 <c' e> e, <g c> }
2341 From these two examples it is clear that inserting many cues in a
2342 Vocal Score would be extremely tedious, and the notes of the piano
2343 part would be obscured by the many overrides. However, as the
2344 following snippet shows, it is possible to define a music function
2345 to reduce the amount of typing and to make the piano notes clearer.
2348 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2349 {adding-orchestral-cues-to-a-vocal-score.ly}
2356 @ref{Aligning objects},
2357 @ref{Direction and placement},
2358 @ref{Formatting cue notes},
2359 @ref{Quoting other voices},
2360 @ref{Using music functions}.
2365 Internals Reference:
2366 @rinternals{InstrumentSwitch},
2367 @rinternals{CueVoice}.
2370 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2371 and all cue notes are placed in that context. This means it is not
2372 possible to have two overlapping sequences of cued notes by this
2373 technique. Overlapping sequences could be entered by explicitly
2374 declaring separate @code{CueVoice} contexts and using
2375 @code{\quoteDuring} to extract and insert the cued notes.
2379 @unnumberedsubsubsec Spoken music
2382 @cindex Sprechgesang
2383 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2384 without pitch but still with rhythm; these are notated by cross
2385 note heads, as demonstrated in @ref{Special note heads}.
2387 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2388 @c add "showing the rhythm of a melody" snip
2389 @c add "one staff-line notation"
2390 @c add "improvisation" ref
2391 @c add "lyrics independents of notes" ref
2393 @node Dialogue over music
2394 @unnumberedsubsubsec Dialogue over music
2399 @node Chants psalms and hymns
2400 @subsection Chants psalms and hymns
2405 @cindex religious music
2407 The music and words for chants, psalms and hymns usually follow a
2408 well-established format in any particular church. Although the
2409 formats may differ from church to church the type-setting problems
2410 which arise are broadly similar, and are covered in this section.
2413 * References for chants and psalms::
2415 * Pointing a psalm::
2416 * Partial measures in hymn tunes::
2419 @node References for chants and psalms
2420 @unnumberedsubsubsec References for chants and psalms
2422 Typesetting Gregorian chant in various styles of ancient notation
2423 is described in @ref{Ancient notation}.
2427 @ref{Ancient notation}.
2430 @node Setting a chant
2431 @unnumberedsubsubsec Setting a chant
2433 Modern chant settings use modern notation with varying numbers of
2434 elements taken from ancient notation. Some of the elements and
2435 methods to consider are shown here.
2437 Chants often use quarter notes without stems to indicate the pitch,
2438 with the rhythm being taken from the spoken rhythm of the words.
2440 @lilypond[verbatim,quote]
2441 stemOff = { \override Staff.Stem #'transparent = ##t }
2450 Chants often omit the bar lines or use shortened or dotted bar
2451 lines to indicate pauses in the music. To omit all bar lines from
2452 all staves remove the bar line engraver completely:
2454 @lilypond[verbatim,quote]
2475 \remove Bar_engraver
2481 Bar lines can also be removed on a staff-by-staff basis:
2483 @lilypond[verbatim, quote]
2487 \with { \remove Bar_engraver } {
2505 To remove bar lines from just a section of music treat it as a
2506 cadenza. If the section is long you may need to insert dummy
2507 barlines with @code{\bar ""} to show where the line should break.
2509 @lilypond[verbatim,quote,relative=2]
2522 Rests or pauses in chants can be indicated by modified bar lines.
2524 @lilypond[verbatim, quote,relative=2]
2539 Alternatively, the notation used in Gregorian chant for pauses or
2540 rests is sometimes used even though the rest of the notation is
2541 modern. This uses a modified @code{\breathe} mark:
2543 @lilypond[verbatim,quote]
2545 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2546 \once \override BreathingSign #'Y-offset = #0
2550 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2551 \once \override BreathingSign #'Y-offset = #0
2555 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2556 \once \override BreathingSign #'Y-offset = #0
2560 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2561 \once \override BreathingSign #'Y-offset = #0
2579 \remove Bar_engraver
2585 Chants usually omit the time signature and often omit the clef too.
2587 @lilypond[verbatim,quote]
2599 \remove Bar_engraver
2600 \remove Time_signature_engraver
2601 \remove Clef_engraver
2607 Chants for psalms in the Anglican tradition are usually either
2608 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2609 of 7 bars. Each group of 7 bars is divided into two halves,
2610 corresponding to the two halves of each verse, usually separated by
2611 a double bar line. Only whole and half notes are used. The 1st bar
2612 in each half always contains a single chord of whole notes. This is
2613 the @qq{reciting note}. Chants are usually centered on the page.
2615 @lilypond[verbatim,quote]
2616 SopranoMusic = \relative g' {
2617 g1 | c2 b | a1 | \bar "||"
2618 a1 | d2 c | c b | c1 | \bar "||"
2621 AltoMusic = \relative c' {
2623 f1 | f2 e | d d | e1 |
2626 TenorMusic = \relative a {
2628 d1 | g,2 g | g g | g1 |
2631 BassMusic = \relative c {
2633 d1 | b2 c | g' g | c,1 |
2640 % Use markup to center the chant on the page
2649 \new Voice = "Soprano" <<
2653 \new Voice = "Alto" <<
2661 \new Voice = "Tenor" <<
2665 \new Voice = "Bass" <<
2675 \override SpacingSpanner
2676 #'base-shortest-duration = #(ly:make-moment 1 2)
2680 \remove "Time_signature_engraver"
2688 Some other approaches to setting such a chant are shown in the first
2689 of the following snippets.
2693 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2694 {chant-or-psalms-notation.ly}
2696 Canticles and other liturgical texts may be set more freely, and
2697 may use notational elements from ancient music. Often the words
2698 are shown underneath and aligned with the notes. If so, the notes
2699 are spaced in accordance with the syllables rather than the notes'
2702 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2703 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2707 @rlearning{Visibility and color of objects},
2708 @rlearning{Vocal ensembles}.
2711 @ref{Ancient notation},
2713 @ref{Modifying context plug-ins},
2714 @ref{Typesetting Gregorian chant},
2715 @ref{Unmetered music},
2716 @ref{Visibility of objects}.
2719 @node Pointing a psalm
2720 @unnumberedsubsubsec Pointing a psalm
2722 The words to an Anglican psalm are usually printed in separate
2723 verses centered underneath the chant.
2725 Single chants (with 7 bars) are repeated for every verse. Double
2726 chants (with 14 bars) are repeated for every pair of verses. Marks
2727 are inserted in the words to show how they should be fitted to the
2728 chant. Each verse is divided into two halves. A colon is usually
2729 used to indicate this division. This corresponds to the double bar
2730 line in the music. The words before the colon are sung to the first
2731 three bars of music; the words after the colon are sung to the last
2734 Single bar lines (or in some psalters an inverted comma or similar
2735 symbol) are inserted between words to indicate where the bar lines
2736 in the music fall. In markup mode a single bar line can be entered
2737 with the bar check symbol, @code{|}.
2739 @lilypond[verbatim,quote]
2744 \line { O come let us sing | unto the | Lord : let }
2745 \line { us heartily rejoice in the | strength of | our }
2746 \line { sal- | -vation. }
2753 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2754 For details, see @ref{Fonts}.
2756 @lilypond[verbatim,quote]
2758 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2764 \line { O come let us sing \tick unto the \tick Lord : let }
2766 us heartily rejoice in the \tick strength of \tick our
2768 \line { sal \tick vation. }
2775 Where there is one whole note in a bar all the words corresponding
2776 to that bar are recited on that one note in speech rhythm. Where
2777 there are two notes in a bar there will usually be only one or two
2778 corresponding syllables. If there are more that two syllables a
2779 dot is usually inserted to indicate where the change in note occurs.
2781 @lilypond[verbatim,quote]
2783 \raise #0.7 \musicglyph #"dots.dot"
2786 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2793 O come let us sing \tick unto \dot the \tick Lord : let
2796 us heartily rejoice in the \tick strength of \tick our
2798 \line { sal \tick vation. }
2805 In some psalters an asterisk is used to indicate a break in a
2806 recited section instead of a comma, and stressed or slightly
2807 lengthened syllables are indicated in bold text.
2809 @lilypond[verbatim,quote]
2811 \raise #0.7 \musicglyph #"dots.dot"
2814 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2820 \line { Today if ye will hear his voice * }
2822 \concat { \bold hard en }
2823 | not your | hearts : as in the pro-
2825 \line { vocation * and as in the \bold day of tempt- | }
2826 \line { -ation | in the | wilderness. }
2833 In other psalters an accent is placed over the syllable to indicate
2836 @lilypond[verbatim,quote]
2838 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2845 O come let us \concat {
2846 si \combine \tick ng
2848 | unto the | Lord : let
2851 us heartily \concat {
2852 rejo \combine \tick ice
2854 in the | strength of | our
2856 \line { sal- | -vation. }
2863 The use of markup to center text, and arrange lines in columns is
2864 described in @ref{Formatting text}.
2866 Most of these elements are shown in one or other of the two verses
2867 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
2871 @rlearning{Vocal ensembles}.
2875 @ref{Formatting text}.
2878 @node Partial measures in hymn tunes
2879 @unnumberedsubsubsec Partial measures in hymn tunes
2881 Hymn tunes frequently start and end every line of music with
2882 partial measures so that each line of music corresponds exactly
2883 with a line of text. This requires a @code{\partial} command at
2884 the start of the music and @code{\bar "|"} or @code{\bar "||"}
2885 commands at the end of each line.
2887 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2891 @node Ancient vocal music
2892 @subsection Ancient vocal music
2894 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
2898 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
2899 @c and "Transcription of Ancient music with incipit" snippet. -vv
2903 @ref{Ancient notation}.