1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @c TODO: inspirational headword
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 @cindex lyrics, entering
82 @cindex entering lyrics
83 @cindex punctuation in lyrics
84 @cindex lyrics punctuation
85 @cindex spaces in lyrics
86 @cindex quotes in lyrics
89 @c TODO should we explain hyphens here
91 Lyrics are entered in a special input mode, which can be introduced
92 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
93 @code{\lyricsto}. In this mode the input @code{d} is not parsed as
94 the pitch @notation{D}, but rather as a one-letter syllable of text.
95 In other words, syllables are entered like notes but with pitches
101 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
104 There are two main methods for specifying the horizontal placement
105 of the syllables, either by specifying the duration of each syllable
106 explicitly, as in the example above, or by leaving the lyrics to be
107 aligned automatically to a melody or other voice of music, using
108 @code{\addlyrics} or @code{\lyricsto}. The former method is
109 described below in @ref{Manual syllable durations}. The latter
110 method is described in @ref{Automatic syllable durations}.
112 A word or syllable of lyrics begins with an alphabetic character
113 (plus some other characters, see below) and is terminated by any
114 white space or a digit. Later characters in the syllable can be any
115 character that is not a digit or white space.
117 Because any character that is not a digit or white space is regarded
118 as part of the syllable, a word is valid even if it ends with
119 @code{@}}, which often leads to the following mistake:
122 \lyricmode @{ lah lah lah@}
125 In this example, the @code{@}} is included in the final syllable, so the
126 opening brace is not balanced and the input file will probably not
127 compile. Instead, always place white space around braces:
130 \lyricmode @{ lah lah lah @}
133 @cindex overrides in lyric mode
134 @funindex \override in \lyricmode
136 Similarly, a period which follows an alphabetic sequence is included
137 in that sequence in lyric mode. As a consequence, spaces must be
138 inserted around the period in @code{\override} commands. Do
142 \override Score.LyricText #'font-shape = #'italic
149 \override Score . LyricText #'font-shape = #'italic
152 To enter punctuation, lyrics with accented characters, characters
153 from non-English languages, or special characters (such as the heart
154 symbol or slanted quotes), simply insert the characters directly
155 into the input file and save it with UTF-8 encoding. For more
156 information, see @ref{Text encoding}.
158 @lilypond[quote,verbatim]
159 \relative c' { e4 f e d e f e2 }
160 \addlyrics { He said: “Let my peo -- ple go.” }
163 To use normal quotes in lyrics, add a backslash before the
164 quotes and place the whole syllable in quotes. For example,
166 @lilypond[quote,verbatim]
167 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
168 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
171 The full definition of a word start in lyrics mode is somewhat more
172 complex. A word in lyrics mode is one that begins with an
173 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
174 @code{'}, the control characters @code{^A} through @code{^F},
175 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
176 character with an ASCII code over 127, or a two-character
177 combination of a backslash followed by one of @code{`}, @code{'},
178 @code{"}, or @code{^}.
180 @c " to balance double quotes for not-so-bright context-sensitive editors
187 @ref{Automatic syllable durations},
190 @ref{Manual syllable durations}.
193 @rinternals{LyricText}.
196 @node Aligning lyrics to a melody
197 @unnumberedsubsubsec Aligning lyrics to a melody
199 @cindex lyrics, aligning to a melody
204 Lyrics are printed by interpreting them in the context called
205 @code{Lyrics}, see @ref{Contexts explained}.
208 \new Lyrics \lyricmode @dots{}
211 Lyrics can be aligned with melodies in two main ways:
216 They can be aligned automatically, with the durations of the
217 syllables being taken from an associated melody or other voice
218 of music, using @code{\addlyrics} or @code{\lyricsto}. See
219 @ref{Automatic syllable durations}.
222 They can be aligned independently of the duration of any notes
223 if the durations of the syllables are specified explicitly,
224 and entered with @code{\lyricmode}. See
225 @ref{Manual syllable durations}.
229 The following example compares different ways to align lyrics.
231 @lilypond[quote,ragged-right,verbatim]
233 \new Voice = "one" \relative c'' {
236 c4 b8. a16 g4. f8 e4 d c2
239 % uses default durations of 2;
240 \new Lyrics \lyricmode {
244 % explicit durations; left-aligned by default
245 \new Lyrics \lyricmode {
246 Joy4 to8. the16 world!4. the8 Lord4 is come.2
249 % takes durations and alignment from notes in "one"
250 \new Lyrics \lyricsto "one" {
251 No more let sins and sor -- rows grow.
256 The first stanza is not aligned with the notes because the durations
257 were not specified, and the default value of 2 is used for each
258 word. This can be useful for dialogue over music; for more, see
259 @ref{Dialogue over music}.
261 The second stanza with explicitly specified durations is
262 aligned to the notes because the durations are the same as the
263 corresponding notes. The words are left-aligned to the notes by
264 default. Useful if the words to different stanzas fit the notes in
267 The third stanza shows the normal way of entering lyrics.
271 @rlearning{Aligning lyrics to a melody}.
276 @node Automatic syllable durations
277 @unnumberedsubsubsec Automatic syllable durations
279 @cindex syllable durations, automatic
280 @cindex lyrics and melodies
282 Lyrics are aligned and typeset with the help of skips, hyphens and
285 The @code{Voice} context containing the melody to which the lyrics
286 are being aligned must not have @qq{died}, or the lyrics after that
287 point will be lost. This can happen if there are periods when that
288 voice has nothing to do. For methods of keeping contexts alive, see
289 @ref{Keeping contexts alive}.
291 The lyrics can be aligned under a given melody
292 automatically. This is achieved by combining the
293 melody and the lyrics with the @code{\lyricsto} expression
296 \new Lyrics \lyricsto @var{name} @dots{}
300 This aligns the lyrics to the
301 notes of the @code{Voice} context called @var{name}, which must
302 already exist. Therefore normally the @code{Voice} is specified first, and
303 then the lyrics are specified with @code{\lyricsto}. The command
304 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
305 @code{\lyricmode} keyword may be omitted.
310 The @code{\addlyrics} command is actually just a convenient way
311 to write a more complicated LilyPond structure that sets up the
316 \addlyrics @{ LYRICS @}
323 \new Voice = "blah" @{ music @}
324 \new Lyrics \lyricsto "blah" @{ LYRICS @}
329 @lilypond[ragged-right,verbatim,fragment,quote]
331 \relative c' { c2 e4 g2. }
332 \addlyrics { play the game }
335 More stanzas can be added by adding more
336 @code{\addlyrics} sections
338 @lilypond[ragged-right,verbatim,fragment,quote]
340 \relative c' { c2 e4 g2. }
341 \addlyrics { play the game }
342 \addlyrics { speel het spel }
343 \addlyrics { joue le jeu }
346 The command @code{\addlyrics} cannot handle polyphony settings.
347 For these cases you should use @code{\lyricsto} and
348 @code{\lyricmode}, for details see @ref{Entering lyrics}.
350 @node Manual syllable durations
351 @unnumberedsubsubsec Manual syllable durations
353 Lyrics can also be entered without @code{\addlyrics} or
354 @code{\lyricsto}. In this case,
355 syllables are entered like notes -- but with pitches replaced by text -- and the
356 duration of each syllable must be entered explicitly. For example:
363 The alignment to a melody can be specified with the
364 @code{associatedVoice} property,
367 \set associatedVoice = #"lala"
371 The value of the property (here: @code{"lala"}) should be the name of
372 a @code{Voice} context. Without this setting, extender lines
373 will not be formatted properly.
375 Here is an example demonstrating manual lyric durations,
377 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
378 << \new Voice = "melody" {
382 \new Lyrics \lyricmode {
383 \set associatedVoice = #"melody"
391 @ref{Keeping contexts alive}.
398 @node Multiple syllables to one note
399 @unnumberedsubsubsec Multiple syllables to one note
402 @cindex spaces, in lyrics
403 @cindex quotes, in lyrics
404 @cindex ties, in lyrics
406 In order to assign more than one syllable to a single note with
407 spaces between the syllables, you can surround the phrase with
408 quotes or use a @code{_} character. Alternatively, you can use
409 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
410 tie is implemented with the Unicode character U+203F, so be
411 sure to have a font (like DejaVuLGC) installed that includes this
414 @lilypond[quote,ragged-right,fragment,verbatim]
416 \relative c' { c2 e4 g2 e4 }
417 \addlyrics { gran- de_a- mi- go }
418 \addlyrics { pu- "ro y ho-" nes- to }
419 \addlyrics { pu- ro~y~ho- nes- to }
425 @rinternals{LyricCombineMusic}.
428 @node Multiple notes to one syllable
429 @unnumberedsubsubsec Multiple notes to one syllable
433 @cindex phrasing, in lyrics
435 @funindex \melismaEnd
437 Sometimes, particularly in Medieval music, several notes are to be
438 sung on one syllable; such vocalises are called melismas, or
439 melismata. The syllable to a melisma is usually left-aligned with
440 the first note of the melisma.
442 When a melisma occurs on a syllable other that the last one in a
443 word, that syllable is usually joined to the following one with a
444 hyphenated line. This is indicated by placing a double hyphen,
445 @code{--}, immediately after the syllable.
447 Alternatively, when a melisma occurs on the last or only syllable in
448 a word an extender line is usually drawn from the end of the syllable
449 to the last note of the melisma. This is indicated by placing a
450 double underscore, @code{__}, immediately after the word.
452 There are five ways in which melismata can be indicated:
457 Melismata are created automatically over notes which are tied
460 @lilypond[quote,relative=2,verbatim]
462 \new Voice = "melody" {
468 \new Lyrics \lyricsto "melody" {
475 Melismata can be created automatically from the music by placing
476 slurs over the notes of each melisma. This is the usual way of
479 @lilypond[quote,relative=2,verbatim]
481 \new Voice = "melody" {
486 \new Lyrics \lyricsto "melody" {
493 Notes are considered a melisma if they are manually beamed,
494 providing automatic beaming is switched off. See
495 @ref{Setting automatic beam behavior}.
497 @lilypond[quote,relative=2,verbatim]
499 \new Voice = "melody" {
505 \new Lyrics \lyricsto "melody" {
511 Clearly this is not suited to melisma over notes which are longer
515 An unslurred group of notes will be treated as a melisma if they
516 are bracketed between @code{\melisma} and @code{\melismaEnd}.
518 @lilypond[quote,relative=2,verbatim]
520 \new Voice = "melody" {
528 \new Lyrics \lyricsto "melody" {
534 Note that this method cannot be used to indicate two melismata if
535 the first one is immediately followed by another.
538 A melisma can be defined entirely in the lyrics by entering a
539 single underscore character, @code{_}, for every extra note that has
540 to be added to the melisma.
542 @lilypond[verbatim, quote, relative=2]
544 \new Voice = "melody" {
549 \new Lyrics \lyricsto "melody" {
550 Ki -- ri -- _ _ _ e __ _ _
557 It is possible to have ties, slurs and manual beams in the melody
558 without their indicating melismata. To do this, set
559 @code{melismaBusyProperties} and indicate the melismata with single
560 underscores in the lyrics, one underscore for each extra note:
562 @lilypond[relative=1,verbatim,quote]
564 \new Voice = "melody" {
566 \set melismaBusyProperties = #'()
571 \new Lyrics \lyricsto "melody" {
572 Ky -- _ _ _ _ ri -- _ _ e __ _
577 Other settings for @code{melismaBusyProperties} can be used to
578 include or exclude ties, slurs, and beams from the automatic
579 detection of melismata; see @code{melismaBusyProperties} in
580 @rinternals{Tunable context properties}.
591 @rlearning{Aligning lyrics to a melody}.
594 @ref{Aligning lyrics to a melody},
595 @ref{Automatic syllable durations},
596 @ref{Setting automatic beam behavior}.
599 @rinternals{Tunable context properties}.
603 Extender lines under melismata are not created automatically; they
604 must be inserted manually with a double underscore.
607 @unnumberedsubsubsec Skipping notes
609 Making a lyric line run slower than the melody can be achieved by
610 inserting @code{\skip}s into the lyrics. For every @code{\skip},
611 the text will be delayed by another note. The @code{\skip} command
612 must be followed by a valid duration, but this is ignored when
613 @code{\skip} is used in lyrics which derive their durations from the
614 notes in an associated melody through @code{\addlyrics} or
617 @lilypond[verbatim,ragged-right,quote]
618 \relative c' { c c g' }
626 @node Extenders and hyphens
627 @unnumberedsubsubsec Extenders and hyphens
632 @c leave this as samp. -gp
633 In the last syllable of a word, melismata are sometimes indicated with
634 a long horizontal line starting in the melisma syllable, and ending in
635 the next one. Such a line is called an extender line, and it is
636 entered as @samp{ __ } (note the spaces before and after the two
637 underscore characters).
639 @warning{Melismata are indicated in the score with extender lines,
640 which are entered as one double underscore; but short melismata can
641 also be entered by skipping individual notes, which are entered as
642 single underscore characters; these do not make an extender line to be
647 @c leave this as samp. -gp
648 Centered hyphens are entered as @samp{ -- } between syllables of a same word
649 (note the spaces before and after the two hyphen characters). The hyphen
650 will be centered between the syllables, and its length will be adjusted
651 depending on the space between the syllables.
653 In tightly engraved music, hyphens can be removed. Whether this
654 happens can be controlled with the @code{minimum-distance} (minimum
655 distance between two syllables) and the @code{minimum-length}
656 (threshold below which hyphens are removed).
661 @rinternals{LyricExtender},
662 @rinternals{LyricHyphen}.
665 @node Techniques specific to lyrics
666 @subsection Techniques specific to lyrics
668 @c TODO This whole section is to be reorganized. -vv
671 * Working with lyrics and variables::
672 * Lyrics and repeats::
674 * Lyrics independent of notes::
675 * Spacing out syllables::
676 * Placement of lyrics::
681 @node Working with lyrics and variables
682 @unnumberedsubsubsec Working with lyrics and variables
684 @c TODO rewrite this section
686 @cindex lyrics, variables
688 To define variables containing lyrics, the function @code{\lyricmode}
689 must be used. Durations do not need to be added if the variable is
690 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
692 @lilypond[quote,verbatim]
693 verseOne = \lyricmode { Joy to the world, the Lord is come. }
696 \new Voice = "one" \relative c'' {
699 c4 b8. a16 g4. f8 e4 d c2
701 \addlyrics { \verseOne }
706 For different or more complex orderings, the best way is to set up the
707 hierarchy of staves and lyrics first, e.g.,
710 \new Voice = "soprano" @{ @emph{music} @}
711 \new Lyrics = "sopranoLyrics" @{ s1 @}
712 \new Lyrics = "tenorLyrics" @{ s1 @}
713 \new Voice = "tenor" @{ @emph{music} @}
718 and then combine the appropriate melodies and lyric lines
721 \context Lyrics = sopranoLyrics \lyricsto "soprano"
726 The final input would resemble
729 <<\new ChoirStaff << @emph{setup the music} >>
730 \lyricsto "soprano" @emph{etc}
731 \lyricsto "alto" @emph{etc}
737 @c TODO: document \new Staff << Voice \lyricsto >> bug
739 @rinternals{LyricCombineMusic},
743 @node Lyrics and repeats
744 @unnumberedsubsubsec Lyrics and repeats
746 @cindex repeats and lyrics
747 @cindex lyrics, repeating
749 @subheading Simple repeats
751 Repeats in @emph{music} are fully described elsewhere; see
752 @ref{Repeats}. This section explains how to add lyrics to repeated
755 Lyrics to a section of music that is repeated should be surrounded
756 by exactly the same repeat construct as the music, if the words are
759 @lilypond[verbatim,quote]
763 \new Voice = "melody" {
766 \repeat volta 2 { b4 b b b }
772 Not re -- peat -- ed.
773 \repeat volta 2 { Re -- peat -- ed twice. }
780 The words will then be correctly expanded if the repeats are
783 @lilypond[verbatim,quote]
788 \new Voice = "melody" {
791 \repeat volta 2 { b4 b b b }
797 Not re -- peat -- ed.
798 \repeat volta 2 { Re -- peat -- ed twice. }
806 If the repeated section has different words and is unfolded simply
809 @lilypond[verbatim,quote,ragged-right]
813 \new Voice = "melody" {
816 \repeat unfold 2 { b4 b b b }
822 Not re -- peat -- ed.
823 The first time words.
824 Sec -- ond time words.
834 When the words to a repeated volta section are different the words
835 to each repeat must be entered in separate @code{Lyrics} contexts.
836 Earlier unrepeated sections must be skipped in the second and
837 subsequent repeats. The easiest way to skip several notes is to
838 use @code{\repeat unfold} around the @code{\skip} command.
840 Note: do not use an underscore, @code{_}, to skip notes as this
841 indicates a melisma and will cause the preceding syllable to be
844 @warning{The @code{@bs{}skip} command must be followed by a number,
845 but this number is ignored in lyrics which derive their durations
846 from the notes in an associated melody through @code{\addlyrics} or
847 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
848 value, irrespective of the value of the following number.}
850 @lilypond[verbatim,quote]
854 \new Voice = "melody" {
857 \repeat volta 2 { b4 b b b }
863 Not re -- peat -- ed.
864 The first time words.
869 % skip 4 notes of any duration
870 \repeat unfold 4 { \skip 1 }
871 Sec -- ond time words.
878 @cindex lyrics, repeating with a temporary voice
880 An alternative way, which avoids skips and having to count notes,
881 is to use a temporary voice for the repeated section. This may be
882 preferable if the earlier sections are still subject to change. A
883 temporary voice can be inserted anywhere in the main music stream
884 in parallel with it, as shown below, but it may be necessary to
885 keep the main voice alive in complex scores when using this
886 technique; see @ref{Keeping contexts alive}.
888 @lilypond[verbatim,quote,ragged-right]
892 \new Voice = "singleVoice" {
893 \relative c'' { a4 a a a }
894 \new Voice = "repeatVoice" {
895 \relative c'' \repeat volta 3 { b4 b b b }
897 \relative c'' { c4 c c c }
901 \lyricsto "singleVoice" {
902 Not re -- peat -- ed.
905 \lyricsto "repeatVoice" {
906 The first time words.
910 \lyricsto "repeatVoice" {
911 Sec -- ond time words.
915 \lyricsto "repeatVoice" {
916 The third time words.
923 @c TODO lowering a common line of lyrics
925 @subheading Repeats with alternative endings
927 @cindex lyrics, repeats with alternative endings
928 @cindex repeating lyrics with alternative endings
929 @cindex alternative endings and lyrics
931 If the words of the repeated section are the same, exactly the
932 same structure can be used for both the lyrics and music.
934 @lilypond[quote,verbatim]
939 \new Voice = "melody" {
942 \repeat volta 2 { b4 b }
943 \alternative { { b b } { b c } }
949 Not re -- peat -- ed.
950 \repeat volta 2 { Re -- peat -- }
951 \alternative { { ed twice. } { ed twice. } }
958 But when the repeated section has different words, a repeat
959 construct cannot be used around the words and @code{\skip} commands
960 have to be inserted manually as described in the previous section to
961 skip over the notes in the alternative sections which do not apply.
963 @lilypond[verbatim,quote,ragged-right]
968 \new Voice = "melody" {
970 \repeat volta 2 { b4 b }
971 \alternative { { b b } { b c } }
978 The first time words.
979 \repeat unfold 2 { \skip 1 }
986 \repeat unfold 2 { \skip 1 }
994 @cindex lyrics and tied notes
997 When a note is tied over into two or more alternative endings a
998 tie is used to carry the note into the first alternative ending and
999 a @code{\repeatTie} is used in the second and subsequent endings.
1000 This structure causes difficult alignment problems when lyrics are
1001 involved and increasing the length of the alternative sections so
1002 the tied notes are contained wholly within them may give a more
1005 The tie creates a melisma into the first alternative, but not into
1006 the second and subsequent alternatives, so to align the lyrics
1007 correctly it is necessary to disable the automatic creation of
1008 melismata over the volta section and insert manual skips.
1010 @lilypond[quote,verbatim]
1015 \new Voice = "melody" {
1017 \set melismaBusyProperties = #'()
1018 \repeat volta 2 { b4 b ~}
1019 \alternative { { b b } { b \repeatTie c } }
1020 \unset melismaBusyProperties
1026 \lyricsto "melody" {
1027 \repeat volta 2 { Here's a __ }
1039 Note that if @code{\unfoldRepeats} is used around a section
1040 containing @code{\repeatTie}, the @code{\repeatTie} should be
1041 removed to avoid both types of tie being printed.
1043 When the repeated section has different words a @code{\repeat}
1044 cannot be used around the lyrics and @code{\skip} commands need to
1045 be inserted manually, as before.
1047 @lilypond[quote,verbatim]
1052 \new Voice = "melody" {
1054 \repeat volta 2 { b4 b ~}
1055 \alternative { { b b } { b \repeatTie c } }
1061 \lyricsto "melody" {
1063 \repeat unfold 2 { \skip 1 }
1067 \lyricsto "melody" {
1069 \repeat unfold 2 { \skip 1 }
1077 If you wish to show extenders and hyphens into and out of
1078 alternative sections these must be inserted manually.
1080 @lilypond[quote,verbatim]
1085 \new Voice = "melody" {
1087 \repeat volta 2 { b4 b ~}
1088 \alternative { { b b } { b \repeatTie c } }
1094 \lyricsto "melody" {
1096 \repeat unfold 2 { \skip 1 }
1100 \lyricsto "melody" {
1113 @unnumberedsubsubsec Divisi lyrics
1115 @cindex divided lyrics
1116 @cindex lyrics, divided
1118 When just the words and rhythms of the two parts differ with the
1119 pitches remaining the same, temporarily turning off the automatic
1120 detection of melismata and indicating the melisma in the lyrics
1121 may be the appropriate method to use:
1123 @lilypond[quote,verbatim]
1126 \new Voice = "melody" {
1128 \set melismaBusyProperties = #'()
1132 \unset melismaBusyProperties
1136 \new Lyrics \lyricsto "melody" {
1137 They shall not o -- ver -- come
1139 \new Lyrics \lyricsto "melody" {
1146 When both music and words differ it may be better to display
1147 the differing music and lyrics by naming voice contexts and
1148 attaching lyrics to those specific contexts:
1150 @lilypond[verbatim,ragged-right,quote]
1153 \new Voice = "melody" {
1160 \new Voice = "splitpart" {
1170 \new Lyrics \lyricsto "melody" {
1171 They shall not o -- ver -- come
1173 \new Lyrics \lyricsto "splitpart" {
1181 @node Lyrics independent of notes
1182 @unnumberedsubsubsec Lyrics independent of notes
1184 @c TODO remove this section? Don't use DevNull
1185 @c should be all in Manual Syllable durations
1187 @cindex Devnull context
1189 In some complex vocal music, it may be desirable to place
1190 lyrics completely independently of notes. Music defined
1191 inside @code{lyricrhythm} disappears into the
1192 @code{Devnull} context, but the rhythms can still be used
1193 to place the lyrics.
1195 @lilypond[quote,verbatim,ragged-right]
1198 \tag #'music { c''2 }
1199 \tag #'lyricrhythm { c''4. c''8 }
1203 lyr = \lyricmode { I like my cat! }
1206 \new Staff \keepWithTag #'music \voice
1207 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1208 \new Lyrics \lyricsto "nowhere" \lyr
1209 \new Staff { c'8 c' c' c' c' c' c' c'
1210 c' c' c' c' c' c' c' c' }
1214 This method is recommended only if the music in the @code{Devnull}
1215 context does not contain melismata. Melismata are defined by the
1216 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
1217 makes the voice/lyrics links to get lost, and so does the info on
1218 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
1219 the implicit melismata get ignored.
1221 @c Conclusion: do not use devnull for lyrics -FV
1223 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
1225 @node Spacing out syllables
1226 @unnumberedsubsubsec Spacing out syllables
1228 @c TODO move to second item
1230 @cindex Spacing lyrics
1231 @cindex Lyrics, increasing space between
1233 To increase the spacing between lyrics, set the @code{minimum-distance}
1234 property of @code{LyricSpace}.
1236 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1239 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1243 longtext longtext longtext longtext
1244 longtext longtext longtext longtext
1249 To make this change for all lyrics in the score, set the property in the
1252 @lilypond[verbatim,quote,ragged-right]
1259 longtext longtext longtext longtext
1260 longtext longtext longtext longtext
1265 \override LyricSpace #'minimum-distance = #1.0
1272 @c This snippet has been renamed to "lyrics-alignment.ly"
1273 @c update as soon as lsr/is updated -vv
1274 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1275 @c {lyrics-alignment.ly}
1277 @c TODO: move to LSR -vv
1280 Checking to make sure that text scripts and lyrics are within the margins is
1281 a relatively large computational task. To speed up processing, LilyPond does
1282 not perform such calculations by default; to enable it, use
1285 \override Score.PaperColumn #'keep-inside-line = ##t
1288 To make lyrics avoid bar lines as well, use
1294 \consists "Bar_engraver"
1295 \consists "Separating_line_group_engraver"
1296 \override BarLine #'transparent = ##t
1301 @c TODO Create and add lsr example of lyricMelismaAlignment
1302 @c It's used like this to center-align all lyric syllables,
1303 @c even when notes are tied. -td
1308 \context { \Score lyricMelismaAlignment = #0 }
1313 @node Placement of lyrics
1314 @unnumberedsubsubsec Placement of lyrics
1316 @cindex placement of lyrics
1317 @cindex lyrics, positioning
1319 @c TODO Add text from -user
1321 Lyrics are positioned above the staff, below the staff, or between
1322 staves, depending on the type of music. To place lyrics below the
1323 associated staff simply define the Lyrics context below the Staff
1326 @lilypond[quote,verbatim]
1330 \new Voice = "melody" {
1331 \relative c'' { c4 c c c }
1335 \lyricsto "melody" {
1343 To position lyrics above the staff, place the declaration of the
1344 Lyrics context before the Staff and Voice contexts, but the
1345 @code{\lyricsto} command must come after the Voice declaration it
1346 references, like this:
1348 @lilypond[quote,verbatim]
1351 \new Lyrics = "lyrics"
1353 \new Voice = "melody" {
1354 \relative c'' { c4 c c c }
1357 \context Lyrics = "lyrics" {
1358 \lyricsto "melody" {
1366 Alternatively, the position of the lyrics may be specified
1369 @lilypond[quote,verbatim]
1372 \new Staff = "staff" {
1373 \new Voice = "melody" {
1374 \relative c'' { c4 c c c }
1377 \new Lyrics \with { alignAboveContext = "staff" } {
1378 \lyricsto "melody" {
1386 When there are two voices on separate staves the lyrics may be
1387 placed between the staves using either of these methods. Here
1388 is an example of the first method:
1390 @lilypond[quote,verbatim]
1394 \new Voice = "sopranos" {
1395 \relative c'' { c4 c c c }
1398 \new Lyrics = "sopranos"
1399 \new Lyrics = "contraltos"
1401 \new Voice = "contraltos" {
1402 \relative c'' { a4 a a a }
1405 \context Lyrics = "sopranos" {
1406 \lyricsto "sopranos" {
1407 Sop -- ra -- no words
1410 \context Lyrics = "contraltos" {
1411 \lyricsto "contraltos" {
1412 Con -- tral -- to words
1419 Other combinations of lyrics and staves may be generated by
1420 elaborating these examples, or by examining the SATB templates in
1421 the Learning Manual.
1425 @rlearning{Vocal ensembles}.
1428 @ref{Aligning contexts},
1429 @ref{Creating contexts}.
1435 * Adding stanza numbers::
1436 * Adding dynamics marks to stanzas::
1437 * Adding singers' names to stanzas::
1438 * Stanzas with different rhythms::
1439 * Printing stanzas at the end::
1440 * Printing stanzas at the end in multiple columns::
1444 @node Adding stanza numbers
1445 @unnumberedsubsubsec Adding stanza numbers
1447 @cindex stanza number
1449 Stanza numbers can be added by setting @code{stanza}, e.g.,
1451 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1453 \time 3/4 g2 e4 a2 f4 g2.
1455 \set stanza = #"1. "
1456 Hi, my name is Bert.
1458 \set stanza = #"2. "
1459 Oh, ché -- ri, je t'aime
1465 These numbers are put just before the start of the first syllable.
1467 @c TODO Create and add snippet to show how two lines of a
1468 @c stanza can be grouped together, along these lines:
1469 @c (might need improving a bit) -td
1472 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1476 \set stanza = \markup { "1. " \leftbrace }
1477 \lyricmode { Child, you're mine and I love you.
1478 Lend thine ear to what I say.
1484 % \set stanza = \markup { " "}
1485 \lyricmode { Child, I have no great -- er joy
1486 Than to have you walk in truth.
1492 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1493 c'8 c' c' c' c' c' c'4 }
1494 } \addlyrics { \stanzaOneOne }
1495 \addlyrics { \stanzaOneThree }
1499 @node Adding dynamics marks to stanzas
1500 @unnumberedsubsubsec Adding dynamics marks to stanzas
1502 Stanzas differing in loudness may be indicated by putting a
1503 dynamics mark before each stanza. In LilyPond, everything coming in
1504 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1505 are no different. For technical reasons, you have to set the stanza
1506 outside @code{\lyricmode}:
1508 @lilypond[quote,ragged-right,verbatim]
1510 \set stanza = \markup { \dynamic "ff" "1. " }
1517 \new Voice = "tune" {
1521 \new Lyrics \lyricsto "tune" \text
1525 @node Adding singers' names to stanzas
1526 @unnumberedsubsubsec Adding singers' names to stanzas
1529 @cindex name of singer
1531 Names of singers can also be added. They are printed at the start of
1532 the line, just like instrument names. They are created by setting
1533 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1535 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1537 \time 3/4 g2 e4 a2 f4 g2.
1539 \set vocalName = #"Bert "
1540 Hi, my name is Bert.
1542 \set vocalName = #"Ernie "
1543 Oh, ché -- ri, je t'aime
1547 @node Stanzas with different rhythms
1548 @unnumberedsubsubsec Stanzas with different rhythms
1550 Often, different stanzas of one song are put to one melody in slightly
1551 differing ways. Such variations can still be captured with
1554 @subsubheading Ignoring melismata
1556 One possibility is that the text has a melisma in one stanza, but
1557 multiple syllables in another one. One solution is to make the faster
1558 voice ignore the melisma. This is done by setting
1559 @code{ignoreMelismata} in the Lyrics context.
1561 @lilypond[verbatim,ragged-right,quote]
1563 \relative c' \new Voice = "lahlah" {
1564 \set Staff.autoBeaming = ##f
1570 \new Lyrics \lyricsto "lahlah" {
1573 \new Lyrics \lyricsto "lahlah" {
1575 \set ignoreMelismata = ##t
1577 \unset ignoreMelismata
1584 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1585 not work if prefixed with @code{\once}. It is necessary to use
1586 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1589 @subsubheading Adding syllables to grace notes
1591 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1592 syllables when using @code{\lyricsto}, but this behavior can be
1595 @lilypond[verbatim,ragged-right,quote]
1597 f4 \appoggiatura a32 b4
1598 \grace { f16[ a16] } b2
1599 \afterGrace b2 { f16[ a16] }
1600 \appoggiatura a32 b4
1605 \set includeGraceNotes = ##t
1608 after -- grace case,
1609 \set ignoreMelismata = ##t
1616 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1617 set at latest one syllable before the one which is to be put under a
1618 grace note. For the case of a grace note at the very beginning of a
1619 piece of music, consider using a @code{\with} or @code{\context}
1622 @lilypond[verbatim,ragged-right,quote]
1624 \new Voice = melody \relative c' {
1625 \grace { c16[( d e f] }
1628 \new Lyrics \with { includeGraceNotes = ##t }
1635 @subsubheading Switching to an alternative melody
1637 More complex variations in text underlay are possible. It is possible
1638 to switch the melody for a line of lyrics during the text. This is
1639 done by setting the @code{associatedVoice} property. In the example
1641 @lilypond[ragged-right,quote]
1643 \relative c' \new Voice = "lahlah" {
1644 \set Staff.autoBeaming = ##f
1647 \new Voice = "alternative" {
1650 % show associations clearly.
1651 \override NoteColumn #'force-hshift = #-3
1662 \new Lyrics \lyricsto "lahlah" {
1663 Ju -- ras -- sic Park
1665 \new Lyrics \lyricsto "lahlah" {
1666 % Tricky: need to set associatedVoice
1667 % one syllable too soon!
1668 \set associatedVoice = alternative % applies to "ran"
1672 \set associatedVoice = lahlah % applies to "rus"
1678 the text for the first stanza is set to a melody called @q{lahlah},
1681 \new Lyrics \lyricsto "lahlah" @{
1682 Ju -- ras -- sic Park
1687 The second stanza initially is set to the @code{lahlah} context, but
1688 for the syllable @q{ran}, it switches to a different melody.
1689 This is achieved with
1691 \set associatedVoice = alternative
1695 Here, @code{alternative} is the name of the @code{Voice} context
1696 containing the triplet.
1698 @c TODO: make this easier to understand -vv
1699 This command must be one syllable too early, before @q{Ty} in this
1700 case. In other words, changing the associatedVoice happens one step
1701 later than expected. This is for technical reasons, and it is not a
1705 \new Lyrics \lyricsto "lahlah" @{
1706 \set associatedVoice = alternative % applies to "ran"
1710 \set associatedVoice = lahlah % applies to "rus"
1716 The underlay is switched back to the starting situation by assigning
1717 @code{lahlah} to @code{associatedVoice}.
1720 @node Printing stanzas at the end
1721 @unnumberedsubsubsec Printing stanzas at the end
1723 Sometimes it is appropriate to have one stanza set
1724 to the music, and the rest added in verse form at
1725 the end of the piece. This can be accomplished by adding
1726 the extra verses into a @code{\markup} section outside
1727 of the main score block. Notice that there are two
1728 different ways to force linebreaks when using
1731 @lilypond[ragged-right,verbatim,quote]
1732 melody = \relative c' {
1738 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1739 its fleece was white as snow.
1743 \new Voice = "one" { \melody }
1744 \new Lyrics \lyricsto "one" \text
1750 \line{ All the children laughed and played }
1751 \line{ To see a lamb at school. }
1758 Mary took it home again,
1760 It was against the rule."
1765 @node Printing stanzas at the end in multiple columns
1766 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1768 When a piece of music has many verses, they are often printed in
1769 multiple columns across the page. An outdented verse number often
1770 introduces each verse. The following example shows how to produce such
1773 @lilypond[ragged-right,quote,verbatim]
1774 melody = \relative c' {
1779 \set stanza = #"1." This is verse one.
1784 \new Voice = "one" { \melody }
1785 \new Lyrics \lyricsto "one" \text
1792 \hspace #0.1 % moves the column off the left margin;
1793 % can be removed if space on the page is tight
1797 "This is verse two."
1801 \hspace #0.1 % adds vertical spacing between verses
1804 "This is verse three."
1809 \hspace #0.1 % adds horizontal spacing between columns;
1810 % if they are still too close, add more " " pairs
1811 % until the result looks good
1815 "This is verse four."
1819 \hspace #0.1 % adds vertical spacing between verses
1822 "This is verse five."
1827 \hspace #0.1 % gives some extra space on the right margin;
1828 % can be removed if page space is tight
1835 Internals Reference:
1836 @rinternals{LyricText},
1837 @rinternals{StanzaNumber}.
1844 * References for songs::
1848 @node References for songs
1849 @unnumberedsubsubsec References for songs
1851 Songs are usually written on three staves with the melody for the
1852 singer on the top staff and two staves of piano accompaniment at
1853 the bottom. The lyrics of the first stanza are printed immediately
1854 underneath the top staff. If there are just a small number of
1855 further stanzas these can be printed immediately under the first
1856 one, but if there are more stanzas than can be easily accommodated
1857 there the second and subsequent stanzas are printed after the music
1858 as stand-alone text.
1860 All the notational elements needed to write songs are fully described
1866 For constructing the staff layout, see @ref{Displaying staves}.
1869 For writing piano music, see
1870 @ref{Keyboard and other multi-staff instruments}.
1873 For writing the lyrics to a melody line, see
1874 @ref{Common notation for vocal music}.
1877 For placing the lyrics, see @ref{Placement of lyrics}.
1880 For entering stanzas, see @ref{Stanzas}.
1883 Songs are frequently printed with the chording indicated by chord
1884 names above the staves. This is described in
1885 @ref{Displaying chords}.
1888 To print fret diagrams of the chords for guitar accompaniment or
1889 accompaniment by other fretted instruments, see @qq{Fret diagram
1890 markups} in @ref{Common notation for fretted strings}.
1899 @ref{Common notation for vocal music},
1900 @ref{Displaying chords},
1901 @ref{Displaying staves},
1902 @ref{Keyboard and other multi-staff instruments},
1903 @ref{Placement of lyrics},
1907 @unnumberedsubsubsec Lead sheets
1909 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1910 this syntax is explained in @ref{Chord notation}.
1913 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1914 {simple-lead-sheet.ly}
1918 @ref{Chord notation}.
1929 This section discusses notation issues that relate most directly
1930 to choral music. This includes anthems, part songs, oratorio,
1934 * References for choral::
1935 * Score layouts for choral::
1939 @node References for choral
1940 @unnumberedsubsubsec References for choral
1942 Choral music is usually notated on two, three or four staves within
1943 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1944 beneath in a @code{PianoStaff} group, which is usually reduced in
1945 size for @emph{a capella} choral works. The notes for each vocal
1946 part are placed in a @code{Voice} context, with each staff
1947 being given either a single vocal part (i.e., one @code{Voice}) or
1948 a pair of vocal parts (i.e., two @code{Voice}s).
1950 Words are placed in @code{Lyrics} contexts, either underneath each
1951 corresponding music staff, or one above and one below the music
1952 staff if this contains the music for two parts.
1954 Several common topics in choral music are described fully elsewhere:
1959 An introduction to creating an SATB vocal score can be found in
1960 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1963 Several templates suitable for various styles of choral music can
1964 also be found in the Learning Manual, see
1965 @rlearning{Vocal ensembles}.
1968 For information about @code{ChoirStaff} and @code{PianoStaff} see
1969 @ref{Grouping staves}.
1972 Shape noteheads, as used in Sacred Harp and similar notation, are
1973 described in @ref{Shape note heads}.
1976 When two vocal parts share a staff the stems, ties, slurs, etc., of
1977 the higher part will be directed up and those of the lower part
1978 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1979 @ref{Single-staff polyphony}.
1990 @rlearning{Four-part SATB vocal score},
1991 @rlearning{Vocal ensembles}.
1994 @ref{Context layout order},
1995 @ref{Grouping staves},
1996 @ref{Shape note heads},
1997 @ref{Single-staff polyphony}.
1999 Internals Reference:
2000 @rinternals{ChoirStaff},
2001 @rinternals{Lyrics},
2002 @rinternals{PianoStaff}.
2004 @node Score layouts for choral
2005 @unnumberedsubsubsec Score layouts for choral
2007 Choral music containing four staves, with or without piano
2008 accompaniment, is usually laid out with two systems per page.
2009 Depending on the page size, achieving this may require changes
2010 to several default settings. The following settings should be
2016 The global staff size can be modified to change the overall size
2017 of the elements of the score. See @ref{Setting the staff size}.
2020 The distances between the systems, the staves and the lyrics can
2021 all be adjusted independently. See @ref{Vertical spacing}.
2024 The dimensions of the vertical layout variables can be displayed as
2025 an aid to adjusting the vertical spacing. This and other
2026 possibilities for fitting the music onto fewer pages are described
2027 in @ref{Fitting music onto fewer pages}.
2030 If the number of systems per page changes from one to two it is
2031 customary to indicate this with a system separator mark between
2032 the two systems. See @ref{Separating systems}.
2035 For details of other page formatting properties, see
2036 @ref{Page formatting}.
2041 Dynamic markings by default are placed below the staff, but in
2042 choral music they are usually placed above the staff in order to
2043 avoid the lyrics. The predefined command @code{\dynamicUp} does
2044 this for the dynamic markings in a single @code{Voice} context.
2045 If there are many @code{Voice} contexts this predefined command
2046 would have to be placed in every one. Alternatively its expanded
2047 form can be used to place all dynamic markings in the entire score
2048 above their respective staves, as shown here:
2050 @lilypond[verbatim,quote]
2055 \relative c'' { g4\f g g g }
2060 \relative c' { d4 d d\p d }
2067 \override DynamicText #'direction = #UP
2068 \override DynamicLineSpanner #'direction = #UP
2075 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2079 @ref{Changing spacing},
2080 @ref{Displaying spacing},
2081 @ref{Fitting music onto fewer pages},
2082 @ref{Page formatting},
2084 @ref{Separating systems},
2085 @ref{Setting the staff size},
2086 @ref{Using an extra voice for breaks},
2087 @ref{Vertical spacing}.
2089 Internals Reference:
2090 @rinternals{VerticalAxisGroup},
2091 @rinternals{StaffGrouper}.
2094 @node Divided voices
2095 @unnumberedsubsubsec Divided voices
2097 @cindex voices, divided
2099 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2100 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2104 @ref{Expressive marks as lines}.
2107 @node Opera and stage musicals
2108 @subsection Opera and stage musicals
2110 The music, lyrics and dialogue to opera and stage musicals are
2111 usually set out in one or more of the following forms:
2116 A @emph{Conductors' Score} containing the full orchestral and vocal
2117 parts, together with libretto cues if there are spoken passages.
2120 @emph{Orchestral Parts} containing the music for the individual
2121 instruments of the orchestra or band.
2124 A @emph{Vocal Score} containing all vocal parts with piano
2125 accompaniment. The accompaniment is usually an orchestral
2126 reduction, and if so the name of the original orchestral instrument
2127 is often indicated. Vocal scores sometimes includes stage
2128 directions and libretto cues.
2131 A @emph{Vocal Book} containing just the vocal parts
2132 (no accompaniment), sometimes combined with the libretto.
2135 A @emph{Libretto} containing the extended passages of spoken
2136 dialogue usually found in musicals, together with the words to the
2137 sung parts. Stage directions are usually included. LilyPond can
2138 be used to typeset libretti but as they contain no music
2139 alternative methods may be preferable.
2143 The sections in the LilyPond documentation which cover the topics
2144 needed to create scores in the styles commonly found in opera and
2145 musicals are indicated in the References below. This is followed
2146 by sections covering those techniques which are peculiar to
2147 typesetting opera and musical scores.
2150 * References for opera and stage musicals::
2154 * Dialogue over music::
2157 @node References for opera and stage musicals
2158 @unnumberedsubsubsec References for opera and stage musicals
2163 A conductors' score contains many grouped staves and lyrics. Ways
2164 of grouping staves is shown in @ref{Grouping staves}. To nest
2165 groups of staves see @ref{Nested staff groups}.
2168 The printing of empty staves in conductors' scores and vocal scores
2169 is often suppressed. To create such a @qq{Frenched score} see
2170 @ref{Hiding staves}.
2173 Writing orchestral parts is covered in @ref{Writing parts}.
2174 Other sections in the Specialist notation chapter may be relevant,
2175 depending on the orchestration used. Many instruments are
2176 transposing instruments, see @ref{Instrument transpositions}.
2179 If the number of systems per page changes from page to page it is
2180 customary to separate the systems with a system separator mark.
2181 See @ref{Separating systems}.
2184 For details of other page formatting properties, see
2185 @ref{Page formatting}.
2188 Dialogue cues and stage directions can be inserted with markup.
2189 See @ref{Text}. Extensive stage directions can be inserted with
2190 a section of stand-alone markup between two @code{\score} blocks.
2191 See @ref{Separate text}.
2197 @rglos{Frenched score},
2198 @rglos{Frenched staves},
2199 @rglos{transposing instrument}.
2202 @ref{Grouping staves},
2203 @ref{Hiding staves},
2204 @ref{Instrument transpositions},
2205 @ref{Nested staff groups},
2206 @ref{Page formatting},
2207 @ref{Separating systems},
2209 @ref{Writing parts},
2213 @node Character names
2214 @unnumberedsubsubsec Character names
2216 @cindex character names
2217 @cindex names, character
2219 Character names are usually shown to the left of the staff when the
2220 staff is dedicated to that character alone. The instrument name can
2221 be used for this purpose.
2223 @lilypond[quote,verbatim,ragged-right]
2227 \set Staff.instrumentName = #"Kaspar"
2228 \set Staff.shortInstrumentName = #"Kas"
2237 \set Staff.instrumentName = #"Melchior"
2238 \set Staff.shortInstrumentName = #"Mel"
2249 When two or more characters share a staff the character's name is
2250 usually printed above the staff at the start of every section
2251 applying to that character. This can be done with markup. Often a
2252 specific font is used for this purpose.
2254 @lilypond[quote,verbatim,relative=1]
2256 c4^\markup \fontsize #1 \smallCaps Kaspar
2259 a4^\markup \fontsize #1 \smallCaps Melchior
2262 c4^\markup \fontsize #1 \smallCaps Kaspar
2266 Alternatively, if there are many character changes, it may be
2267 easier to set up @qq{instrument} definitions for each character at
2268 the top level so that @code{\instrumentSwitch} can be used to
2269 indicate each change.
2271 @lilypond[quote,verbatim]
2272 \addInstrumentDefinition #"kaspar"
2273 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2274 (shortInstrumentName . "Kas.")
2275 (clefGlyph . "clefs.G")
2276 (clefOctavation . -7)
2277 (middleCPosition . 1)
2279 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2280 (midiInstrument . "voice oohs"))
2282 \addInstrumentDefinition #"melchior"
2283 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2284 (shortInstrumentName . "Mel.")
2285 (clefGlyph . "clefs.F")
2286 (clefOctavation . 0)
2287 (middleCPosition . 6)
2289 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2290 (midiInstrument . "voice aahs"))
2293 \instrumentSwitch "kaspar"
2295 \instrumentSwitch "melchior"
2297 \instrumentSwitch "kaspar"
2304 @ref{Instrument names},
2305 @ref{Scheme functions},
2307 @ref{Text markup commands}.
2310 @rextend{Markup construction in Scheme}.
2313 @unnumberedsubsubsec Musical cues
2315 @cindex musical cues
2316 @cindex cues, musical
2318 Musical cues can be inserted in Vocal Scores, Vocal Books and
2319 Orchestral Parts to indicate what music in another part
2320 immediately precedes an entry. Also, cues are often inserted in the
2321 piano reduction in Vocal Scores to indicate what each orchestral
2322 instrument is playing. This aids the conductor when a full
2323 Conductors' Score is not available.
2325 The basic mechanism for inserting cues is fully explained in the
2326 main text, see @ref{Quoting other voices} and
2327 @ref{Formatting cue notes}. But when many cues have to be
2328 inserted, for example, as an aid to a conductor in a vocal score,
2329 the instrument name must be positioned carefully just before and
2330 close to the start of the cued notes. The following example shows
2331 how this is done. Note that the name of the grob for overriding
2332 the cued instrument name is @code{InstrumentSwitch}.
2334 @lilypond[quote,verbatim]
2335 flute = \relative c'' {
2338 \addQuote "flute" { \flute }
2340 pianoRH = \relative c'' {
2342 % position name of cued instrument just before the cued notes
2343 \once \override CueVoice.InstrumentSwitch
2344 #'self-alignment-X = #RIGHT
2345 % position name of cued instrument above the staff
2346 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2347 \set CueVoice.instrumentCueName = "Flute"
2348 \cueDuring "flute" #UP { g4 bes4 }
2350 pianoLH = \relative c { c4 <c' e> e, <g c> }
2365 If a transposing instrument is being cued the instrument part should
2366 specify its key so the conversion of its cued notes will be done
2367 automatically. The example below shows this transposition for a
2368 B-flat clarinet. The notes in this example are low on the staff so
2369 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2370 down) and the instrument name is positioned below the staff. Note
2371 also that the piano right-hand voice is explicitly declared. This
2372 is because the cued notes in this example begin at the start of the
2373 first bar and this would otherwise cause the entire piano right-hand
2374 notes to be placed in a @code{CueVoice} context.
2376 @lilypond[quote,verbatim]
2377 clarinet = \relative c' {
2381 \addQuote "clarinet" { \clarinet }
2383 pianoRH = \relative c'' {
2385 % position name of cued instrument just before the cued notes
2386 \once \override CueVoice.InstrumentSwitch
2387 #'self-alignment-X = #RIGHT
2388 % position name of cued instrument below the staff
2389 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2390 \set CueVoice.instrumentCueName = "Clar."
2391 \cueDuring "clarinet" #DOWN { c4. g8 }
2394 pianoLH = \relative c { c4 <c' e> e, <g c> }
2413 From these two examples it is clear that inserting many cues in a
2414 Vocal Score would be extremely tedious, and the notes of the piano
2415 part would be obscured by the many overrides. However, as the
2416 following snippet shows, it is possible to define a music function
2417 to reduce the amount of typing and to make the piano notes clearer.
2420 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2421 {adding-orchestral-cues-to-a-vocal-score.ly}
2428 @ref{Aligning objects},
2429 @ref{Direction and placement},
2430 @ref{Formatting cue notes},
2431 @ref{Quoting other voices},
2432 @ref{Using music functions}.
2437 Internals Reference:
2438 @rinternals{InstrumentSwitch},
2439 @rinternals{CueVoice}.
2442 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2443 and all cue notes are placed in that context. This means it is not
2444 possible to have two overlapping sequences of cued notes by this
2445 technique. Overlapping sequences could be entered by explicitly
2446 declaring separate @code{CueVoice} contexts and using
2447 @code{\quoteDuring} to extract and insert the cued notes.
2451 @unnumberedsubsubsec Spoken music
2454 @cindex Sprechgesang
2455 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2456 without pitch but still with rhythm; these are notated by cross
2457 note heads, as demonstrated in @ref{Special note heads}.
2459 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2460 @c add "showing the rhythm of a melody" snip
2461 @c add "one staff-line notation"
2462 @c add "improvisation" ref
2463 @c add "lyrics independents of notes" ref
2465 @node Dialogue over music
2466 @unnumberedsubsubsec Dialogue over music
2468 Dialogue over music is usually printed over the staves in an italic
2469 font, with the start of each phrase keyed in to a particular music
2472 For short interjections a simple markup suffices.
2474 @lilypond[quote,verbatim,relative=2]
2475 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2476 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2480 For longer phrases it may be necessary to expand the music to make
2481 the words fit neatly. There is no provision in LilyPond to do this
2482 fully automatically, and some manual intervention to layout the
2483 page will be necessary.
2485 For long phrases or for passages with a lot of closely packed
2486 dialogue, using a Lyrics context will give better results. The
2487 Lyrics context should not be associated with a music Voice; instead
2488 each section of dialogue should be given an explicit duration. If
2489 there is a gap in the dialogue, the final word should be separated
2490 from the rest and the duration split between them so that the
2491 underlying music spaces out smoothly.
2493 If the dialogue extends for more than one line it will be necessary
2494 to manually insert @code{\break}s and adjust the placing of the
2495 dialogue to avoid running into the right margin. The final word of
2496 the last measure on a line should also be separated out, as above.
2498 Here is an example illustating how this might be done.
2500 @c This should be a snippet, but it can't be as it needs to be
2501 @c manually adjusted to suit the imposed line length. -td
2503 @lilypond[quote,verbatim,ragged-right]
2504 music = \relative c'' {
2505 \repeat unfold 3 { a4 a a a }
2508 dialogue = \lyricmode {
2510 \fontsize #1 \upright \smallCaps Abe:
2511 "Say this over measures one and"
2515 "and this over measure"4*3
2522 \override LyricText #'font-shape = #'italic
2523 \override LyricText #'self-alignment-X = #LEFT
2527 \new Voice { \music }
2533 @c TODO show use of \column to produce dialogue on two lines
2537 @ref{Manual syllable durations},
2541 @rinternals{LyricText}.
2544 @node Chants psalms and hymns
2545 @subsection Chants psalms and hymns
2550 @cindex religious music
2552 The music and words for chants, psalms and hymns usually follow a
2553 well-established format in any particular church. Although the
2554 formats may differ from church to church the type-setting problems
2555 which arise are broadly similar, and are covered in this section.
2558 * References for chants and psalms::
2560 * Pointing a psalm::
2561 * Partial measures in hymn tunes::
2564 @node References for chants and psalms
2565 @unnumberedsubsubsec References for chants and psalms
2567 Typesetting Gregorian chant in various styles of ancient notation
2568 is described in @ref{Ancient notation}.
2572 @ref{Ancient notation}.
2575 @node Setting a chant
2576 @unnumberedsubsubsec Setting a chant
2578 Modern chant settings use modern notation with varying numbers of
2579 elements taken from ancient notation. Some of the elements and
2580 methods to consider are shown here.
2582 Chants often use quarter notes without stems to indicate the pitch,
2583 with the rhythm being taken from the spoken rhythm of the words.
2585 @lilypond[verbatim,quote]
2586 stemOff = { \override Staff.Stem #'transparent = ##t }
2595 Chants often omit the bar lines or use shortened or dotted bar
2596 lines to indicate pauses in the music. To omit all bar lines from
2597 all staves remove the bar line engraver completely:
2599 @lilypond[verbatim,quote]
2620 \remove Bar_engraver
2626 Bar lines can also be removed on a staff-by-staff basis:
2628 @lilypond[verbatim, quote]
2632 \with { \remove Bar_engraver } {
2650 To remove bar lines from just a section of music treat it as a
2651 cadenza. If the section is long you may need to insert dummy
2652 barlines with @code{\bar ""} to show where the line should break.
2654 @lilypond[verbatim,quote,relative=2]
2667 Rests or pauses in chants can be indicated by modified bar lines.
2669 @lilypond[verbatim, quote,relative=2]
2684 Alternatively, the notation used in Gregorian chant for pauses or
2685 rests is sometimes used even though the rest of the notation is
2686 modern. This uses a modified @code{\breathe} mark:
2688 @lilypond[verbatim,quote]
2690 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2691 \once \override BreathingSign #'Y-offset = #0
2695 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2696 \once \override BreathingSign #'Y-offset = #0
2700 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2701 \once \override BreathingSign #'Y-offset = #0
2705 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2706 \once \override BreathingSign #'Y-offset = #0
2724 \remove Bar_engraver
2730 Chants usually omit the time signature and often omit the clef too.
2732 @lilypond[verbatim,quote]
2744 \remove Bar_engraver
2745 \remove Time_signature_engraver
2746 \remove Clef_engraver
2752 Chants for psalms in the Anglican tradition are usually either
2753 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2754 of 7 bars. Each group of 7 bars is divided into two halves,
2755 corresponding to the two halves of each verse, usually separated by
2756 a double bar line. Only whole and half notes are used. The 1st bar
2757 in each half always contains a single chord of whole notes. This is
2758 the @qq{reciting note}. Chants are usually centered on the page.
2760 @lilypond[verbatim,quote]
2761 SopranoMusic = \relative g' {
2762 g1 | c2 b | a1 | \bar "||"
2763 a1 | d2 c | c b | c1 | \bar "||"
2766 AltoMusic = \relative c' {
2768 f1 | f2 e | d d | e1 |
2771 TenorMusic = \relative a {
2773 d1 | g,2 g | g g | g1 |
2776 BassMusic = \relative c {
2778 d1 | b2 c | g' g | c,1 |
2785 % Use markup to center the chant on the page
2794 \new Voice = "Soprano" <<
2798 \new Voice = "Alto" <<
2806 \new Voice = "Tenor" <<
2810 \new Voice = "Bass" <<
2820 \override SpacingSpanner
2821 #'base-shortest-duration = #(ly:make-moment 1 2)
2825 \remove "Time_signature_engraver"
2833 Some other approaches to setting such a chant are shown in the first
2834 of the following snippets.
2838 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2839 {chant-or-psalms-notation.ly}
2841 Canticles and other liturgical texts may be set more freely, and
2842 may use notational elements from ancient music. Often the words
2843 are shown underneath and aligned with the notes. If so, the notes
2844 are spaced in accordance with the syllables rather than the notes'
2847 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2848 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2852 @rlearning{Visibility and color of objects},
2853 @rlearning{Vocal ensembles}.
2856 @ref{Ancient notation},
2858 @ref{Modifying context plug-ins},
2859 @ref{Typesetting Gregorian chant},
2860 @ref{Unmetered music},
2861 @ref{Visibility of objects}.
2864 @node Pointing a psalm
2865 @unnumberedsubsubsec Pointing a psalm
2867 The words to an Anglican psalm are usually printed in separate
2868 verses centered underneath the chant.
2870 Single chants (with 7 bars) are repeated for every verse. Double
2871 chants (with 14 bars) are repeated for every pair of verses. Marks
2872 are inserted in the words to show how they should be fitted to the
2873 chant. Each verse is divided into two halves. A colon is usually
2874 used to indicate this division. This corresponds to the double bar
2875 line in the music. The words before the colon are sung to the first
2876 three bars of music; the words after the colon are sung to the last
2879 Single bar lines (or in some psalters an inverted comma or similar
2880 symbol) are inserted between words to indicate where the bar lines
2881 in the music fall. In markup mode a single bar line can be entered
2882 with the bar check symbol, @code{|}.
2884 @lilypond[verbatim,quote]
2889 \line { O come let us sing | unto the | Lord : let }
2890 \line { us heartily rejoice in the | strength of | our }
2891 \line { sal- | -vation. }
2898 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2899 For details, see @ref{Fonts}.
2901 @lilypond[verbatim,quote]
2903 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2909 \line { O come let us sing \tick unto the \tick Lord : let }
2911 us heartily rejoice in the \tick strength of \tick our
2913 \line { sal \tick vation. }
2920 Where there is one whole note in a bar all the words corresponding
2921 to that bar are recited on that one note in speech rhythm. Where
2922 there are two notes in a bar there will usually be only one or two
2923 corresponding syllables. If there are more that two syllables a
2924 dot is usually inserted to indicate where the change in note occurs.
2926 @lilypond[verbatim,quote]
2928 \raise #0.7 \musicglyph #"dots.dot"
2931 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2938 O come let us sing \tick unto \dot the \tick Lord : let
2941 us heartily rejoice in the \tick strength of \tick our
2943 \line { sal \tick vation. }
2950 In some psalters an asterisk is used to indicate a break in a
2951 recited section instead of a comma, and stressed or slightly
2952 lengthened syllables are indicated in bold text.
2954 @lilypond[verbatim,quote]
2956 \raise #0.7 \musicglyph #"dots.dot"
2959 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2965 \line { Today if ye will hear his voice * }
2967 \concat { \bold hard en }
2968 | not your | hearts : as in the pro-
2970 \line { vocation * and as in the \bold day of tempt- | }
2971 \line { -ation | in the | wilderness. }
2978 In other psalters an accent is placed over the syllable to indicate
2981 @lilypond[verbatim,quote]
2983 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2990 O come let us \concat {
2991 si \combine \tick ng
2993 | unto the | Lord : let
2996 us heartily \concat {
2997 rejo \combine \tick ice
2999 in the | strength of | our
3001 \line { sal- | -vation. }
3008 The use of markup to center text, and arrange lines in columns is
3009 described in @ref{Formatting text}.
3011 Most of these elements are shown in one or other of the two verses
3012 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3016 @rlearning{Vocal ensembles}.
3020 @ref{Formatting text}.
3023 @node Partial measures in hymn tunes
3024 @unnumberedsubsubsec Partial measures in hymn tunes
3026 Hymn tunes frequently start and end every line of music with
3027 partial measures so that each line of music corresponds exactly
3028 with a line of text. This requires a @code{\partial} command at
3029 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3030 commands at the end of each line.
3032 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3036 @node Ancient vocal music
3037 @subsection Ancient vocal music
3039 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3043 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3044 @c and "Transcription of Ancient music with incipit" snippet. -vv
3048 @ref{Ancient notation}.