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
82 @unnumberedsubsubsec Entering lyrics
84 @cindex lyrics, entering
85 @cindex entering lyrics
86 @cindex punctuation in lyrics
87 @cindex lyrics punctuation
88 @cindex spaces in lyrics
89 @cindex quotes in lyrics
92 @c TODO should we explain hyphens here
94 Lyrics are entered in a special input mode, which can be introduced
95 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
96 @code{\lyricsto}. In this special input mode, the input @code{d}
97 is not parsed as the pitch @notation{D}, but rather as a one-letter
98 syllable of text. In other words, syllables are entered like notes
99 but with pitches replaced by text.
104 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
107 There are two main methods for specifying the horizontal placement
108 of the syllables, either by specifying the duration of each syllable
109 explicitly, as in the example above, or by leaving the lyrics to be
110 aligned automatically to a melody or other voice of music, using
111 @code{\addlyrics} or @code{\lyricsto}. The former method is
112 described below in @ref{Manual syllable durations}. The latter
113 method is described in @ref{Automatic syllable durations}.
115 A word or syllable of lyrics begins with an alphabetic character
116 (plus some other characters, see below) and is terminated by any
117 white space or a digit. Later characters in the syllable can be any
118 character that is not a digit or white space.
120 Because any character that is not a digit or white space is regarded
121 as part of the syllable, a word is valid even if it ends with
122 @code{@}}, which often leads to the following mistake:
125 \lyricmode @{ lah lah lah@}
128 In this example, the @code{@}} is included in the final syllable, so the
129 opening brace is not balanced and the input file will probably not
130 compile. Instead, braces should always be surrounded with white space:
133 \lyricmode @{ lah lah lah @}
136 @cindex overrides in lyric mode
137 @funindex \override in \lyricmode
139 Similarly, in lyric mode, a period will be included in the
140 alphabetic sequence that it follows. As a consequence, spaces
141 must be inserted around the period in @code{\override} commands.
145 \override Score.LyricText #'font-shape = #'italic
152 \override Score . LyricText #'font-shape = #'italic
155 Punctuation, lyrics with accented characters, characters from
156 non-English languages, or special characters (such as the heart
157 symbol or slanted quotes), may simply be inserted directly
158 into the input file, providing it is saved with UTF-8 encoding.
159 For more information, see @ref{Text encoding}.
161 @lilypond[quote,verbatim]
162 \relative c'' { d8 c16 a bes8 f e' d c4 }
163 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
166 Normal quotes may be used in lyrics, but they have to be preceded
167 with a backslash character and the whole syllable has to be
168 enclosed between additional quotes. For example,
170 @lilypond[quote,verbatim]
171 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
172 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
175 The full definition of a word start in lyrics mode is somewhat more
176 complex. A word in lyrics mode is one that begins with an
177 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
178 @code{'}, the control characters @code{^A} through @code{^F},
179 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
180 character with an ASCII code over 127, or a two-character
181 combination of a backslash followed by one of @code{`}, @code{'},
182 @code{"}, or @code{^}.
184 @c " to balance double quotes for not-so-bright context-sensitive editors
191 @ref{Automatic syllable durations},
194 @ref{Manual syllable durations}.
197 @rinternals{LyricText}.
200 @node Aligning lyrics to a melody
201 @unnumberedsubsubsec Aligning lyrics to a melody
203 @cindex lyrics, aligning to a melody
204 @cindex @code{associatedVoice}
209 Lyrics are printed by interpreting them in the context called
210 @code{Lyrics}, see @ref{Contexts explained}.
213 \new Lyrics \lyricmode @{ @dots{} @}
216 Lyrics can be aligned with melodies in two main ways:
221 Lyrics can be aligned automatically, with the durations of the
222 syllables being taken from another voice of music or (in special
223 circumstances) an associated melody, using @code{\addlyrics},
224 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
225 For more details, see @ref{Automatic syllable durations}.
227 @lilypond[quote,ragged-right,verbatim]
231 \new Voice = "one" \relative c'' {
233 c4 b8. a16 g4. r8 a4 ( b ) c2
235 \new Voice = "two" \relative c' {
241 % takes durations and alignment from notes in "one"
242 \new Lyrics \lyricsto "one" {
243 Life is __ _ love, live __ life.
246 % takes durations and alignment from notes in "one" initially
247 % then switches to "two"
248 \new Lyrics \lyricsto "one" {
250 \set associatedVoice = "two" % must be set one syllable early
251 sins and sor -- rows grow.
256 The first stanza shows the normal way of entering lyrics.
258 The second stanza shows how the voice from which the lyric
259 durations are taken can be changed. This is useful if the words to
260 different stanzas fit the notes in different ways and all the
261 durations are available in Voice contexts. For more details, see
265 Lyrics can be aligned independently of the duration of any notes
266 if the durations of the syllables are specified explicitly,
267 and entered with @code{\lyricmode}.
269 @lilypond[quote,ragged-right,verbatim]
271 \new Voice = "one" \relative c'' {
273 c4 b8. a16 g4. f8 e4 d c2
276 % uses previous explicit duration of 2;
277 \new Lyrics \lyricmode {
281 % explicit durations, set to a different rhythm
282 \new Lyrics \lyricmode {
283 Life4 is love,2. live4 life.2
288 The first stanza is not aligned with the notes because the durations
289 were not specified, and the previous value of 2 is used for each
292 The second stanza shows how the words can be aligned quite
293 independently from the notes. This is useful if the words to
294 different stanzas fit the notes in different ways and the required
295 durations are not available in a music context. For more details
296 see @ref{Manual syllable durations}. This technique is also useful
297 when setting dialogue over music; for examples showing this, see
298 @ref{Dialogue over music}.
300 When entered in this way the words are left-aligned to the notes
301 by default, but may be center-aligned to the notes of a melody by
302 specifying an associated voice, if one exists. For details, see
303 @ref{Manual syllable durations}.
309 @rlearning{Aligning lyrics to a melody}.
314 @node Automatic syllable durations
315 @unnumberedsubsubsec Automatic syllable durations
317 @cindex syllable durations, automatic
318 @cindex lyrics and melodies
319 @cindex associatedVoice
323 Lyrics can be automatically aligned to the notes of a melody in
329 by specifying the named Voice context containing the melody with
333 by introducing the lyrics with @code{\addlyrics} and placing them
334 immediately after the Voice context containing the melody,
337 by setting the @code{associatedVoice} property, the alignment of
338 the lyrics may be switched to a different named Voice context at
343 In all three methods hyphens can be drawn between the syllables of
344 a word and extender lines can be drawn beyond the end of a word. For
345 details, see @ref{Extenders and hyphens}.
347 The @code{Voice} context containing the melody to which the lyrics
348 are being aligned must not have @qq{died}, or the lyrics after that
349 point will be lost. This can happen if there are periods when that
350 voice has nothing to do. For methods of keeping contexts alive, see
351 @ref{Keeping contexts alive}.
353 @subheading Using @code{\lyricsto}
358 Lyrics can be aligned under a melody automatically by specifying
359 the named Voice context containing the melody with
362 @lilypond[quote,verbatim,relative=2]
364 \new Voice = "melody" {
367 \new Lyrics \lyricsto "melody" {
374 This aligns the lyrics to the notes of the named @code{Voice}
375 context, which must already exist. Therefore normally the
376 @code{Voice} context is specified first, followed by the
377 @code{Lyrics} context. The lyrics themselves follow the
378 @code{\lyricsto} command. The @code{\lyricsto} command
379 invokes lyric mode automatically, so the @code{\lyricmode} keyword
380 may be omitted. By default, the lyrics are placed underneath the
381 notes. For other placements, see @ref{Placing lyrics vertically}.
383 @subheading Using @code{\addlyrics}
388 The @code{\addlyrics} command is just a convenient shortcut that
389 can sometimes be used instead of having to set up the lyrics
390 through a more complicated LilyPond structure.
394 \addlyrics @{ LYRICS @}
401 \new Voice = "blah" @{ MUSIC @}
402 \new Lyrics \lyricsto "blah" @{ LYRICS @}
407 @lilypond[verbatim,quote]
410 \relative c' { c2 e4 g2. }
411 \addlyrics { play the game }
415 More stanzas can be added by adding more
416 @code{\addlyrics} sections:
419 @lilypond[ragged-right,verbatim,quote]
422 \relative c' { c2 e4 g2. }
423 \addlyrics { play the game }
424 \addlyrics { speel het spel }
425 \addlyrics { joue le jeu }
429 The command @code{\addlyrics} cannot handle polyphonic settings.
430 For these cases one should use @code{\lyricsto}.
432 @subheading Using associatedVoice
434 The melody to which the lyrics are being aligned can be changed by
435 setting the @code{associatedVoice} property,
438 \set associatedVoice = #"lala"
443 The value of the property (here: @code{"lala"}) should be the name
444 of a @code{Voice} context. For technical reasons, the @code{\set}
445 command must be placed one syllable before the one to which the
446 change in voice is to apply.
448 Here is an example demonstrating its use:
450 @lilypond[quote,ragged-right,verbatim]
454 \new Voice = "one" \relative c'' {
456 c4 b8. a16 g4. r8 a4 ( b ) c2
458 \new Voice = "two" \relative c' {
463 % takes durations and alignment from notes in "one" initially
464 % then switches to "two"
465 \new Lyrics \lyricsto "one" {
467 \set associatedVoice = "two" % must be set one syllable early
468 sins and sor -- rows grow.
475 @ref{Extenders and hyphens},
476 @ref{Keeping contexts alive}.
478 @node Manual syllable durations
479 @unnumberedsubsubsec Manual syllable durations
481 In some complex vocal music, it may be desirable to place lyrics
482 completely independently of notes. In this case do not use
483 @code{\lyricsto} or @code{\addlyrics} and do not set
484 @code{associatedVoice}. Syllables are entered like notes --
485 but with pitches replaced by text -- and the duration of each
486 syllable is entered explicitly after the syllable.
488 By default, syllables will be left-aligned to the corresponding
489 musical moment. Hyphenated lines may be drawn between syllables
490 as usual, but extender lines cannot be drawn when there is no
493 Here are two examples:
495 @lilypond[relative=1,verbatim,quote]
497 \new Voice = "melody" {
501 \new Lyrics \lyricmode {
508 @lilypond[quote,verbatim,ragged-right]
530 This technique is useful when writing dialogue over music, see
531 @ref{Dialogue over music}.
533 To center-align syllables on the notes at the corresponding musical
534 moments, set @code{associatedVoice} to the name of the Voice context
535 containing those notes. When @code{associatedVoice} is set, both
536 double hyphens and double underscores can be used to draw
537 hyphenated lines and extenders under melismata correctly.
539 @lilypond[relative=1,verbatim,quote]
541 \new Voice = "melody" {
545 \new Lyrics \lyricmode {
546 \set associatedVoice = #"melody"
552 @c TODO see also feature request 707 - show how to do this with manual durations
556 @ref{Dialogue over music}.
563 @node Multiple syllables to one note
564 @unnumberedsubsubsec Multiple syllables to one note
567 @cindex spaces, in lyrics
568 @cindex quotes, in lyrics
569 @cindex ties, in lyrics
571 In order to assign more than one syllable to a single note with
572 spaces between the syllables, you can surround the phrase with
573 quotes or use a @code{_} character. Alternatively, you can use
574 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
575 tie is implemented with the Unicode character U+203F, so be
576 sure to have a font (like DejaVuLGC) installed that includes this
579 @lilypond[quote,ragged-right,verbatim]
582 \relative c' { c2 e4 g2 e4 }
583 \addlyrics { gran- de_a- mi- go }
584 \addlyrics { pu- "ro y ho-" nes- to }
585 \addlyrics { pu- ro~y~ho- nes- to }
592 @rinternals{LyricCombineMusic}.
595 @node Multiple notes to one syllable
596 @unnumberedsubsubsec Multiple notes to one syllable
600 @cindex phrasing, in lyrics
602 @funindex \melismaEnd
604 Sometimes, particularly in Medieval music, several notes are to be
605 sung on one syllable; such vocalises are called melismata, or
606 @rglos{melisma}s. The syllable to a melisma is usually
607 left-aligned with the first note of the melisma.
609 When a melisma occurs on a syllable other that the last one in a
610 word, that syllable is usually joined to the following one with a
611 hyphenated line. This is indicated by placing a double hyphen,
612 @code{--}, immediately after the syllable.
614 Alternatively, when a melisma occurs on the last or only syllable in
615 a word an extender line is usually drawn from the end of the syllable
616 to the last note of the melisma. This is indicated by placing a
617 double underscore, @code{__}, immediately after the word.
619 There are five ways in which melismata can be indicated:
624 Melismata are created automatically over notes which are tied
627 @lilypond[quote,relative=2,verbatim]
629 \new Voice = "melody" {
635 \new Lyrics \lyricsto "melody" {
642 Melismata can be created automatically from the music by placing
643 slurs over the notes of each melisma. This is the usual way of
646 @lilypond[quote,relative=2,verbatim]
648 \new Voice = "melody" {
653 \new Lyrics \lyricsto "melody" {
660 Notes are considered a melisma if they are manually beamed,
661 providing automatic beaming is switched off. See
662 @ref{Setting automatic beam behavior}.
664 @lilypond[quote,relative=2,verbatim]
666 \new Voice = "melody" {
672 \new Lyrics \lyricsto "melody" {
678 Clearly this is not suited to melismata over notes which are longer
682 An unslurred group of notes will be treated as a melisma if they
683 are bracketed between @code{\melisma} and @code{\melismaEnd}.
685 @lilypond[quote,relative=2,verbatim]
687 \new Voice = "melody" {
695 \new Lyrics \lyricsto "melody" {
701 Note that this method cannot be used to indicate two melismata if
702 the first one is immediately followed by another.
705 A melisma can be defined entirely in the lyrics by entering a
706 single underscore character, @code{_}, for every extra note that has
707 to be added to the melisma.
709 @lilypond[verbatim, quote, relative=2]
711 \new Voice = "melody" {
716 \new Lyrics \lyricsto "melody" {
717 Ky -- ri -- _ _ _ e __ _ _
724 It is possible to have ties, slurs and manual beams in the melody
725 without their indicating melismata. To do this, set
726 @code{melismaBusyProperties} and indicate the melismata with single
727 underscores in the lyrics, one underscore for each extra note:
729 @lilypond[relative=1,verbatim,quote]
731 \new Voice = "melody" {
733 \set melismaBusyProperties = #'()
738 \new Lyrics \lyricsto "melody" {
739 Ky -- _ _ _ _ ri -- _ _ e __ _
744 Other settings for @code{melismaBusyProperties} can be used to
745 include or exclude ties, slurs, and beams from the automatic
746 detection of melismata; see @code{melismaBusyProperties} in
747 @rinternals{Tunable context properties}.
761 @rlearning{Aligning lyrics to a melody}.
764 @ref{Aligning lyrics to a melody},
765 @ref{Automatic syllable durations},
766 @ref{Setting automatic beam behavior}.
769 @rinternals{Tunable context properties}.
773 Extender lines under melismata are not created automatically; they
774 must be inserted manually with a double underscore.
777 @unnumberedsubsubsec Skipping notes
779 Making a lyric line run slower than the melody can be achieved by
780 inserting @code{\skip}s into the lyrics. For every @code{\skip},
781 the text will be delayed by another note. The @code{\skip} command
782 must be followed by a valid duration, but this is ignored when
783 @code{\skip} is used in lyrics which derive their durations from the
784 notes in an associated melody through @code{\addlyrics} or
787 @lilypond[verbatim,ragged-right,quote]
788 \relative c' { c c g' }
796 @node Extenders and hyphens
797 @unnumberedsubsubsec Extenders and hyphens
802 @c TODO cf Multiple notes to one syllable; should this be merged in?
804 @c leave this as samp. -gp
805 In the last syllable of a word, melismata are sometimes indicated with
806 a long horizontal line starting in the melisma syllable, and ending in
807 the next one. Such a line is called an extender line, and it is
808 entered as @samp{ __ } (note the spaces before and after the two
809 underscore characters).
811 @warning{Melismata are indicated in the score with extender lines,
812 which are entered as one double underscore; but short melismata can
813 also be entered by skipping individual notes, which are entered as
814 single underscore characters; these do not make an extender line to be
819 @c leave this as samp. -gp
820 Centered hyphens are entered as @samp{ -- } between syllables of a
821 same word (note the spaces before and after the two hyphen
822 characters). The hyphen will be centered between the syllables, and
823 its length will be adjusted depending on the space between the
826 In tightly engraved music, hyphens can be removed. Whether this
827 happens can be controlled with the @code{minimum-distance} (minimum
828 distance between two syllables) and the @code{minimum-length}
829 (threshold below which hyphens are removed) properties of
835 @rinternals{LyricExtender},
836 @rinternals{LyricHyphen}.
839 @node Techniques specific to lyrics
840 @subsection Techniques specific to lyrics
842 @c TODO this whole section is to be reorganised
845 * Working with lyrics and variables::
846 * Placing lyrics vertically::
847 * Placing syllables horizontally::
848 * Lyrics and repeats::
854 @node Working with lyrics and variables
855 @unnumberedsubsubsec Working with lyrics and variables
857 @cindex lyrics, using variables
859 Variables containing lyrics can be created, but the lyrics must be
860 entered in lyric mode:
862 @lilypond[quote,verbatim]
863 musicOne = \relative c'' {
864 c4 b8. a16 g4. f8 e4 d c2
866 verseOne = \lyricmode {
867 Joy to the world, the Lord is come.
875 \new Lyrics \lyricsto "one" {
882 Durations do not need to be added if the variable is to be invoked
883 with @code{\addlyrics} or @code{\lyricsto}.
885 For different or more complex orderings, the best way is to define
886 the music and lyric variables first, then set up the hierarchy of
887 staves and lyrics, omitting the lyrics themselves, and then add the
888 lyrics using @code{\context} underneath. This ensures that the
889 voices referenced by @code{\lyricsto} have always been defined
890 earlier. For example:
892 @lilypond[quote,verbatim]
893 sopranoMusic = \relative c'' { c4 c c c }
894 contraltoMusic = \relative c'' { a4 a a a }
895 sopranoWords = \lyricmode { Sop -- ra -- no words }
896 contraltoWords = \lyricmode { Con -- tral -- to words }
901 \new Voice = "sopranos" {
905 \new Lyrics = "sopranos"
906 \new Lyrics = "contraltos"
908 \new Voice = "contraltos" {
912 \context Lyrics = "sopranos" {
913 \lyricsto "sopranos" {
917 \context Lyrics = "contraltos" {
918 \lyricsto "contraltos" {
929 @ref{Placing lyrics vertically}.
932 @rinternals{LyricCombineMusic},
936 @node Placing lyrics vertically
937 @unnumberedsubsubsec Placing lyrics vertically
939 @cindex placement of lyrics
940 @cindex lyrics, positioning
942 Depending on the type of music, lyrics may be positioned
943 above the staff, below the staff, or between staves. Placing
944 lyrics below the associated staff is the easiest, and can be
945 achieved by simply defining the Lyrics context below the Staff
948 @lilypond[quote,verbatim]
952 \new Voice = "melody" {
953 \relative c'' { c4 c c c }
965 Lyrics may be positioned above the staff using one of
966 two methods. The simplest is to use the same syntax as
967 above and explicitly specify the position of the lyrics:
969 @lilypond[quote,verbatim]
972 \new Staff = "staff" {
973 \new Voice = "melody" {
974 \relative c'' { c4 c c c }
977 \new Lyrics \with { alignAboveContext = "staff" } {
986 Alternatively, a two-step process may be used. First the Lyrics
987 context is declared (without any content) before the Staff and
988 Voice contexts, then the @code{\lyricsto} command is placed after
989 the Voice declaration it references by using @code{\context}, as
992 @lilypond[quote,verbatim]
995 \new Lyrics = "lyrics"
997 \new Voice = "melody" {
998 \relative c'' { c4 c c c }
1001 \context Lyrics = "lyrics" {
1002 \lyricsto "melody" {
1010 When there are two voices on separate staves the lyrics may be
1011 placed between the staves using either of these methods. Here
1012 is an example of the second method:
1014 @lilypond[quote,verbatim]
1018 \new Voice = "sopranos" {
1019 \relative c'' { c4 c c c }
1022 \new Lyrics = "sopranos"
1023 \new Lyrics = "contraltos"
1025 \new Voice = "contraltos" {
1026 \relative c'' { a4 a a a }
1029 \context Lyrics = "sopranos" {
1030 \lyricsto "sopranos" {
1031 Sop -- ra -- no words
1034 \context Lyrics = "contraltos" {
1035 \lyricsto "contraltos" {
1036 Con -- tral -- to words
1043 Other combinations of lyrics and staves may be generated by
1044 elaborating these examples, or by examining the
1045 @rlearning{Vocal ensembles} templates in the Learning Manual.
1049 @rlearning{Vocal ensembles}.
1052 @ref{Aligning contexts},
1053 @ref{Creating contexts}.
1055 @node Placing syllables horizontally
1056 @unnumberedsubsubsec Placing syllables horizontally
1058 @cindex Spacing lyrics
1059 @cindex Lyrics, increasing space between
1061 To increase the spacing between lyrics, set the @code{minimum-distance}
1062 property of @code{LyricSpace}.
1064 @lilypond[relative=1,verbatim,quote,ragged-right]
1067 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1071 longtext longtext longtext longtext
1072 longtext longtext longtext longtext
1077 To make this change for all lyrics in the score, set the property in the
1078 @code{\layout} block.
1080 @lilypond[verbatim,quote,ragged-right]
1087 longtext longtext longtext longtext
1088 longtext longtext longtext longtext
1093 \override LyricSpace #'minimum-distance = #1.0
1100 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1101 {lyrics-alignment.ly}
1103 @c TODO: move to LSR -vv
1105 Checking to make sure that text scripts and lyrics are within the margins is
1106 a relatively large computational task. To speed up processing, LilyPond does
1107 not perform such calculations by default; to enable it, use
1110 \override Score.PaperColumn #'keep-inside-line = ##t
1113 To make lyrics avoid bar lines as well, use
1119 \consists "Bar_engraver"
1120 \consists "Separating_line_group_engraver"
1121 \override BarLine #'transparent = ##t
1126 @c TODO Create and add lsr example of lyricMelismaAlignment
1127 @c It's used like this to center-align all lyric syllables,
1128 @c even when notes are tied. -td
1133 \context { \Score lyricMelismaAlignment = #0 }
1138 @node Lyrics and repeats
1139 @unnumberedsubsubsec Lyrics and repeats
1141 @cindex repeats and lyrics
1142 @cindex lyrics, repeating
1144 @subheading Simple repeats
1146 Repeats in @emph{music} are fully described elsewhere; see
1147 @ref{Repeats}. This section explains how to add lyrics to repeated
1150 Lyrics to a section of music that is repeated should be surrounded
1151 by exactly the same repeat construct as the music, if the words are
1154 @lilypond[verbatim,quote]
1158 \new Voice = "melody" {
1161 \repeat volta 2 { b4 b b b }
1166 \lyricsto "melody" {
1167 Not re -- peat -- ed.
1168 \repeat volta 2 { Re -- peat -- ed twice. }
1175 The words will then be correctly expanded if the repeats are
1178 @lilypond[verbatim,quote]
1183 \new Voice = "melody" {
1186 \repeat volta 2 { b4 b b b }
1191 \lyricsto "melody" {
1192 Not re -- peat -- ed.
1193 \repeat volta 2 { Re -- peat -- ed twice. }
1201 If the repeated section is to be unfolded and has different words,
1202 simply enter all the words:
1204 @lilypond[verbatim,quote,ragged-right]
1208 \new Voice = "melody" {
1211 \repeat unfold 2 { b4 b b b }
1216 \lyricsto "melody" {
1217 Not re -- peat -- ed.
1218 The first time words.
1219 Sec -- ond time words.
1229 When the words to a repeated volta section are different, the words
1230 to each repeat must be entered in separate @code{Lyrics} contexts.
1231 Earlier unrepeated sections must be skipped in the second and
1232 subsequent repeats. The easiest way to skip several notes is to
1233 use @code{\repeat unfold} around the @code{\skip} command.
1235 Note: do not use an underscore, @code{_}, to skip notes in this
1236 particular case. As this syntax indicates a melisma, it will cause
1237 the preceding syllable to be left-aligned.
1239 @warning{The @code{@bs{}skip} command must be followed by a number,
1240 but this number is ignored in lyrics which derive their durations
1241 from the notes in an associated melody through @code{\addlyrics} or
1242 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1243 value, irrespective of the value of the following number.}
1245 @lilypond[verbatim,quote]
1249 \new Voice = "melody" {
1252 \repeat volta 2 { b4 b b b }
1257 \lyricsto "melody" {
1258 Not re -- peat -- ed.
1259 The first time words.
1263 \lyricsto "melody" {
1264 % skip 4 notes of any duration
1265 \repeat unfold 4 { \skip 1 }
1266 Sec -- ond time words.
1273 @cindex lyrics, repeating with a temporary voice
1275 An alternative way, which avoids skips and having to count notes,
1276 is to use a temporary voice for the repeated section. This may be
1277 preferable if the earlier sections are still subject to change. A
1278 temporary voice can be inserted anywhere in the main music stream
1279 in parallel with it, as shown below, but it may be necessary to
1280 keep the main voice alive in complex scores when using this
1281 technique; see @ref{Keeping contexts alive}.
1283 @lilypond[verbatim,quote,ragged-right]
1287 \new Voice = "singleVoice" {
1288 \relative c'' { a4 a a a }
1289 \new Voice = "repeatVoice" {
1290 \relative c'' \repeat volta 3 { b4 b b b }
1292 \relative c'' { c4 c c c }
1296 \lyricsto "singleVoice" {
1297 Not re -- peat -- ed.
1298 The end sec -- tion.
1300 \lyricsto "repeatVoice" {
1301 The first time words.
1305 \lyricsto "repeatVoice" {
1306 Sec -- ond time words.
1310 \lyricsto "repeatVoice" {
1311 The third time words.
1318 @c TODO lowering a common line of lyrics
1320 @subheading Repeats with alternative endings
1322 @cindex lyrics, repeats with alternative endings
1323 @cindex repeating lyrics with alternative endings
1324 @cindex alternative endings and lyrics
1326 If the words of the repeated section are the same, exactly the
1327 same structure can be used for both the lyrics and music.
1329 @lilypond[quote,verbatim]
1334 \new Voice = "melody" {
1337 \repeat volta 2 { b4 b }
1338 \alternative { { b b } { b c } }
1343 \lyricsto "melody" {
1344 Not re -- peat -- ed.
1345 \repeat volta 2 { Re -- peat -- }
1346 \alternative { { ed twice. } { ed twice. } }
1353 But when the repeated section has different words, a repeat
1354 construct cannot be used around the words and @code{\skip} commands
1355 have to be inserted manually as described in the previous section to
1356 skip over the notes in the alternative sections which do not apply.
1358 @lilypond[verbatim,quote,ragged-right]
1363 \new Voice = "melody" {
1365 \repeat volta 2 { b4 b }
1366 \alternative { { b b } { b c } }
1372 \lyricsto "melody" {
1373 The first time words.
1374 \repeat unfold 2 { \skip 1 }
1379 \lyricsto "melody" {
1381 \repeat unfold 2 { \skip 1 }
1389 @cindex lyrics and tied notes
1390 @funindex \repeatTie
1392 When a note is tied over into two or more alternative endings a
1393 tie is used to carry the note into the first alternative ending and
1394 a @code{\repeatTie} is used in the second and subsequent endings.
1395 This structure causes difficult alignment problems when lyrics are
1396 involved and increasing the length of the alternative sections so
1397 the tied notes are contained wholly within them may give a more
1400 The tie creates a melisma into the first alternative, but not into
1401 the second and subsequent alternatives, so to align the lyrics
1402 correctly it is necessary to disable the automatic creation of
1403 melismata over the volta section and insert manual skips.
1405 @lilypond[quote,verbatim]
1410 \new Voice = "melody" {
1412 \set melismaBusyProperties = #'()
1413 \repeat volta 2 { b4 b ~}
1414 \alternative { { b b } { b \repeatTie c } }
1415 \unset melismaBusyProperties
1421 \lyricsto "melody" {
1422 \repeat volta 2 { Here's a __ }
1434 Note that if @code{\unfoldRepeats} is used around a section
1435 containing @code{\repeatTie}, the @code{\repeatTie} should be
1436 removed to avoid both types of tie being printed.
1438 When the repeated section has different words a @code{\repeat}
1439 cannot be used around the lyrics and @code{\skip} commands need to
1440 be inserted manually, as before.
1442 @lilypond[quote,verbatim]
1447 \new Voice = "melody" {
1449 \repeat volta 2 { b4 b ~}
1450 \alternative { { b b } { b \repeatTie c } }
1456 \lyricsto "melody" {
1458 \repeat unfold 2 { \skip 1 }
1462 \lyricsto "melody" {
1464 \repeat unfold 2 { \skip 1 }
1472 If you wish to show extenders and hyphens into and out of
1473 alternative sections these must be inserted manually.
1475 @lilypond[quote,verbatim]
1480 \new Voice = "melody" {
1482 \repeat volta 2 { b4 b ~}
1483 \alternative { { b b } { b \repeatTie c } }
1489 \lyricsto "melody" {
1491 \repeat unfold 2 { \skip 1 }
1495 \lyricsto "melody" {
1508 @unnumberedsubsubsec Divisi lyrics
1510 @cindex divided lyrics
1511 @cindex lyrics, divided
1513 When just the words and rhythms of the two parts differ with the
1514 pitches remaining the same, temporarily turning off the automatic
1515 detection of melismata and indicating the melisma in the lyrics
1516 may be the appropriate method to use:
1518 @lilypond[quote,verbatim]
1521 \new Voice = "melody" {
1523 \set melismaBusyProperties = #'()
1527 \unset melismaBusyProperties
1531 \new Lyrics \lyricsto "melody" {
1532 They shall not o -- ver -- come
1534 \new Lyrics \lyricsto "melody" {
1541 When both music and words differ it may be better to display
1542 the differing music and lyrics by naming voice contexts and
1543 attaching lyrics to those specific contexts:
1545 @lilypond[verbatim,ragged-right,quote]
1548 \new Voice = "melody" {
1555 \new Voice = "splitpart" {
1565 \new Lyrics \lyricsto "melody" {
1566 They shall not o -- ver -- come
1568 \new Lyrics \lyricsto "splitpart" {
1580 * Adding stanza numbers::
1581 * Adding dynamics marks to stanzas::
1582 * Adding singers' names to stanzas::
1583 * Stanzas with different rhythms::
1584 * Printing stanzas at the end::
1585 * Printing stanzas at the end in multiple columns::
1589 @node Adding stanza numbers
1590 @unnumberedsubsubsec Adding stanza numbers
1592 @cindex stanza number
1594 Stanza numbers can be added by setting @code{stanza}, e.g.,
1596 @lilypond[quote,ragged-right,verbatim,relative=2]
1598 \time 3/4 g2 e4 a2 f4 g2.
1600 \set stanza = #"1. "
1601 Hi, my name is Bert.
1603 \set stanza = #"2. "
1604 Oh, ché -- ri, je t'aime
1610 These numbers are put just before the start of the first syllable.
1612 @c TODO Create and add snippet to show how two lines of a
1613 @c stanza can be grouped together, along these lines:
1614 @c (might need improving a bit) -td
1617 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1621 \set stanza = \markup { "1. " \leftbrace }
1622 \lyricmode { Child, you're mine and I love you.
1623 Lend thine ear to what I say.
1629 % \set stanza = \markup { " "}
1630 \lyricmode { Child, I have no great -- er joy
1631 Than to have you walk in truth.
1637 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1638 c'8 c' c' c' c' c' c'4 }
1639 } \addlyrics { \stanzaOneOne }
1640 \addlyrics { \stanzaOneThree }
1644 @node Adding dynamics marks to stanzas
1645 @unnumberedsubsubsec Adding dynamics marks to stanzas
1647 Stanzas differing in loudness may be indicated by putting a
1648 dynamics mark before each stanza. In LilyPond, everything coming in
1649 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1650 are no different. For technical reasons, you have to set the stanza
1651 outside @code{\lyricmode}:
1653 @lilypond[quote,ragged-right,verbatim]
1655 \set stanza = \markup { \dynamic "ff" "1. " }
1662 \new Voice = "tune" {
1666 \new Lyrics \lyricsto "tune" \text
1670 @node Adding singers' names to stanzas
1671 @unnumberedsubsubsec Adding singers' names to stanzas
1674 @cindex name of singer
1676 Names of singers can also be added. They are printed at the start of
1677 the line, just like instrument names. They are created by setting
1678 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1680 @lilypond[ragged-right,quote,verbatim,relative=2]
1682 \time 3/4 g2 e4 a2 f4 g2.
1684 \set vocalName = #"Bert "
1685 Hi, my name is Bert.
1687 \set vocalName = #"Ernie "
1688 Oh, ché -- ri, je t'aime
1692 @node Stanzas with different rhythms
1693 @unnumberedsubsubsec Stanzas with different rhythms
1695 Often, different stanzas of one song are put to one melody in slightly
1696 differing ways. Such variations can still be captured with
1699 @subsubheading Ignoring melismata
1701 One possibility is that the text has a melisma in one stanza, but
1702 multiple syllables in another. One solution is to make the faster
1703 voice ignore the melisma. This is done by setting
1704 @code{ignoreMelismata} in the Lyrics context.
1706 @lilypond[verbatim,ragged-right,quote]
1708 \relative c' \new Voice = "lahlah" {
1709 \set Staff.autoBeaming = ##f
1715 \new Lyrics \lyricsto "lahlah" {
1718 \new Lyrics \lyricsto "lahlah" {
1720 \set ignoreMelismata = ##t
1722 \unset ignoreMelismata
1729 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1730 not work if prefixed with @code{\once}. It is necessary to use
1731 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1734 @subsubheading Adding syllables to grace notes
1736 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1737 syllables when using @code{\lyricsto}, but this behavior can be
1740 @lilypond[verbatim,ragged-right,quote]
1742 f4 \appoggiatura a32 b4
1743 \grace { f16[ a16] } b2
1744 \afterGrace b2 { f16[ a16] }
1745 \appoggiatura a32 b4
1750 \set includeGraceNotes = ##t
1753 after -- grace case,
1754 \set ignoreMelismata = ##t
1761 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1762 set at latest one syllable before the one which is to be put under a
1763 grace note. For the case of a grace note at the very beginning of a
1764 piece of music, consider using a @code{\with} or @code{\context}
1767 @lilypond[verbatim,ragged-right,quote]
1769 \new Voice = melody \relative c' {
1770 \grace { c16[( d e f] }
1773 \new Lyrics \with { includeGraceNotes = ##t }
1780 @subsubheading Switching to an alternative melody
1782 @cindex associatedVoice
1783 @cindex alternative melody, switching to
1785 More complex variations in setting lyrics to music are possible.
1786 The melody to which the lyrics are being set can be changed from
1787 within the lyrics by setting the @code{associatedVoice} property:
1789 @lilypond[verbatim,quote]
1791 \relative c' \new Voice = "lahlah" {
1792 \set Staff.autoBeaming = ##f
1795 \new Voice = "alternative" {
1798 % show associations clearly.
1799 \override NoteColumn #'force-hshift = #-3
1810 \new Lyrics \lyricsto "lahlah" {
1811 Ju -- ras -- sic Park
1813 \new Lyrics \lyricsto "lahlah" {
1814 % Tricky: need to set associatedVoice
1815 % one syllable too soon!
1816 \set associatedVoice = "alternative" % applies to "ran"
1820 \set associatedVoice = "lahlah" % applies to "rus"
1826 The text for the first stanza is set to the melody called @q{lahlah}
1827 in the usual way, but the second stanza is set initally to the
1828 @code{lahlah} context and is then switched to the @code{alternative}
1829 melody for the syllables @q{ran} to @q{sau} by the lines:
1832 \set associatedVoice = "alternative" % applies to "ran"
1836 \set associatedVoice = "lahlah" % applies to "rus"
1841 Here, @code{alternative} is the name of the @code{Voice} context
1842 containing the triplet.
1844 Note the placement of the @code{\set associatedVoice} command --
1845 it appears to be one syllable too early, but this is correct.
1847 @warning{The @code{\set associatedVoice} command must be placed
1848 one syllable @emph{before} the one at which the switch to the new
1849 voice is to occur. In other words, changing the associated Voice
1850 happens one syllable later than expected. This is for technical
1851 reasons, and it is not a bug.}
1854 @node Printing stanzas at the end
1855 @unnumberedsubsubsec Printing stanzas at the end
1857 Sometimes it is appropriate to have one stanza set
1858 to the music, and the rest added in verse form at
1859 the end of the piece. This can be accomplished by adding
1860 the extra verses into a @code{\markup} section outside
1861 of the main score block. Notice that there are two
1862 different ways to force linebreaks when using
1865 @lilypond[ragged-right,verbatim,quote]
1866 melody = \relative c' {
1872 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1873 its fleece was white as snow.
1877 \new Voice = "one" { \melody }
1878 \new Lyrics \lyricsto "one" \text
1884 \line{ All the children laughed and played }
1885 \line{ To see a lamb at school. }
1892 Mary took it home again,
1894 It was against the rule."
1899 @node Printing stanzas at the end in multiple columns
1900 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1902 When a piece of music has many verses, they are often printed in
1903 multiple columns across the page. An outdented verse number often
1904 introduces each verse. The following example shows how to produce such
1907 @lilypond[ragged-right,quote,verbatim]
1908 melody = \relative c' {
1913 \set stanza = #"1." This is verse one.
1918 \new Voice = "one" { \melody }
1919 \new Lyrics \lyricsto "one" \text
1926 \hspace #0.1 % moves the column off the left margin;
1927 % can be removed if space on the page is tight
1931 "This is verse two."
1935 \hspace #0.1 % adds vertical spacing between verses
1938 "This is verse three."
1943 \hspace #0.1 % adds horizontal spacing between columns;
1944 % if they are still too close, add more " " pairs
1945 % until the result looks good
1949 "This is verse four."
1953 \hspace #0.1 % adds vertical spacing between verses
1956 "This is verse five."
1961 \hspace #0.1 % gives some extra space on the right margin;
1962 % can be removed if page space is tight
1969 Internals Reference:
1970 @rinternals{LyricText},
1971 @rinternals{StanzaNumber}.
1978 * References for songs::
1982 @node References for songs
1983 @unnumberedsubsubsec References for songs
1985 Songs are usually written on three staves with the melody for the
1986 singer on the top staff and two staves of piano accompaniment at
1987 the bottom. The lyrics of the first stanza are printed immediately
1988 underneath the top staff. If there are just a small number of
1989 further stanzas these can be printed immediately under the first
1990 one, but if there are more stanzas than can be easily accommodated
1991 there the second and subsequent stanzas are printed after the music
1992 as stand-alone text.
1994 All the notational elements needed to write songs are fully described
2000 For constructing the staff layout, see @ref{Displaying staves}.
2003 For writing piano music, see
2004 @ref{Keyboard and other multi-staff instruments}.
2007 For writing the lyrics to a melody line, see
2008 @ref{Common notation for vocal music}.
2011 For placing the lyrics, see @ref{Placing lyrics vertically}.
2014 For entering stanzas, see @ref{Stanzas}.
2017 Songs are frequently printed with the chording indicated by chord
2018 names above the staves. This is described in
2019 @ref{Displaying chords}.
2022 To print fret diagrams of the chords for guitar accompaniment or
2023 accompaniment by other fretted instruments, see @qq{Fret diagram
2024 markups} in @ref{Common notation for fretted strings}.
2033 @ref{Common notation for vocal music},
2034 @ref{Displaying chords},
2035 @ref{Displaying staves},
2036 @ref{Keyboard and other multi-staff instruments},
2037 @ref{Placing lyrics vertically},
2044 @unnumberedsubsubsec Lead sheets
2046 Lead sheets may be printed by combining vocal parts and @q{chord mode};
2047 this syntax is explained in @ref{Chord notation}.
2050 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2051 {simple-lead-sheet.ly}
2055 @ref{Chord notation}.
2066 This section discusses notation issues that relate most directly
2067 to choral music. This includes anthems, part songs, oratorio,
2071 * References for choral::
2072 * Score layouts for choral::
2076 @node References for choral
2077 @unnumberedsubsubsec References for choral
2079 Choral music is usually notated on two, three or four staves within
2080 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2081 beneath in a @code{PianoStaff} group, which is usually reduced in
2082 size for @emph{a capella} choral works. The notes for each vocal
2083 part are placed in a @code{Voice} context, with each staff
2084 being given either a single vocal part (i.e., one @code{Voice}) or
2085 a pair of vocal parts (i.e., two @code{Voice}s).
2087 Words are placed in @code{Lyrics} contexts, either underneath each
2088 corresponding music staff, or one above and one below the music
2089 staff if this contains the music for two parts.
2091 Several common topics in choral music are described fully elsewhere:
2096 An introduction to creating an SATB vocal score can be found in
2097 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2100 Several templates suitable for various styles of choral music can
2101 also be found in the Learning Manual, see
2102 @rlearning{Vocal ensembles}.
2105 For information about @code{ChoirStaff} and @code{PianoStaff} see
2106 @ref{Grouping staves}.
2109 Shape noteheads, as used in Sacred Harp and similar notation, are
2110 described in @ref{Shape note heads}.
2113 When two vocal parts share a staff the stems, ties, slurs, etc., of
2114 the higher part will be directed up and those of the lower part
2115 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2116 @ref{Single-staff polyphony}.
2127 @rlearning{Four-part SATB vocal score},
2128 @rlearning{Vocal ensembles}.
2131 @ref{Context layout order},
2132 @ref{Grouping staves},
2133 @ref{Shape note heads},
2134 @ref{Single-staff polyphony}.
2139 Internals Reference:
2140 @rinternals{ChoirStaff},
2141 @rinternals{Lyrics},
2142 @rinternals{PianoStaff}.
2144 @node Score layouts for choral
2145 @unnumberedsubsubsec Score layouts for choral
2147 Choral music containing four staves, with or without piano
2148 accompaniment, is usually laid out with two systems per page.
2149 Depending on the page size, achieving this may require changes
2150 to several default settings. The following settings should be
2156 The global staff size can be modified to change the overall size
2157 of the elements of the score. See @ref{Setting the staff size}.
2160 The distances between the systems, the staves and the lyrics can
2161 all be adjusted independently. See @ref{Vertical spacing}.
2164 The dimensions of the vertical layout variables can be displayed as
2165 an aid to adjusting the vertical spacing. This and other
2166 possibilities for fitting the music onto fewer pages are described
2167 in @ref{Fitting music onto fewer pages}.
2170 If the number of systems per page changes from one to two it is
2171 customary to indicate this with a system separator mark between
2172 the two systems. See @ref{Separating systems}.
2175 For details of other page formatting properties, see
2176 @ref{Page formatting}.
2181 Dynamic markings by default are placed below the staff, but in
2182 choral music they are usually placed above the staff in order to
2183 avoid the lyrics. The predefined command @code{\dynamicUp} does
2184 this for the dynamic markings in a single @code{Voice} context.
2185 If there are many @code{Voice} contexts this predefined command
2186 would have to be placed in every one. Alternatively its expanded
2187 form can be used to place all dynamic markings in the entire score
2188 above their respective staves, as shown here:
2190 @lilypond[verbatim,quote]
2195 \relative c'' { g4\f g g g }
2200 \relative c' { d4 d d\p d }
2207 \override DynamicText #'direction = #UP
2208 \override DynamicLineSpanner #'direction = #UP
2215 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2219 @ref{Changing spacing},
2220 @ref{Displaying spacing},
2221 @ref{Fitting music onto fewer pages},
2222 @ref{Page formatting},
2224 @ref{Separating systems},
2225 @ref{Setting the staff size},
2226 @ref{Using an extra voice for breaks},
2227 @ref{Vertical spacing}.
2229 Internals Reference:
2230 @rinternals{VerticalAxisGroup},
2231 @rinternals{StaffGrouper}.
2234 @node Divided voices
2235 @unnumberedsubsubsec Divided voices
2237 @cindex voices, divided
2239 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2240 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2244 @ref{Expressive marks as lines}.
2247 @node Opera and stage musicals
2248 @subsection Opera and stage musicals
2250 The music, lyrics and dialogue to opera and stage musicals are
2251 usually set out in one or more of the following forms:
2256 A @emph{Conductors' Score} containing the full orchestral and vocal
2257 parts, together with libretto cues if there are spoken passages.
2260 @emph{Orchestral Parts} containing the music for the individual
2261 instruments of the orchestra or band.
2264 A @emph{Vocal Score} containing all vocal parts with piano
2265 accompaniment. The accompaniment is usually an orchestral
2266 reduction, and if so the name of the original orchestral instrument
2267 is often indicated. Vocal scores sometimes includes stage
2268 directions and libretto cues.
2271 A @emph{Vocal Book} containing just the vocal parts
2272 (no accompaniment), sometimes combined with the libretto.
2275 A @emph{Libretto} containing the extended passages of spoken
2276 dialogue usually found in musicals, together with the words to the
2277 sung parts. Stage directions are usually included. LilyPond can
2278 be used to typeset libretti but as they contain no music
2279 alternative methods may be preferable.
2283 The sections in the LilyPond documentation which cover the topics
2284 needed to create scores in the styles commonly found in opera and
2285 musicals are indicated in the References below. This is followed
2286 by sections covering those techniques which are peculiar to
2287 typesetting opera and musical scores.
2290 * References for opera and stage musicals::
2294 * Dialogue over music::
2297 @node References for opera and stage musicals
2298 @unnumberedsubsubsec References for opera and stage musicals
2303 A conductors' score contains many grouped staves and lyrics. Ways
2304 of grouping staves is shown in @ref{Grouping staves}. To nest
2305 groups of staves see @ref{Nested staff groups}.
2308 The printing of empty staves in conductors' scores and vocal scores
2309 is often suppressed. To create such a @qq{Frenched score} see
2310 @ref{Hiding staves}.
2313 Writing orchestral parts is covered in @ref{Writing parts}.
2314 Other sections in the Specialist notation chapter may be relevant,
2315 depending on the orchestration used. Many instruments are
2316 transposing instruments, see @ref{Instrument transpositions}.
2319 If the number of systems per page changes from page to page it is
2320 customary to separate the systems with a system separator mark.
2321 See @ref{Separating systems}.
2324 For details of other page formatting properties, see
2325 @ref{Page formatting}.
2328 Dialogue cues and stage directions can be inserted with markup.
2329 See @ref{Text}. Extensive stage directions can be inserted with
2330 a section of stand-alone markup between two @code{\score} blocks.
2331 See @ref{Separate text}.
2337 @rglos{Frenched score},
2338 @rglos{Frenched staves},
2339 @rglos{transposing instrument}.
2342 @ref{Grouping staves},
2343 @ref{Hiding staves},
2344 @ref{Instrument transpositions},
2345 @ref{Nested staff groups},
2346 @ref{Page formatting},
2347 @ref{Separating systems},
2349 @ref{Writing parts},
2356 @node Character names
2357 @unnumberedsubsubsec Character names
2359 @cindex character names
2360 @cindex names, character
2362 Character names are usually shown to the left of the staff when the
2363 staff is dedicated to that character alone:
2365 @lilypond[quote,verbatim,ragged-right]
2369 \set Staff.vocalName = \markup \smallCaps Kaspar
2370 \set Staff.shortVocalName = \markup \smallCaps Kas.
2379 \set Staff.vocalName = \markup \smallCaps Melchior
2380 \set Staff.shortVocalName = \markup \smallCaps Mel
2391 When two or more characters share a staff the character's name is
2392 usually printed above the staff at the start of every section
2393 applying to that character. This can be done with markup. Often a
2394 specific font is used for this purpose.
2396 @lilypond[quote,verbatim,relative=1]
2398 c4^\markup \fontsize #1 \smallCaps Kaspar
2401 a4^\markup \fontsize #1 \smallCaps Melchior
2404 c4^\markup \fontsize #1 \smallCaps Kaspar
2408 Alternatively, if there are many character changes, it may be
2409 easier to set up @qq{instrument} definitions for each character at
2410 the top level so that @code{\instrumentSwitch} can be used to
2411 indicate each change.
2413 @lilypond[quote,verbatim]
2414 \addInstrumentDefinition #"kaspar"
2415 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2416 (shortInstrumentName . "Kas.")
2417 (clefGlyph . "clefs.G")
2418 (clefOctavation . -7)
2419 (middleCPosition . 1)
2421 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2422 (midiInstrument . "voice oohs"))
2424 \addInstrumentDefinition #"melchior"
2425 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2426 (shortInstrumentName . "Mel.")
2427 (clefGlyph . "clefs.F")
2428 (clefOctavation . 0)
2429 (middleCPosition . 6)
2431 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2432 (midiInstrument . "voice aahs"))
2435 \instrumentSwitch "kaspar"
2437 \instrumentSwitch "melchior"
2439 \instrumentSwitch "kaspar"
2446 @ref{Instrument names},
2447 @ref{Scheme functions},
2449 @ref{Text markup commands}.
2452 @rextend{Markup construction in Scheme}.
2455 @unnumberedsubsubsec Musical cues
2457 @cindex musical cues
2458 @cindex cues, musical
2460 Musical cues can be inserted in Vocal Scores, Vocal Books and
2461 Orchestral Parts to indicate what music in another part
2462 immediately precedes an entry. Also, cues are often inserted in the
2463 piano reduction in Vocal Scores to indicate what each orchestral
2464 instrument is playing. This aids the conductor when a full
2465 Conductors' Score is not available.
2467 The basic mechanism for inserting cues is fully explained in the
2468 main text, see @ref{Quoting other voices} and
2469 @ref{Formatting cue notes}. But when many cues have to be
2470 inserted, for example, as an aid to a conductor in a vocal score,
2471 the instrument name must be positioned carefully just before and
2472 close to the start of the cue notes. The following example shows
2475 @lilypond[quote,verbatim]
2476 flute = \relative c'' {
2479 \addQuote "flute" { \flute }
2481 pianoRH = \relative c'' {
2483 % position name of cue-ing instrument just before the cue notes,
2484 % and above the staff
2485 s1*0^\markup { \right-align { \tiny "Flute" } }
2486 \cueDuring "flute" #UP { g4 bes4 }
2488 pianoLH = \relative c { c4 <c' e> e, <g c> }
2503 If a transposing instrument is being quoted the instrument part should
2504 specify its key so the conversion of its cue notes will be done
2505 automatically. The example below shows this transposition for a
2506 B-flat clarinet. The notes in this example are low on the staff so
2507 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2508 down) and the instrument name is positioned below the staff. Note
2509 also that the piano right-hand voice is explicitly declared. This
2510 is because the cue notes in this example begin at the start of the
2511 first bar and this would otherwise cause the entire piano right-hand
2512 notes to be placed in a @code{CueVoice} context.
2514 @lilypond[quote,verbatim]
2515 clarinet = \relative c' {
2519 \addQuote "clarinet" { \clarinet }
2521 pianoRH = \relative c'' {
2523 % position name of cue-ing instrument below the staff
2524 s1*0_\markup { \right-align { \tiny "Clar." } }
2525 \cueDuring "clarinet" #DOWN { c4. g8 }
2528 pianoLH = \relative c { c4 <c' e> e, <g c> }
2547 From these two examples it is clear that inserting many cues in a
2548 Vocal Score would be tedious, and the notes of the piano part would
2549 become obscured. However, as the following snippet shows, it is
2550 possible to define a music function to reduce the amount of typing
2551 and to make the piano notes clearer.
2554 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2555 {adding-orchestral-cues-to-a-vocal-score.ly}
2562 @ref{Aligning objects},
2563 @ref{Direction and placement},
2564 @ref{Formatting cue notes},
2565 @ref{Quoting other voices},
2566 @ref{Using music functions}.
2571 Internals Reference:
2572 @rinternals{InstrumentSwitch},
2573 @rinternals{CueVoice}.
2576 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2577 and all cue notes are placed in that context. This means it is not
2578 possible to have two overlapping sequences of cue notes by this
2579 technique. Overlapping sequences could be entered by explicitly
2580 declaring separate @code{CueVoice} contexts and using
2581 @code{\quoteDuring} to extract and insert the cue notes.
2585 @unnumberedsubsubsec Spoken music
2588 @cindex Sprechgesang
2589 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2590 without pitch but still with rhythm; these are notated by cross
2591 note heads, as demonstrated in @ref{Special note heads}.
2593 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2594 @c add "showing the rhythm of a melody" snip
2595 @c add "one staff-line notation"
2596 @c add "improvisation" ref
2597 @c add "lyrics independents of notes" ref
2599 @node Dialogue over music
2600 @unnumberedsubsubsec Dialogue over music
2602 Dialogue over music is usually printed over the staves in an italic
2603 font, with the start of each phrase keyed in to a particular music
2606 For short interjections a simple markup suffices.
2608 @lilypond[quote,verbatim,relative=2]
2609 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2610 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2614 For longer phrases it may be necessary to expand the music to make
2615 the words fit neatly. There is no provision in LilyPond to do this
2616 fully automatically, and some manual intervention to layout the
2617 page will be necessary.
2619 For long phrases or for passages with a lot of closely packed
2620 dialogue, using a Lyrics context will give better results. The
2621 Lyrics context should not be associated with a music Voice; instead
2622 each section of dialogue should be given an explicit duration. If
2623 there is a gap in the dialogue, the final word should be separated
2624 from the rest and the duration split between them so that the
2625 underlying music spaces out smoothly.
2627 If the dialogue extends for more than one line it will be necessary
2628 to manually insert @code{\break}s and adjust the placing of the
2629 dialogue to avoid running into the right margin. The final word of
2630 the last measure on a line should also be separated out, as above.
2632 Here is an example illustating how this might be done.
2634 @c This should be a snippet, but it can't be as it needs to be
2635 @c manually adjusted to suit the imposed line length. -td
2637 @lilypond[quote,verbatim,ragged-right]
2638 music = \relative c'' {
2639 \repeat unfold 3 { a4 a a a }
2642 dialogue = \lyricmode {
2644 \fontsize #1 \upright \smallCaps Abe:
2645 "Say this over measures one and"
2649 "and this over measure"4*3
2656 \override LyricText #'font-shape = #'italic
2657 \override LyricText #'self-alignment-X = #LEFT
2661 \new Voice { \music }
2667 @c TODO show use of \column to produce dialogue on two lines
2671 @ref{Manual syllable durations},
2675 @rinternals{LyricText}.
2678 @node Chants psalms and hymns
2679 @subsection Chants psalms and hymns
2684 @cindex religious music
2686 The music and words for chants, psalms and hymns usually follow a
2687 well-established format in any particular church. Although the
2688 formats may differ from church to church the type-setting problems
2689 which arise are broadly similar, and are covered in this section.
2692 * References for chants and psalms::
2694 * Pointing a psalm::
2695 * Partial measures in hymn tunes::
2698 @node References for chants and psalms
2699 @unnumberedsubsubsec References for chants and psalms
2701 Typesetting Gregorian chant in various styles of ancient notation
2702 is described in @ref{Ancient notation}.
2706 @ref{Ancient notation}.
2712 @node Setting a chant
2713 @unnumberedsubsubsec Setting a chant
2715 Modern chant settings use modern notation with varying numbers of
2716 elements taken from ancient notation. Some of the elements and
2717 methods to consider are shown here.
2719 Chants often use quarter notes without stems to indicate the pitch,
2720 with the rhythm being taken from the spoken rhythm of the words.
2722 @lilypond[verbatim,quote]
2723 stemOff = { \override Staff.Stem #'transparent = ##t }
2732 Chants often omit the bar lines or use shortened or dotted bar
2733 lines to indicate pauses in the music. To omit all bar lines from
2734 all staves remove the bar line engraver completely:
2736 @lilypond[verbatim,quote]
2757 \remove Bar_engraver
2763 Bar lines can also be removed on a staff-by-staff basis:
2765 @lilypond[verbatim, quote]
2769 \with { \remove Bar_engraver } {
2787 To remove bar lines from just a section of music treat it as a
2788 cadenza. If the section is long you may need to insert dummy
2789 barlines with @code{\bar ""} to show where the line should break.
2791 @lilypond[verbatim,quote,relative=2]
2804 Rests or pauses in chants can be indicated by modified bar lines.
2806 @lilypond[verbatim, quote,relative=2]
2821 Alternatively, the notation used in Gregorian chant for pauses or
2822 rests is sometimes used even though the rest of the notation is
2823 modern. This uses a modified @code{\breathe} mark:
2825 @lilypond[verbatim,quote]
2827 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2828 \once \override BreathingSign #'Y-offset = #0
2832 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2833 \once \override BreathingSign #'Y-offset = #0
2837 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2838 \once \override BreathingSign #'Y-offset = #0
2842 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2843 \once \override BreathingSign #'Y-offset = #0
2861 \remove Bar_engraver
2867 Chants usually omit the time signature and often omit the clef too.
2869 @lilypond[verbatim,quote]
2881 \remove Bar_engraver
2882 \remove Time_signature_engraver
2883 \remove Clef_engraver
2889 Chants for psalms in the Anglican tradition are usually either
2890 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2891 of 7 bars. Each group of 7 bars is divided into two halves,
2892 corresponding to the two halves of each verse, usually separated by
2893 a double bar line. Only whole and half notes are used. The 1st bar
2894 in each half always contains a single chord of whole notes. This is
2895 the @qq{reciting note}. Chants are usually centered on the page.
2897 @lilypond[verbatim,quote]
2898 SopranoMusic = \relative g' {
2899 g1 | c2 b | a1 | \bar "||"
2900 a1 | d2 c | c b | c1 | \bar "||"
2903 AltoMusic = \relative c' {
2905 f1 | f2 e | d d | e1 |
2908 TenorMusic = \relative a {
2910 d1 | g,2 g | g g | g1 |
2913 BassMusic = \relative c {
2915 d1 | b2 c | g' g | c,1 |
2922 % Use markup to center the chant on the page
2931 \new Voice = "Soprano" <<
2935 \new Voice = "Alto" <<
2943 \new Voice = "Tenor" <<
2947 \new Voice = "Bass" <<
2957 \override SpacingSpanner
2958 #'base-shortest-duration = #(ly:make-moment 1 2)
2962 \remove "Time_signature_engraver"
2970 Some other approaches to setting such a chant are shown in the first
2971 of the following snippets.
2975 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2976 {chant-or-psalms-notation.ly}
2978 Canticles and other liturgical texts may be set more freely, and
2979 may use notational elements from ancient music. Often the words
2980 are shown underneath and aligned with the notes. If so, the notes
2981 are spaced in accordance with the syllables rather than the notes'
2984 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2985 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2989 @rlearning{Visibility and color of objects},
2990 @rlearning{Vocal ensembles}.
2993 @ref{Ancient notation},
2995 @ref{Modifying context plug-ins},
2996 @ref{Typesetting Gregorian chant},
2997 @ref{Unmetered music},
2998 @ref{Visibility of objects}.
3001 @node Pointing a psalm
3002 @unnumberedsubsubsec Pointing a psalm
3004 The words to an Anglican psalm are usually printed in separate
3005 verses centered underneath the chant.
3007 Single chants (with 7 bars) are repeated for every verse. Double
3008 chants (with 14 bars) are repeated for every pair of verses. Marks
3009 are inserted in the words to show how they should be fitted to the
3010 chant. Each verse is divided into two halves. A colon is usually
3011 used to indicate this division. This corresponds to the double bar
3012 line in the music. The words before the colon are sung to the first
3013 three bars of music; the words after the colon are sung to the last
3016 Single bar lines (or in some psalters an inverted comma or similar
3017 symbol) are inserted between words to indicate where the bar lines
3018 in the music fall. In markup mode a single bar line can be entered
3019 with the bar check symbol, @code{|}.
3021 @lilypond[verbatim,quote]
3026 \line { O come let us sing | unto the | Lord : let }
3027 \line { us heartily rejoice in the | strength of | our }
3028 \line { sal- | -vation. }
3035 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3036 For details, see @ref{Fonts}.
3038 @lilypond[verbatim,quote]
3040 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3046 \line { O come let us sing \tick unto the \tick Lord : let }
3048 us heartily rejoice in the \tick strength of \tick our
3050 \line { sal \tick vation. }
3057 Where there is one whole note in a bar all the words corresponding
3058 to that bar are recited on that one note in speech rhythm. Where
3059 there are two notes in a bar there will usually be only one or two
3060 corresponding syllables. If there are more that two syllables a
3061 dot is usually inserted to indicate where the change in note occurs.
3063 @lilypond[verbatim,quote]
3065 \raise #0.7 \musicglyph #"dots.dot"
3068 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3075 O come let us sing \tick unto \dot the \tick Lord : let
3078 us heartily rejoice in the \tick strength of \tick our
3080 \line { sal \tick vation. }
3087 In some psalters an asterisk is used to indicate a break in a
3088 recited section instead of a comma, and stressed or slightly
3089 lengthened syllables are indicated in bold text.
3091 @lilypond[verbatim,quote]
3093 \raise #0.7 \musicglyph #"dots.dot"
3096 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3102 \line { Today if ye will hear his voice * }
3104 \concat { \bold hard en }
3105 | not your | hearts : as in the pro-
3107 \line { vocation * and as in the \bold day of tempt- | }
3108 \line { -ation | in the | wilderness. }
3115 In other psalters an accent is placed over the syllable to indicate
3118 @lilypond[verbatim,quote]
3120 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3127 O come let us \concat {
3128 si \combine \tick ng
3130 | unto the | Lord : let
3133 us heartily \concat {
3134 rejo \combine \tick ice
3136 in the | strength of | our
3138 \line { sal- | -vation. }
3145 The use of markup to center text, and arrange lines in columns is
3146 described in @ref{Formatting text}.
3148 Most of these elements are shown in one or other of the two verses
3149 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3153 @rlearning{Vocal ensembles}.
3157 @ref{Formatting text}.
3160 @node Partial measures in hymn tunes
3161 @unnumberedsubsubsec Partial measures in hymn tunes
3163 Hymn tunes frequently start and end every line of music with
3164 partial measures so that each line of music corresponds exactly
3165 with a line of text. This requires a @code{\partial} command at
3166 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3167 commands at the end of each line.
3169 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3173 @node Ancient vocal music
3174 @subsection Ancient vocal music
3176 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3180 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3181 @c and "Transcription of Ancient music with incipit" snippet. -vv
3185 @ref{Ancient notation}.