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::
23 * Aligning lyrics to a melody::
24 * Techniques specific to lyrics::
28 * Opera and stage musicals::
29 * Chants psalms and hymns::
30 * Ancient vocal music::
35 @node Common notation for vocal music
36 @subsection Common notation for vocal music
38 This section and sections 2.1.2 to 2.1.5 discuss issues common to
39 all types of vocal music. Issues specific to certain types of
40 vocal music are covered in section 2.1.6 on.
43 * Common references for vocal music::
47 @node Common references for vocal music
48 @unnumberedsubsubsec Common references for vocal music
50 This section indicates where to find details of notation issues
51 that may arise in any type of vocal music.
56 Most styles of vocal music use written text as lyrics. An introduction
57 to this notation is to be found in @rlearning{Setting simple songs}.
60 Vocal music is likely to require the use of @code{markup} mode, either
61 for lyrics of for other text elements (character's names, etc.).
62 This syntax is described in @ref{Text markup introduction}.
65 @q{Ambitus} may be added at the beginning of vocal staves, as explained
72 @subsection Entering lyrics
74 Lyrics are entered in lyric mode. This section explains how this
79 * Working with lyrics and variables::
83 @node Lyrics explained
84 @unnumberedsubsubsec Lyrics explained
89 @cindex spaces, in lyrics
90 @cindex quotes, in lyrics
92 @c TODO: this section is to be rewritten.
93 Since LilyPond input files are text, there is at least one
94 issue to consider when working with vocal music:
95 song texts must be interpreted as text, not notes. For example, the
96 input@tie{}@code{d} should be interpreted as a one letter syllable,
98 Therefore, a special lyric mode has to be used, either explicitly
99 or using some abbreviated methods.
101 Lyrics are entered in a special input mode, which can be introduced
102 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
103 @code{\lyricsto}. In this mode you can enter lyrics,
104 with punctuation and accents, and the input @code{d} is not parsed as
105 a pitch, but rather as a one letter syllable. Syllables are entered
106 like notes, but with pitches replaced by text. For example,
109 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
112 There are two main methods to specify the horizontal placement
113 of the syllables, either by specifying the duration of each syllable
114 explicitly, like in the example above, or by automatically aligning
115 the lyrics to a melody or other voice of music, using @code{\addlyrics}
118 @c For more details see @ref{The Lyrics context}.
120 A word or syllable of lyrics begins with an alphabetic character, and ends
122 any space or digit. The following characters can be any character
123 that is not a digit or white space.
125 Any character that is not a digit or white space will be regarded as
126 part of the syllable; one important consequence of this is that a word
127 can end with @code{@}}, which often leads to the following mistake:
130 \lyricmode @{ lah- lah@}
133 In this example, the @code{@}} is included in the final syllable, so the
134 opening brace is not balanced and the input file will probably not
138 @funindex \property in \lyricmode
141 Similarly, a period which follows an alphabetic sequence is included in
142 the resulting string. As a consequence, spaces must be inserted around
143 property commands: do @emph{not} write
146 \override Score.LyricText #'font-shape = #'italic
153 \override Score . LyricText #'font-shape = #'italic
157 @cindex spaces, in lyrics
158 @cindex quotes, in lyrics
159 @cindex ties, in lyrics
161 In order to assign more than one syllable to a single note, you can
162 surround them with quotes or use a @code{_} character, to get spaces
163 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
165 @lilypond[quote,ragged-right,fragment,verbatim]
167 \relative c' { c2 e4 g2 e4 }
168 \addlyrics { gran- de_a- mi- go }
169 \addlyrics { pu- "ro y ho-" nes- to }
170 \addlyrics { pu- ro~y~ho- nes- to }
174 The lyric tie is implemented with the Unicode character
175 @code{U+203F}; therefore a font that includes this glyph
176 (such as DejaVuLGC) has to be used. More explanations about
177 text and non-text fonts can be found in @ref{Fonts}.
180 To enter lyrics with characters from non-English languages, or with
181 accented and special characters (such as the heart symbol or slanted quotes),
182 simply insert the characters directly into the input file and save
183 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
185 @lilypond[quote,ragged-right,fragment,verbatim]
186 \relative c' { e4 f e d e f e2 }
187 \addlyrics { He said: “Let my peo ple go”. }
190 To use normal quotes in lyrics, add a backslash before the
193 @lilypond[quote,ragged-right,fragment,verbatim]
194 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
195 \addlyrics { "\"I" am so lone- "ly\"" said she }
198 The full definition of a word start in Lyrics mode is somewhat more
201 A word in Lyrics mode begins with: an alphabetic character, @code{_},
202 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
203 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
204 any 8-bit character with ASCII code over 127, or a two-character
205 combination of a backslash followed by one of @code{`}, @code{'},
206 @code{"}, or @code{^}.
208 @c " to balance double quotes for not-so-bright context-sensitive editors
210 To define variables containing lyrics, the function @code{lyricmode}
214 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
217 \new Voice = "one" \relative c'' @{
220 c4 b8. a16 g4. f8 e4 d c2
222 \addlyrics @{ \verseOne @}
233 @rinternals{LyricText},
234 @rinternals{LyricSpace}.
237 @node Working with lyrics and variables
238 @unnumberedsubsubsec Working with lyrics and variables
240 @cindex lyrics, variables
242 To define variables containing lyrics, the function @code{\lyricmode}
243 must be used. You do not have to enter durations though, if you add
244 @code{\addlyrics} or @code{\lyricsto}
245 when invoking your variable.
248 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
251 \new Voice = "one" \relative c'' @{
254 c4 b8. a16 g4. f8 e4 d c2
256 \addlyrics @{ \verseOne @}
261 For different or more complex orderings, the best way is to set up the
262 hierarchy of staves and lyrics first, e.g.,
265 \new Voice = "soprano" @{ @emph{music} @}
266 \new Lyrics = "sopranoLyrics" @{ s1 @}
267 \new Lyrics = "tenorLyrics" @{ s1 @}
268 \new Voice = "tenor" @{ @emph{music} @}
273 and then combine the appropriate melodies and lyric lines
276 \context Lyrics = sopranoLyrics \lyricsto "soprano"
281 The final input would resemble
284 <<\new ChoirStaff << @emph{setup the music} >>
285 \lyricsto "soprano" @emph{etc}
286 \lyricsto "alto" @emph{etc}
293 http://code.google.com/p/lilypond/issues/detail?id=329
294 The problem cannot be reproduced.
295 The following has no sense, because the issue seems to be fixed.
296 A comment is in tracker waiting for response ---FV
299 Be careful when defining a variable with lyrics that creates a new
300 context, for example, using the deprecated @code{\lyrics} command. See
301 the next erroneous example:
304 words = \lyrics{ %warning: this creates a new context
308 \new Voice = "sop" { c1 }
309 \new Lyrics \lyricsto "sop" { \words }
310 \new Voice = "alt" { c2 c }
311 \new Lyrics \lyricsto "alt" { \words }
315 the problem is that \lyricsto will try to connect the "sop" melody with the context
316 created by "\new Lyrics".
318 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
325 @c TODO: document \new Staff << Voice \lyricsto >> bug
327 @rinternals{LyricCombineMusic},
331 @node Aligning lyrics to a melody
332 @subsection Aligning lyrics to a melody
338 @c TODO: this stuff is to be rewritten. -vv
340 Aligning of text with melodies can be made automatically, but if you
341 specify the durations of the syllables it can also be made manually.
342 Lyrics aligning and typesetting are prepared with the help of skips,
343 hyphens and extender lines.
345 Lyrics are printed by interpreting them in the context called
346 @code{Lyrics}; see @rinternals{Lyrics}, for more.
349 \new Lyrics \lyricmode @dots{}
352 There are two main methods to specify the horizontal placement
357 by automatically aligning
358 the lyrics to a melody or other voice of music, using @code{\addlyrics}
362 or by specifying the duration of each syllable
363 explicitly, using @code{\lyricmode}
366 The @code{Voice} context containing the melody to which the lyrics
367 are being aligned must not have @qq{died}, or the lyrics after that
368 point will be lost. This can happen if there are periods when that
369 voice has nothing to do. For methods of keeping contexts alive, see
370 @ref{Keeping contexts alive}.
374 * Automatic syllable durations::
375 * Manual syllable durations::
376 * Multiple syllables to one note::
377 * Multiple notes to one syllable::
379 * Extenders and hyphens::
380 * Lyrics and repeats::
383 @node Automatic syllable durations
384 @unnumberedsubsubsec Automatic syllable durations
386 @cindex automatic syllable durations
387 @cindex lyrics and melodies
389 The lyrics can be aligned under a given melody
390 automatically. This is achieved by combining the
391 melody and the lyrics with the @code{\lyricsto} expression
394 \new Lyrics \lyricsto @var{name} @dots{}
398 This aligns the lyrics to the
399 notes of the @code{Voice} context called @var{name}, which must
400 already exist. Therefore normally the @code{Voice} is specified first, and
401 then the lyrics are specified with @code{\lyricsto}. The command
402 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
403 @code{\lyricmode} keyword may be omitted.
405 The following example uses different commands for entering lyrics.
407 @lilypond[quote,fragment,ragged-right,verbatim]
409 \new Voice = "one" \relative c'' {
412 c4 b8. a16 g4. f8 e4 d c2
415 % not recommended: left-aligned syllables
416 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
418 % wrong: durations needed
419 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
422 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
426 The second stanza is not properly aligned because the durations
427 were not specified. A solution for that would be to use @code{\lyricsto}.
431 The @code{\addlyrics} command is actually just a convenient way
432 to write a more complicated LilyPond structure that sets up the
437 \addlyrics @{ LYRICS @}
444 \new Voice = "blah" @{ music @}
445 \new Lyrics \lyricsto "blah" @{ LYRICS @}
450 @lilypond[ragged-right,verbatim,fragment,quote]
452 \relative c' { c2 e4 g2. }
453 \addlyrics { play the game }
456 More stanzas can be added by adding more
457 @code{\addlyrics} sections
459 @lilypond[ragged-right,verbatim,fragment,quote]
461 \relative c' { c2 e4 g2. }
462 \addlyrics { play the game }
463 \addlyrics { speel het spel }
464 \addlyrics { joue le jeu }
467 The command @code{\addlyrics} cannot handle polyphony settings.
468 For these cases you should use @code{\lyricsto} and
469 @code{\lyricmode}, for details see@ref{Lyrics explained}.
471 @node Manual syllable durations
472 @unnumberedsubsubsec Manual syllable durations
474 Lyrics can also be entered without @code{\addlyrics} or
475 @code{\lyricsto}. In this case,
476 syllables are entered like notes -- but with pitches replaced by text -- and the
477 duration of each syllable must be entered explicitly. For example:
484 The alignment to a melody can be specified with the
485 @code{associatedVoice} property,
488 \set associatedVoice = #"lala"
492 The value of the property (here: @code{"lala"}) should be the name of
493 a @code{Voice} context. Without this setting, extender lines
494 will not be formatted properly.
496 Here is an example demonstrating manual lyric durations,
498 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
499 << \new Voice = "melody" {
503 \new Lyrics \lyricmode {
504 \set associatedVoice = #"melody"
512 @ref{Keeping contexts alive}.
519 @node Multiple syllables to one note
520 @unnumberedsubsubsec Multiple syllables to one note
524 @cindex ties, in lyrics
526 In order to assign more than one syllable to a single note, you can
527 surround them with quotes or use a @code{_} character, to get spaces
528 between syllables, or use tilde symbol (@code{~}) to get a lyric
529 tie.@footnote{The lyric ties is implemented with the Unicode character
531 sure to have a font (like DejaVuLGC) installed that includes this
534 @lilypond[quote,ragged-right,fragment,verbatim]
536 \relative c' { c2 e4 g2 e4 }
537 \addlyrics { gran- de_a- mi- go }
538 \addlyrics { pu- "ro y ho-" nes- to }
539 \addlyrics { pu- ro~y~ho- nes- to }
545 @rinternals{LyricCombineMusic}.
548 @c Here come the section which used to be "Melismata"
549 @c the new title might be more self-explanatory
552 @node Multiple notes to one syllable
553 @unnumberedsubsubsec Multiple notes to one syllable
557 @cindex phrasing, in lyrics
559 Sometimes, particularly in Medieval music, several notes are to be sung on one
560 single syllable; such vocalises are called melismas, or melismata.
562 @c this method seems to be the simplest; therefore
563 @c it might be better to present it first - vv
565 You can define melismata entirely in the lyrics, by entering @code{_}
566 for every extra note that has to be added to the melisma.
568 @c TODO: clarify: __ is used to crate a lyric extender,
569 @c _ is used to add a note to a melisma, so both __ and _ are needed.
572 @c duplicated: TODO fix
573 Additionally, you can make an extender line to be typeset to indicate
574 the melisma in the score, writing a double underscore next to the
575 first syllable of the melisma. This example shows the three elements
576 that are used for this purpose (all of them surrounded by spaces):
577 double hyphens to separate syllables in a word, underscores to add
578 notes to a melisma, and a double underscore to put an extender line.
580 @c wrong: extender line only on last syllable of a word. Change example
581 @lilypond[relative=1,verbatim,fragment,quote]
582 { \set melismaBusyProperties = #'()
583 c d( e) f f( e) e e }
585 { Ky -- _ _ ri __ _ _ _ e }
588 In this case, you can also have ties and slurs in the melody if you
589 set @code{melismaBusyProperties}, as is done in the example above.
591 However, the @code{\lyricsto} command can also
592 detect melismata automatically: it only puts one
593 syllable under a tied or slurred group of notes. If you want to force
594 an unslurred group of notes to be a melisma, insert @code{\melisma}
595 after the first note of the group, and @code{\melismaEnd} after the
598 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
600 \new Voice = "lala" {
608 \new Lyrics \lyricsto "lala" {
614 In addition, notes are considered a melisma if they are manually
615 beamed, and automatic beaming (see @ref{Setting automatic beam
616 behavior}) is switched off.
618 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
620 \new Voice = "lala" {
626 \new Lyrics \lyricsto "lala" {
632 @c TODO: this now links to LM -vv
633 @c umm, yeah... so what? -gp
638 A complete example of a SATB score setup is in
639 @rlearning{Vocal ensembles}.
645 @funindex \melismaEnd
651 @c @lsr{vocal,lyric@/-combine.ly}.
656 Melismata are not detected automatically, and extender lines must be
660 @unnumberedsubsubsec Skipping notes
662 Making a lyric line run slower than the melody can be achieved by
663 inserting @code{\skip}s into the lyrics. For every @code{\skip},
664 the text will be delayed another note. The @code{\skip} command
665 must be followed by a valid duration, but this is ignored when
666 @code{\skip} is used in lyrics.
668 @lilypond[verbatim,ragged-right,quote]
669 \relative c' { c c g' }
677 @node Extenders and hyphens
678 @unnumberedsubsubsec Extenders and hyphens
683 @c leave this as samp. -gp
684 In the last syllable of a word, melismata are sometimes indicated with
685 a long horizontal line starting in the melisma syllable, and ending in
686 the next one. Such a line is called an extender line, and it is
687 entered as @samp{ __ } (note the spaces before and after the two
688 underscore characters).
690 @warning{Melismata are indicated in the score with extender lines,
691 which are entered as one double underscore; but short melismata can
692 also be entered by skipping individual notes, which are entered as
693 single underscore characters; these do not make an extender line to be
698 @c leave this as samp. -gp
699 Centered hyphens are entered as @samp{ -- } between syllables of a same word
700 (note the spaces before and after the two hyphen characters). The hyphen
701 will be centered between the syllables, and its length will be adjusted
702 depending on the space between the syllables.
704 In tightly engraved music, hyphens can be removed. Whether this
705 happens can be controlled with the @code{minimum-distance} (minimum
706 distance between two syllables) and the @code{minimum-length}
707 (threshold below which hyphens are removed).
712 @rinternals{LyricExtender},
713 @rinternals{LyricHyphen}.
716 @node Lyrics and repeats
717 @unnumberedsubsubsec Lyrics and repeats
719 @c TODO New section. Add text
723 @node Techniques specific to lyrics
724 @subsection Techniques specific to lyrics
726 @c TODO This whole section is to be reorganized. -vv
728 Often, different stanzas of one song are put to one melody in slightly
729 differing ways. Such variations can still be captured with
734 * Lyrics independent of notes::
735 * Spacing out syllables::
736 * Placement of lyrics between staves::
742 @unnumberedsubsubsec Divisi lyrics
744 You can display alternate (or divisi) lyrics by naming voice
745 contexts and attaching lyrics to those specific contexts.
747 @lilypond[verbatim,ragged-right,quote]
749 \new Voice = "melody" {
754 \new Voice = "splitpart" { \voiceTwo c4 }
759 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
760 \new Lyrics \lyricsto "splitpart" { will }
765 You can use this trick to display different lyrics for a repeated
768 @lilypond[verbatim,ragged-right,quote]
770 \new Voice = "melody" \relative c' {
772 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
774 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
777 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
779 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
780 dodo rere mimi fafa solsol }
787 @node Lyrics independent of notes
788 @unnumberedsubsubsec Lyrics independent of notes
790 @cindex Devnull context
792 In some complex vocal music, it may be desirable to place
793 lyrics completely independently of notes. Music defined
794 inside @code{lyricrhythm} disappears into the
795 @code{Devnull} context, but the rhythms can still be used
798 @lilypond[quote,verbatim,ragged-right]
801 \tag #'music { c''2 }
802 \tag #'lyricrhythm { c''4. c''8 }
806 lyr = \lyricmode { I like my cat! }
809 \new Staff \keepWithTag #'music \voice
810 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
811 \new Lyrics \lyricsto "nowhere" \lyr
812 \new Staff { c'8 c' c' c' c' c' c' c'
813 c' c' c' c' c' c' c' c' }
817 This method is recommended only if the music in the @code{Devnull}
818 context does not contain melismata. Melismata are defined by the
819 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
820 makes the voice/lyrics links to get lost, and so does the info on
821 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
822 the implicit melismata get ignored.
824 @c Conclusion: do not use devnull for lyrics -FV
826 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
828 @node Spacing out syllables
829 @unnumberedsubsubsec Spacing out syllables
831 @cindex Spacing lyrics
832 @cindex Lyrics, increasing space between
834 To increase the spacing between lyrics, set the @code{minimum-distance}
835 property of @code{LyricSpace}.
837 @lilypond[relative,verbatim,fragment,quote,ragged-right]
840 \override Lyrics.LyricSpace #'minimum-distance = #1.0
844 longtext longtext longtext longtext
845 longtext longtext longtext longtext
850 To make this change for all lyrics in the score, set the property in the
853 @lilypond[verbatim,quote,ragged-right]
860 longtext longtext longtext longtext
861 longtext longtext longtext longtext
866 \override LyricSpace #'minimum-distance = #1.0
873 @c This snippet has been renamed to "lyrics-alignment.ly"
874 @c update as soon as lsr/is updated -vv
875 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
876 @c {lyrics-alignment.ly}
878 @c TODO: move to LSR -vv
881 Checking to make sure that text scripts and lyrics are within the margins is
882 a relatively large computational task. To speed up processing, LilyPond does
883 not perform such calculations by default; to enable it, use
886 \override Score.PaperColumn #'keep-inside-line = ##t
889 To make lyrics avoid bar lines as well, use
895 \consists "Bar_engraver"
896 \consists "Separating_line_group_engraver"
897 \override BarLine #'transparent = ##t
902 @c TODO Create and add lsr example of lyricMelismaAlignment
903 @c It's used like this to center-align all lyric syllables,
904 @c even when notes are tied. -td
909 \context { \Score lyricMelismaAlignment = #0 }
914 @node Placement of lyrics between staves
915 @unnumberedsubsubsec Placement of lyrics between staves
917 @c TODO Add text from -user
918 @c TODO Add new spacing properties, centering lyrics, etc
925 * Adding stanza numbers::
926 * Adding dynamics marks to stanzas::
927 * Adding singers' names to stanzas::
928 * Stanzas with different rhythms::
929 * Printing stanzas at the end::
930 * Printing stanzas at the end in multiple columns::
934 @node Adding stanza numbers
935 @unnumberedsubsubsec Adding stanza numbers
937 @cindex stanza number
939 Stanza numbers can be added by setting @code{stanza}, e.g.,
941 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
943 \time 3/4 g2 e4 a2 f4 g2.
949 Oh, ché -- ri, je t'aime
955 These numbers are put just before the start of the first syllable.
957 @c TODO Create and add snippet to show how two lines of a
958 @c stanza can be grouped together, along these lines:
959 @c (might need improving a bit) -td
962 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
966 \set stanza = \markup { "1. " \leftbrace }
967 \lyricmode { Child, you're mine and I love you.
968 Lend thine ear to what I say.
974 % \set stanza = \markup { " "}
975 \lyricmode { Child, I have no great -- er joy
976 Than to have you walk in truth.
982 \repeat volta 2 { c'8 c' c' c' c' c' c'4
983 c'8 c' c' c' c' c' c'4 }
984 } \addlyrics { \stanzaOneOne }
985 \addlyrics { \stanzaOneThree }
989 @node Adding dynamics marks to stanzas
990 @unnumberedsubsubsec Adding dynamics marks to stanzas
992 Stanzas differing in loudness may be indicated by putting a
993 dynamics mark before each stanza. In LilyPond, everything coming in
994 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
995 are no different. For technical reasons, you have to set the stanza
996 outside @code{\lyricmode}:
998 @lilypond[quote,ragged-right,verbatim]
1000 \set stanza = \markup { \dynamic "ff" "1. " }
1007 \new Voice = "tune" {
1011 \new Lyrics \lyricsto "tune" \text
1015 @node Adding singers' names to stanzas
1016 @unnumberedsubsubsec Adding singers' names to stanzas
1019 @cindex name of singer
1021 Names of singers can also be added. They are printed at the start of
1022 the line, just like instrument names. They are created by setting
1023 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1025 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1027 \time 3/4 g2 e4 a2 f4 g2.
1029 \set vocalName = #"Bert "
1030 Hi, my name is Bert.
1032 \set vocalName = #"Ernie "
1033 Oh, ché -- ri, je t'aime
1037 @node Stanzas with different rhythms
1038 @unnumberedsubsubsec Stanzas with different rhythms
1040 @subsubheading Ignoring melismata
1042 One possibility is that the text has a melisma in one stanza, but
1043 multiple syllables in another one. One solution is to make the faster
1044 voice ignore the melisma. This is done by setting
1045 @code{ignoreMelismata} in the Lyrics context.
1047 @lilypond[verbatim,ragged-right,quote]
1049 \relative c' \new Voice = "lahlah" {
1050 \set Staff.autoBeaming = ##f
1056 \new Lyrics \lyricsto "lahlah" {
1059 \new Lyrics \lyricsto "lahlah" {
1061 \set ignoreMelismata = ##t
1063 \unset ignoreMelismata
1070 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1071 not work if prefixed with @code{\once}. It is necessary to use
1072 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1075 @subsubheading Adding syllables to grace notes
1077 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1078 syllables when using @code{\lyricsto}, but this behavior can be
1081 @lilypond[verbatim,ragged-right,quote]
1083 f4 \appoggiatura a32 b4
1084 \grace { f16[ a16] } b2
1085 \afterGrace b2 { f16[ a16] }
1086 \appoggiatura a32 b4
1091 \set includeGraceNotes = ##t
1094 after -- grace case,
1095 \set ignoreMelismata = ##t
1102 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1103 set at latest one syllable before the one which is to be put under a
1104 grace note. For the case of a grace note at the very beginning of a
1105 piece of music, consider using a @code{\with} or @code{\context}
1108 @lilypond[verbatim,ragged-right,quote]
1110 \new Voice = melody \relative c' {
1111 \grace { c16[( d e f] }
1114 \new Lyrics \with { includeGraceNotes = ##t }
1121 @subsubheading Switching to an alternative melody
1123 More complex variations in text underlay are possible. It is possible
1124 to switch the melody for a line of lyrics during the text. This is
1125 done by setting the @code{associatedVoice} property. In the example
1127 @lilypond[ragged-right,quote]
1129 \relative c' \new Voice = "lahlah" {
1130 \set Staff.autoBeaming = ##f
1133 \new Voice = "alternative" {
1136 % show associations clearly.
1137 \override NoteColumn #'force-hshift = #-3
1148 \new Lyrics \lyricsto "lahlah" {
1149 Ju -- ras -- sic Park
1151 \new Lyrics \lyricsto "lahlah" {
1152 % Tricky: need to set associatedVoice
1153 % one syllable too soon!
1154 \set associatedVoice = alternative % applies to "ran"
1158 \set associatedVoice = lahlah % applies to "rus"
1164 the text for the first stanza is set to a melody called @q{lahlah},
1167 \new Lyrics \lyricsto "lahlah" @{
1168 Ju -- ras -- sic Park
1173 The second stanza initially is set to the @code{lahlah} context, but
1174 for the syllable @q{ran}, it switches to a different melody.
1175 This is achieved with
1177 \set associatedVoice = alternative
1181 Here, @code{alternative} is the name of the @code{Voice} context
1182 containing the triplet.
1184 @c TODO: make this easier to understand -vv
1185 This command must be one syllable too early, before @q{Ty} in this
1186 case. In other words, changing the associatedVoice happens one step
1187 later than expected. This is for technical reasons, and it is not a
1191 \new Lyrics \lyricsto "lahlah" @{
1192 \set associatedVoice = alternative % applies to "ran"
1196 \set associatedVoice = lahlah % applies to "rus"
1202 The underlay is switched back to the starting situation by assigning
1203 @code{lahlah} to @code{associatedVoice}.
1206 @node Printing stanzas at the end
1207 @unnumberedsubsubsec Printing stanzas at the end
1209 Sometimes it is appropriate to have one stanza set
1210 to the music, and the rest added in verse form at
1211 the end of the piece. This can be accomplished by adding
1212 the extra verses into a @code{\markup} section outside
1213 of the main score block. Notice that there are two
1214 different ways to force linebreaks when using
1217 @lilypond[ragged-right,verbatim,quote]
1218 melody = \relative c' {
1224 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1225 its fleece was white as snow.
1229 \new Voice = "one" { \melody }
1230 \new Lyrics \lyricsto "one" \text
1236 \line{ All the children laughed and played }
1237 \line{ To see a lamb at school. }
1244 Mary took it home again,
1246 It was against the rule."
1251 @node Printing stanzas at the end in multiple columns
1252 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1254 When a piece of music has many verses, they are often printed in
1255 multiple columns across the page. An outdented verse number often
1256 introduces each verse. The following example shows how to produce such
1259 @lilypond[ragged-right,quote,verbatim]
1260 melody = \relative c' {
1265 \set stanza = #"1." This is verse one.
1270 \new Voice = "one" { \melody }
1271 \new Lyrics \lyricsto "one" \text
1278 \hspace #0.1 % moves the column off the left margin;
1279 % can be removed if space on the page is tight
1283 "This is verse two."
1287 \hspace #0.1 % adds vertical spacing between verses
1290 "This is verse three."
1295 \hspace #0.1 % adds horizontal spacing between columns;
1296 % if they are still too close, add more " " pairs
1297 % until the result looks good
1301 "This is verse four."
1305 \hspace #0.1 % adds vertical spacing between verses
1308 "This is verse five."
1313 \hspace #0.1 % gives some extra space on the right margin;
1314 % can be removed if page space is tight
1321 Internals Reference:
1322 @rinternals{LyricText},
1323 @rinternals{StanzaNumber}.
1330 * References for songs::
1334 @node References for songs
1335 @unnumberedsubsubsec References for songs
1337 @c TODO chords, setting simple songs (LM), stanzas
1341 @unnumberedsubsubsec Lead sheets
1343 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1344 this syntax is explained in @ref{Chord notation}.
1347 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1348 {simple-lead-sheet.ly}
1352 @ref{Chord notation}.
1363 This section discusses notation issues that relate most directly
1364 to choral music. This includes anthems, part songs, oratorio,
1368 * References for choral::
1369 * Score layouts for choral::
1372 @node References for choral
1373 @unnumberedsubsubsec References for choral
1375 Choral music is usually notated on two, three or four staves within
1376 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1377 beneath in a @code{PianoStaff} group, which is usually reduced in
1378 size for @emph{a capella} choral works. The notes for each vocal
1379 part are placed in a @code{Voice} context, with each either on a
1380 staff of its own or grouped in pairs on a single staff.
1382 Words are placed in @code{Lyrics} contexts, either underneath each
1383 corresponding music staff, or one above and one below the music
1384 staff if this contains the music for two parts.
1386 Several common topics in choral music are described fully elsewhere:
1391 An introduction to creating an SATB vocal score can be found in
1392 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1395 Several templates suitable for various styles of choral music can
1396 also be found in the Learning Manual, see
1397 @rlearning{Vocal ensembles}.
1400 For information about @code{ChoirStaff} and @code{PianoStaff} see
1401 @ref{Grouping staves}.
1404 General information about entering the words (i.e. @qq{lyrics}) to
1405 vocal music is described in sections 2.1.2 to 2.1.5 of this manual.
1406 All these sections are relevant to choral music.
1409 Shape noteheads, as used in Sacred Harp and similar notation, are
1410 described in @ref{Shape note heads}.
1416 @rlearning{Four-part SATB vocal score},
1417 @rlearning{Vocal ensembles}.
1420 @ref{Grouping staves},
1421 @ref{Context layout order},
1422 @ref{Shape note heads}.
1424 Internals Reference:
1425 @rinternals{ChoirStaff},
1426 @rinternals{Lyrics},
1427 @rinternals{PianoStaff}.
1429 @node Score layouts for choral
1430 @unnumberedsubsubsec Score layouts for choral
1432 Choral music containing four staves, with or without piano
1433 accompaniment, is usually laid out with two systems per page.
1434 Depending on the page size, achieving this may require changes
1435 to several default settings. The following settings should be
1441 The global staff size can be modified to change the overall size
1442 of the elements of the score. See @ref{Setting the staff size}.
1445 The distances between the systems, the staves and the lyrics can
1446 all be adjusted independently. See @ref{Vertical spacing}.
1449 Setting @code{annotate-spacing = ##t} in the layout block will
1450 display the dimensions of the vertical layout variables. This
1451 may help in adjusting them. For details, see
1452 @ref{Displaying spacing}.
1455 Other possibilities for fitting the music onto fewer pages are
1456 described in @ref{Changing spacing}.
1460 If the number of systems per page changes from one to two it is
1461 customary to indicate this with a system separator mark between
1462 the two systems. By default the system separator is blank. It
1463 may be activated with
1467 system-separator-markup = \slashSeparator
1472 For details of this and other page formatting properties, see
1473 @ref{Page formatting}.
1475 Dynamic markings by default are placed below the staff, but in
1476 choral music they are often placed above the staff in order to
1477 avoid the lyrics. The predefined command @code{\dynamicUp} does
1478 this for the dynamic markings in a single @code{Voice} context.
1479 To place all dynamic markings in the score above their respective
1480 staves use the following in a @code{\layout} block within the
1481 @code{\score} block:
1487 \override DynamicText #'direction = #UP
1488 \override DynamicLineSpanner #'direction = #UP
1498 @ref{Setting the staff size},
1499 @ref{Vertical spacing},
1500 @ref{Displaying spacing},
1501 @ref{Changing spacing},
1503 @ref{Using an extra voice for breaks},
1504 @ref{Page formatting}.
1506 Internals Reference:
1507 @rinternals{VerticalAxisGroup},
1508 @rinternals{StaffGrouper}.
1511 @node Opera and stage musicals
1512 @subsection Opera and stage musicals
1515 * References for opera and stage musicals::
1517 * Dialogue over music::
1520 @node References for opera and stage musicals
1521 @unnumberedsubsubsec References for opera and stage musicals
1523 @c TODO Choral, cues, character names, French staves
1524 @c vocal/conductor scores
1525 @c add characters names snippet -vv
1530 @unnumberedsubsubsec Spoken music
1533 @cindex Sprechgesang
1534 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
1535 without pitch but still with rhythm; these are notated by cross
1536 note heads, as demonstrated in @ref{Special note heads}.
1538 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
1539 @c add "showing the rhythm of a melody" snip
1540 @c add "one staff-line notation"
1541 @c add "improvisation" ref
1542 @c add "lyrics independents of notes" ref
1544 @node Dialogue over music
1545 @unnumberedsubsubsec Dialogue over music
1550 @node Chants psalms and hymns
1551 @subsection Chants psalms and hymns
1556 @cindex religious music
1558 The music and words for chants, psalms and hymns usually follow a
1559 well-established format in any particular church. Although the
1560 formats may differ from church to church the type-setting problems
1561 which arise are broadly similar, and are covered in this section.
1564 * References for chants and psalms::
1566 * Pointing a psalm::
1567 * Partial measures in hymn tunes::
1570 @node References for chants and psalms
1571 @unnumberedsubsubsec References for chants and psalms
1573 Typesetting Gregorian chant in various styles of ancient notation
1574 is described in @ref{Ancient notation}.
1576 Modern chant settings use modern notation with varying numbers of
1577 elements taken from ancient notation. Some of the elements and
1578 methods to consider are these:
1583 Chants often use quarter notes without stems to indicate the pitch,
1584 with the rhythm being taken from the spoken rhythm of the words. To
1585 remove the stem set the @code{transparent} property of the
1586 @code{Stem} grob to @code{#t}. See
1587 @rlearning{Visibility and color of objects} and
1588 @ref{Visibility of objects}. An alternative is set the
1589 @code{length} property to @code{0}.
1592 Chants usually omit the bar lines or use shortened or dotted bar
1593 lines to indicate pauses in the music. To omit bar lines
1594 completely use @code{\cadenzaOn} or remove the @code{Bar_engraver}.
1595 See @ref{Unmetered music} and @ref{Modifying context plug-ins}.
1598 To use modified bar lines see the @emph{Bar lines} section in
1599 @ref{Bars}. Alternatively, the correct Gregorian chant notation
1600 for pauses or rests in the music are described in @emph{Divisiones}
1601 in @ref{Typesetting Gregorian chant}.
1604 Chants usually omit the time signature and often omit the clef too.
1605 To omit these remove the @code{Time_signature_engraver} and
1606 @code{Clef_engraver} from the @code{Staff} context respectively.
1607 For details, see @ref{Modifying context plug-ins}.
1613 @rlearning{Visibility and color of objects}.
1616 @ref{Ancient notation},
1617 @ref{Visibility of objects},
1619 @ref{Unmetered music},
1620 @ref{Modifying context plug-ins},
1621 @ref{Typesetting Gregorian chant}.
1623 @node Setting a chant
1624 @unnumberedsubsubsec Setting a chant
1626 Some approaches to setting a chant are shown in the following
1630 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1631 {chant-or-psalms-notation.ly}
1633 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1634 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
1637 @node Pointing a psalm
1638 @unnumberedsubsubsec Pointing a psalm
1642 @node Partial measures in hymn tunes
1643 @unnumberedsubsubsec Partial measures in hymn tunes
1645 Hymn tunes frequently start and end every line of music with
1646 partial measures so that each line of music corresponds exactly
1647 with a line of text. This requires a @code{\partial} command at
1648 the start of the music and @code{\bar "|"} or @code{\bar "||"}
1649 commands at the end of each line.
1651 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1655 @node Ancient vocal music
1656 @subsection Ancient vocal music
1658 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
1662 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
1663 @c and "Transcription of Ancient music with incipit" snippet. -vv
1667 @ref{Ancient notation}.