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, braces should always be surrounded with white space:
130 \lyricmode @{ lah lah lah @}
133 @cindex overrides in lyric mode
134 @funindex \override in \lyricmode
136 Similarly, in lyric mode, a period will be included in the
137 alphabetic sequence that it follows. As a consequence, spaces
138 must be inserted around the period in @code{\override} commands.
142 \override Score.LyricText #'font-shape = #'italic
149 \override Score . LyricText #'font-shape = #'italic
152 Punctuation, lyrics with accented characters, characters from
153 non-English languages, or special characters (such as the heart
154 symbol or slanted quotes), may simply be inserted directly
155 into the input file, providing it is saved with UTF-8 encoding.
156 For more 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 Normal quotes may be used in lyrics, but they have to be preceded
164 with a backslash character and the whole syllable has to be
165 enclosed between additional quotes. For example,
167 @lilypond[quote,verbatim]
168 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
169 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
172 The full definition of a word start in lyrics mode is somewhat more
173 complex. A word in lyrics mode is one that begins with an
174 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
175 @code{'}, the control characters @code{^A} through @code{^F},
176 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
177 character with an ASCII code over 127, or a two-character
178 combination of a backslash followed by one of @code{`}, @code{'},
179 @code{"}, or @code{^}.
181 @c " to balance double quotes for not-so-bright context-sensitive editors
188 @ref{Automatic syllable durations},
191 @ref{Manual syllable durations}.
194 @rinternals{LyricText}.
197 @node Aligning lyrics to a melody
198 @unnumberedsubsubsec Aligning lyrics to a melody
200 @cindex lyrics, aligning to a melody
201 @cindex @code{associatedVoice}
206 Lyrics are printed by interpreting them in the context called
207 @code{Lyrics}, see @ref{Contexts explained}.
210 \new Lyrics \lyricmode @{ @dots{} @}
213 Lyrics can be aligned with melodies in two main ways:
218 Lyrics can be aligned automatically, with the durations of the
219 syllables being taken from another voice of music or (in special
220 circumstances) an associated melody, using @code{\addlyrics},
221 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
222 For more details, see @ref{Automatic syllable durations}.
224 @lilypond[quote,ragged-right,verbatim]
228 \new Voice = "one" \relative c'' {
230 c4 b8. a16 g4. r8 a4 ( b ) c2
232 \new Voice = "two" \relative c' {
238 % takes durations and alignment from notes in "one"
239 \new Lyrics \lyricsto "one" {
240 Life is __ _ love, live __ life.
243 % takes durations and alignment from notes in "one" initially
244 % then switches to "two"
245 \new Lyrics \lyricsto "one" {
247 \set associatedVoice = "two" % must be set one syllable early
248 sins and sor -- rows grow.
253 The first stanza shows the normal way of entering lyrics.
255 The second stanza shows how the voice from which the lyric
256 durations are taken can be changed. This is useful if the words to
257 different stanzas fit the notes in different ways and all the
258 durations are available in Voice contexts. For more details, see
262 Lyrics can be aligned independently of the duration of any notes
263 if the durations of the syllables are specified explicitly,
264 and entered with @code{\lyricmode}.
266 @lilypond[quote,ragged-right,verbatim]
268 \new Voice = "one" \relative c'' {
270 c4 b8. a16 g4. f8 e4 d c2
273 % uses default durations of 2;
274 \new Lyrics \lyricmode {
278 % explicit durations, set to a different rhythm
279 \new Lyrics \lyricmode {
280 Life4 is love,2. live4 life.2
285 The first stanza is not aligned with the notes because the durations
286 were not specified, and the default value of 2 is used for each
289 The second stanza shows how the words can be aligned quite
290 independently from the notes. This is useful if the words to
291 different stanzas fit the notes in different ways and the required
292 durations are not available in a music context. For more details
293 see @ref{Manual syllable durations}. This technical is also useful
294 when setting dialogue over music; for examples showing this, see
295 @ref{Dialogue over music}.
297 When entered in this way the words are left-aligned to the notes
298 by default, but may be center-aligned to the notes of a melody by
299 specifying an associated voice, if one exists. For details, see
300 @ref{Manual syllable durations}.
306 @rlearning{Aligning lyrics to a melody}.
311 @node Automatic syllable durations
312 @unnumberedsubsubsec Automatic syllable durations
314 @cindex syllable durations, automatic
315 @cindex lyrics and melodies
316 @cindex associatedVoice
320 Lyrics can be automatically aligned to the notes of a melody in
326 by specifying the named Voice context containing the melody with
330 by introducing the lyrics with @code{\addlyrics} and placing them
331 immediately after the Voice context containing the melody,
334 by setting the @code{associatedVoice} property, the alignment of
335 the lyrics may be switched to a different named Voice context at
340 In all three methods hyphens can be drawn between the syllables of
341 a word and extender lines can be drawn beyond the end of a word. For
342 details, see @ref{Extenders and hyphens}.
344 The @code{Voice} context containing the melody to which the lyrics
345 are being aligned must not have @qq{died}, or the lyrics after that
346 point will be lost. This can happen if there are periods when that
347 voice has nothing to do. For methods of keeping contexts alive, see
348 @ref{Keeping contexts alive}.
350 @subheading Using @code{\lyricsto}
355 Lyrics can be aligned under a melody automatically by specifying
356 the named Voice context containing the melody with
359 @lilypond[quote,verbatim,relative=2]
361 \new Voice = "melody" {
364 \new Lyrics \lyricsto "melody" {
371 This aligns the lyrics to the notes of the named @code{Voice}
372 context, which must already exist. Therefore normally the
373 @code{Voice} context is specified first, followed by the
374 @code{Lyrics} context. The lyrics themselves follow the
375 @code{\lyricsto} command. The @code{\lyricsto} command
376 invokes lyric mode automatically, so the @code{\lyricmode} keyword
377 may be omitted. By default, the lyrics are placed underneath the
378 notes. For other placements, see @ref{Placing lyrics vertically}.
380 @subheading Using @code{\addlyrics}
385 The @code{\addlyrics} command is just a convenient shortcut that
386 can sometimes be used instead of having to set up the lyrics
387 through a more complicated LilyPond structure.
391 \addlyrics @{ LYRICS @}
398 \new Voice = "blah" @{ MUSIC @}
399 \new Lyrics \lyricsto "blah" @{ LYRICS @}
404 @lilypond[verbatim,quote]
407 \relative c' { c2 e4 g2. }
408 \addlyrics { play the game }
412 More stanzas can be added by adding more
413 @code{\addlyrics} sections:
416 @lilypond[ragged-right,verbatim,fragment,quote]
418 \relative c' { c2 e4 g2. }
419 \addlyrics { play the game }
420 \addlyrics { speel het spel }
421 \addlyrics { joue le jeu }
424 The command @code{\addlyrics} cannot handle polyphonic settings.
425 For these cases one should use @code{\lyricsto}.
427 @subheading Using associatedVoice
429 The melody to which the lyrics are being aligned can be changed by
430 setting the @code{associatedVoice} property,
433 \set associatedVoice = #"lala"
438 The value of the property (here: @code{"lala"}) should be the name
439 of a @code{Voice} context. For technical reasons, the @code{\set}
440 command must be placed one syllable before the one to which the
441 change in voice is to apply.
443 Here is an example demonstrating its use:
445 @lilypond[quote,ragged-right,verbatim]
449 \new Voice = "one" \relative c'' {
451 c4 b8. a16 g4. r8 a4 ( b ) c2
453 \new Voice = "two" \relative c' {
458 % takes durations and alignment from notes in "one" initially
459 % then switches to "two"
460 \new Lyrics \lyricsto "one" {
462 \set associatedVoice = "two" % must be set one syllable early
463 sins and sor -- rows grow.
470 @ref{Extenders and hyphens}.
472 @node Manual syllable durations
473 @unnumberedsubsubsec Manual syllable durations
475 In some complex vocal music, it may be desirable to place lyrics
476 completely independently of notes. In this case do not use
477 @code{\lyricsto} or @code{\addlyrics} and do not set
478 @code{associatedVoice}. Syllables are entered like notes --
479 but with pitches replaced by text -- and the duration of each
480 syllable is entered explicitly after the syllable.
482 By default, syllables will be left-aligned to the corresponding
483 musical moment. Hyphenated lines may be drawn between syllables
484 as usual, but extender lines cannot be drawn when there is no
487 Here are two examples:
489 @lilypond[relative=1,verbatim,quote]
491 \new Voice = "melody" {
495 \new Lyrics \lyricmode {
502 @lilypond[quote,verbatim,ragged-right]
524 This technique is useful when writing dialogue over music, see
525 @ref{Dialogue over music}.
527 To center-align syllables on the notes at the corresponding musical
528 moments, set @code{associatedVoice} to the name of the Voice context
529 containing those notes. When @code{associatedVoice} is set, both
530 double hyphens and double underscores can be used to draw
531 hyphenated lines and extenders under melismata correctly.
533 @lilypond[relative=1,verbatim,quote]
535 \new Voice = "melody" {
539 \new Lyrics \lyricmode {
540 \set associatedVoice = #"melody"
546 @c TODO see also feature request 707 - show how to do this with manual durations
550 @ref{Dialogue over music},
551 @ref{Keeping contexts alive}.
558 @node Multiple syllables to one note
559 @unnumberedsubsubsec Multiple syllables to one note
562 @cindex spaces, in lyrics
563 @cindex quotes, in lyrics
564 @cindex ties, in lyrics
566 In order to assign more than one syllable to a single note with
567 spaces between the syllables, you can surround the phrase with
568 quotes or use a @code{_} character. Alternatively, you can use
569 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
570 tie is implemented with the Unicode character U+203F, so be
571 sure to have a font (like DejaVuLGC) installed that includes this
574 @lilypond[quote,ragged-right,fragment,verbatim]
576 \relative c' { c2 e4 g2 e4 }
577 \addlyrics { gran- de_a- mi- go }
578 \addlyrics { pu- "ro y ho-" nes- to }
579 \addlyrics { pu- ro~y~ho- nes- to }
585 @rinternals{LyricCombineMusic}.
588 @node Multiple notes to one syllable
589 @unnumberedsubsubsec Multiple notes to one syllable
593 @cindex phrasing, in lyrics
595 @funindex \melismaEnd
597 Sometimes, particularly in Medieval music, several notes are to be
598 sung on one syllable; such vocalises are called melismata, or
599 @rglos{melisma}s. The syllable to a melisma is usually
600 left-aligned with the first note of the melisma.
602 When a melisma occurs on a syllable other that the last one in a
603 word, that syllable is usually joined to the following one with a
604 hyphenated line. This is indicated by placing a double hyphen,
605 @code{--}, immediately after the syllable.
607 Alternatively, when a melisma occurs on the last or only syllable in
608 a word an extender line is usually drawn from the end of the syllable
609 to the last note of the melisma. This is indicated by placing a
610 double underscore, @code{__}, immediately after the word.
612 There are five ways in which melismata can be indicated:
617 Melismata are created automatically over notes which are tied
620 @lilypond[quote,relative=2,verbatim]
622 \new Voice = "melody" {
628 \new Lyrics \lyricsto "melody" {
635 Melismata can be created automatically from the music by placing
636 slurs over the notes of each melisma. This is the usual way of
639 @lilypond[quote,relative=2,verbatim]
641 \new Voice = "melody" {
646 \new Lyrics \lyricsto "melody" {
653 Notes are considered a melisma if they are manually beamed,
654 providing automatic beaming is switched off. See
655 @ref{Setting automatic beam behavior}.
657 @lilypond[quote,relative=2,verbatim]
659 \new Voice = "melody" {
665 \new Lyrics \lyricsto "melody" {
671 Clearly this is not suited to melisma over notes which are longer
675 An unslurred group of notes will be treated as a melisma if they
676 are bracketed between @code{\melisma} and @code{\melismaEnd}.
678 @lilypond[quote,relative=2,verbatim]
680 \new Voice = "melody" {
688 \new Lyrics \lyricsto "melody" {
694 Note that this method cannot be used to indicate two melismata if
695 the first one is immediately followed by another.
698 A melisma can be defined entirely in the lyrics by entering a
699 single underscore character, @code{_}, for every extra note that has
700 to be added to the melisma.
702 @lilypond[verbatim, quote, relative=2]
704 \new Voice = "melody" {
709 \new Lyrics \lyricsto "melody" {
710 Ki -- ri -- _ _ _ e __ _ _
717 It is possible to have ties, slurs and manual beams in the melody
718 without their indicating melismata. To do this, set
719 @code{melismaBusyProperties} and indicate the melismata with single
720 underscores in the lyrics, one underscore for each extra note:
722 @lilypond[relative=1,verbatim,quote]
724 \new Voice = "melody" {
726 \set melismaBusyProperties = #'()
731 \new Lyrics \lyricsto "melody" {
732 Ky -- _ _ _ _ ri -- _ _ e __ _
737 Other settings for @code{melismaBusyProperties} can be used to
738 include or exclude ties, slurs, and beams from the automatic
739 detection of melismata; see @code{melismaBusyProperties} in
740 @rinternals{Tunable context properties}.
754 @rlearning{Aligning lyrics to a melody}.
757 @ref{Aligning lyrics to a melody},
758 @ref{Automatic syllable durations},
759 @ref{Setting automatic beam behavior}.
762 @rinternals{Tunable context properties}.
766 Extender lines under melismata are not created automatically; they
767 must be inserted manually with a double underscore.
770 @unnumberedsubsubsec Skipping notes
772 Making a lyric line run slower than the melody can be achieved by
773 inserting @code{\skip}s into the lyrics. For every @code{\skip},
774 the text will be delayed by another note. The @code{\skip} command
775 must be followed by a valid duration, but this is ignored when
776 @code{\skip} is used in lyrics which derive their durations from the
777 notes in an associated melody through @code{\addlyrics} or
780 @lilypond[verbatim,ragged-right,quote]
781 \relative c' { c c g' }
789 @node Extenders and hyphens
790 @unnumberedsubsubsec Extenders and hyphens
795 @c leave this as samp. -gp
796 In the last syllable of a word, melismata are sometimes indicated with
797 a long horizontal line starting in the melisma syllable, and ending in
798 the next one. Such a line is called an extender line, and it is
799 entered as @samp{ __ } (note the spaces before and after the two
800 underscore characters).
802 @warning{Melismata are indicated in the score with extender lines,
803 which are entered as one double underscore; but short melismata can
804 also be entered by skipping individual notes, which are entered as
805 single underscore characters; these do not make an extender line to be
810 @c leave this as samp. -gp
811 Centered hyphens are entered as @samp{ -- } between syllables of a same word
812 (note the spaces before and after the two hyphen characters). The hyphen
813 will be centered between the syllables, and its length will be adjusted
814 depending on the space between the syllables.
816 In tightly engraved music, hyphens can be removed. Whether this
817 happens can be controlled with the @code{minimum-distance} (minimum
818 distance between two syllables) and the @code{minimum-length}
819 (threshold below which hyphens are removed).
824 @rinternals{LyricExtender},
825 @rinternals{LyricHyphen}.
828 @node Techniques specific to lyrics
829 @subsection Techniques specific to lyrics
831 @c TODO this whole section is to be reorganised
834 * Working with lyrics and variables::
835 * Placing lyrics vertically::
836 * Placing syllables horizontally::
837 * Lyrics and repeats::
843 @node Working with lyrics and variables
844 @unnumberedsubsubsec Working with lyrics and variables
846 @c TODO rewrite this section
848 @cindex lyrics, variables
850 To define variables containing lyrics, the function @code{\lyricmode}
851 must be used. Durations do not need to be added if the variable is
852 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
854 @lilypond[quote,verbatim]
855 verseOne = \lyricmode { Joy to the world, the Lord is come. }
858 \new Voice = "one" \relative c'' {
861 c4 b8. a16 g4. f8 e4 d c2
863 \addlyrics { \verseOne }
868 For different or more complex orderings, the best way is to set up the
869 hierarchy of staves and lyrics first, e.g.,
872 \new Voice = "soprano" @{ @emph{music} @}
873 \new Lyrics = "sopranoLyrics" @{ s1 @}
874 \new Lyrics = "tenorLyrics" @{ s1 @}
875 \new Voice = "tenor" @{ @emph{music} @}
880 and then combine the appropriate melodies and lyric lines:
883 \context Lyrics = sopranoLyrics \lyricsto "soprano"
888 The final input would resemble
893 @emph{setup the music}
895 \lyricsto "soprano" @emph{etc}
896 \lyricsto "alto" @emph{etc}
903 @rinternals{LyricCombineMusic},
907 @node Placing lyrics vertically
908 @unnumberedsubsubsec Placing lyrics vertically
910 @cindex placement of lyrics
911 @cindex lyrics, positioning
913 Depending on the type of music, lyrics may be positioned
914 above the staff, below the staff, or between staves. Placing
915 lyrics below the associated staff is the easiest, and can be
916 achieved by simply defining the Lyrics context below the Staff
919 @lilypond[quote,verbatim]
923 \new Voice = "melody" {
924 \relative c'' { c4 c c c }
936 Lyrics may be positioned above the staff using one of
937 two methods. The simplest is to use the same syntax as
938 above and explicitly specify the position of the lyrics:
940 @lilypond[quote,verbatim]
943 \new Staff = "staff" {
944 \new Voice = "melody" {
945 \relative c'' { c4 c c c }
948 \new Lyrics \with { alignAboveContext = "staff" } {
957 Alternatively, a two-step process may be used. First the Lyrics
958 context is declared (without any content) before the Staff and
959 Voice contexts, then the @code{\lyricsto} command comes after
960 the Voice declaration it references, as follows:
962 @lilypond[quote,verbatim]
965 \new Lyrics = "lyrics"
967 \new Voice = "melody" {
968 \relative c'' { c4 c c c }
971 \context Lyrics = "lyrics" {
980 When there are two voices on separate staves the lyrics may be
981 placed between the staves using either of these methods. Here
982 is an example of the second method:
984 @lilypond[quote,verbatim]
988 \new Voice = "sopranos" {
989 \relative c'' { c4 c c c }
992 \new Lyrics = "sopranos"
993 \new Lyrics = "contraltos"
995 \new Voice = "contraltos" {
996 \relative c'' { a4 a a a }
999 \context Lyrics = "sopranos" {
1000 \lyricsto "sopranos" {
1001 Sop -- ra -- no words
1004 \context Lyrics = "contraltos" {
1005 \lyricsto "contraltos" {
1006 Con -- tral -- to words
1013 Other combinations of lyrics and staves may be generated by
1014 elaborating these examples, or by examining the
1015 @rlearning{Vocal ensembles} templates in the Learning Manual.
1019 @rlearning{Vocal ensembles}.
1022 @ref{Aligning contexts},
1023 @ref{Creating contexts}.
1025 @node Placing syllables horizontally
1026 @unnumberedsubsubsec Placing syllables horizontally
1028 @cindex Spacing lyrics
1029 @cindex Lyrics, increasing space between
1031 To increase the spacing between lyrics, set the @code{minimum-distance}
1032 property of @code{LyricSpace}.
1034 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1037 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1041 longtext longtext longtext longtext
1042 longtext longtext longtext longtext
1047 To make this change for all lyrics in the score, set the property in the
1050 @lilypond[verbatim,quote,ragged-right]
1057 longtext longtext longtext longtext
1058 longtext longtext longtext longtext
1063 \override LyricSpace #'minimum-distance = #1.0
1070 @c This snippet has been renamed to "lyrics-alignment.ly"
1071 @c update as soon as lsr/is updated -vv
1072 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1073 @c {lyrics-alignment.ly}
1075 @c TODO: move to LSR -vv
1078 Checking to make sure that text scripts and lyrics are within the margins is
1079 a relatively large computational task. To speed up processing, LilyPond does
1080 not perform such calculations by default; to enable it, use
1083 \override Score.PaperColumn #'keep-inside-line = ##t
1086 To make lyrics avoid bar lines as well, use
1092 \consists "Bar_engraver"
1093 \consists "Separating_line_group_engraver"
1094 \override BarLine #'transparent = ##t
1099 @c TODO Create and add lsr example of lyricMelismaAlignment
1100 @c It's used like this to center-align all lyric syllables,
1101 @c even when notes are tied. -td
1106 \context { \Score lyricMelismaAlignment = #0 }
1111 @node Lyrics and repeats
1112 @unnumberedsubsubsec Lyrics and repeats
1114 @cindex repeats and lyrics
1115 @cindex lyrics, repeating
1117 @subheading Simple repeats
1119 Repeats in @emph{music} are fully described elsewhere; see
1120 @ref{Repeats}. This section explains how to add lyrics to repeated
1123 Lyrics to a section of music that is repeated should be surrounded
1124 by exactly the same repeat construct as the music, if the words are
1127 @lilypond[verbatim,quote]
1131 \new Voice = "melody" {
1134 \repeat volta 2 { b4 b b b }
1139 \lyricsto "melody" {
1140 Not re -- peat -- ed.
1141 \repeat volta 2 { Re -- peat -- ed twice. }
1148 The words will then be correctly expanded if the repeats are
1151 @lilypond[verbatim,quote]
1156 \new Voice = "melody" {
1159 \repeat volta 2 { b4 b b b }
1164 \lyricsto "melody" {
1165 Not re -- peat -- ed.
1166 \repeat volta 2 { Re -- peat -- ed twice. }
1174 If the repeated section is to be unfolded and has different words,
1175 simply enter all the words:
1177 @lilypond[verbatim,quote,ragged-right]
1181 \new Voice = "melody" {
1184 \repeat unfold 2 { b4 b b b }
1189 \lyricsto "melody" {
1190 Not re -- peat -- ed.
1191 The first time words.
1192 Sec -- ond time words.
1202 When the words to a repeated volta section are different, the words
1203 to each repeat must be entered in separate @code{Lyrics} contexts.
1204 Earlier unrepeated sections must be skipped in the second and
1205 subsequent repeats. The easiest way to skip several notes is to
1206 use @code{\repeat unfold} around the @code{\skip} command.
1208 Note: do not use an underscore, @code{_}, to skip notes in this
1209 particular case. As this syntax indicates a melisma, it will cause
1210 the preceding syllable to be left-aligned.
1212 @warning{The @code{@bs{}skip} command must be followed by a number,
1213 but this number is ignored in lyrics which derive their durations
1214 from the notes in an associated melody through @code{\addlyrics} or
1215 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1216 value, irrespective of the value of the following number.}
1218 @lilypond[verbatim,quote]
1222 \new Voice = "melody" {
1225 \repeat volta 2 { b4 b b b }
1230 \lyricsto "melody" {
1231 Not re -- peat -- ed.
1232 The first time words.
1236 \lyricsto "melody" {
1237 % skip 4 notes of any duration
1238 \repeat unfold 4 { \skip 1 }
1239 Sec -- ond time words.
1246 @cindex lyrics, repeating with a temporary voice
1248 An alternative way, which avoids skips and having to count notes,
1249 is to use a temporary voice for the repeated section. This may be
1250 preferable if the earlier sections are still subject to change. A
1251 temporary voice can be inserted anywhere in the main music stream
1252 in parallel with it, as shown below, but it may be necessary to
1253 keep the main voice alive in complex scores when using this
1254 technique; see @ref{Keeping contexts alive}.
1256 @lilypond[verbatim,quote,ragged-right]
1260 \new Voice = "singleVoice" {
1261 \relative c'' { a4 a a a }
1262 \new Voice = "repeatVoice" {
1263 \relative c'' \repeat volta 3 { b4 b b b }
1265 \relative c'' { c4 c c c }
1269 \lyricsto "singleVoice" {
1270 Not re -- peat -- ed.
1271 The end sec -- tion.
1273 \lyricsto "repeatVoice" {
1274 The first time words.
1278 \lyricsto "repeatVoice" {
1279 Sec -- ond time words.
1283 \lyricsto "repeatVoice" {
1284 The third time words.
1291 @c TODO lowering a common line of lyrics
1293 @subheading Repeats with alternative endings
1295 @cindex lyrics, repeats with alternative endings
1296 @cindex repeating lyrics with alternative endings
1297 @cindex alternative endings and lyrics
1299 If the words of the repeated section are the same, exactly the
1300 same structure can be used for both the lyrics and music.
1302 @lilypond[quote,verbatim]
1307 \new Voice = "melody" {
1310 \repeat volta 2 { b4 b }
1311 \alternative { { b b } { b c } }
1316 \lyricsto "melody" {
1317 Not re -- peat -- ed.
1318 \repeat volta 2 { Re -- peat -- }
1319 \alternative { { ed twice. } { ed twice. } }
1326 But when the repeated section has different words, a repeat
1327 construct cannot be used around the words and @code{\skip} commands
1328 have to be inserted manually as described in the previous section to
1329 skip over the notes in the alternative sections which do not apply.
1331 @lilypond[verbatim,quote,ragged-right]
1336 \new Voice = "melody" {
1338 \repeat volta 2 { b4 b }
1339 \alternative { { b b } { b c } }
1345 \lyricsto "melody" {
1346 The first time words.
1347 \repeat unfold 2 { \skip 1 }
1352 \lyricsto "melody" {
1354 \repeat unfold 2 { \skip 1 }
1362 @cindex lyrics and tied notes
1363 @funindex \repeatTie
1365 When a note is tied over into two or more alternative endings a
1366 tie is used to carry the note into the first alternative ending and
1367 a @code{\repeatTie} is used in the second and subsequent endings.
1368 This structure causes difficult alignment problems when lyrics are
1369 involved and increasing the length of the alternative sections so
1370 the tied notes are contained wholly within them may give a more
1373 The tie creates a melisma into the first alternative, but not into
1374 the second and subsequent alternatives, so to align the lyrics
1375 correctly it is necessary to disable the automatic creation of
1376 melismata over the volta section and insert manual skips.
1378 @lilypond[quote,verbatim]
1383 \new Voice = "melody" {
1385 \set melismaBusyProperties = #'()
1386 \repeat volta 2 { b4 b ~}
1387 \alternative { { b b } { b \repeatTie c } }
1388 \unset melismaBusyProperties
1394 \lyricsto "melody" {
1395 \repeat volta 2 { Here's a __ }
1407 Note that if @code{\unfoldRepeats} is used around a section
1408 containing @code{\repeatTie}, the @code{\repeatTie} should be
1409 removed to avoid both types of tie being printed.
1411 When the repeated section has different words a @code{\repeat}
1412 cannot be used around the lyrics and @code{\skip} commands need to
1413 be inserted manually, as before.
1415 @lilypond[quote,verbatim]
1420 \new Voice = "melody" {
1422 \repeat volta 2 { b4 b ~}
1423 \alternative { { b b } { b \repeatTie c } }
1429 \lyricsto "melody" {
1431 \repeat unfold 2 { \skip 1 }
1435 \lyricsto "melody" {
1437 \repeat unfold 2 { \skip 1 }
1445 If you wish to show extenders and hyphens into and out of
1446 alternative sections these must be inserted manually.
1448 @lilypond[quote,verbatim]
1453 \new Voice = "melody" {
1455 \repeat volta 2 { b4 b ~}
1456 \alternative { { b b } { b \repeatTie c } }
1462 \lyricsto "melody" {
1464 \repeat unfold 2 { \skip 1 }
1468 \lyricsto "melody" {
1481 @unnumberedsubsubsec Divisi lyrics
1483 @cindex divided lyrics
1484 @cindex lyrics, divided
1486 When just the words and rhythms of the two parts differ with the
1487 pitches remaining the same, temporarily turning off the automatic
1488 detection of melismata and indicating the melisma in the lyrics
1489 may be the appropriate method to use:
1491 @lilypond[quote,verbatim]
1494 \new Voice = "melody" {
1496 \set melismaBusyProperties = #'()
1500 \unset melismaBusyProperties
1504 \new Lyrics \lyricsto "melody" {
1505 They shall not o -- ver -- come
1507 \new Lyrics \lyricsto "melody" {
1514 When both music and words differ it may be better to display
1515 the differing music and lyrics by naming voice contexts and
1516 attaching lyrics to those specific contexts:
1518 @lilypond[verbatim,ragged-right,quote]
1521 \new Voice = "melody" {
1528 \new Voice = "splitpart" {
1538 \new Lyrics \lyricsto "melody" {
1539 They shall not o -- ver -- come
1541 \new Lyrics \lyricsto "splitpart" {
1553 * Adding stanza numbers::
1554 * Adding dynamics marks to stanzas::
1555 * Adding singers' names to stanzas::
1556 * Stanzas with different rhythms::
1557 * Printing stanzas at the end::
1558 * Printing stanzas at the end in multiple columns::
1562 @node Adding stanza numbers
1563 @unnumberedsubsubsec Adding stanza numbers
1565 @cindex stanza number
1567 Stanza numbers can be added by setting @code{stanza}, e.g.,
1569 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1571 \time 3/4 g2 e4 a2 f4 g2.
1573 \set stanza = #"1. "
1574 Hi, my name is Bert.
1576 \set stanza = #"2. "
1577 Oh, ché -- ri, je t'aime
1583 These numbers are put just before the start of the first syllable.
1585 @c TODO Create and add snippet to show how two lines of a
1586 @c stanza can be grouped together, along these lines:
1587 @c (might need improving a bit) -td
1590 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1594 \set stanza = \markup { "1. " \leftbrace }
1595 \lyricmode { Child, you're mine and I love you.
1596 Lend thine ear to what I say.
1602 % \set stanza = \markup { " "}
1603 \lyricmode { Child, I have no great -- er joy
1604 Than to have you walk in truth.
1610 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1611 c'8 c' c' c' c' c' c'4 }
1612 } \addlyrics { \stanzaOneOne }
1613 \addlyrics { \stanzaOneThree }
1617 @node Adding dynamics marks to stanzas
1618 @unnumberedsubsubsec Adding dynamics marks to stanzas
1620 Stanzas differing in loudness may be indicated by putting a
1621 dynamics mark before each stanza. In LilyPond, everything coming in
1622 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1623 are no different. For technical reasons, you have to set the stanza
1624 outside @code{\lyricmode}:
1626 @lilypond[quote,ragged-right,verbatim]
1628 \set stanza = \markup { \dynamic "ff" "1. " }
1635 \new Voice = "tune" {
1639 \new Lyrics \lyricsto "tune" \text
1643 @node Adding singers' names to stanzas
1644 @unnumberedsubsubsec Adding singers' names to stanzas
1647 @cindex name of singer
1649 Names of singers can also be added. They are printed at the start of
1650 the line, just like instrument names. They are created by setting
1651 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1653 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1655 \time 3/4 g2 e4 a2 f4 g2.
1657 \set vocalName = #"Bert "
1658 Hi, my name is Bert.
1660 \set vocalName = #"Ernie "
1661 Oh, ché -- ri, je t'aime
1665 @node Stanzas with different rhythms
1666 @unnumberedsubsubsec Stanzas with different rhythms
1668 Often, different stanzas of one song are put to one melody in slightly
1669 differing ways. Such variations can still be captured with
1672 @subsubheading Ignoring melismata
1674 One possibility is that the text has a melisma in one stanza, but
1675 multiple syllables in another one. One solution is to make the faster
1676 voice ignore the melisma. This is done by setting
1677 @code{ignoreMelismata} in the Lyrics context.
1679 @lilypond[verbatim,ragged-right,quote]
1681 \relative c' \new Voice = "lahlah" {
1682 \set Staff.autoBeaming = ##f
1688 \new Lyrics \lyricsto "lahlah" {
1691 \new Lyrics \lyricsto "lahlah" {
1693 \set ignoreMelismata = ##t
1695 \unset ignoreMelismata
1702 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1703 not work if prefixed with @code{\once}. It is necessary to use
1704 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1707 @subsubheading Adding syllables to grace notes
1709 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1710 syllables when using @code{\lyricsto}, but this behavior can be
1713 @lilypond[verbatim,ragged-right,quote]
1715 f4 \appoggiatura a32 b4
1716 \grace { f16[ a16] } b2
1717 \afterGrace b2 { f16[ a16] }
1718 \appoggiatura a32 b4
1723 \set includeGraceNotes = ##t
1726 after -- grace case,
1727 \set ignoreMelismata = ##t
1734 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1735 set at latest one syllable before the one which is to be put under a
1736 grace note. For the case of a grace note at the very beginning of a
1737 piece of music, consider using a @code{\with} or @code{\context}
1740 @lilypond[verbatim,ragged-right,quote]
1742 \new Voice = melody \relative c' {
1743 \grace { c16[( d e f] }
1746 \new Lyrics \with { includeGraceNotes = ##t }
1753 @subsubheading Switching to an alternative melody
1755 More complex variations in text underlay are possible. It is possible
1756 to switch the melody for a line of lyrics during the text. This is
1757 done by setting the @code{associatedVoice} property. In the example
1759 @lilypond[ragged-right,quote]
1761 \relative c' \new Voice = "lahlah" {
1762 \set Staff.autoBeaming = ##f
1765 \new Voice = "alternative" {
1768 % show associations clearly.
1769 \override NoteColumn #'force-hshift = #-3
1780 \new Lyrics \lyricsto "lahlah" {
1781 Ju -- ras -- sic Park
1783 \new Lyrics \lyricsto "lahlah" {
1784 % Tricky: need to set associatedVoice
1785 % one syllable too soon!
1786 \set associatedVoice = alternative % applies to "ran"
1790 \set associatedVoice = lahlah % applies to "rus"
1796 the text for the first stanza is set to a melody called @q{lahlah},
1799 \new Lyrics \lyricsto "lahlah" @{
1800 Ju -- ras -- sic Park
1805 The second stanza initially is set to the @code{lahlah} context, but
1806 for the syllable @q{ran}, it switches to a different melody.
1807 This is achieved with
1809 \set associatedVoice = alternative
1813 Here, @code{alternative} is the name of the @code{Voice} context
1814 containing the triplet.
1816 @c TODO: make this easier to understand -vv
1817 This command must be one syllable too early, before @q{Ty} in this
1818 case. In other words, changing the associatedVoice happens one step
1819 later than expected. This is for technical reasons, and it is not a
1823 \new Lyrics \lyricsto "lahlah" @{
1824 \set associatedVoice = alternative % applies to "ran"
1828 \set associatedVoice = lahlah % applies to "rus"
1834 The underlay is switched back to the starting situation by assigning
1835 @code{lahlah} to @code{associatedVoice}.
1838 @node Printing stanzas at the end
1839 @unnumberedsubsubsec Printing stanzas at the end
1841 Sometimes it is appropriate to have one stanza set
1842 to the music, and the rest added in verse form at
1843 the end of the piece. This can be accomplished by adding
1844 the extra verses into a @code{\markup} section outside
1845 of the main score block. Notice that there are two
1846 different ways to force linebreaks when using
1849 @lilypond[ragged-right,verbatim,quote]
1850 melody = \relative c' {
1856 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1857 its fleece was white as snow.
1861 \new Voice = "one" { \melody }
1862 \new Lyrics \lyricsto "one" \text
1868 \line{ All the children laughed and played }
1869 \line{ To see a lamb at school. }
1876 Mary took it home again,
1878 It was against the rule."
1883 @node Printing stanzas at the end in multiple columns
1884 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1886 When a piece of music has many verses, they are often printed in
1887 multiple columns across the page. An outdented verse number often
1888 introduces each verse. The following example shows how to produce such
1891 @lilypond[ragged-right,quote,verbatim]
1892 melody = \relative c' {
1897 \set stanza = #"1." This is verse one.
1902 \new Voice = "one" { \melody }
1903 \new Lyrics \lyricsto "one" \text
1910 \hspace #0.1 % moves the column off the left margin;
1911 % can be removed if space on the page is tight
1915 "This is verse two."
1919 \hspace #0.1 % adds vertical spacing between verses
1922 "This is verse three."
1927 \hspace #0.1 % adds horizontal spacing between columns;
1928 % if they are still too close, add more " " pairs
1929 % until the result looks good
1933 "This is verse four."
1937 \hspace #0.1 % adds vertical spacing between verses
1940 "This is verse five."
1945 \hspace #0.1 % gives some extra space on the right margin;
1946 % can be removed if page space is tight
1953 Internals Reference:
1954 @rinternals{LyricText},
1955 @rinternals{StanzaNumber}.
1962 * References for songs::
1966 @node References for songs
1967 @unnumberedsubsubsec References for songs
1969 Songs are usually written on three staves with the melody for the
1970 singer on the top staff and two staves of piano accompaniment at
1971 the bottom. The lyrics of the first stanza are printed immediately
1972 underneath the top staff. If there are just a small number of
1973 further stanzas these can be printed immediately under the first
1974 one, but if there are more stanzas than can be easily accommodated
1975 there the second and subsequent stanzas are printed after the music
1976 as stand-alone text.
1978 All the notational elements needed to write songs are fully described
1984 For constructing the staff layout, see @ref{Displaying staves}.
1987 For writing piano music, see
1988 @ref{Keyboard and other multi-staff instruments}.
1991 For writing the lyrics to a melody line, see
1992 @ref{Common notation for vocal music}.
1995 For placing the lyrics, see @ref{Placing lyrics vertically}.
1998 For entering stanzas, see @ref{Stanzas}.
2001 Songs are frequently printed with the chording indicated by chord
2002 names above the staves. This is described in
2003 @ref{Displaying chords}.
2006 To print fret diagrams of the chords for guitar accompaniment or
2007 accompaniment by other fretted instruments, see @qq{Fret diagram
2008 markups} in @ref{Common notation for fretted strings}.
2017 @ref{Common notation for vocal music},
2018 @ref{Displaying chords},
2019 @ref{Displaying staves},
2020 @ref{Keyboard and other multi-staff instruments},
2021 @ref{Placing lyrics vertically},
2025 @unnumberedsubsubsec Lead sheets
2027 Lead sheets may be printed by combining vocal parts and @q{chord mode};
2028 this syntax is explained in @ref{Chord notation}.
2031 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2032 {simple-lead-sheet.ly}
2036 @ref{Chord notation}.
2047 This section discusses notation issues that relate most directly
2048 to choral music. This includes anthems, part songs, oratorio,
2052 * References for choral::
2053 * Score layouts for choral::
2057 @node References for choral
2058 @unnumberedsubsubsec References for choral
2060 Choral music is usually notated on two, three or four staves within
2061 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2062 beneath in a @code{PianoStaff} group, which is usually reduced in
2063 size for @emph{a capella} choral works. The notes for each vocal
2064 part are placed in a @code{Voice} context, with each staff
2065 being given either a single vocal part (i.e., one @code{Voice}) or
2066 a pair of vocal parts (i.e., two @code{Voice}s).
2068 Words are placed in @code{Lyrics} contexts, either underneath each
2069 corresponding music staff, or one above and one below the music
2070 staff if this contains the music for two parts.
2072 Several common topics in choral music are described fully elsewhere:
2077 An introduction to creating an SATB vocal score can be found in
2078 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2081 Several templates suitable for various styles of choral music can
2082 also be found in the Learning Manual, see
2083 @rlearning{Vocal ensembles}.
2086 For information about @code{ChoirStaff} and @code{PianoStaff} see
2087 @ref{Grouping staves}.
2090 Shape noteheads, as used in Sacred Harp and similar notation, are
2091 described in @ref{Shape note heads}.
2094 When two vocal parts share a staff the stems, ties, slurs, etc., of
2095 the higher part will be directed up and those of the lower part
2096 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2097 @ref{Single-staff polyphony}.
2108 @rlearning{Four-part SATB vocal score},
2109 @rlearning{Vocal ensembles}.
2112 @ref{Context layout order},
2113 @ref{Grouping staves},
2114 @ref{Shape note heads},
2115 @ref{Single-staff polyphony}.
2117 Internals Reference:
2118 @rinternals{ChoirStaff},
2119 @rinternals{Lyrics},
2120 @rinternals{PianoStaff}.
2122 @node Score layouts for choral
2123 @unnumberedsubsubsec Score layouts for choral
2125 Choral music containing four staves, with or without piano
2126 accompaniment, is usually laid out with two systems per page.
2127 Depending on the page size, achieving this may require changes
2128 to several default settings. The following settings should be
2134 The global staff size can be modified to change the overall size
2135 of the elements of the score. See @ref{Setting the staff size}.
2138 The distances between the systems, the staves and the lyrics can
2139 all be adjusted independently. See @ref{Vertical spacing}.
2142 The dimensions of the vertical layout variables can be displayed as
2143 an aid to adjusting the vertical spacing. This and other
2144 possibilities for fitting the music onto fewer pages are described
2145 in @ref{Fitting music onto fewer pages}.
2148 If the number of systems per page changes from one to two it is
2149 customary to indicate this with a system separator mark between
2150 the two systems. See @ref{Separating systems}.
2153 For details of other page formatting properties, see
2154 @ref{Page formatting}.
2159 Dynamic markings by default are placed below the staff, but in
2160 choral music they are usually placed above the staff in order to
2161 avoid the lyrics. The predefined command @code{\dynamicUp} does
2162 this for the dynamic markings in a single @code{Voice} context.
2163 If there are many @code{Voice} contexts this predefined command
2164 would have to be placed in every one. Alternatively its expanded
2165 form can be used to place all dynamic markings in the entire score
2166 above their respective staves, as shown here:
2168 @lilypond[verbatim,quote]
2173 \relative c'' { g4\f g g g }
2178 \relative c' { d4 d d\p d }
2185 \override DynamicText #'direction = #UP
2186 \override DynamicLineSpanner #'direction = #UP
2193 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2197 @ref{Changing spacing},
2198 @ref{Displaying spacing},
2199 @ref{Fitting music onto fewer pages},
2200 @ref{Page formatting},
2202 @ref{Separating systems},
2203 @ref{Setting the staff size},
2204 @ref{Using an extra voice for breaks},
2205 @ref{Vertical spacing}.
2207 Internals Reference:
2208 @rinternals{VerticalAxisGroup},
2209 @rinternals{StaffGrouper}.
2212 @node Divided voices
2213 @unnumberedsubsubsec Divided voices
2215 @cindex voices, divided
2217 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2218 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2222 @ref{Expressive marks as lines}.
2225 @node Opera and stage musicals
2226 @subsection Opera and stage musicals
2228 The music, lyrics and dialogue to opera and stage musicals are
2229 usually set out in one or more of the following forms:
2234 A @emph{Conductors' Score} containing the full orchestral and vocal
2235 parts, together with libretto cues if there are spoken passages.
2238 @emph{Orchestral Parts} containing the music for the individual
2239 instruments of the orchestra or band.
2242 A @emph{Vocal Score} containing all vocal parts with piano
2243 accompaniment. The accompaniment is usually an orchestral
2244 reduction, and if so the name of the original orchestral instrument
2245 is often indicated. Vocal scores sometimes includes stage
2246 directions and libretto cues.
2249 A @emph{Vocal Book} containing just the vocal parts
2250 (no accompaniment), sometimes combined with the libretto.
2253 A @emph{Libretto} containing the extended passages of spoken
2254 dialogue usually found in musicals, together with the words to the
2255 sung parts. Stage directions are usually included. LilyPond can
2256 be used to typeset libretti but as they contain no music
2257 alternative methods may be preferable.
2261 The sections in the LilyPond documentation which cover the topics
2262 needed to create scores in the styles commonly found in opera and
2263 musicals are indicated in the References below. This is followed
2264 by sections covering those techniques which are peculiar to
2265 typesetting opera and musical scores.
2268 * References for opera and stage musicals::
2272 * Dialogue over music::
2275 @node References for opera and stage musicals
2276 @unnumberedsubsubsec References for opera and stage musicals
2281 A conductors' score contains many grouped staves and lyrics. Ways
2282 of grouping staves is shown in @ref{Grouping staves}. To nest
2283 groups of staves see @ref{Nested staff groups}.
2286 The printing of empty staves in conductors' scores and vocal scores
2287 is often suppressed. To create such a @qq{Frenched score} see
2288 @ref{Hiding staves}.
2291 Writing orchestral parts is covered in @ref{Writing parts}.
2292 Other sections in the Specialist notation chapter may be relevant,
2293 depending on the orchestration used. Many instruments are
2294 transposing instruments, see @ref{Instrument transpositions}.
2297 If the number of systems per page changes from page to page it is
2298 customary to separate the systems with a system separator mark.
2299 See @ref{Separating systems}.
2302 For details of other page formatting properties, see
2303 @ref{Page formatting}.
2306 Dialogue cues and stage directions can be inserted with markup.
2307 See @ref{Text}. Extensive stage directions can be inserted with
2308 a section of stand-alone markup between two @code{\score} blocks.
2309 See @ref{Separate text}.
2315 @rglos{Frenched score},
2316 @rglos{Frenched staves},
2317 @rglos{transposing instrument}.
2320 @ref{Grouping staves},
2321 @ref{Hiding staves},
2322 @ref{Instrument transpositions},
2323 @ref{Nested staff groups},
2324 @ref{Page formatting},
2325 @ref{Separating systems},
2327 @ref{Writing parts},
2331 @node Character names
2332 @unnumberedsubsubsec Character names
2334 @cindex character names
2335 @cindex names, character
2337 Character names are usually shown to the left of the staff when the
2338 staff is dedicated to that character alone. The instrument name can
2339 be used for this purpose.
2341 @lilypond[quote,verbatim,ragged-right]
2345 \set Staff.instrumentName = #"Kaspar"
2346 \set Staff.shortInstrumentName = #"Kas"
2355 \set Staff.instrumentName = #"Melchior"
2356 \set Staff.shortInstrumentName = #"Mel"
2367 When two or more characters share a staff the character's name is
2368 usually printed above the staff at the start of every section
2369 applying to that character. This can be done with markup. Often a
2370 specific font is used for this purpose.
2372 @lilypond[quote,verbatim,relative=1]
2374 c4^\markup \fontsize #1 \smallCaps Kaspar
2377 a4^\markup \fontsize #1 \smallCaps Melchior
2380 c4^\markup \fontsize #1 \smallCaps Kaspar
2384 Alternatively, if there are many character changes, it may be
2385 easier to set up @qq{instrument} definitions for each character at
2386 the top level so that @code{\instrumentSwitch} can be used to
2387 indicate each change.
2389 @lilypond[quote,verbatim]
2390 \addInstrumentDefinition #"kaspar"
2391 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2392 (shortInstrumentName . "Kas.")
2393 (clefGlyph . "clefs.G")
2394 (clefOctavation . -7)
2395 (middleCPosition . 1)
2397 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2398 (midiInstrument . "voice oohs"))
2400 \addInstrumentDefinition #"melchior"
2401 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2402 (shortInstrumentName . "Mel.")
2403 (clefGlyph . "clefs.F")
2404 (clefOctavation . 0)
2405 (middleCPosition . 6)
2407 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2408 (midiInstrument . "voice aahs"))
2411 \instrumentSwitch "kaspar"
2413 \instrumentSwitch "melchior"
2415 \instrumentSwitch "kaspar"
2422 @ref{Instrument names},
2423 @ref{Scheme functions},
2425 @ref{Text markup commands}.
2428 @rextend{Markup construction in Scheme}.
2431 @unnumberedsubsubsec Musical cues
2433 @cindex musical cues
2434 @cindex cues, musical
2436 Musical cues can be inserted in Vocal Scores, Vocal Books and
2437 Orchestral Parts to indicate what music in another part
2438 immediately precedes an entry. Also, cues are often inserted in the
2439 piano reduction in Vocal Scores to indicate what each orchestral
2440 instrument is playing. This aids the conductor when a full
2441 Conductors' Score is not available.
2443 The basic mechanism for inserting cues is fully explained in the
2444 main text, see @ref{Quoting other voices} and
2445 @ref{Formatting cue notes}. But when many cues have to be
2446 inserted, for example, as an aid to a conductor in a vocal score,
2447 the instrument name must be positioned carefully just before and
2448 close to the start of the cued notes. The following example shows
2449 how this is done. Note that the name of the grob for overriding
2450 the cued instrument name is @code{InstrumentSwitch}.
2452 @lilypond[quote,verbatim]
2453 flute = \relative c'' {
2456 \addQuote "flute" { \flute }
2458 pianoRH = \relative c'' {
2460 % position name of cued instrument just before the cued notes
2461 \once \override CueVoice.InstrumentSwitch
2462 #'self-alignment-X = #RIGHT
2463 % position name of cued instrument above the staff
2464 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2465 \set CueVoice.instrumentCueName = "Flute"
2466 \cueDuring "flute" #UP { g4 bes4 }
2468 pianoLH = \relative c { c4 <c' e> e, <g c> }
2483 If a transposing instrument is being cued the instrument part should
2484 specify its key so the conversion of its cued notes will be done
2485 automatically. The example below shows this transposition for a
2486 B-flat clarinet. The notes in this example are low on the staff so
2487 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2488 down) and the instrument name is positioned below the staff. Note
2489 also that the piano right-hand voice is explicitly declared. This
2490 is because the cued notes in this example begin at the start of the
2491 first bar and this would otherwise cause the entire piano right-hand
2492 notes to be placed in a @code{CueVoice} context.
2494 @lilypond[quote,verbatim]
2495 clarinet = \relative c' {
2499 \addQuote "clarinet" { \clarinet }
2501 pianoRH = \relative c'' {
2503 % position name of cued instrument just before the cued notes
2504 \once \override CueVoice.InstrumentSwitch
2505 #'self-alignment-X = #RIGHT
2506 % position name of cued instrument below the staff
2507 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2508 \set CueVoice.instrumentCueName = "Clar."
2509 \cueDuring "clarinet" #DOWN { c4. g8 }
2512 pianoLH = \relative c { c4 <c' e> e, <g c> }
2531 From these two examples it is clear that inserting many cues in a
2532 Vocal Score would be extremely tedious, and the notes of the piano
2533 part would be obscured by the many overrides. However, as the
2534 following snippet shows, it is possible to define a music function
2535 to reduce the amount of typing and to make the piano notes clearer.
2538 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2539 {adding-orchestral-cues-to-a-vocal-score.ly}
2546 @ref{Aligning objects},
2547 @ref{Direction and placement},
2548 @ref{Formatting cue notes},
2549 @ref{Quoting other voices},
2550 @ref{Using music functions}.
2555 Internals Reference:
2556 @rinternals{InstrumentSwitch},
2557 @rinternals{CueVoice}.
2560 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2561 and all cue notes are placed in that context. This means it is not
2562 possible to have two overlapping sequences of cued notes by this
2563 technique. Overlapping sequences could be entered by explicitly
2564 declaring separate @code{CueVoice} contexts and using
2565 @code{\quoteDuring} to extract and insert the cued notes.
2569 @unnumberedsubsubsec Spoken music
2572 @cindex Sprechgesang
2573 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2574 without pitch but still with rhythm; these are notated by cross
2575 note heads, as demonstrated in @ref{Special note heads}.
2577 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2578 @c add "showing the rhythm of a melody" snip
2579 @c add "one staff-line notation"
2580 @c add "improvisation" ref
2581 @c add "lyrics independents of notes" ref
2583 @node Dialogue over music
2584 @unnumberedsubsubsec Dialogue over music
2586 Dialogue over music is usually printed over the staves in an italic
2587 font, with the start of each phrase keyed in to a particular music
2590 For short interjections a simple markup suffices.
2592 @lilypond[quote,verbatim,relative=2]
2593 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2594 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2598 For longer phrases it may be necessary to expand the music to make
2599 the words fit neatly. There is no provision in LilyPond to do this
2600 fully automatically, and some manual intervention to layout the
2601 page will be necessary.
2603 For long phrases or for passages with a lot of closely packed
2604 dialogue, using a Lyrics context will give better results. The
2605 Lyrics context should not be associated with a music Voice; instead
2606 each section of dialogue should be given an explicit duration. If
2607 there is a gap in the dialogue, the final word should be separated
2608 from the rest and the duration split between them so that the
2609 underlying music spaces out smoothly.
2611 If the dialogue extends for more than one line it will be necessary
2612 to manually insert @code{\break}s and adjust the placing of the
2613 dialogue to avoid running into the right margin. The final word of
2614 the last measure on a line should also be separated out, as above.
2616 Here is an example illustating how this might be done.
2618 @c This should be a snippet, but it can't be as it needs to be
2619 @c manually adjusted to suit the imposed line length. -td
2621 @lilypond[quote,verbatim,ragged-right]
2622 music = \relative c'' {
2623 \repeat unfold 3 { a4 a a a }
2626 dialogue = \lyricmode {
2628 \fontsize #1 \upright \smallCaps Abe:
2629 "Say this over measures one and"
2633 "and this over measure"4*3
2640 \override LyricText #'font-shape = #'italic
2641 \override LyricText #'self-alignment-X = #LEFT
2645 \new Voice { \music }
2651 @c TODO show use of \column to produce dialogue on two lines
2655 @ref{Manual syllable durations},
2659 @rinternals{LyricText}.
2662 @node Chants psalms and hymns
2663 @subsection Chants psalms and hymns
2668 @cindex religious music
2670 The music and words for chants, psalms and hymns usually follow a
2671 well-established format in any particular church. Although the
2672 formats may differ from church to church the type-setting problems
2673 which arise are broadly similar, and are covered in this section.
2676 * References for chants and psalms::
2678 * Pointing a psalm::
2679 * Partial measures in hymn tunes::
2682 @node References for chants and psalms
2683 @unnumberedsubsubsec References for chants and psalms
2685 Typesetting Gregorian chant in various styles of ancient notation
2686 is described in @ref{Ancient notation}.
2690 @ref{Ancient notation}.
2693 @node Setting a chant
2694 @unnumberedsubsubsec Setting a chant
2696 Modern chant settings use modern notation with varying numbers of
2697 elements taken from ancient notation. Some of the elements and
2698 methods to consider are shown here.
2700 Chants often use quarter notes without stems to indicate the pitch,
2701 with the rhythm being taken from the spoken rhythm of the words.
2703 @lilypond[verbatim,quote]
2704 stemOff = { \override Staff.Stem #'transparent = ##t }
2713 Chants often omit the bar lines or use shortened or dotted bar
2714 lines to indicate pauses in the music. To omit all bar lines from
2715 all staves remove the bar line engraver completely:
2717 @lilypond[verbatim,quote]
2738 \remove Bar_engraver
2744 Bar lines can also be removed on a staff-by-staff basis:
2746 @lilypond[verbatim, quote]
2750 \with { \remove Bar_engraver } {
2768 To remove bar lines from just a section of music treat it as a
2769 cadenza. If the section is long you may need to insert dummy
2770 barlines with @code{\bar ""} to show where the line should break.
2772 @lilypond[verbatim,quote,relative=2]
2785 Rests or pauses in chants can be indicated by modified bar lines.
2787 @lilypond[verbatim, quote,relative=2]
2802 Alternatively, the notation used in Gregorian chant for pauses or
2803 rests is sometimes used even though the rest of the notation is
2804 modern. This uses a modified @code{\breathe} mark:
2806 @lilypond[verbatim,quote]
2808 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2809 \once \override BreathingSign #'Y-offset = #0
2813 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2814 \once \override BreathingSign #'Y-offset = #0
2818 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2819 \once \override BreathingSign #'Y-offset = #0
2823 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2824 \once \override BreathingSign #'Y-offset = #0
2842 \remove Bar_engraver
2848 Chants usually omit the time signature and often omit the clef too.
2850 @lilypond[verbatim,quote]
2862 \remove Bar_engraver
2863 \remove Time_signature_engraver
2864 \remove Clef_engraver
2870 Chants for psalms in the Anglican tradition are usually either
2871 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2872 of 7 bars. Each group of 7 bars is divided into two halves,
2873 corresponding to the two halves of each verse, usually separated by
2874 a double bar line. Only whole and half notes are used. The 1st bar
2875 in each half always contains a single chord of whole notes. This is
2876 the @qq{reciting note}. Chants are usually centered on the page.
2878 @lilypond[verbatim,quote]
2879 SopranoMusic = \relative g' {
2880 g1 | c2 b | a1 | \bar "||"
2881 a1 | d2 c | c b | c1 | \bar "||"
2884 AltoMusic = \relative c' {
2886 f1 | f2 e | d d | e1 |
2889 TenorMusic = \relative a {
2891 d1 | g,2 g | g g | g1 |
2894 BassMusic = \relative c {
2896 d1 | b2 c | g' g | c,1 |
2903 % Use markup to center the chant on the page
2912 \new Voice = "Soprano" <<
2916 \new Voice = "Alto" <<
2924 \new Voice = "Tenor" <<
2928 \new Voice = "Bass" <<
2938 \override SpacingSpanner
2939 #'base-shortest-duration = #(ly:make-moment 1 2)
2943 \remove "Time_signature_engraver"
2951 Some other approaches to setting such a chant are shown in the first
2952 of the following snippets.
2956 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2957 {chant-or-psalms-notation.ly}
2959 Canticles and other liturgical texts may be set more freely, and
2960 may use notational elements from ancient music. Often the words
2961 are shown underneath and aligned with the notes. If so, the notes
2962 are spaced in accordance with the syllables rather than the notes'
2965 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2966 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2970 @rlearning{Visibility and color of objects},
2971 @rlearning{Vocal ensembles}.
2974 @ref{Ancient notation},
2976 @ref{Modifying context plug-ins},
2977 @ref{Typesetting Gregorian chant},
2978 @ref{Unmetered music},
2979 @ref{Visibility of objects}.
2982 @node Pointing a psalm
2983 @unnumberedsubsubsec Pointing a psalm
2985 The words to an Anglican psalm are usually printed in separate
2986 verses centered underneath the chant.
2988 Single chants (with 7 bars) are repeated for every verse. Double
2989 chants (with 14 bars) are repeated for every pair of verses. Marks
2990 are inserted in the words to show how they should be fitted to the
2991 chant. Each verse is divided into two halves. A colon is usually
2992 used to indicate this division. This corresponds to the double bar
2993 line in the music. The words before the colon are sung to the first
2994 three bars of music; the words after the colon are sung to the last
2997 Single bar lines (or in some psalters an inverted comma or similar
2998 symbol) are inserted between words to indicate where the bar lines
2999 in the music fall. In markup mode a single bar line can be entered
3000 with the bar check symbol, @code{|}.
3002 @lilypond[verbatim,quote]
3007 \line { O come let us sing | unto the | Lord : let }
3008 \line { us heartily rejoice in the | strength of | our }
3009 \line { sal- | -vation. }
3016 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3017 For details, see @ref{Fonts}.
3019 @lilypond[verbatim,quote]
3021 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3027 \line { O come let us sing \tick unto the \tick Lord : let }
3029 us heartily rejoice in the \tick strength of \tick our
3031 \line { sal \tick vation. }
3038 Where there is one whole note in a bar all the words corresponding
3039 to that bar are recited on that one note in speech rhythm. Where
3040 there are two notes in a bar there will usually be only one or two
3041 corresponding syllables. If there are more that two syllables a
3042 dot is usually inserted to indicate where the change in note occurs.
3044 @lilypond[verbatim,quote]
3046 \raise #0.7 \musicglyph #"dots.dot"
3049 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3056 O come let us sing \tick unto \dot the \tick Lord : let
3059 us heartily rejoice in the \tick strength of \tick our
3061 \line { sal \tick vation. }
3068 In some psalters an asterisk is used to indicate a break in a
3069 recited section instead of a comma, and stressed or slightly
3070 lengthened syllables are indicated in bold text.
3072 @lilypond[verbatim,quote]
3074 \raise #0.7 \musicglyph #"dots.dot"
3077 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3083 \line { Today if ye will hear his voice * }
3085 \concat { \bold hard en }
3086 | not your | hearts : as in the pro-
3088 \line { vocation * and as in the \bold day of tempt- | }
3089 \line { -ation | in the | wilderness. }
3096 In other psalters an accent is placed over the syllable to indicate
3099 @lilypond[verbatim,quote]
3101 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3108 O come let us \concat {
3109 si \combine \tick ng
3111 | unto the | Lord : let
3114 us heartily \concat {
3115 rejo \combine \tick ice
3117 in the | strength of | our
3119 \line { sal- | -vation. }
3126 The use of markup to center text, and arrange lines in columns is
3127 described in @ref{Formatting text}.
3129 Most of these elements are shown in one or other of the two verses
3130 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3134 @rlearning{Vocal ensembles}.
3138 @ref{Formatting text}.
3141 @node Partial measures in hymn tunes
3142 @unnumberedsubsubsec Partial measures in hymn tunes
3144 Hymn tunes frequently start and end every line of music with
3145 partial measures so that each line of music corresponds exactly
3146 with a line of text. This requires a @code{\partial} command at
3147 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3148 commands at the end of each line.
3150 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3154 @node Ancient vocal music
3155 @subsection Ancient vocal music
3157 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3161 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3162 @c and "Transcription of Ancient music with incipit" snippet. -vv
3166 @ref{Ancient notation}.