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
61 introduction to this notation is to be found in
62 @rlearning{Setting simple songs}.
65 Vocal music is likely to require the use of @code{markup} mode,
66 either for lyrics or for other text elements (characters' names,
67 etc.) This syntax is described in @ref{Text markup introduction}.
70 @notation{Ambitus} may be added at the beginning of vocal staves,
71 as explained in @ref{Ambitus}.
74 Dynamic markings by default are placed below the staff, but in
75 choral music they are usually placed above the staff in order to
76 avoid the lyrics, as explained in @ref{Score layouts for choral}.
85 @rlearning{Setting simple songs}.
88 @ref{Text markup introduction},
90 @ref{Score layouts for choral}.
96 @unnumberedsubsubsec Entering lyrics
98 @cindex lyrics, entering
99 @cindex entering lyrics
100 @cindex punctuation in lyrics
101 @cindex lyrics punctuation
102 @cindex spaces in lyrics
103 @cindex quotes in lyrics
106 @c TODO should we explain hyphens here
108 Lyrics are entered in a special input mode, which can be introduced
109 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
110 @code{\lyricsto}. In this special input mode, the input @code{d}
111 is not parsed as the pitch @notation{D}, but rather as a one-letter
112 syllable of text. In other words, syllables are entered like notes
113 but with pitches replaced by text.
118 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
121 There are two main methods for specifying the horizontal placement
122 of the syllables, either by specifying the duration of each syllable
123 explicitly, as in the example above, or by leaving the lyrics to be
124 aligned automatically to a melody or other voice of music, using
125 @code{\addlyrics} or @code{\lyricsto}. The former method is
126 described below in @ref{Manual syllable durations}. The latter
127 method is described in @ref{Automatic syllable durations}.
129 A word or syllable of lyrics begins with an alphabetic character
130 (plus some other characters, see below) and is terminated by any
131 white space or a digit. Later characters in the syllable can be any
132 character that is not a digit or white space.
134 Because any character that is not a digit or white space is regarded
135 as part of the syllable, a word is valid even if it ends with
136 @code{@}}, which often leads to the following mistake:
139 \lyricmode @{ lah lah lah@}
142 In this example, the @code{@}} is included in the final syllable, so the
143 opening brace is not balanced and the input file will probably not
144 compile. Instead, braces should always be surrounded with white space:
147 \lyricmode @{ lah lah lah @}
150 @cindex overrides in lyric mode
151 @funindex \override in \lyricmode
153 Similarly, in lyric mode, a period will be included in the
154 alphabetic sequence that it follows. As a consequence, spaces
155 must be inserted around the period in @code{\override} commands.
159 \override Score.LyricText #'font-shape = #'italic
166 \override Score . LyricText #'font-shape = #'italic
169 Punctuation, lyrics with accented characters, characters from
170 non-English languages, or special characters (such as the heart
171 symbol or slanted quotes), may simply be inserted directly
172 into the input file, providing it is saved with UTF-8 encoding.
173 For more information, see @ref{Text encoding}.
175 @lilypond[quote,verbatim]
176 \relative c'' { d8 c16 a bes8 f e' d c4 }
177 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
180 Normal quotes may be used in lyrics, but they have to be preceded
181 with a backslash character and the whole syllable has to be
182 enclosed between additional quotes. For example,
184 @lilypond[quote,verbatim]
185 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
186 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
189 The full definition of a word start in lyrics mode is somewhat more
190 complex. A word in lyrics mode is one that begins with an
191 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
192 @code{'}, the control characters @code{^A} through @code{^F},
193 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
194 character with an ASCII code over 127, or a two-character
195 combination of a backslash followed by one of @code{`}, @code{'},
196 @code{"}, or @code{^}.
198 @c " to balance double quotes for not-so-bright context-sensitive editors
205 @ref{Automatic syllable durations},
208 @ref{Manual syllable durations},
212 @rinternals{LyricText}.
215 @node Aligning lyrics to a melody
216 @unnumberedsubsubsec Aligning lyrics to a melody
218 @cindex lyrics, aligning to a melody
219 @cindex @code{associatedVoice}
224 Lyrics are printed by interpreting them in the context called
225 @code{Lyrics}, see @ref{Contexts explained}.
228 \new Lyrics \lyricmode @{ @dots{} @}
231 Lyrics can be aligned with melodies in two main ways:
236 Lyrics can be aligned automatically, with the durations of the
237 syllables being taken from another voice of music or (in special
238 circumstances) an associated melody, using @code{\addlyrics},
239 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
240 For more details, see @ref{Automatic syllable durations}.
242 @lilypond[quote,ragged-right,verbatim]
246 \new Voice = "one" \relative c'' {
248 c4 b8. a16 g4. r8 a4 ( b ) c2
250 \new Voice = "two" \relative c' {
256 % takes durations and alignment from notes in "one"
257 \new Lyrics \lyricsto "one" {
258 Life is __ _ love, live __ life.
261 % takes durations and alignment from notes in "one" initially
262 % then switches to "two"
263 \new Lyrics \lyricsto "one" {
265 \set associatedVoice = "two" % must be set one syllable early
266 sins and sor -- rows grow.
271 The first stanza shows the normal way of entering lyrics.
273 The second stanza shows how the voice from which the lyric
274 durations are taken can be changed. This is useful if the words to
275 different stanzas fit the notes in different ways and all the
276 durations are available in Voice contexts. For more details, see
280 Lyrics can be aligned independently of the duration of any notes
281 if the durations of the syllables are specified explicitly,
282 and entered with @code{\lyricmode}.
284 @lilypond[quote,ragged-right,verbatim]
286 \new Voice = "one" \relative c'' {
288 c4 b8. a16 g4. f8 e4 d c2
291 % uses previous explicit duration of 2;
292 \new Lyrics \lyricmode {
296 % explicit durations, set to a different rhythm
297 \new Lyrics \lyricmode {
298 Life4 is love,2. live4 life.2
303 The first stanza is not aligned with the notes because the durations
304 were not specified, and the previous value of 2 is used for each
307 The second stanza shows how the words can be aligned quite
308 independently from the notes. This is useful if the words to
309 different stanzas fit the notes in different ways and the required
310 durations are not available in a music context. For more details
311 see @ref{Manual syllable durations}. This technique is also useful
312 when setting dialogue over music; for examples showing this, see
313 @ref{Dialogue over music}.
315 When entered in this way the words are left-aligned to the notes
316 by default, but may be center-aligned to the notes of a melody by
317 specifying an associated voice, if one exists. For details, see
318 @ref{Manual syllable durations}.
324 @rlearning{Aligning lyrics to a melody}.
327 @ref{Contexts explained},
328 @ref{Automatic syllable durations}.
330 @ref{Manual syllable durations},
331 @ref{Dialogue over music},
332 @ref{Manual syllable durations}.
337 @node Automatic syllable durations
338 @unnumberedsubsubsec Automatic syllable durations
340 @cindex syllable durations, automatic
341 @cindex lyrics and melodies
342 @cindex associatedVoice
346 Lyrics can be automatically aligned to the notes of a melody in
352 by specifying the named Voice context containing the melody with
356 by introducing the lyrics with @code{\addlyrics} and placing them
357 immediately after the Voice context containing the melody,
360 by setting the @code{associatedVoice} property, the alignment of
361 the lyrics may be switched to a different named Voice context at
366 In all three methods hyphens can be drawn between the syllables of
367 a word and extender lines can be drawn beyond the end of a word. For
368 details, see @ref{Extenders and hyphens}.
370 The @code{Voice} context containing the melody to which the lyrics
371 are being aligned must not have @qq{died}, or the lyrics after that
372 point will be lost. This can happen if there are periods when that
373 voice has nothing to do. For methods of keeping contexts alive, see
374 @ref{Keeping contexts alive}.
376 @subheading Using @code{\lyricsto}
381 Lyrics can be aligned under a melody automatically by specifying
382 the named Voice context containing the melody with
385 @lilypond[quote,verbatim,relative=2]
387 \new Voice = "melody" {
390 \new Lyrics \lyricsto "melody" {
397 This aligns the lyrics to the notes of the named @code{Voice}
398 context, which must already exist. Therefore normally the
399 @code{Voice} context is specified first, followed by the
400 @code{Lyrics} context. The lyrics themselves follow the
401 @code{\lyricsto} command. The @code{\lyricsto} command
402 invokes lyric mode automatically, so the @code{\lyricmode} keyword
403 may be omitted. By default, the lyrics are placed underneath the
404 notes. For other placements, see @ref{Placing lyrics vertically}.
406 @subheading Using @code{\addlyrics}
411 The @code{\addlyrics} command is just a convenient shortcut that
412 can sometimes be used instead of having to set up the lyrics
413 through a more complicated LilyPond structure.
417 \addlyrics @{ LYRICS @}
424 \new Voice = "blah" @{ MUSIC @}
425 \new Lyrics \lyricsto "blah" @{ LYRICS @}
430 @lilypond[verbatim,quote]
433 \relative c' { c2 e4 g2. }
434 \addlyrics { play the game }
438 More stanzas can be added by adding more
439 @code{\addlyrics} sections:
442 @lilypond[ragged-right,verbatim,quote]
445 \relative c' { c2 e4 g2. }
446 \addlyrics { play the game }
447 \addlyrics { speel het spel }
448 \addlyrics { joue le jeu }
452 The command @code{\addlyrics} cannot handle polyphonic settings.
453 For these cases one should use @code{\lyricsto}.
455 @subheading Using associatedVoice
457 The melody to which the lyrics are being aligned can be changed by
458 setting the @code{associatedVoice} property,
461 \set associatedVoice = #"lala"
466 The value of the property (here: @code{"lala"}) should be the name
467 of a @code{Voice} context. For technical reasons, the @code{\set}
468 command must be placed one syllable before the one to which the
469 change in voice is to apply.
471 Here is an example demonstrating its use:
473 @lilypond[quote,ragged-right,verbatim]
477 \new Voice = "one" \relative c'' {
479 c4 b8. a16 g4. r8 a4 ( b ) c2
481 \new Voice = "two" \relative c' {
486 % takes durations and alignment from notes in "one" initially
487 % then switches to "two"
488 \new Lyrics \lyricsto "one" {
490 \set associatedVoice = "two" % must be set one syllable early
491 sins and sor -- rows grow.
498 @ref{Extenders and hyphens},
499 @ref{Keeping contexts alive},
500 @ref{Placing lyrics vertically}.
502 @node Manual syllable durations
503 @unnumberedsubsubsec Manual syllable durations
505 In some complex vocal music, it may be desirable to place lyrics
506 completely independently of notes. In this case do not use
507 @code{\lyricsto} or @code{\addlyrics} and do not set
508 @code{associatedVoice}. Syllables are entered like notes --
509 but with pitches replaced by text -- and the duration of each
510 syllable is entered explicitly after the syllable.
512 By default, syllables will be left-aligned to the corresponding
513 musical moment. Hyphenated lines may be drawn between syllables
514 as usual, but extender lines cannot be drawn when there is no
517 Here are two examples:
519 @lilypond[relative=1,verbatim,quote]
521 \new Voice = "melody" {
525 \new Lyrics \lyricmode {
532 @lilypond[quote,verbatim,ragged-right]
554 This technique is useful when writing dialogue over music, see
555 @ref{Dialogue over music}.
557 To center-align syllables on the notes at the corresponding musical
558 moments, set @code{associatedVoice} to the name of the Voice context
559 containing those notes. When @code{associatedVoice} is set, both
560 double hyphens and double underscores can be used to draw
561 hyphenated lines and extenders under melismata correctly.
563 @lilypond[relative=1,verbatim,quote]
565 \new Voice = "melody" {
569 \new Lyrics \lyricmode {
570 \set associatedVoice = #"melody"
576 @c TODO see also feature request 707 - show how to do this with manual durations
580 @ref{Dialogue over music}.
587 @node Multiple syllables to one note
588 @unnumberedsubsubsec Multiple syllables to one note
591 @cindex spaces, in lyrics
592 @cindex quotes, in lyrics
593 @cindex ties, in lyrics
595 In order to assign more than one syllable to a single note with
596 spaces between the syllables, you can surround the phrase with
597 quotes or use a @code{_} character. Alternatively, you can use
598 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
599 tie is implemented with the Unicode character U+203F, so be
600 sure to have a font (like DejaVuLGC) installed that includes this
603 @lilypond[quote,ragged-right,verbatim]
606 \relative c' { c2 e4 g2 e4 }
607 \addlyrics { gran- de_a- mi- go }
608 \addlyrics { pu- "ro y ho-" nes- to }
609 \addlyrics { pu- ro~y~ho- nes- to }
616 @rinternals{LyricCombineMusic}.
619 @node Multiple notes to one syllable
620 @unnumberedsubsubsec Multiple notes to one syllable
624 @cindex phrasing, in lyrics
626 @funindex \melismaEnd
628 Sometimes, particularly in Medieval music, several notes are to be
629 sung on one syllable; such vocalises are called melismata, or
630 @rglos{melisma}s. The syllable to a melisma is usually
631 left-aligned with the first note of the melisma.
633 When a melisma occurs on a syllable other that the last one in a
634 word, that syllable is usually joined to the following one with a
635 hyphenated line. This is indicated by placing a double hyphen,
636 @code{--}, immediately after the syllable.
638 Alternatively, when a melisma occurs on the last or only syllable in
639 a word an extender line is usually drawn from the end of the syllable
640 to the last note of the melisma. This is indicated by placing a
641 double underscore, @code{__}, immediately after the word.
643 There are five ways in which melismata can be indicated:
648 Melismata are created automatically over notes which are tied
651 @lilypond[quote,relative=2,verbatim]
653 \new Voice = "melody" {
659 \new Lyrics \lyricsto "melody" {
666 Melismata can be created automatically from the music by placing
667 slurs over the notes of each melisma. This is the usual way of
670 @lilypond[quote,relative=2,verbatim]
672 \new Voice = "melody" {
677 \new Lyrics \lyricsto "melody" {
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" {
725 Note that this method cannot be used to indicate two melismata if
726 the first one is immediately followed by another.
729 A melisma can be defined entirely in the lyrics by entering a
730 single underscore character, @code{_}, for every extra note that has
731 to be added to the melisma.
733 @lilypond[verbatim, quote, relative=2]
735 \new Voice = "melody" {
740 \new Lyrics \lyricsto "melody" {
741 Ky -- ri -- _ _ _ e __ _ _
748 It is possible to have ties, slurs and manual beams in the melody
749 without their indicating melismata. To do this, set
750 @code{melismaBusyProperties} and indicate the melismata with single
751 underscores in the lyrics, one underscore for each extra note:
753 @lilypond[relative=1,verbatim,quote]
755 \new Voice = "melody" {
757 \set melismaBusyProperties = #'()
762 \new Lyrics \lyricsto "melody" {
763 Ky -- _ _ _ _ ri -- _ _ e __ _
768 Other settings for @code{melismaBusyProperties} can be used to
769 include or exclude ties, slurs, and beams from the automatic
770 detection of melismata; see @code{melismaBusyProperties} in
771 @rinternals{Tunable context properties}.
785 @rlearning{Aligning lyrics to a melody}.
788 @ref{Aligning lyrics to a melody},
789 @ref{Automatic syllable durations},
790 @ref{Setting automatic beam behavior}.
793 @rinternals{Tunable context properties}.
797 Extender lines under melismata are not created automatically; they
798 must be inserted manually with a double underscore.
801 @unnumberedsubsubsec Skipping notes
803 Making a lyric line run slower than the melody can be achieved by
804 inserting @code{\skip}s into the lyrics. For every @code{\skip},
805 the text will be delayed by another note. The @code{\skip} command
806 must be followed by a valid duration, but this is ignored when
807 @code{\skip} is used in lyrics which derive their durations from the
808 notes in an associated melody through @code{\addlyrics} or
811 @lilypond[verbatim,ragged-right,quote]
812 \relative c' { c c g' }
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
859 @rinternals{LyricExtender},
860 @rinternals{LyricHyphen}.
863 @node Techniques specific to lyrics
864 @subsection Techniques specific to lyrics
866 @c TODO this whole section is to be reorganised
869 * Working with lyrics and variables::
870 * Placing lyrics vertically::
871 * Placing syllables horizontally::
872 * Lyrics and repeats::
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 c'' {
888 c4 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'' { c4 c c c }
918 contraltoMusic = \relative c'' { a4 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" {
953 @ref{Placing lyrics vertically}.
956 @rinternals{LyricCombineMusic},
960 @node Placing lyrics vertically
961 @unnumberedsubsubsec Placing lyrics vertically
963 @cindex placement of lyrics
964 @cindex lyrics, positioning
966 Depending on the type of music, lyrics may be positioned
967 above the staff, below the staff, or between staves. Placing
968 lyrics below the associated staff is the easiest, and can be
969 achieved by simply defining the Lyrics context below the Staff
972 @lilypond[quote,verbatim]
976 \new Voice = "melody" {
977 \relative c'' { c4 c c c }
989 Lyrics may be positioned above the staff using one of
990 two methods. The simplest is to use the same syntax as
991 above and explicitly specify the position of the lyrics:
993 @lilypond[quote,verbatim]
996 \new Staff = "staff" {
997 \new Voice = "melody" {
998 \relative c'' { c4 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"
1021 \new Voice = "melody" {
1022 \relative c'' { c4 c c c }
1025 \context Lyrics = "lyrics" {
1026 \lyricsto "melody" {
1034 When there are two voices on separate staves the lyrics may be
1035 placed between the staves using either of these methods. Here
1036 is an example of the second method:
1038 @lilypond[quote,verbatim]
1042 \new Voice = "sopranos" {
1043 \relative c'' { c4 c c c }
1046 \new Lyrics = "sopranos"
1047 \new Lyrics = "contraltos"
1049 \new Voice = "contraltos" {
1050 \relative c'' { a4 a a a }
1053 \context Lyrics = "sopranos" {
1054 \lyricsto "sopranos" {
1055 Sop -- ra -- no words
1058 \context Lyrics = "contraltos" {
1059 \lyricsto "contraltos" {
1060 Con -- tral -- to words
1067 Other combinations of lyrics and staves may be generated by
1068 elaborating these examples, or by examining the
1069 @rlearning{Vocal ensembles} templates in the Learning Manual.
1073 @rlearning{Vocal ensembles}.
1076 @ref{Aligning contexts},
1077 @ref{Creating contexts}.
1079 @node Placing syllables horizontally
1080 @unnumberedsubsubsec Placing syllables horizontally
1082 @cindex Spacing lyrics
1083 @cindex Lyrics, increasing space between
1085 To increase the spacing between lyrics, set the
1086 @code{minimum-distance} property of @code{LyricSpace}.
1088 @lilypond[relative=1,verbatim,quote,ragged-right]
1091 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1095 longtext longtext longtext longtext
1096 longtext longtext longtext longtext
1101 To make this change for all lyrics in the score, set the property in the
1102 @code{\layout} block.
1104 @lilypond[verbatim,quote,ragged-right]
1111 longtext longtext longtext longtext
1112 longtext longtext longtext longtext
1117 \override LyricSpace #'minimum-distance = #1.0
1124 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1125 {lyrics-alignment.ly}
1127 @c TODO: move to LSR -vv
1129 Checking to make sure that text scripts and lyrics are within the
1130 margins is a relatively large computational task. To speed up processing,
1131 LilyPond does not perform such calculations by default; to enable it, use
1134 \override Score.PaperColumn #'keep-inside-line = ##t
1137 To make lyrics avoid bar lines as well, use
1143 \consists "Bar_engraver"
1144 \consists "Separating_line_group_engraver"
1145 \override BarLine #'transparent = ##t
1150 @c TODO Create and add lsr example of lyricMelismaAlignment
1151 @c It's used like this to center-align all lyric syllables,
1152 @c even when notes are tied. -td
1157 \context { \Score lyricMelismaAlignment = #0 }
1162 @node Lyrics and repeats
1163 @unnumberedsubsubsec Lyrics and repeats
1165 @cindex repeats and lyrics
1166 @cindex lyrics, repeating
1168 @subheading Simple repeats
1170 Repeats in @emph{music} are fully described elsewhere; see
1171 @ref{Repeats}. This section explains how to add lyrics to repeated
1174 Lyrics to a section of music that is repeated should be surrounded
1175 by exactly the same repeat construct as the music, if the words are
1178 @lilypond[verbatim,quote]
1182 \new Voice = "melody" {
1185 \repeat volta 2 { b4 b b b }
1190 \lyricsto "melody" {
1191 Not re -- peat -- ed.
1192 \repeat volta 2 { Re -- peat -- ed twice. }
1199 The words will then be correctly expanded if the repeats are
1202 @lilypond[verbatim,quote]
1207 \new Voice = "melody" {
1210 \repeat volta 2 { b4 b b b }
1215 \lyricsto "melody" {
1216 Not re -- peat -- ed.
1217 \repeat volta 2 { Re -- peat -- ed twice. }
1225 If the repeated section is to be unfolded and has different words,
1226 simply enter all the words:
1228 @lilypond[verbatim,quote,ragged-right]
1232 \new Voice = "melody" {
1235 \repeat unfold 2 { b4 b b b }
1240 \lyricsto "melody" {
1241 Not re -- peat -- ed.
1242 The first time words.
1243 Sec -- ond time words.
1253 When the words to a repeated volta section are different, the words
1254 to each repeat must be entered in separate @code{Lyrics} contexts.
1255 Earlier unrepeated sections must be skipped in the second and
1256 subsequent repeats. The easiest way to skip several notes is to
1257 use @code{\repeat unfold} around the @code{\skip} command.
1259 Note: do not use an underscore, @code{_}, to skip notes in this
1260 particular case. As this syntax indicates a melisma, it will cause
1261 the preceding syllable to be left-aligned.
1263 @warning{The @code{@bs{}skip} command must be followed by a number,
1264 but this number is ignored in lyrics which derive their durations
1265 from the notes in an associated melody through @code{\addlyrics} or
1266 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1267 value, irrespective of the value of the following number.}
1269 @lilypond[verbatim,quote]
1273 \new Voice = "melody" {
1276 \repeat volta 2 { b4 b b b }
1281 \lyricsto "melody" {
1282 Not re -- peat -- ed.
1283 The first time words.
1287 \lyricsto "melody" {
1288 % skip 4 notes of any duration
1289 \repeat unfold 4 { \skip 1 }
1290 Sec -- ond time words.
1297 @cindex lyrics, repeating with a temporary voice
1299 An alternative way, which avoids skips and having to count notes,
1300 is to use a temporary voice for the repeated section. This may be
1301 preferable if the earlier sections are still subject to change. A
1302 temporary voice can be inserted anywhere in the main music stream
1303 in parallel with it, as shown below, but it may be necessary to
1304 keep the main voice alive in complex scores when using this
1305 technique; see @ref{Keeping contexts alive}.
1307 @lilypond[verbatim,quote,ragged-right]
1311 \new Voice = "singleVoice" {
1312 \relative c'' { a4 a a a }
1313 \new Voice = "repeatVoice" {
1314 \relative c'' \repeat volta 3 { b4 b b b }
1316 \relative c'' { c4 c c c }
1320 \lyricsto "singleVoice" {
1321 Not re -- peat -- ed.
1322 The end sec -- tion.
1324 \lyricsto "repeatVoice" {
1325 The first time words.
1329 \lyricsto "repeatVoice" {
1330 Sec -- ond time words.
1334 \lyricsto "repeatVoice" {
1335 The third time words.
1342 @c TODO lowering a common line of lyrics
1344 @subheading Repeats with alternative endings
1346 @cindex lyrics, repeats with alternative endings
1347 @cindex repeating lyrics with alternative endings
1348 @cindex alternative endings and lyrics
1350 If the words of the repeated section are the same, exactly the
1351 same structure can be used for both the lyrics and music.
1353 @lilypond[quote,verbatim]
1358 \new Voice = "melody" {
1361 \repeat volta 2 { b4 b }
1362 \alternative { { b b } { b c } }
1367 \lyricsto "melody" {
1368 Not re -- peat -- ed.
1369 \repeat volta 2 { Re -- peat -- }
1370 \alternative { { ed twice. } { ed twice. } }
1377 But when the repeated section has different words, a repeat
1378 construct cannot be used around the words and @code{\skip} commands
1379 have to be inserted manually as described in the previous section to
1380 skip over the notes in the alternative sections which do not apply.
1382 @lilypond[verbatim,quote,ragged-right]
1387 \new Voice = "melody" {
1389 \repeat volta 2 { b4 b }
1390 \alternative { { b b } { b c } }
1396 \lyricsto "melody" {
1397 The first time words.
1398 \repeat unfold 2 { \skip 1 }
1403 \lyricsto "melody" {
1405 \repeat unfold 2 { \skip 1 }
1413 @cindex lyrics and tied notes
1414 @funindex \repeatTie
1416 When a note is tied over into two or more alternative endings a
1417 tie is used to carry the note into the first alternative ending and
1418 a @code{\repeatTie} is used in the second and subsequent endings.
1419 This structure causes difficult alignment problems when lyrics are
1420 involved and increasing the length of the alternative sections so
1421 the tied notes are contained wholly within them may give a more
1424 The tie creates a melisma into the first alternative, but not into
1425 the second and subsequent alternatives, so to align the lyrics
1426 correctly it is necessary to disable the automatic creation of
1427 melismata over the volta section and insert manual skips.
1429 @lilypond[quote,verbatim]
1434 \new Voice = "melody" {
1436 \set melismaBusyProperties = #'()
1437 \repeat volta 2 { b4 b ~}
1438 \alternative { { b b } { b \repeatTie c } }
1439 \unset melismaBusyProperties
1445 \lyricsto "melody" {
1446 \repeat volta 2 { Here's a __ }
1458 Note that if @code{\unfoldRepeats} is used around a section
1459 containing @code{\repeatTie}, the @code{\repeatTie} should be
1460 removed to avoid both types of tie being printed.
1462 When the repeated section has different words a @code{\repeat}
1463 cannot be used around the lyrics and @code{\skip} commands need to
1464 be inserted manually, as before.
1466 @lilypond[quote,verbatim]
1471 \new Voice = "melody" {
1473 \repeat volta 2 { b4 b ~}
1474 \alternative { { b b } { b \repeatTie c } }
1480 \lyricsto "melody" {
1482 \repeat unfold 2 { \skip 1 }
1486 \lyricsto "melody" {
1488 \repeat unfold 2 { \skip 1 }
1496 If you wish to show extenders and hyphens into and out of
1497 alternative sections these must be inserted manually.
1499 @lilypond[quote,verbatim]
1504 \new Voice = "melody" {
1506 \repeat volta 2 { b4 b ~}
1507 \alternative { { b b } { b \repeatTie c } }
1513 \lyricsto "melody" {
1515 \repeat unfold 2 { \skip 1 }
1519 \lyricsto "melody" {
1531 @ref{Keeping contexts alive},
1536 @unnumberedsubsubsec Divisi lyrics
1538 @cindex divided lyrics
1539 @cindex lyrics, divided
1541 When just the words and rhythms of the two parts differ with the
1542 pitches remaining the same, temporarily turning off the automatic
1543 detection of melismata and indicating the melisma in the lyrics
1544 may be the appropriate method to use:
1546 @lilypond[quote,verbatim]
1549 \new Voice = "melody" {
1551 \set melismaBusyProperties = #'()
1555 \unset melismaBusyProperties
1559 \new Lyrics \lyricsto "melody" {
1560 They shall not o -- ver -- come
1562 \new Lyrics \lyricsto "melody" {
1569 When both music and words differ it may be better to display
1570 the differing music and lyrics by naming voice contexts and
1571 attaching lyrics to those specific contexts:
1573 @lilypond[verbatim,ragged-right,quote]
1576 \new Voice = "melody" {
1583 \new Voice = "splitpart" {
1593 \new Lyrics \lyricsto "melody" {
1594 They shall not o -- ver -- come
1596 \new Lyrics \lyricsto "splitpart" {
1608 * Adding stanza numbers::
1609 * Adding dynamics marks to stanzas::
1610 * Adding singers' names to stanzas::
1611 * Stanzas with different rhythms::
1612 * Printing stanzas at the end::
1613 * Printing stanzas at the end in multiple columns::
1617 @node Adding stanza numbers
1618 @unnumberedsubsubsec Adding stanza numbers
1620 @cindex stanza number
1622 Stanza numbers can be added by setting @code{stanza}, e.g.,
1624 @lilypond[quote,ragged-right,verbatim,relative=2]
1626 \time 3/4 g2 e4 a2 f4 g2.
1628 \set stanza = #"1. "
1629 Hi, my name is Bert.
1631 \set stanza = #"2. "
1632 Oh, ché -- ri, je t'aime
1638 These numbers are put just before the start of the first syllable.
1640 @c TODO Create and add snippet to show how two lines of a
1641 @c stanza can be grouped together, along these lines:
1642 @c (might need improving a bit) -td
1645 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1649 \set stanza = \markup { "1. " \leftbrace }
1650 \lyricmode { Child, you're mine and I love you.
1651 Lend thine ear to what I say.
1657 % \set stanza = \markup { " "}
1658 \lyricmode { Child, I have no great -- er joy
1659 Than to have you walk in truth.
1665 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1666 c'8 c' c' c' c' c' c'4 }
1667 } \addlyrics { \stanzaOneOne }
1668 \addlyrics { \stanzaOneThree }
1672 @node Adding dynamics marks to stanzas
1673 @unnumberedsubsubsec Adding dynamics marks to stanzas
1675 Stanzas differing in loudness may be indicated by putting a
1676 dynamics mark before each stanza. In LilyPond, everything coming in
1677 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1678 marks are no different. For technical reasons, you have to set the
1679 stanza outside @code{\lyricmode}:
1681 @lilypond[quote,ragged-right,verbatim]
1683 \set stanza = \markup { \dynamic "ff" "1. " }
1690 \new Voice = "tune" {
1694 \new Lyrics \lyricsto "tune" \text
1698 @node Adding singers' names to stanzas
1699 @unnumberedsubsubsec Adding singers' names to stanzas
1702 @cindex name of singer
1704 Names of singers can also be added. They are printed at the start of
1705 the line, just like instrument names. They are created by setting
1706 @code{vocalName}. A short version may be entered as
1707 @code{shortVocalName}.
1709 @lilypond[ragged-right,quote,verbatim,relative=2]
1711 \time 3/4 g2 e4 a2 f4 g2.
1713 \set vocalName = #"Bert "
1714 Hi, my name is Bert.
1716 \set vocalName = #"Ernie "
1717 Oh, ché -- ri, je t'aime
1721 @node Stanzas with different rhythms
1722 @unnumberedsubsubsec Stanzas with different rhythms
1724 Often, different stanzas of one song are put to one melody in slightly
1725 differing ways. Such variations can still be captured with
1728 @subsubheading Ignoring melismata
1730 One possibility is that the text has a melisma in one stanza, but
1731 multiple syllables in another. One solution is to make the faster
1732 voice ignore the melisma. This is done by setting
1733 @code{ignoreMelismata} in the Lyrics context.
1735 @lilypond[verbatim,ragged-right,quote]
1737 \relative c' \new Voice = "lahlah" {
1738 \set Staff.autoBeaming = ##f
1744 \new Lyrics \lyricsto "lahlah" {
1747 \new Lyrics \lyricsto "lahlah" {
1749 \set ignoreMelismata = ##t
1751 \unset ignoreMelismata
1758 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1759 not work if prefixed with @code{\once}. It is necessary to use
1760 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1763 @subsubheading Adding syllables to grace notes
1765 @cindex grace notes and lyrics
1766 @cindex lyrics on grace notes
1768 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1769 syllables when using @code{\lyricsto}, but this behavior can be
1772 @lilypond[verbatim,ragged-right,quote]
1774 \new Voice = melody \relative c' {
1775 f4 \appoggiatura a32 b4
1776 \grace { f16[ a16] } b2
1777 \afterGrace b2 { f16[ a16] }
1778 \appoggiatura a32 b4
1784 \set includeGraceNotes = ##t
1787 after -- grace case,
1788 \set ignoreMelismata = ##t
1796 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1797 set at latest one syllable before the one which is to be put under a
1798 grace note. For the case of a grace note at the very beginning of a
1799 piece of music, consider using a @code{\with} or @code{\context}
1802 @lilypond[verbatim,ragged-right,quote]
1804 \new Voice = melody \relative c' {
1805 \grace { c16[( d e f] }
1808 \new Lyrics \with { includeGraceNotes = ##t }
1815 @subsubheading Switching to an alternative melody
1817 @cindex associatedVoice
1818 @cindex alternative melody, switching to
1820 More complex variations in setting lyrics to music are possible.
1821 The melody to which the lyrics are being set can be changed from
1822 within the lyrics by setting the @code{associatedVoice} property:
1824 @lilypond[verbatim,quote]
1826 \relative c' \new Voice = "lahlah" {
1827 \set Staff.autoBeaming = ##f
1830 \new Voice = "alternative" {
1833 % show associations clearly.
1834 \override NoteColumn #'force-hshift = #-3
1845 \new Lyrics \lyricsto "lahlah" {
1846 Ju -- ras -- sic Park
1848 \new Lyrics \lyricsto "lahlah" {
1849 % Tricky: need to set associatedVoice
1850 % one syllable too soon!
1851 \set associatedVoice = "alternative" % applies to "ran"
1855 \set associatedVoice = "lahlah" % applies to "rus"
1861 The text for the first stanza is set to the melody called
1862 @q{lahlah} in the usual way, but the second stanza is set initally
1863 to the @code{lahlah} context and is then switched to the
1864 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1868 \set associatedVoice = "alternative" % applies to "ran"
1872 \set associatedVoice = "lahlah" % applies to "rus"
1877 Here, @code{alternative} is the name of the @code{Voice} context
1878 containing the triplet.
1880 Note the placement of the @code{\set associatedVoice} command --
1881 it appears to be one syllable too early, but this is correct.
1883 @warning{The @code{\set associatedVoice} command must be placed
1884 one syllable @emph{before} the one at which the switch to the new
1885 voice is to occur. In other words, changing the associated Voice
1886 happens one syllable later than expected. This is for technical
1887 reasons, and it is not a bug.}
1890 @node Printing stanzas at the end
1891 @unnumberedsubsubsec Printing stanzas at the end
1893 Sometimes it is appropriate to have one stanza set
1894 to the music, and the rest added in verse form at
1895 the end of the piece. This can be accomplished by adding
1896 the extra verses into a @code{\markup} section outside
1897 of the main score block. Notice that there are two
1898 different ways to force linebreaks when using
1901 @lilypond[ragged-right,verbatim,quote]
1902 melody = \relative c' {
1908 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1909 its fleece was white as snow.
1913 \new Voice = "one" { \melody }
1914 \new Lyrics \lyricsto "one" \text
1920 \line{ All the children laughed and played }
1921 \line{ To see a lamb at school. }
1928 Mary took it home again,
1930 It was against the rule."
1935 @node Printing stanzas at the end in multiple columns
1936 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1938 When a piece of music has many verses, they are often printed in
1939 multiple columns across the page. An outdented verse number often
1940 introduces each verse. The following example shows how to produce such
1943 @lilypond[ragged-right,quote,verbatim]
1944 melody = \relative c' {
1949 \set stanza = #"1." This is verse one.
1955 \new Voice = "one" { \melody }
1956 \new Lyrics \lyricsto "one" \text
1963 \hspace #0.1 % moves the column off the left margin;
1964 % can be removed if space on the page is tight
1968 "This is verse two."
1972 \hspace #0.1 % adds vertical spacing between verses
1975 "This is verse three."
1980 \hspace #0.1 % adds horizontal spacing between columns;
1981 % if they are still too close, add more " " pairs
1982 % until the result looks good
1986 "This is verse four."
1990 \hspace #0.1 % adds vertical spacing between verses
1993 "This is verse five."
1998 \hspace #0.1 % gives some extra space on the right margin;
1999 % can be removed if page space is tight
2006 Internals Reference:
2007 @rinternals{LyricText},
2008 @rinternals{StanzaNumber}.
2015 * References for songs::
2019 @node References for songs
2020 @unnumberedsubsubsec References for songs
2022 Songs are usually written on three staves with the melody for the
2023 singer on the top staff and two staves of piano accompaniment at
2024 the bottom. The lyrics of the first stanza are printed immediately
2025 underneath the top staff. If there are just a small number of
2026 further stanzas these can be printed immediately under the first
2027 one, but if there are more stanzas than can be easily accommodated
2028 there the second and subsequent stanzas are printed after the music
2029 as stand-alone text.
2031 All the notational elements needed to write songs are fully described
2037 For constructing the staff layout, see @ref{Displaying staves}.
2040 For writing piano music, see
2041 @ref{Keyboard and other multi-staff instruments}.
2044 For writing the lyrics to a melody line, see
2045 @ref{Common notation for vocal music}.
2048 For placing the lyrics, see @ref{Placing lyrics vertically}.
2051 For entering stanzas, see @ref{Stanzas}.
2054 Songs are frequently printed with the chording indicated by chord
2055 names above the staves. This is described in @ref{Displaying chords}.
2058 To print fret diagrams of the chords for guitar accompaniment or
2059 accompaniment by other fretted instruments, see @qq{Fret diagram
2060 markups} in @ref{Common notation for fretted strings}.
2069 @ref{Common notation for vocal music},
2070 @ref{Displaying chords},
2071 @ref{Displaying staves},
2072 @ref{Keyboard and other multi-staff instruments},
2073 @ref{Placing lyrics vertically},
2080 @unnumberedsubsubsec Lead sheets
2082 Lead sheets may be printed by combining vocal parts and
2083 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2086 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2087 {simple-lead-sheet.ly}
2091 @ref{Chord notation}.
2102 This section discusses notation issues that relate most directly
2103 to choral music. This includes anthems, part songs, oratorio,
2107 * References for choral::
2108 * Score layouts for choral::
2112 @node References for choral
2113 @unnumberedsubsubsec References for choral
2115 Choral music is usually notated on two, three or four staves within
2116 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2117 beneath in a @code{PianoStaff} group, which is usually reduced in
2118 size for @emph{a capella} choral works. The notes for each vocal
2119 part are placed in a @code{Voice} context, with each staff
2120 being given either a single vocal part (i.e., one @code{Voice}) or
2121 a pair of vocal parts (i.e., two @code{Voice}s).
2123 Words are placed in @code{Lyrics} contexts, either underneath each
2124 corresponding music staff, or one above and one below the music
2125 staff if this contains the music for two parts.
2127 Several common topics in choral music are described fully elsewhere:
2132 An introduction to creating an SATB vocal score can be found in
2133 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2136 Several templates suitable for various styles of choral music can
2137 also be found in the Learning Manual, see
2138 @rlearning{Vocal ensembles}.
2141 For information about @code{ChoirStaff} and @code{PianoStaff} see
2142 @ref{Grouping staves}.
2145 Shape note heads, as used in Sacred Harp and similar notation, are
2146 described in @ref{Shape note heads}.
2149 When two vocal parts share a staff the stems, ties, slurs, etc., of
2150 the higher part will be directed up and those of the lower part
2151 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2152 @ref{Single-staff polyphony}.
2163 @rlearning{Four-part SATB vocal score},
2164 @rlearning{Vocal ensembles}.
2167 @ref{Context layout order},
2168 @ref{Grouping staves},
2169 @ref{Shape note heads},
2170 @ref{Single-staff polyphony}.
2175 Internals Reference:
2176 @rinternals{ChoirStaff},
2177 @rinternals{Lyrics},
2178 @rinternals{PianoStaff}.
2180 @node Score layouts for choral
2181 @unnumberedsubsubsec Score layouts for choral
2183 Choral music containing four staves, with or without piano
2184 accompaniment, is usually laid out with two systems per page.
2185 Depending on the page size, achieving this may require changes
2186 to several default settings. The following settings should be
2192 The global staff size can be modified to change the overall size
2193 of the elements of the score. See @ref{Setting the staff size}.
2196 The distances between the systems, the staves and the lyrics can
2197 all be adjusted independently. See @ref{Vertical spacing}.
2200 The dimensions of the vertical layout variables can be displayed as
2201 an aid to adjusting the vertical spacing. This and other
2202 possibilities for fitting the music onto fewer pages are described
2203 in @ref{Fitting music onto fewer pages}.
2206 If the number of systems per page changes from one to two it is
2207 customary to indicate this with a system separator mark between
2208 the two systems. See @ref{Separating systems}.
2211 For details of other page formatting properties, see
2217 Dynamic markings by default are placed below the staff, but in
2218 choral music they are usually placed above the staff in order to
2219 avoid the lyrics. The predefined command @code{\dynamicUp} does
2220 this for the dynamic markings in a single @code{Voice} context.
2221 If there are many @code{Voice} contexts this predefined command
2222 would have to be placed in every one. Alternatively its expanded
2223 form can be used to place all dynamic markings in the entire score
2224 above their respective staves, as shown here:
2226 @lilypond[verbatim,quote]
2231 \relative c'' { g4\f g g g }
2236 \relative c' { d4 d d\p d }
2243 \override DynamicText #'direction = #UP
2244 \override DynamicLineSpanner #'direction = #UP
2251 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2255 @ref{Changing spacing},
2256 @ref{Displaying spacing},
2257 @ref{Fitting music onto fewer pages},
2260 @ref{Separating systems},
2261 @ref{Setting the staff size},
2262 @ref{Using an extra voice for breaks},
2263 @ref{Vertical spacing}.
2265 Internals Reference:
2266 @rinternals{VerticalAxisGroup},
2267 @rinternals{StaffGrouper}.
2270 @node Divided voices
2271 @unnumberedsubsubsec Divided voices
2273 @cindex voices, divided
2275 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2276 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2280 @ref{Expressive marks as lines}.
2283 @node Opera and stage musicals
2284 @subsection Opera and stage musicals
2286 The music, lyrics and dialogue to opera and stage musicals are
2287 usually set out in one or more of the following forms:
2292 A @emph{Conductors' Score} containing the full orchestral and vocal
2293 parts, together with libretto cues if there are spoken passages.
2296 @emph{Orchestral Parts} containing the music for the individual
2297 instruments of the orchestra or band.
2300 A @emph{Vocal Score} containing all vocal parts with piano
2301 accompaniment. The accompaniment is usually an orchestral
2302 reduction, and if so the name of the original orchestral instrument
2303 is often indicated. Vocal scores sometimes includes stage
2304 directions and libretto cues.
2307 A @emph{Vocal Book} containing just the vocal parts
2308 (no accompaniment), sometimes combined with the libretto.
2311 A @emph{Libretto} containing the extended passages of spoken
2312 dialogue usually found in musicals, together with the words to the
2313 sung parts. Stage directions are usually included. LilyPond can
2314 be used to typeset libretti but as they contain no music
2315 alternative methods may be preferable.
2319 The sections in the LilyPond documentation which cover the topics
2320 needed to create scores in the styles commonly found in opera and
2321 musicals are indicated in the References below. This is followed
2322 by sections covering those techniques which are peculiar to
2323 typesetting opera and musical scores.
2326 * References for opera and stage musicals::
2330 * Dialogue over music::
2333 @node References for opera and stage musicals
2334 @unnumberedsubsubsec References for opera and stage musicals
2339 A conductors' score contains many grouped staves and lyrics. Ways
2340 of grouping staves is shown in @ref{Grouping staves}. To nest
2341 groups of staves see @ref{Nested staff groups}.
2344 The printing of empty staves in conductors' scores and vocal scores
2345 is often suppressed. To create such a @qq{Frenched score} see
2346 @ref{Hiding staves}.
2349 Writing orchestral parts is covered in @ref{Writing parts}.
2350 Other sections in the Specialist notation chapter may be relevant,
2351 depending on the orchestration used. Many instruments are
2352 transposing instruments, see @ref{Instrument transpositions}.
2355 If the number of systems per page changes from page to page it is
2356 customary to separate the systems with a system separator mark.
2357 See @ref{Separating systems}.
2360 For details of other page formatting properties, see
2364 Dialogue cues and stage directions can be inserted with markup.
2365 See @ref{Text}. Extensive stage directions can be inserted with
2366 a section of stand-alone markup between two @code{\score} blocks.
2367 See @ref{Separate text}.
2373 @rglos{Frenched score},
2374 @rglos{Frenched staves},
2375 @rglos{transposing instrument}.
2378 @ref{Grouping staves},
2379 @ref{Hiding staves},
2380 @ref{Instrument transpositions},
2381 @ref{Nested staff groups},
2383 @ref{Separating systems},
2385 @ref{Writing parts},
2392 @node Character names
2393 @unnumberedsubsubsec Character names
2395 @cindex character names
2396 @cindex names, character
2398 Character names are usually shown to the left of the staff when the
2399 staff is dedicated to that character alone:
2401 @lilypond[quote,verbatim,ragged-right]
2405 \set Staff.vocalName = \markup \smallCaps Kaspar
2406 \set Staff.shortVocalName = \markup \smallCaps Kas.
2415 \set Staff.vocalName = \markup \smallCaps Melchior
2416 \set Staff.shortVocalName = \markup \smallCaps Mel
2427 When two or more characters share a staff the character's name is
2428 usually printed above the staff at the start of every section
2429 applying to that character. This can be done with markup. Often a
2430 specific font is used for this purpose.
2432 @lilypond[quote,verbatim,relative=1]
2434 c4^\markup \fontsize #1 \smallCaps Kaspar
2437 a4^\markup \fontsize #1 \smallCaps Melchior
2440 c4^\markup \fontsize #1 \smallCaps Kaspar
2444 Alternatively, if there are many character changes, it may be
2445 easier to set up @qq{instrument} definitions for each character at
2446 the top level so that @code{\instrumentSwitch} can be used to
2447 indicate each change.
2449 @lilypond[quote,verbatim]
2450 \addInstrumentDefinition #"kaspar"
2451 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2452 (shortInstrumentName . "Kas.")
2453 (clefGlyph . "clefs.G")
2454 (clefOctavation . -7)
2455 (middleCPosition . 1)
2457 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2458 (midiInstrument . "voice oohs"))
2460 \addInstrumentDefinition #"melchior"
2461 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2462 (shortInstrumentName . "Mel.")
2463 (clefGlyph . "clefs.F")
2464 (clefOctavation . 0)
2465 (middleCPosition . 6)
2467 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2468 (midiInstrument . "voice aahs"))
2471 \instrumentSwitch "kaspar"
2473 \instrumentSwitch "melchior"
2475 \instrumentSwitch "kaspar"
2482 @ref{Instrument names},
2483 @ref{Scheme functions},
2485 @ref{Text markup commands}.
2488 @rextend{Markup construction in Scheme}.
2491 @unnumberedsubsubsec Musical cues
2493 @cindex musical cues
2494 @cindex cues, musical
2496 Musical cues can be inserted in Vocal Scores, Vocal Books and
2497 Orchestral Parts to indicate what music in another part
2498 immediately precedes an entry. Also, cues are often inserted in the
2499 piano reduction in Vocal Scores to indicate what each orchestral
2500 instrument is playing. This aids the conductor when a full
2501 Conductors' Score is not available.
2503 The basic mechanism for inserting cues is fully explained in the
2504 main text, see @ref{Quoting other voices} and
2505 @ref{Formatting cue notes}. But when many cues have to be
2506 inserted, for example, as an aid to a conductor in a vocal score,
2507 the instrument name must be positioned carefully just before and
2508 close to the start of the cue notes. The following example shows
2511 @lilypond[quote,verbatim]
2512 flute = \relative c'' {
2515 \addQuote "flute" { \flute }
2517 pianoRH = \relative c'' {
2519 % position name of cue-ing instrument just before the cue notes,
2520 % and above the staff
2521 s1*0^\markup { \right-align { \tiny "Flute" } }
2522 \cueDuring "flute" #UP { g4 bes4 }
2524 pianoLH = \relative c { c4 <c' e> e, <g c> }
2539 If a transposing instrument is being quoted the instrument part should
2540 specify its key so the conversion of its cue notes will be done
2541 automatically. The example below shows this transposition for a
2542 B-flat clarinet. The notes in this example are low on the staff so
2543 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2544 down) and the instrument name is positioned below the staff. Note
2545 also that the piano right-hand voice is explicitly declared. This
2546 is because the cue notes in this example begin at the start of the
2547 first bar and this would otherwise cause the entire piano right-hand
2548 notes to be placed in a @code{CueVoice} context.
2550 @lilypond[quote,verbatim]
2551 clarinet = \relative c' {
2555 \addQuote "clarinet" { \clarinet }
2557 pianoRH = \relative c'' {
2559 % position name of cue-ing instrument below the staff
2560 s1*0_\markup { \right-align { \tiny "Clar." } }
2561 \cueDuring "clarinet" #DOWN { c4. g8 }
2564 pianoLH = \relative c { c4 <c' e> e, <g c> }
2583 From these two examples it is clear that inserting many cues in a
2584 Vocal Score would be tedious, and the notes of the piano part would
2585 become obscured. However, as the following snippet shows, it is
2586 possible to define a music function to reduce the amount of typing
2587 and to make the piano notes clearer.
2590 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2591 {adding-orchestral-cues-to-a-vocal-score.ly}
2598 @ref{Aligning objects},
2599 @ref{Direction and placement},
2600 @ref{Formatting cue notes},
2601 @ref{Quoting other voices},
2602 @ref{Using music functions}.
2607 Internals Reference:
2608 @rinternals{InstrumentSwitch},
2609 @rinternals{CueVoice}.
2612 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2613 and all cue notes are placed in that context. This means it is not
2614 possible to have two overlapping sequences of cue notes by this
2615 technique. Overlapping sequences could be entered by explicitly
2616 declaring separate @code{CueVoice} contexts and using
2617 @code{\quoteDuring} to extract and insert the cue notes.
2621 @unnumberedsubsubsec Spoken music
2624 @cindex Sprechgesang
2625 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2626 speak without pitch but still with rhythm; these are notated by cross
2627 note heads, as demonstrated in @ref{Special note heads}.
2629 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2630 @c add "showing the rhythm of a melody" snip
2631 @c add "one staff-line notation"
2632 @c add "improvisation" ref
2633 @c add "lyrics independents of notes" ref
2635 @node Dialogue over music
2636 @unnumberedsubsubsec Dialogue over music
2638 Dialogue over music is usually printed over the staves in an italic
2639 font, with the start of each phrase keyed in to a particular music
2642 For short interjections a simple markup suffices.
2644 @lilypond[quote,verbatim,relative=2]
2645 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2646 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2650 For longer phrases it may be necessary to expand the music to make
2651 the words fit neatly. There is no provision in LilyPond to do this
2652 fully automatically, and some manual intervention to layout the
2653 page will be necessary.
2655 For long phrases or for passages with a lot of closely packed
2656 dialogue, using a Lyrics context will give better results. The
2657 Lyrics context should not be associated with a music Voice; instead
2658 each section of dialogue should be given an explicit duration. If
2659 there is a gap in the dialogue, the final word should be separated
2660 from the rest and the duration split between them so that the
2661 underlying music spaces out smoothly.
2663 If the dialogue extends for more than one line it will be necessary
2664 to manually insert @code{\break}s and adjust the placing of the
2665 dialogue to avoid running into the right margin. The final word of
2666 the last measure on a line should also be separated out, as above.
2668 Here is an example illustrating how this might be done.
2670 @c This should be a snippet, but it can't be as it needs to be
2671 @c manually adjusted to suit the imposed line length. -td
2673 @lilypond[quote,verbatim,ragged-right]
2674 music = \relative c'' {
2675 \repeat unfold 3 { a4 a a a }
2678 dialogue = \lyricmode {
2680 \fontsize #1 \upright \smallCaps Abe:
2681 "Say this over measures one and"
2685 "and this over measure"4*3
2692 \override LyricText #'font-shape = #'italic
2693 \override LyricText #'self-alignment-X = #LEFT
2697 \new Voice { \music }
2703 @c TODO show use of \column to produce dialogue on two lines
2707 @ref{Manual syllable durations},
2711 @rinternals{LyricText}.
2714 @node Chants psalms and hymns
2715 @subsection Chants psalms and hymns
2720 @cindex religious music
2722 The music and words for chants, psalms and hymns usually follow a
2723 well-established format in any particular church. Although the
2724 formats may differ from church to church the type-setting problems
2725 which arise are broadly similar, and are covered in this section.
2728 * References for chants and psalms::
2730 * Pointing a psalm::
2731 * Partial measures in hymn tunes::
2734 @node References for chants and psalms
2735 @unnumberedsubsubsec References for chants and psalms
2737 Typesetting Gregorian chant in various styles of ancient notation
2738 is described in @ref{Ancient notation}.
2742 @ref{Ancient notation}.
2748 @node Setting a chant
2749 @unnumberedsubsubsec Setting a chant
2751 Modern chant settings use modern notation with varying numbers of
2752 elements taken from ancient notation. Some of the elements and
2753 methods to consider are shown here.
2755 Chants often use quarter notes without stems to indicate the pitch,
2756 with the rhythm being taken from the spoken rhythm of the words.
2758 @lilypond[verbatim,quote]
2759 stemOff = { \override Staff.Stem #'transparent = ##t }
2768 Chants often omit the bar lines or use shortened or dotted bar
2769 lines to indicate pauses in the music. To omit all bar lines from
2770 all staves remove the bar line engraver completely:
2772 @lilypond[verbatim,quote]
2793 \remove Bar_engraver
2799 Bar lines can also be removed on a staff-by-staff basis:
2801 @lilypond[verbatim, quote]
2805 \with { \remove Bar_engraver } {
2823 To remove bar lines from just a section of music treat it as a
2824 cadenza. If the section is long you may need to insert dummy
2825 bar lines with @code{\bar ""} to show where the line should break.
2827 @lilypond[verbatim,quote,relative=2]
2840 Rests or pauses in chants can be indicated by modified bar lines.
2842 @lilypond[verbatim, quote,relative=2]
2857 Alternatively, the notation used in Gregorian chant for pauses or
2858 rests is sometimes used even though the rest of the notation is
2859 modern. This uses a modified @code{\breathe} mark:
2861 @lilypond[verbatim,quote]
2863 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2864 \once \override BreathingSign #'Y-offset = #0
2868 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2869 \once \override BreathingSign #'Y-offset = #0
2873 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2874 \once \override BreathingSign #'Y-offset = #0
2878 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2879 \once \override BreathingSign #'Y-offset = #0
2897 \remove Bar_engraver
2903 Chants usually omit the time signature and often omit the clef too.
2905 @lilypond[verbatim,quote]
2917 \remove Bar_engraver
2918 \remove Time_signature_engraver
2919 \remove Clef_engraver
2925 Chants for psalms in the Anglican tradition are usually either
2926 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2927 of 7 bars. Each group of 7 bars is divided into two halves,
2928 corresponding to the two halves of each verse, usually separated by
2929 a double bar line. Only whole and half notes are used. The 1st bar
2930 in each half always contains a single chord of whole notes. This is
2931 the @qq{reciting note}. Chants are usually centered on the page.
2933 @lilypond[verbatim,quote]
2934 SopranoMusic = \relative g' {
2935 g1 | c2 b | a1 | \bar "||"
2936 a1 | d2 c | c b | c1 | \bar "||"
2939 AltoMusic = \relative c' {
2941 f1 | f2 e | d d | e1 |
2944 TenorMusic = \relative a {
2946 d1 | g,2 g | g g | g1 |
2949 BassMusic = \relative c {
2951 d1 | b2 c | g' g | c,1 |
2958 % Use markup to center the chant on the page
2967 \new Voice = "Soprano" <<
2971 \new Voice = "Alto" <<
2979 \new Voice = "Tenor" <<
2983 \new Voice = "Bass" <<
2993 \override SpacingSpanner
2994 #'base-shortest-duration = #(ly:make-moment 1 2)
2998 \remove "Time_signature_engraver"
3006 Some other approaches to setting such a chant are shown in the first
3007 of the following snippets.
3011 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3012 {chant-or-psalms-notation.ly}
3014 Canticles and other liturgical texts may be set more freely, and
3015 may use notational elements from ancient music. Often the words
3016 are shown underneath and aligned with the notes. If so, the notes
3017 are spaced in accordance with the syllables rather than the notes'
3020 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3021 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3025 @rlearning{Visibility and color of objects},
3026 @rlearning{Vocal ensembles}.
3029 @ref{Ancient notation},
3031 @ref{Modifying context plug-ins},
3032 @ref{Typesetting Gregorian chant},
3033 @ref{Unmetered music},
3034 @ref{Visibility of objects}.
3037 @node Pointing a psalm
3038 @unnumberedsubsubsec Pointing a psalm
3040 The words to an Anglican psalm are usually printed in separate
3041 verses centered underneath the chant.
3043 Single chants (with 7 bars) are repeated for every verse. Double
3044 chants (with 14 bars) are repeated for every pair of verses. Marks
3045 are inserted in the words to show how they should be fitted to the
3046 chant. Each verse is divided into two halves. A colon is usually
3047 used to indicate this division. This corresponds to the double bar
3048 line in the music. The words before the colon are sung to the first
3049 three bars of music; the words after the colon are sung to the last
3052 Single bar lines (or in some psalters an inverted comma or similar
3053 symbol) are inserted between words to indicate where the bar lines
3054 in the music fall. In markup mode a single bar line can be entered
3055 with the bar check symbol, @code{|}.
3057 @lilypond[verbatim,quote]
3062 \line { O come let us sing | unto the | Lord : let }
3063 \line { us heartily rejoice in the | strength of | our }
3064 \line { sal- | -vation. }
3071 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3072 For details, see @ref{Fonts}.
3074 @lilypond[verbatim,quote]
3076 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3082 \line { O come let us sing \tick unto the \tick Lord : let }
3084 us heartily rejoice in the \tick strength of \tick our
3086 \line { sal \tick vation. }
3093 Where there is one whole note in a bar all the words corresponding
3094 to that bar are recited on that one note in speech rhythm. Where
3095 there are two notes in a bar there will usually be only one or two
3096 corresponding syllables. If there are more that two syllables a
3097 dot is usually inserted to indicate where the change in note occurs.
3099 @lilypond[verbatim,quote]
3101 \raise #0.7 \musicglyph #"dots.dot"
3104 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3111 O come let us sing \tick unto \dot the \tick Lord : let
3114 us heartily rejoice in the \tick strength of \tick our
3116 \line { sal \tick vation. }
3123 In some psalters an asterisk is used to indicate a break in a
3124 recited section instead of a comma, and stressed or slightly
3125 lengthened syllables are indicated in bold text.
3127 @lilypond[verbatim,quote]
3129 \raise #0.7 \musicglyph #"dots.dot"
3132 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3138 \line { Today if ye will hear his voice * }
3140 \concat { \bold hard en }
3141 | not your | hearts : as in the pro-
3143 \line { vocation * and as in the \bold day of tempt- | }
3144 \line { -ation | in the | wilderness. }
3151 In other psalters an accent is placed over the syllable to indicate
3154 @lilypond[verbatim,quote]
3156 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3163 O come let us \concat {
3164 si \combine \tick ng
3166 | unto the | Lord : let
3169 us heartily \concat {
3170 rejo \combine \tick ice
3172 in the | strength of | our
3174 \line { sal- | -vation. }
3181 The use of markup to center text, and arrange lines in columns is
3182 described in @ref{Formatting text}.
3184 Most of these elements are shown in one or other of the two verses
3185 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3189 @rlearning{Vocal ensembles}.
3193 @ref{Formatting text}.
3196 @node Partial measures in hymn tunes
3197 @unnumberedsubsubsec Partial measures in hymn tunes
3199 Hymn tunes frequently start and end every line of music with
3200 partial measures so that each line of music corresponds exactly
3201 with a line of text. This requires a @code{\partial} command at
3202 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3203 commands at the end of each line.
3205 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3209 @node Ancient vocal music
3210 @subsection Ancient vocal music
3212 Ancient vocal music is supported, as explained in
3213 @ref{Ancient notation}.
3217 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3218 @c and "Transcription of Ancient music with incipit" snippet. -vv
3222 @ref{Ancient notation}.