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'
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15 @lilypondfile[quote]{vocal-headword.ly}
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
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}:
752 @lilypond[relative=1,verbatim,quote]
754 \new Voice = "melody" {
756 \set melismaBusyProperties = #'()
760 \new Lyrics \lyricsto "melody" {
761 Ky -- ri -- e e -- le -- i -- son
766 Other settings for @code{melismaBusyProperties} can be used to
767 selectively include or exclude ties, slurs, and beams from the
768 automatic detection of melismata; see @code{melismaBusyProperties}
769 in @rinternals{Tunable context properties}.
771 Alternatively, if all melismata indications are to be ignored,
772 @code{ignoreMelismata} may be set true;
773 see @ref{Stanzas with different rhythms}.
775 If a melisma is required during a passage in which
776 @code{melismaBusyProperties} is active, it may be indicated by
777 placing a single underscore in the lyrics for each note which
778 should be included in the melisma:
780 @lilypond[relative=1,verbatim,quote]
782 \new Voice = "melody" {
784 \set melismaBusyProperties = #'()
788 \new Lyrics \lyricsto "melody" {
789 Ky -- ri -- _ e __ _ _ _
807 @rlearning{Aligning lyrics to a melody}.
810 @ref{Aligning lyrics to a melody},
811 @ref{Automatic syllable durations},
812 @ref{Setting automatic beam behavior},
813 @ref{Stanzas with different rhythms}.
816 @rinternals{Tunable context properties}.
820 Extender lines under melismata are not created automatically; they
821 must be inserted manually with a double underscore.
824 @unnumberedsubsubsec Skipping notes
826 Making a lyric line run slower than the melody can be achieved by
827 inserting @code{\skip}s into the lyrics. For every @code{\skip},
828 the text will be delayed by another note. The @code{\skip} command
829 must be followed by a valid duration, but this is ignored when
830 @code{\skip} is used in lyrics which derive their durations from the
831 notes in an associated melody through @code{\addlyrics} or
834 @lilypond[verbatim,ragged-right,quote]
835 \relative c' { c c g' }
843 @node Extenders and hyphens
844 @unnumberedsubsubsec Extenders and hyphens
849 @c TODO cf Multiple notes to one syllable; should this be merged in?
851 @c leave this as samp. -gp
852 In the last syllable of a word, melismata are sometimes indicated with
853 a long horizontal line starting in the melisma syllable, and ending in
854 the next one. Such a line is called an extender line, and it is
855 entered as @samp{ __ } (note the spaces before and after the two
856 underscore characters).
858 @warning{Melismata are indicated in the score with extender lines,
859 which are entered as one double underscore; but short melismata can
860 also be entered by skipping individual notes, which are entered as
861 single underscore characters; these do not make an extender line to be
866 @c leave this as samp. -gp
867 Centered hyphens are entered as @samp{ -- } between syllables of a
868 same word (note the spaces before and after the two hyphen
869 characters). The hyphen will be centered between the syllables, and
870 its length will be adjusted depending on the space between the
873 In tightly engraved music, hyphens can be removed. Whether this
874 happens can be controlled with the @code{minimum-distance} (minimum
875 distance between two syllables) and the @code{minimum-length}
876 (threshold below which hyphens are removed) properties of
882 @rinternals{LyricExtender},
883 @rinternals{LyricHyphen}.
886 @node Techniques specific to lyrics
887 @subsection Techniques specific to lyrics
889 @c TODO this whole section is to be reorganised
892 * Working with lyrics and variables::
893 * Placing lyrics vertically::
894 * Placing syllables horizontally::
895 * Lyrics and repeats::
901 @node Working with lyrics and variables
902 @unnumberedsubsubsec Working with lyrics and variables
904 @cindex lyrics, using variables
906 Variables containing lyrics can be created, but the lyrics must be
907 entered in lyric mode:
909 @lilypond[quote,verbatim]
910 musicOne = \relative c'' {
911 c4 b8. a16 g4. f8 e4 d c2
913 verseOne = \lyricmode {
914 Joy to the world, the Lord is come.
922 \new Lyrics \lyricsto "one" {
929 Durations do not need to be added if the variable is to be invoked
930 with @code{\addlyrics} or @code{\lyricsto}.
932 For different or more complex orderings, the best way is to define
933 the music and lyric variables first, then set up the hierarchy of
934 staves and lyrics, omitting the lyrics themselves, and then add the
935 lyrics using @code{\context} underneath. This ensures that the
936 voices referenced by @code{\lyricsto} have always been defined
937 earlier. For example:
939 @lilypond[quote,verbatim]
940 sopranoMusic = \relative c'' { c4 c c c }
941 contraltoMusic = \relative c'' { a4 a a a }
942 sopranoWords = \lyricmode { Sop -- ra -- no words }
943 contraltoWords = \lyricmode { Con -- tral -- to words }
948 \new Voice = "sopranos" {
952 \new Lyrics = "sopranos"
953 \new Lyrics = "contraltos"
955 \new Voice = "contraltos" {
959 \context Lyrics = "sopranos" {
960 \lyricsto "sopranos" {
964 \context Lyrics = "contraltos" {
965 \lyricsto "contraltos" {
976 @ref{Placing lyrics vertically}.
979 @rinternals{LyricCombineMusic},
983 @node Placing lyrics vertically
984 @unnumberedsubsubsec Placing lyrics vertically
986 @cindex placement of lyrics
987 @cindex lyrics, positioning
989 Depending on the type of music, lyrics may be positioned
990 above the staff, below the staff, or between staves. Placing
991 lyrics below the associated staff is the easiest, and can be
992 achieved by simply defining the Lyrics context below the Staff
995 @lilypond[quote,verbatim]
999 \new Voice = "melody" {
1000 \relative c'' { c4 c c c }
1004 \lyricsto "melody" {
1012 Lyrics may be positioned above the staff using one of
1013 two methods. The simplest (and preferred) method
1014 is to use the same syntax as above and explicitly
1015 specify the position of the lyrics:
1017 @lilypond[quote,verbatim]
1020 \new Staff = "staff" {
1021 \new Voice = "melody" {
1022 \relative c'' { c4 c c c }
1025 \new Lyrics \with { alignAboveContext = "staff" } {
1026 \lyricsto "melody" {
1034 Alternatively, a two-step process may be used. First the Lyrics
1035 context is declared (without any content) before the Staff and
1036 Voice contexts, then the @code{\lyricsto} command is placed after
1037 the Voice declaration it references by using @code{\context}, as
1040 @lilypond[quote,verbatim]
1043 \new Lyrics = "lyrics" \with {
1044 % lyrics above a staff should have this override
1045 \override VerticalAxisGroup #'staff-affinity = #DOWN
1048 \new Voice = "melody" {
1049 \relative c'' { c4 c c c }
1052 \context Lyrics = "lyrics" {
1053 \lyricsto "melody" {
1061 When there are two voices on separate staves the lyrics may be
1062 placed between the staves using either of these methods. Here
1063 is an example of the second method:
1065 @lilypond[quote,verbatim]
1069 \new Voice = "sopranos" {
1070 \relative c'' { c4 c c c }
1073 \new Lyrics = "sopranos"
1074 \new Lyrics = "contraltos" \with {
1075 % lyrics above a staff should have this override
1076 \override VerticalAxisGroup #'staff-affinity = #DOWN
1079 \new Voice = "contraltos" {
1080 \relative c'' { a4 a a a }
1083 \context Lyrics = "sopranos" {
1084 \lyricsto "sopranos" {
1085 Sop -- ra -- no words
1088 \context Lyrics = "contraltos" {
1089 \lyricsto "contraltos" {
1090 Con -- tral -- to words
1097 Other combinations of lyrics and staves may be generated by
1098 elaborating these examples, or by examining the
1099 @rlearning{Vocal ensembles} templates in the Learning Manual.
1102 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1103 {lyrics-old-spacing-settings.ly}
1107 @rlearning{Vocal ensembles}.
1110 @ref{Aligning contexts},
1111 @ref{Creating contexts}.
1113 @node Placing syllables horizontally
1114 @unnumberedsubsubsec Placing syllables horizontally
1116 @cindex Spacing lyrics
1117 @cindex Lyrics, increasing space between
1119 To increase the spacing between lyrics, set the
1120 @code{minimum-distance} property of @code{LyricSpace}.
1122 @lilypond[relative=1,verbatim,quote,ragged-right]
1125 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1129 longtext longtext longtext longtext
1130 longtext longtext longtext longtext
1135 To make this change for all lyrics in the score, set the property in the
1136 @code{\layout} block.
1138 @lilypond[verbatim,quote,ragged-right]
1145 longtext longtext longtext longtext
1146 longtext longtext longtext longtext
1151 \override LyricSpace #'minimum-distance = #1.0
1158 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1159 {lyrics-alignment.ly}
1161 @c TODO: move to LSR -vv
1163 Checking to make sure that text scripts and lyrics are within the
1164 margins is a relatively large computational task. To speed up processing,
1165 LilyPond does not perform such calculations by default; to enable it, use
1168 \override Score.PaperColumn #'keep-inside-line = ##t
1171 To make lyrics avoid bar lines as well, use
1177 \consists "Bar_engraver"
1178 \consists "Separating_line_group_engraver"
1179 \override BarLine #'transparent = ##t
1184 @c TODO Create and add lsr example of lyricMelismaAlignment
1185 @c It's used like this to center-align all lyric syllables,
1186 @c even when notes are tied. -td
1191 \context { \Score lyricMelismaAlignment = #0 }
1196 @node Lyrics and repeats
1197 @unnumberedsubsubsec Lyrics and repeats
1199 @cindex repeats and lyrics
1200 @cindex lyrics, repeating
1202 @subheading Simple repeats
1204 Repeats in @emph{music} are fully described elsewhere; see
1205 @ref{Repeats}. This section explains how to add lyrics to repeated
1208 Lyrics to a section of music that is repeated should be surrounded
1209 by exactly the same repeat construct as the music, if the words are
1212 @lilypond[verbatim,quote]
1216 \new Voice = "melody" {
1219 \repeat volta 2 { b4 b b b }
1224 \lyricsto "melody" {
1225 Not re -- peat -- ed.
1226 \repeat volta 2 { Re -- peat -- ed twice. }
1233 The words will then be correctly expanded if the repeats are
1236 @lilypond[verbatim,quote]
1241 \new Voice = "melody" {
1244 \repeat volta 2 { b4 b b b }
1249 \lyricsto "melody" {
1250 Not re -- peat -- ed.
1251 \repeat volta 2 { Re -- peat -- ed twice. }
1259 If the repeated section is to be unfolded and has different words,
1260 simply enter all the words:
1262 @lilypond[verbatim,quote,ragged-right]
1266 \new Voice = "melody" {
1269 \repeat unfold 2 { b4 b b b }
1274 \lyricsto "melody" {
1275 Not re -- peat -- ed.
1276 The first time words.
1277 Sec -- ond time words.
1287 When the words to a repeated volta section are different, the words
1288 to each repeat must be entered in separate @code{Lyrics} contexts.
1289 Earlier unrepeated sections must be skipped in the second and
1290 subsequent repeats. The easiest way to skip several notes is to
1291 use @code{\repeat unfold} around the @code{\skip} command.
1293 Note: do not use an underscore, @code{_}, to skip notes in this
1294 particular case. As this syntax indicates a melisma, it will cause
1295 the preceding syllable to be left-aligned.
1297 @warning{The @code{@bs{}skip} command must be followed by a number,
1298 but this number is ignored in lyrics which derive their durations
1299 from the notes in an associated melody through @code{\addlyrics} or
1300 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1301 value, irrespective of the value of the following number.}
1303 @lilypond[verbatim,quote]
1307 \new Voice = "melody" {
1310 \repeat volta 2 { b4 b b b }
1315 \lyricsto "melody" {
1316 Not re -- peat -- ed.
1317 The first time words.
1321 \lyricsto "melody" {
1322 % skip 4 notes of any duration
1323 \repeat unfold 4 { \skip 1 }
1324 Sec -- ond time words.
1331 @cindex lyrics, repeating with a temporary voice
1333 An alternative way, which avoids skips and having to count notes,
1334 is to use a temporary voice for the repeated section. This may be
1335 preferable if the earlier sections are still subject to change. A
1336 temporary voice can be inserted anywhere in the main music stream
1337 in parallel with it, as shown below, but it may be necessary to
1338 keep the main voice alive in complex scores when using this
1339 technique; see @ref{Keeping contexts alive}.
1341 @lilypond[verbatim,quote,ragged-right]
1345 \new Voice = "singleVoice" {
1346 \relative c'' { a4 a a a }
1347 \new Voice = "repeatVoice" {
1348 \relative c'' \repeat volta 3 { b4 b b b }
1350 \relative c'' { c4 c c c }
1354 \lyricsto "singleVoice" {
1355 Not re -- peat -- ed.
1356 The end sec -- tion.
1358 \lyricsto "repeatVoice" {
1359 The first time words.
1363 \lyricsto "repeatVoice" {
1364 Sec -- ond time words.
1368 \lyricsto "repeatVoice" {
1369 The third time words.
1376 @c TODO lowering a common line of lyrics
1378 @subheading Repeats with alternative endings
1380 @cindex lyrics, repeats with alternative endings
1381 @cindex repeating lyrics with alternative endings
1382 @cindex alternative endings and lyrics
1384 If the words of the repeated section are the same, exactly the
1385 same structure can be used for both the lyrics and music.
1387 @lilypond[quote,verbatim]
1392 \new Voice = "melody" {
1395 \repeat volta 2 { b4 b }
1396 \alternative { { b b } { b c } }
1401 \lyricsto "melody" {
1402 Not re -- peat -- ed.
1403 \repeat volta 2 { Re -- peat -- }
1404 \alternative { { ed twice. } { ed twice. } }
1411 But when the repeated section has different words, a repeat
1412 construct cannot be used around the words and @code{\skip} commands
1413 have to be inserted manually as described in the previous section to
1414 skip over the notes in the alternative sections which do not apply.
1416 @lilypond[verbatim,quote,ragged-right]
1421 \new Voice = "melody" {
1423 \repeat volta 2 { b4 b }
1424 \alternative { { b b } { b c } }
1430 \lyricsto "melody" {
1431 The first time words.
1432 \repeat unfold 2 { \skip 1 }
1437 \lyricsto "melody" {
1439 \repeat unfold 2 { \skip 1 }
1447 @cindex lyrics and tied notes
1448 @funindex \repeatTie
1450 When a note is tied over into two or more alternative endings a
1451 tie is used to carry the note into the first alternative ending and
1452 a @code{\repeatTie} is used in the second and subsequent endings.
1453 This structure causes difficult alignment problems when lyrics are
1454 involved and increasing the length of the alternative sections so
1455 the tied notes are contained wholly within them may give a more
1458 The tie creates a melisma into the first alternative, but not into
1459 the second and subsequent alternatives, so to align the lyrics
1460 correctly it is necessary to disable the automatic creation of
1461 melismata over the volta section and insert manual skips.
1463 @lilypond[quote,verbatim]
1468 \new Voice = "melody" {
1470 \set melismaBusyProperties = #'()
1471 \repeat volta 2 { b4 b ~}
1472 \alternative { { b b } { b \repeatTie c } }
1473 \unset melismaBusyProperties
1479 \lyricsto "melody" {
1480 \repeat volta 2 { Here's a __ }
1492 Note that if @code{\unfoldRepeats} is used around a section
1493 containing @code{\repeatTie}, the @code{\repeatTie} should be
1494 removed to avoid both types of tie being printed.
1496 When the repeated section has different words a @code{\repeat}
1497 cannot be used around the lyrics and @code{\skip} commands need to
1498 be inserted manually, as before.
1500 @lilypond[quote,verbatim]
1505 \new Voice = "melody" {
1507 \repeat volta 2 { b4 b ~}
1508 \alternative { { b b } { b \repeatTie c } }
1514 \lyricsto "melody" {
1516 \repeat unfold 2 { \skip 1 }
1520 \lyricsto "melody" {
1522 \repeat unfold 2 { \skip 1 }
1530 If you wish to show extenders and hyphens into and out of
1531 alternative sections these must be inserted manually.
1533 @lilypond[quote,verbatim]
1538 \new Voice = "melody" {
1540 \repeat volta 2 { b4 b ~}
1541 \alternative { { b b } { b \repeatTie c } }
1547 \lyricsto "melody" {
1549 \repeat unfold 2 { \skip 1 }
1553 \lyricsto "melody" {
1565 @ref{Keeping contexts alive},
1570 @unnumberedsubsubsec Divisi lyrics
1572 @cindex divided lyrics
1573 @cindex lyrics, divided
1575 When just the words and rhythms of the two parts differ with the
1576 pitches remaining the same, temporarily turning off the automatic
1577 detection of melismata and indicating the melisma in the lyrics
1578 may be the appropriate method to use:
1580 @lilypond[quote,verbatim]
1583 \new Voice = "melody" {
1585 \set melismaBusyProperties = #'()
1589 \unset melismaBusyProperties
1593 \new Lyrics \lyricsto "melody" {
1594 They shall not o -- ver -- come
1596 \new Lyrics \lyricsto "melody" {
1603 When both music and words differ it may be better to display
1604 the differing music and lyrics by naming voice contexts and
1605 attaching lyrics to those specific contexts:
1607 @lilypond[verbatim,ragged-right,quote]
1610 \new Voice = "melody" {
1617 \new Voice = "splitpart" {
1627 \new Lyrics \lyricsto "melody" {
1628 They shall not o -- ver -- come
1630 \new Lyrics \lyricsto "splitpart" {
1642 * Adding stanza numbers::
1643 * Adding dynamics marks to stanzas::
1644 * Adding singers' names to stanzas::
1645 * Stanzas with different rhythms::
1646 * Printing stanzas at the end::
1647 * Printing stanzas at the end in multiple columns::
1651 @node Adding stanza numbers
1652 @unnumberedsubsubsec Adding stanza numbers
1654 @cindex stanza number
1656 Stanza numbers can be added by setting @code{stanza}, e.g.,
1658 @lilypond[quote,ragged-right,verbatim,relative=2]
1660 \time 3/4 g2 e4 a2 f4 g2.
1662 \set stanza = #"1. "
1663 Hi, my name is Bert.
1665 \set stanza = #"2. "
1666 Oh, ché -- ri, je t'aime
1672 These numbers are put just before the start of the first syllable.
1674 @c TODO Create and add snippet to show how two lines of a
1675 @c stanza can be grouped together, along these lines:
1676 @c (might need improving a bit) -td
1679 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1683 \set stanza = \markup { "1. " \leftbrace }
1684 \lyricmode { Child, you're mine and I love you.
1685 Lend thine ear to what I say.
1691 % \set stanza = \markup { " "}
1692 \lyricmode { Child, I have no great -- er joy
1693 Than to have you walk in truth.
1699 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1700 c'8 c' c' c' c' c' c'4 }
1701 } \addlyrics { \stanzaOneOne }
1702 \addlyrics { \stanzaOneThree }
1706 @node Adding dynamics marks to stanzas
1707 @unnumberedsubsubsec Adding dynamics marks to stanzas
1709 Stanzas differing in loudness may be indicated by putting a
1710 dynamics mark before each stanza. In LilyPond, everything coming in
1711 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1712 marks are no different. For technical reasons, you have to set the
1713 stanza outside @code{\lyricmode}:
1715 @lilypond[quote,ragged-right,verbatim]
1717 \set stanza = \markup { \dynamic "ff" "1. " }
1724 \new Voice = "tune" {
1728 \new Lyrics \lyricsto "tune" \text
1732 @node Adding singers' names to stanzas
1733 @unnumberedsubsubsec Adding singers' names to stanzas
1736 @cindex name of singer
1738 Names of singers can also be added. They are printed at the start of
1739 the line, just like instrument names. They are created by setting
1740 @code{vocalName}. A short version may be entered as
1741 @code{shortVocalName}.
1743 @lilypond[ragged-right,quote,verbatim,relative=2]
1745 \time 3/4 g2 e4 a2 f4 g2.
1747 \set vocalName = #"Bert "
1748 Hi, my name is Bert.
1750 \set vocalName = #"Ernie "
1751 Oh, ché -- ri, je t'aime
1755 @node Stanzas with different rhythms
1756 @unnumberedsubsubsec Stanzas with different rhythms
1758 Often, different stanzas of one song are put to one melody in slightly
1759 differing ways. Such variations can still be captured with
1762 @subsubheading Ignoring melismata
1764 One possibility is that the text has a melisma in one stanza, but
1765 multiple syllables in another. One solution is to make the faster
1766 voice ignore the melisma. This is done by setting
1767 @code{ignoreMelismata} in the Lyrics context.
1769 @lilypond[verbatim,ragged-right,quote]
1771 \relative c' \new Voice = "lahlah" {
1772 \set Staff.autoBeaming = ##f
1778 \new Lyrics \lyricsto "lahlah" {
1781 \new Lyrics \lyricsto "lahlah" {
1783 \set ignoreMelismata = ##t
1785 \unset ignoreMelismata
1792 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1793 not work if prefixed with @code{\once}. It is necessary to use
1794 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1797 @subsubheading Adding syllables to grace notes
1799 @cindex grace notes and lyrics
1800 @cindex lyrics on grace notes
1802 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1803 syllables when using @code{\lyricsto}, but this behavior can be
1806 @lilypond[verbatim,ragged-right,quote]
1808 \new Voice = melody \relative c' {
1809 f4 \appoggiatura a32 b4
1810 \grace { f16[ a16] } b2
1811 \afterGrace b2 { f16[ a16] }
1812 \appoggiatura a32 b4
1818 \set includeGraceNotes = ##t
1821 after -- grace case,
1822 \set ignoreMelismata = ##t
1830 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1831 set at latest one syllable before the one which is to be put under a
1832 grace note. For the case of a grace note at the very beginning of a
1833 piece of music, consider using a @code{\with} or @code{\context}
1836 @lilypond[verbatim,ragged-right,quote]
1838 \new Voice = melody \relative c' {
1839 \grace { c16[( d e f] }
1842 \new Lyrics \with { includeGraceNotes = ##t }
1849 @subsubheading Switching to an alternative melody
1851 @cindex associatedVoice
1852 @cindex alternative melody, switching to
1854 More complex variations in setting lyrics to music are possible.
1855 The melody to which the lyrics are being set can be changed from
1856 within the lyrics by setting the @code{associatedVoice} property:
1858 @lilypond[verbatim,quote]
1860 \relative c' \new Voice = "lahlah" {
1861 \set Staff.autoBeaming = ##f
1864 \new Voice = "alternative" {
1867 % show associations clearly.
1868 \override NoteColumn #'force-hshift = #-3
1879 \new Lyrics \lyricsto "lahlah" {
1880 Ju -- ras -- sic Park
1882 \new Lyrics \lyricsto "lahlah" {
1883 % Tricky: need to set associatedVoice
1884 % one syllable too soon!
1885 \set associatedVoice = "alternative" % applies to "ran"
1889 \set associatedVoice = "lahlah" % applies to "rus"
1895 The text for the first stanza is set to the melody called
1896 @q{lahlah} in the usual way, but the second stanza is set initally
1897 to the @code{lahlah} context and is then switched to the
1898 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1902 \set associatedVoice = "alternative" % applies to "ran"
1906 \set associatedVoice = "lahlah" % applies to "rus"
1911 Here, @code{alternative} is the name of the @code{Voice} context
1912 containing the triplet.
1914 Note the placement of the @code{\set associatedVoice} command --
1915 it appears to be one syllable too early, but this is correct.
1917 @warning{The @code{\set associatedVoice} command must be placed
1918 one syllable @emph{before} the one at which the switch to the new
1919 voice is to occur. In other words, changing the associated Voice
1920 happens one syllable later than expected. This is for technical
1921 reasons, and it is not a bug.}
1924 @node Printing stanzas at the end
1925 @unnumberedsubsubsec Printing stanzas at the end
1927 Sometimes it is appropriate to have one stanza set
1928 to the music, and the rest added in verse form at
1929 the end of the piece. This can be accomplished by adding
1930 the extra verses into a @code{\markup} section outside
1931 of the main score block. Notice that there are two
1932 different ways to force linebreaks when using
1935 @lilypond[ragged-right,verbatim,quote]
1936 melody = \relative c' {
1942 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1943 its fleece was white as snow.
1947 \new Voice = "one" { \melody }
1948 \new Lyrics \lyricsto "one" \text
1954 \line{ All the children laughed and played }
1955 \line{ To see a lamb at school. }
1962 Mary took it home again,
1964 It was against the rule."
1969 @node Printing stanzas at the end in multiple columns
1970 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1972 When a piece of music has many verses, they are often printed in
1973 multiple columns across the page. An outdented verse number often
1974 introduces each verse. The following example shows how to produce such
1977 @lilypond[ragged-right,quote,verbatim]
1978 melody = \relative c' {
1983 \set stanza = #"1." This is verse one.
1989 \new Voice = "one" { \melody }
1990 \new Lyrics \lyricsto "one" \text
1997 \hspace #0.1 % moves the column off the left margin;
1998 % can be removed if space on the page is tight
2002 "This is verse two."
2006 \hspace #0.1 % adds vertical spacing between verses
2009 "This is verse three."
2014 \hspace #0.1 % adds horizontal spacing between columns;
2015 % if they are still too close, add more " " pairs
2016 % until the result looks good
2020 "This is verse four."
2024 \hspace #0.1 % adds vertical spacing between verses
2027 "This is verse five."
2032 \hspace #0.1 % gives some extra space on the right margin;
2033 % can be removed if page space is tight
2040 Internals Reference:
2041 @rinternals{LyricText},
2042 @rinternals{StanzaNumber}.
2049 * References for songs::
2053 @node References for songs
2054 @unnumberedsubsubsec References for songs
2056 Songs are usually written on three staves with the melody for the
2057 singer on the top staff and two staves of piano accompaniment at
2058 the bottom. The lyrics of the first stanza are printed immediately
2059 underneath the top staff. If there are just a small number of
2060 further stanzas these can be printed immediately under the first
2061 one, but if there are more stanzas than can be easily accommodated
2062 there the second and subsequent stanzas are printed after the music
2063 as stand-alone text.
2065 All the notational elements needed to write songs are fully described
2071 For constructing the staff layout, see @ref{Displaying staves}.
2074 For writing piano music, see
2075 @ref{Keyboard and other multi-staff instruments}.
2078 For writing the lyrics to a melody line, see
2079 @ref{Common notation for vocal music}.
2082 For placing the lyrics, see @ref{Placing lyrics vertically}.
2085 For entering stanzas, see @ref{Stanzas}.
2088 Songs are frequently printed with the chording indicated by chord
2089 names above the staves. This is described in @ref{Displaying chords}.
2092 To print fret diagrams of the chords for guitar accompaniment or
2093 accompaniment by other fretted instruments, see @qq{Fret diagram
2094 markups} in @ref{Common notation for fretted strings}.
2103 @ref{Common notation for vocal music},
2104 @ref{Displaying chords},
2105 @ref{Displaying staves},
2106 @ref{Keyboard and other multi-staff instruments},
2107 @ref{Placing lyrics vertically},
2114 @unnumberedsubsubsec Lead sheets
2116 Lead sheets may be printed by combining vocal parts and
2117 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2120 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2121 {simple-lead-sheet.ly}
2125 @ref{Chord notation}.
2136 This section discusses notation issues that relate most directly
2137 to choral music. This includes anthems, part songs, oratorio,
2141 * References for choral::
2142 * Score layouts for choral::
2146 @node References for choral
2147 @unnumberedsubsubsec References for choral
2149 Choral music is usually notated on two, three or four staves within
2150 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2151 beneath in a @code{PianoStaff} group, which is usually reduced in
2152 size for @emph{a capella} choral works. The notes for each vocal
2153 part are placed in a @code{Voice} context, with each staff
2154 being given either a single vocal part (i.e., one @code{Voice}) or
2155 a pair of vocal parts (i.e., two @code{Voice}s).
2157 Words are placed in @code{Lyrics} contexts, either underneath each
2158 corresponding music staff, or one above and one below the music
2159 staff if this contains the music for two parts.
2161 Several common topics in choral music are described fully elsewhere:
2166 An introduction to creating an SATB vocal score can be found in
2167 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2170 Several templates suitable for various styles of choral music can
2171 also be found in the Learning Manual, see
2172 @rlearning{Vocal ensembles}.
2175 For information about @code{ChoirStaff} and @code{PianoStaff} see
2176 @ref{Grouping staves}.
2179 Shape note heads, as used in Sacred Harp and similar notation, are
2180 described in @ref{Shape note heads}.
2183 When two vocal parts share a staff the stems, ties, slurs, etc., of
2184 the higher part will be directed up and those of the lower part
2185 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2186 @ref{Single-staff polyphony}.
2197 @rlearning{Four-part SATB vocal score},
2198 @rlearning{Vocal ensembles}.
2201 @ref{Context layout order},
2202 @ref{Grouping staves},
2203 @ref{Shape note heads},
2204 @ref{Single-staff polyphony}.
2209 Internals Reference:
2210 @rinternals{ChoirStaff},
2211 @rinternals{Lyrics},
2212 @rinternals{PianoStaff}.
2214 @node Score layouts for choral
2215 @unnumberedsubsubsec Score layouts for choral
2217 Choral music containing four staves, with or without piano
2218 accompaniment, is usually laid out with two systems per page.
2219 Depending on the page size, achieving this may require changes
2220 to several default settings. The following settings should be
2226 The global staff size can be modified to change the overall size
2227 of the elements of the score. See @ref{Setting the staff size}.
2230 The distances between the systems, the staves and the lyrics can
2231 all be adjusted independently. See @ref{Vertical spacing}.
2234 The dimensions of the vertical layout variables can be displayed as
2235 an aid to adjusting the vertical spacing. This and other
2236 possibilities for fitting the music onto fewer pages are described
2237 in @ref{Fitting music onto fewer pages}.
2240 If the number of systems per page changes from one to two it is
2241 customary to indicate this with a system separator mark between
2242 the two systems. See @ref{Separating systems}.
2245 For details of other page formatting properties, see
2251 Dynamic markings by default are placed below the staff, but in
2252 choral music they are usually placed above the staff in order to
2253 avoid the lyrics. The predefined command @code{\dynamicUp} does
2254 this for the dynamic markings in a single @code{Voice} context.
2255 If there are many @code{Voice} contexts this predefined command
2256 would have to be placed in every one. Alternatively its expanded
2257 form can be used to place all dynamic markings in the entire score
2258 above their respective staves, as shown here:
2260 @lilypond[verbatim,quote]
2265 \relative c'' { g4\f g g g }
2270 \relative c' { d4 d d\p d }
2277 \override DynamicText #'direction = #UP
2278 \override DynamicLineSpanner #'direction = #UP
2285 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2289 @ref{Changing spacing},
2290 @ref{Displaying spacing},
2291 @ref{Fitting music onto fewer pages},
2294 @ref{Separating systems},
2295 @ref{Setting the staff size},
2296 @ref{Using an extra voice for breaks},
2297 @ref{Vertical spacing}.
2299 Internals Reference:
2300 @rinternals{VerticalAxisGroup},
2301 @rinternals{StaffGrouper}.
2304 @node Divided voices
2305 @unnumberedsubsubsec Divided voices
2307 @cindex voices, divided
2309 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2310 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2314 @ref{Expressive marks as lines}.
2317 @node Opera and stage musicals
2318 @subsection Opera and stage musicals
2320 The music, lyrics and dialogue to opera and stage musicals are
2321 usually set out in one or more of the following forms:
2326 A @emph{Conductors' Score} containing the full orchestral and vocal
2327 parts, together with libretto cues if there are spoken passages.
2330 @emph{Orchestral Parts} containing the music for the individual
2331 instruments of the orchestra or band.
2334 A @emph{Vocal Score} containing all vocal parts with piano
2335 accompaniment. The accompaniment is usually an orchestral
2336 reduction, and if so the name of the original orchestral instrument
2337 is often indicated. Vocal scores sometimes includes stage
2338 directions and libretto cues.
2341 A @emph{Vocal Book} containing just the vocal parts
2342 (no accompaniment), sometimes combined with the libretto.
2345 A @emph{Libretto} containing the extended passages of spoken
2346 dialogue usually found in musicals, together with the words to the
2347 sung parts. Stage directions are usually included. LilyPond can
2348 be used to typeset libretti but as they contain no music
2349 alternative methods may be preferable.
2353 The sections in the LilyPond documentation which cover the topics
2354 needed to create scores in the styles commonly found in opera and
2355 musicals are indicated in the References below. This is followed
2356 by sections covering those techniques which are peculiar to
2357 typesetting opera and musical scores.
2360 * References for opera and stage musicals::
2364 * Dialogue over music::
2367 @node References for opera and stage musicals
2368 @unnumberedsubsubsec References for opera and stage musicals
2373 A conductors' score contains many grouped staves and lyrics. Ways
2374 of grouping staves is shown in @ref{Grouping staves}. To nest
2375 groups of staves see @ref{Nested staff groups}.
2378 The printing of empty staves in conductors' scores and vocal scores
2379 is often suppressed. To create such a @qq{Frenched score} see
2380 @ref{Hiding staves}.
2383 Writing orchestral parts is covered in @ref{Writing parts}.
2384 Other sections in the Specialist notation chapter may be relevant,
2385 depending on the orchestration used. Many instruments are
2386 transposing instruments, see @ref{Instrument transpositions}.
2389 If the number of systems per page changes from page to page it is
2390 customary to separate the systems with a system separator mark.
2391 See @ref{Separating systems}.
2394 For details of other page formatting properties, see
2398 Dialogue cues and stage directions can be inserted with markup.
2399 See @ref{Text}. Extensive stage directions can be inserted with
2400 a section of stand-alone markup between two @code{\score} blocks.
2401 See @ref{Separate text}.
2407 @rglos{Frenched score},
2408 @rglos{Frenched staves},
2409 @rglos{transposing instrument}.
2412 @ref{Grouping staves},
2413 @ref{Hiding staves},
2414 @ref{Instrument transpositions},
2415 @ref{Nested staff groups},
2417 @ref{Separating systems},
2419 @ref{Writing parts},
2426 @node Character names
2427 @unnumberedsubsubsec Character names
2429 @cindex character names
2430 @cindex names, character
2432 Character names are usually shown to the left of the staff when the
2433 staff is dedicated to that character alone:
2435 @lilypond[quote,verbatim,ragged-right]
2439 \set Staff.vocalName = \markup \smallCaps Kaspar
2440 \set Staff.shortVocalName = \markup \smallCaps Kas.
2449 \set Staff.vocalName = \markup \smallCaps Melchior
2450 \set Staff.shortVocalName = \markup \smallCaps Mel
2461 When two or more characters share a staff the character's name is
2462 usually printed above the staff at the start of every section
2463 applying to that character. This can be done with markup. Often a
2464 specific font is used for this purpose.
2466 @lilypond[quote,verbatim,relative=1]
2468 c4^\markup \fontsize #1 \smallCaps Kaspar
2471 a4^\markup \fontsize #1 \smallCaps Melchior
2474 c4^\markup \fontsize #1 \smallCaps Kaspar
2478 Alternatively, if there are many character changes, it may be
2479 easier to set up @qq{instrument} definitions for each character at
2480 the top level so that @code{\instrumentSwitch} can be used to
2481 indicate each change.
2483 @lilypond[quote,verbatim]
2484 \addInstrumentDefinition #"kaspar"
2485 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2486 (shortInstrumentName . "Kas.")
2487 (clefGlyph . "clefs.G")
2488 (clefOctavation . -7)
2489 (middleCPosition . 1)
2491 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2492 (midiInstrument . "voice oohs"))
2494 \addInstrumentDefinition #"melchior"
2495 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2496 (shortInstrumentName . "Mel.")
2497 (clefGlyph . "clefs.F")
2498 (clefOctavation . 0)
2499 (middleCPosition . 6)
2501 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2502 (midiInstrument . "voice aahs"))
2505 \instrumentSwitch "kaspar"
2507 \instrumentSwitch "melchior"
2509 \instrumentSwitch "kaspar"
2516 @ref{Instrument names},
2517 @ref{Scheme functions},
2519 @ref{Text markup commands}.
2522 @rextend{Markup construction in Scheme}.
2525 @unnumberedsubsubsec Musical cues
2527 @cindex musical cues
2528 @cindex cues, musical
2530 Musical cues can be inserted in Vocal Scores, Vocal Books and
2531 Orchestral Parts to indicate what music in another part
2532 immediately precedes an entry. Also, cues are often inserted in the
2533 piano reduction in Vocal Scores to indicate what each orchestral
2534 instrument is playing. This aids the conductor when a full
2535 Conductors' Score is not available.
2537 The basic mechanism for inserting cues is fully explained in the
2538 main text, see @ref{Quoting other voices} and
2539 @ref{Formatting cue notes}. But when many cues have to be
2540 inserted, for example, as an aid to a conductor in a vocal score,
2541 the instrument name must be positioned carefully just before and
2542 close to the start of the cue notes. The following example shows
2545 @lilypond[quote,verbatim]
2546 flute = \relative c'' {
2549 \addQuote "flute" { \flute }
2551 pianoRH = \relative c'' {
2553 % position name of cue-ing instrument just before the cue notes,
2554 % and above the staff
2555 s1*0^\markup { \right-align { \tiny "Flute" } }
2556 \cueDuring "flute" #UP { g4 bes4 }
2558 pianoLH = \relative c { c4 <c' e> e, <g c> }
2573 If a transposing instrument is being quoted the instrument part should
2574 specify its key so the conversion of its cue notes will be done
2575 automatically. The example below shows this transposition for a
2576 B-flat clarinet. The notes in this example are low on the staff so
2577 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2578 down) and the instrument name is positioned below the staff. Note
2579 also that the piano right-hand voice is explicitly declared. This
2580 is because the cue notes in this example begin at the start of the
2581 first bar and this would otherwise cause the entire piano right-hand
2582 notes to be placed in a @code{CueVoice} context.
2584 @lilypond[quote,verbatim]
2585 clarinet = \relative c' {
2589 \addQuote "clarinet" { \clarinet }
2591 pianoRH = \relative c'' {
2593 % position name of cue-ing instrument below the staff
2594 s1*0_\markup { \right-align { \tiny "Clar." } }
2595 \cueDuring "clarinet" #DOWN { c4. g8 }
2598 pianoLH = \relative c { c4 <c' e> e, <g c> }
2617 From these two examples it is clear that inserting many cues in a
2618 Vocal Score would be tedious, and the notes of the piano part would
2619 become obscured. However, as the following snippet shows, it is
2620 possible to define a music function to reduce the amount of typing
2621 and to make the piano notes clearer.
2624 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2625 {adding-orchestral-cues-to-a-vocal-score.ly}
2632 @ref{Aligning objects},
2633 @ref{Direction and placement},
2634 @ref{Formatting cue notes},
2635 @ref{Quoting other voices},
2636 @ref{Using music functions}.
2641 Internals Reference:
2642 @rinternals{InstrumentSwitch},
2643 @rinternals{CueVoice}.
2646 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2647 and all cue notes are placed in that context. This means it is not
2648 possible to have two overlapping sequences of cue notes by this
2649 technique. Overlapping sequences could be entered by explicitly
2650 declaring separate @code{CueVoice} contexts and using
2651 @code{\quoteDuring} to extract and insert the cue notes.
2655 @unnumberedsubsubsec Spoken music
2658 @cindex Sprechgesang
2659 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2660 speak without pitch but still with rhythm; these are notated by cross
2661 note heads, as demonstrated in @ref{Special note heads}.
2663 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2664 @c add "showing the rhythm of a melody" snip
2665 @c add "one staff-line notation"
2666 @c add "improvisation" ref
2667 @c add "lyrics independents of notes" ref
2669 @node Dialogue over music
2670 @unnumberedsubsubsec Dialogue over music
2672 Dialogue over music is usually printed over the staves in an italic
2673 font, with the start of each phrase keyed in to a particular music
2676 For short interjections a simple markup suffices.
2678 @lilypond[quote,verbatim,relative=2]
2679 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2680 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2684 For longer phrases it may be necessary to expand the music to make
2685 the words fit neatly. There is no provision in LilyPond to do this
2686 fully automatically, and some manual intervention to layout the
2687 page will be necessary.
2689 For long phrases or for passages with a lot of closely packed
2690 dialogue, using a Lyrics context will give better results. The
2691 Lyrics context should not be associated with a music Voice; instead
2692 each section of dialogue should be given an explicit duration. If
2693 there is a gap in the dialogue, the final word should be separated
2694 from the rest and the duration split between them so that the
2695 underlying music spaces out smoothly.
2697 If the dialogue extends for more than one line it will be necessary
2698 to manually insert @code{\break}s and adjust the placing of the
2699 dialogue to avoid running into the right margin. The final word of
2700 the last measure on a line should also be separated out, as above.
2702 Here is an example illustrating how this might be done.
2704 @c This should be a snippet, but it can't be as it needs to be
2705 @c manually adjusted to suit the imposed line length. -td
2707 @lilypond[quote,verbatim,ragged-right]
2708 music = \relative c'' {
2709 \repeat unfold 3 { a4 a a a }
2712 dialogue = \lyricmode {
2714 \fontsize #1 \upright \smallCaps Abe:
2715 "Say this over measures one and"
2719 "and this over measure"4*3
2726 \override LyricText #'font-shape = #'italic
2727 \override LyricText #'self-alignment-X = #LEFT
2731 \new Voice { \music }
2737 @c TODO show use of \column to produce dialogue on two lines
2741 @ref{Manual syllable durations},
2745 @rinternals{LyricText}.
2748 @node Chants psalms and hymns
2749 @subsection Chants psalms and hymns
2754 @cindex religious music
2756 The music and words for chants, psalms and hymns usually follow a
2757 well-established format in any particular church. Although the
2758 formats may differ from church to church the type-setting problems
2759 which arise are broadly similar, and are covered in this section.
2762 * References for chants and psalms::
2764 * Pointing a psalm::
2765 * Partial measures in hymn tunes::
2768 @node References for chants and psalms
2769 @unnumberedsubsubsec References for chants and psalms
2771 Typesetting Gregorian chant in various styles of ancient notation
2772 is described in @ref{Ancient notation}.
2776 @ref{Ancient notation}.
2782 @node Setting a chant
2783 @unnumberedsubsubsec Setting a chant
2785 Modern chant settings use modern notation with varying numbers of
2786 elements taken from ancient notation. Some of the elements and
2787 methods to consider are shown here.
2789 Chants often use quarter notes without stems to indicate the pitch,
2790 with the rhythm being taken from the spoken rhythm of the words.
2792 @lilypond[verbatim,quote]
2793 stemOff = { \override Staff.Stem #'transparent = ##t }
2802 Chants often omit the bar lines or use shortened or dotted bar
2803 lines to indicate pauses in the music. To omit all bar lines from
2804 all staves remove the bar line engraver completely:
2806 @lilypond[verbatim,quote]
2827 \remove Bar_engraver
2833 Bar lines can also be removed on a staff-by-staff basis:
2835 @lilypond[verbatim, quote]
2839 \with { \remove Bar_engraver } {
2857 To remove bar lines from just a section of music treat it as a
2858 cadenza. If the section is long you may need to insert dummy
2859 bar lines with @code{\bar ""} to show where the line should break.
2861 @lilypond[verbatim,quote,relative=2]
2874 Rests or pauses in chants can be indicated by modified bar lines.
2876 @lilypond[verbatim, quote,relative=2]
2891 Alternatively, the notation used in Gregorian chant for pauses or
2892 rests is sometimes used even though the rest of the notation is
2893 modern. This uses a modified @code{\breathe} mark:
2895 @lilypond[verbatim,quote]
2897 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2898 \once \override BreathingSign #'Y-offset = #0
2902 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2903 \once \override BreathingSign #'Y-offset = #0
2907 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2908 \once \override BreathingSign #'Y-offset = #0
2912 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2913 \once \override BreathingSign #'Y-offset = #0
2931 \remove Bar_engraver
2937 Chants usually omit the time signature and often omit the clef too.
2939 @lilypond[verbatim,quote]
2951 \remove Bar_engraver
2952 \remove Time_signature_engraver
2953 \remove Clef_engraver
2959 Chants for psalms in the Anglican tradition are usually either
2960 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2961 of 7 bars. Each group of 7 bars is divided into two halves,
2962 corresponding to the two halves of each verse, usually separated by
2963 a double bar line. Only whole and half notes are used. The 1st bar
2964 in each half always contains a single chord of whole notes. This is
2965 the @qq{reciting note}. Chants are usually centered on the page.
2967 @lilypond[verbatim,quote]
2968 SopranoMusic = \relative g' {
2969 g1 | c2 b | a1 | \bar "||"
2970 a1 | d2 c | c b | c1 | \bar "||"
2973 AltoMusic = \relative c' {
2975 f1 | f2 e | d d | e1 |
2978 TenorMusic = \relative a {
2980 d1 | g,2 g | g g | g1 |
2983 BassMusic = \relative c {
2985 d1 | b2 c | g' g | c,1 |
2992 % Use markup to center the chant on the page
3001 \new Voice = "Soprano" <<
3005 \new Voice = "Alto" <<
3013 \new Voice = "Tenor" <<
3017 \new Voice = "Bass" <<
3027 \override SpacingSpanner
3028 #'base-shortest-duration = #(ly:make-moment 1 2)
3032 \remove "Time_signature_engraver"
3040 Some other approaches to setting such a chant are shown in the first
3041 of the following snippets.
3045 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3046 {chant-or-psalms-notation.ly}
3048 Canticles and other liturgical texts may be set more freely, and
3049 may use notational elements from ancient music. Often the words
3050 are shown underneath and aligned with the notes. If so, the notes
3051 are spaced in accordance with the syllables rather than the notes'
3054 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3055 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3059 @rlearning{Visibility and color of objects},
3060 @rlearning{Vocal ensembles}.
3063 @ref{Ancient notation},
3065 @ref{Modifying context plug-ins},
3066 @ref{Typesetting Gregorian chant},
3067 @ref{Unmetered music},
3068 @ref{Visibility of objects}.
3071 @node Pointing a psalm
3072 @unnumberedsubsubsec Pointing a psalm
3074 The words to an Anglican psalm are usually printed in separate
3075 verses centered underneath the chant.
3077 Single chants (with 7 bars) are repeated for every verse. Double
3078 chants (with 14 bars) are repeated for every pair of verses. Marks
3079 are inserted in the words to show how they should be fitted to the
3080 chant. Each verse is divided into two halves. A colon is usually
3081 used to indicate this division. This corresponds to the double bar
3082 line in the music. The words before the colon are sung to the first
3083 three bars of music; the words after the colon are sung to the last
3086 Single bar lines (or in some psalters an inverted comma or similar
3087 symbol) are inserted between words to indicate where the bar lines
3088 in the music fall. In markup mode a single bar line can be entered
3089 with the bar check symbol, @code{|}.
3091 @lilypond[verbatim,quote]
3096 \line { O come let us sing | unto the | Lord : let }
3097 \line { us heartily rejoice in the | strength of | our }
3098 \line { sal- | -vation. }
3105 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3106 For details, see @ref{Fonts}.
3108 @lilypond[verbatim,quote]
3110 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3116 \line { O come let us sing \tick unto the \tick Lord : let }
3118 us heartily rejoice in the \tick strength of \tick our
3120 \line { sal \tick vation. }
3127 Where there is one whole note in a bar all the words corresponding
3128 to that bar are recited on that one note in speech rhythm. Where
3129 there are two notes in a bar there will usually be only one or two
3130 corresponding syllables. If there are more that two syllables a
3131 dot is usually inserted to indicate where the change in note occurs.
3133 @lilypond[verbatim,quote]
3135 \raise #0.7 \musicglyph #"dots.dot"
3138 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3145 O come let us sing \tick unto \dot the \tick Lord : let
3148 us heartily rejoice in the \tick strength of \tick our
3150 \line { sal \tick vation. }
3157 In some psalters an asterisk is used to indicate a break in a
3158 recited section instead of a comma, and stressed or slightly
3159 lengthened syllables are indicated in bold text.
3161 @lilypond[verbatim,quote]
3163 \raise #0.7 \musicglyph #"dots.dot"
3166 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3172 \line { Today if ye will hear his voice * }
3174 \concat { \bold hard en }
3175 | not your | hearts : as in the pro-
3177 \line { vocation * and as in the \bold day of tempt- | }
3178 \line { -ation | in the | wilderness. }
3185 In other psalters an accent is placed over the syllable to indicate
3188 @lilypond[verbatim,quote]
3190 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3197 O come let us \concat {
3198 si \combine \tick ng
3200 | unto the | Lord : let
3203 us heartily \concat {
3204 rejo \combine \tick ice
3206 in the | strength of | our
3208 \line { sal- | -vation. }
3215 The use of markup to center text, and arrange lines in columns is
3216 described in @ref{Formatting text}.
3218 Most of these elements are shown in one or other of the two verses
3219 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3223 @rlearning{Vocal ensembles}.
3227 @ref{Formatting text}.
3230 @node Partial measures in hymn tunes
3231 @unnumberedsubsubsec Partial measures in hymn tunes
3233 Hymn tunes frequently start and end every line of music with
3234 partial measures so that each line of music corresponds exactly
3235 with a line of text. This requires a @code{\partial} command at
3236 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3237 commands at the end of each line.
3239 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3243 @node Ancient vocal music
3244 @subsection Ancient vocal music
3246 Ancient vocal music is supported, as explained in
3247 @ref{Ancient notation}.
3251 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3252 @c and "Transcription of Ancient music with incipit" snippet. -vv
3256 @ref{Ancient notation}.