1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
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15 @lilypondfile[quote]{vocal-headword.ly}
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
95 @unnumberedsubsubsec Entering lyrics
97 @cindex lyrics, entering
98 @cindex entering lyrics
99 @cindex punctuation in lyrics
100 @cindex lyrics punctuation
101 @cindex spaces in lyrics
102 @cindex quotes in lyrics
105 @c TODO should we explain hyphens here
107 Lyrics are entered in a special input mode, which can be introduced
108 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
109 @code{\lyricsto}. In this special input mode, the input @code{d}
110 is not parsed as the pitch @notation{D}, but rather as a one-letter
111 syllable of text. In other words, syllables are entered like notes
112 but with pitches replaced by text.
117 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
120 There are two main methods for specifying the horizontal placement
121 of the syllables, either by specifying the duration of each syllable
122 explicitly, as in the example above, or by leaving the lyrics to be
123 aligned automatically to a melody or other voice of music, using
124 @code{\addlyrics} or @code{\lyricsto}. The former method is
125 described below in @ref{Manual syllable durations}. The latter
126 method is described in @ref{Automatic syllable durations}.
128 A word or syllable of lyrics begins with an alphabetic character
129 (plus some other characters, see below) and is terminated by any
130 white space or a digit. Later characters in the syllable can be any
131 character that is not a digit or white space.
133 Because any character that is not a digit or white space is regarded
134 as part of the syllable, a word is valid even if it ends with
135 @code{@}}, which often leads to the following mistake:
138 \lyricmode @{ lah lah lah@}
141 In this example, the @code{@}} is included in the final syllable, so the
142 opening brace is not balanced and the input file will probably not
143 compile. Instead, braces should always be surrounded with white space:
146 \lyricmode @{ lah lah lah @}
149 @cindex overrides in lyric mode
150 @funindex \override in \lyricmode
152 Similarly, in lyric mode, a period will be included in the
153 alphabetic sequence that it follows. As a consequence, spaces
154 must be inserted around the period in @code{\override} commands.
158 \override Score.LyricText #'font-shape = #'italic
165 \override Score . LyricText #'font-shape = #'italic
168 Punctuation, lyrics with accented characters, characters from
169 non-English languages, or special characters (such as the heart
170 symbol or slanted quotes), may simply be inserted directly
171 into the input file, providing it is saved with UTF-8 encoding.
172 For more information, see @ref{Text encoding}.
174 @lilypond[quote,verbatim]
175 \relative c'' { d8 c16 a bes8 f e' d c4 }
176 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
179 Normal quotes may be used in lyrics, but they have to be preceded
180 with a backslash character and the whole syllable has to be
181 enclosed between additional quotes. For example,
183 @lilypond[quote,verbatim]
184 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
185 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
188 The full definition of a word start in lyrics mode is somewhat more
189 complex. A word in lyrics mode is one that begins with an
190 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
191 @code{'}, the control characters @code{^A} through @code{^F},
192 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
193 character with an ASCII code over 127, or a two-character
194 combination of a backslash followed by one of @code{`}, @code{'},
195 @code{"}, or @code{^}.
197 @c " to balance double quotes for not-so-bright context-sensitive editors
204 @ref{Automatic syllable durations},
207 @ref{Manual syllable durations},
211 @rinternals{LyricText}.
214 @node Aligning lyrics to a melody
215 @unnumberedsubsubsec Aligning lyrics to a melody
217 @cindex lyrics, aligning to a melody
218 @cindex @code{associatedVoice}
223 Lyrics are printed by interpreting them in the context called
224 @code{Lyrics}, see @ref{Contexts explained}.
227 \new Lyrics \lyricmode @{ @dots{} @}
230 Lyrics can be aligned with melodies in two main ways:
235 Lyrics can be aligned automatically, with the durations of the
236 syllables being taken from another voice of music or (in special
237 circumstances) an associated melody, using @code{\addlyrics},
238 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
239 For more details, see @ref{Automatic syllable durations}.
241 @lilypond[quote,ragged-right,verbatim]
245 \new Voice = "one" \relative c'' {
247 c4 b8. a16 g4. r8 a4 ( b ) c2
249 \new Voice = "two" \relative c' {
255 % takes durations and alignment from notes in "one"
256 \new Lyrics \lyricsto "one" {
257 Life is __ _ love, live __ life.
260 % takes durations and alignment from notes in "one" initially
261 % then switches to "two"
262 \new Lyrics \lyricsto "one" {
264 \set associatedVoice = "two" % must be set one syllable early
265 sins and sor -- rows grow.
270 The first stanza shows the normal way of entering lyrics.
272 The second stanza shows how the voice from which the lyric
273 durations are taken can be changed. This is useful if the words to
274 different stanzas fit the notes in different ways and all the
275 durations are available in Voice contexts. For more details, see
279 Lyrics can be aligned independently of the duration of any notes
280 if the durations of the syllables are specified explicitly,
281 and entered with @code{\lyricmode}.
283 @lilypond[quote,ragged-right,verbatim]
285 \new Voice = "one" \relative c'' {
287 c4 b8. a16 g4. f8 e4 d c2
290 % uses previous explicit duration of 2;
291 \new Lyrics \lyricmode {
295 % explicit durations, set to a different rhythm
296 \new Lyrics \lyricmode {
297 Life4 is love,2. live4 life.2
302 The first stanza is not aligned with the notes because the durations
303 were not specified, and the previous value of 2 is used for each
306 The second stanza shows how the words can be aligned quite
307 independently from the notes. This is useful if the words to
308 different stanzas fit the notes in different ways and the required
309 durations are not available in a music context. For more details
310 see @ref{Manual syllable durations}. This technique is also useful
311 when setting dialogue over music; for examples showing this, see
312 @ref{Dialogue over music}.
314 When entered in this way the words are left-aligned to the notes
315 by default, but may be center-aligned to the notes of a melody by
316 specifying an associated voice, if one exists. For details, see
317 @ref{Manual syllable durations}.
323 @rlearning{Aligning lyrics to a melody}.
326 @ref{Contexts explained},
327 @ref{Automatic syllable durations}.
329 @ref{Manual syllable durations},
330 @ref{Dialogue over music},
331 @ref{Manual syllable durations}.
336 @node Automatic syllable durations
337 @unnumberedsubsubsec Automatic syllable durations
339 @cindex syllable durations, automatic
340 @cindex lyrics and melodies
341 @cindex associatedVoice
345 Lyrics can be automatically aligned to the notes of a melody in
351 by specifying the named Voice context containing the melody with
355 by introducing the lyrics with @code{\addlyrics} and placing them
356 immediately after the Voice context containing the melody,
359 by setting the @code{associatedVoice} property, the alignment of
360 the lyrics may be switched to a different named Voice context at
365 In all three methods hyphens can be drawn between the syllables of
366 a word and extender lines can be drawn beyond the end of a word. For
367 details, see @ref{Extenders and hyphens}.
369 The @code{Voice} context containing the melody to which the lyrics
370 are being aligned must not have @qq{died}, or the lyrics after that
371 point will be lost. This can happen if there are periods when that
372 voice has nothing to do. For methods of keeping contexts alive, see
373 @ref{Keeping contexts alive}.
375 @subheading Using @code{\lyricsto}
380 Lyrics can be aligned under a melody automatically by specifying
381 the named Voice context containing the melody with
384 @lilypond[quote,verbatim,relative=2]
386 \new Voice = "melody" {
389 \new Lyrics \lyricsto "melody" {
396 This aligns the lyrics to the notes of the named @code{Voice}
397 context, which must already exist. Therefore normally the
398 @code{Voice} context is specified first, followed by the
399 @code{Lyrics} context. The lyrics themselves follow the
400 @code{\lyricsto} command. The @code{\lyricsto} command
401 invokes lyric mode automatically, so the @code{\lyricmode} keyword
402 may be omitted. By default, the lyrics are placed underneath the
403 notes. For other placements, see @ref{Placing lyrics vertically}.
405 @subheading Using @code{\addlyrics}
410 The @code{\addlyrics} command is just a convenient shortcut that
411 can sometimes be used instead of having to set up the lyrics
412 through a more complicated LilyPond structure.
416 \addlyrics @{ LYRICS @}
423 \new Voice = "blah" @{ MUSIC @}
424 \new Lyrics \lyricsto "blah" @{ LYRICS @}
429 @lilypond[verbatim,quote]
432 \relative c' { c2 e4 g2. }
433 \addlyrics { play the game }
437 More stanzas can be added by adding more
438 @code{\addlyrics} sections:
441 @lilypond[ragged-right,verbatim,quote]
444 \relative c' { c2 e4 g2. }
445 \addlyrics { play the game }
446 \addlyrics { speel het spel }
447 \addlyrics { joue le jeu }
451 The command @code{\addlyrics} cannot handle polyphonic settings.
452 For these cases one should use @code{\lyricsto}.
454 @subheading Using associatedVoice
456 The melody to which the lyrics are being aligned can be changed by
457 setting the @code{associatedVoice} property,
460 \set associatedVoice = #"lala"
465 The value of the property (here: @code{"lala"}) should be the name
466 of a @code{Voice} context. For technical reasons, the @code{\set}
467 command must be placed one syllable before the one to which the
468 change in voice is to apply.
470 Here is an example demonstrating its use:
472 @lilypond[quote,ragged-right,verbatim]
476 \new Voice = "one" \relative c'' {
478 c4 b8. a16 g4. r8 a4 ( b ) c2
480 \new Voice = "two" \relative c' {
485 % takes durations and alignment from notes in "one" initially
486 % then switches to "two"
487 \new Lyrics \lyricsto "one" {
489 \set associatedVoice = "two" % must be set one syllable early
490 sins and sor -- rows grow.
497 @ref{Extenders and hyphens},
498 @ref{Keeping contexts alive},
499 @ref{Placing lyrics vertically}.
501 @node Manual syllable durations
502 @unnumberedsubsubsec Manual syllable durations
504 In some complex vocal music, it may be desirable to place lyrics
505 completely independently of notes. In this case do not use
506 @code{\lyricsto} or @code{\addlyrics} and do not set
507 @code{associatedVoice}. Syllables are entered like notes --
508 but with pitches replaced by text -- and the duration of each
509 syllable is entered explicitly after the syllable.
511 By default, syllables will be left-aligned to the corresponding
512 musical moment. Hyphenated lines may be drawn between syllables
513 as usual, but extender lines cannot be drawn when there is no
516 Here are two examples:
518 @lilypond[relative=1,verbatim,quote]
520 \new Voice = "melody" {
524 \new Lyrics \lyricmode {
531 @lilypond[quote,verbatim,ragged-right]
553 This technique is useful when writing dialogue over music, see
554 @ref{Dialogue over music}.
556 To center-align syllables on the notes at the corresponding musical
557 moments, set @code{associatedVoice} to the name of the Voice context
558 containing those notes. When @code{associatedVoice} is set, both
559 double hyphens and double underscores can be used to draw
560 hyphenated lines and extenders under melismata correctly.
562 @lilypond[relative=1,verbatim,quote]
564 \new Voice = "melody" {
568 \new Lyrics \lyricmode {
569 \set associatedVoice = #"melody"
575 @c TODO see also feature request 707 - show how to do this with manual durations
579 @ref{Dialogue over music}.
586 @node Multiple syllables to one note
587 @unnumberedsubsubsec Multiple syllables to one note
590 @cindex spaces, in lyrics
591 @cindex quotes, in lyrics
592 @cindex ties, in lyrics
594 In order to assign more than one syllable to a single note with
595 spaces between the syllables, you can surround the phrase with
596 quotes or use a @code{_} character. Alternatively, you can use
597 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
598 tie is implemented with the Unicode character U+203F, so be
599 sure to use a font for this glyph which actually contains it.
600 Freely available fonts with a lyric tie are, for example,
601 `FreeSerif' (a Times clone), `DejaVuSans' (but not
602 `DejaVuSerif'), or `TeXGyreSchola' (a Century Schoolbook
605 @lilypond[quote,ragged-right,verbatim]
608 \relative c' { c2 e4 g2 e4 }
609 \addlyrics { gran- de_a- mi- go }
610 \addlyrics { pu- "ro y ho-" nes- to }
611 \addlyrics { pu- ro~y~ho- nes- to }
618 @rinternals{LyricCombineMusic}.
621 @node Multiple notes to one syllable
622 @unnumberedsubsubsec Multiple notes to one syllable
626 @cindex phrasing, in lyrics
628 @funindex \melismaEnd
630 Sometimes, particularly in Medieval music, several notes are to be
631 sung on one syllable; such vocalises are called melismata, or
632 @rglos{melisma}s. The syllable to a melisma is usually
633 left-aligned with the first note of the melisma.
635 When a melisma occurs on a syllable other that the last one in a
636 word, that syllable is usually joined to the following one with a
637 hyphenated line. This is indicated by placing a double hyphen,
638 @code{--}, immediately after the syllable.
640 Alternatively, when a melisma occurs on the last or only syllable in
641 a word an extender line is usually drawn from the end of the syllable
642 to the last note of the melisma. This is indicated by placing a
643 double underscore, @code{__}, immediately after the word.
645 There are five ways in which melismata can be indicated:
650 Melismata are created automatically over notes which are tied
653 @lilypond[quote,relative=2,verbatim]
655 \new Voice = "melody" {
661 \new Lyrics \lyricsto "melody" {
668 Melismata can be created automatically from the music by placing
669 slurs over the notes of each melisma. This is the usual way of
672 @lilypond[quote,relative=2,verbatim]
674 \new Voice = "melody" {
679 \new Lyrics \lyricsto "melody" {
686 Notes are considered a melisma if they are manually beamed,
687 providing automatic beaming is switched off. See
688 @ref{Setting automatic beam behavior}.
690 @lilypond[quote,relative=2,verbatim]
692 \new Voice = "melody" {
698 \new Lyrics \lyricsto "melody" {
704 Clearly this is not suited to melismata over notes which are longer
708 An unslurred group of notes will be treated as a melisma if they
709 are bracketed between @code{\melisma} and @code{\melismaEnd}.
711 @lilypond[quote,relative=2,verbatim]
713 \new Voice = "melody" {
721 \new Lyrics \lyricsto "melody" {
727 Note that this method cannot be used to indicate two melismata if
728 the first one is immediately followed by another.
731 A melisma can be defined entirely in the lyrics by entering a
732 single underscore character, @code{_}, for every extra note that has
733 to be added to the melisma.
735 @lilypond[verbatim, quote, relative=2]
737 \new Voice = "melody" {
742 \new Lyrics \lyricsto "melody" {
743 Ky -- ri -- _ _ _ e __ _ _
750 It is possible to have ties, slurs and manual beams in the melody
751 without their indicating melismata. To do this, set
752 @code{melismaBusyProperties}:
754 @lilypond[relative=1,verbatim,quote]
756 \new Voice = "melody" {
758 \set melismaBusyProperties = #'()
762 \new Lyrics \lyricsto "melody" {
763 Ky -- ri -- e e -- le -- i -- son
768 Other settings for @code{melismaBusyProperties} can be used to
769 selectively include or exclude ties, slurs, and beams from the
770 automatic detection of melismata; see @code{melismaBusyProperties}
771 in @rinternals{Tunable context properties}.
773 Alternatively, if all melismata indications are to be ignored,
774 @code{ignoreMelismata} may be set true;
775 see @ref{Stanzas with different rhythms}.
777 If a melisma is required during a passage in which
778 @code{melismaBusyProperties} is active, it may be indicated by
779 placing a single underscore in the lyrics for each note which
780 should be included in the melisma:
782 @lilypond[relative=1,verbatim,quote]
784 \new Voice = "melody" {
786 \set melismaBusyProperties = #'()
790 \new Lyrics \lyricsto "melody" {
791 Ky -- ri -- _ e __ _ _ _
809 @rlearning{Aligning lyrics to a melody}.
812 @ref{Aligning lyrics to a melody},
813 @ref{Automatic syllable durations},
814 @ref{Setting automatic beam behavior},
815 @ref{Stanzas with different rhythms}.
818 @rinternals{Tunable context properties}.
822 Extender lines under melismata are not created automatically; they
823 must be inserted manually with a double underscore.
826 @node Extenders and hyphens
827 @unnumberedsubsubsec Extenders and hyphens
832 @c TODO cf Multiple notes to one syllable; should this be merged in?
834 @c leave this as samp. -gp
835 In the last syllable of a word, melismata are sometimes indicated with
836 a long horizontal line starting in the melisma syllable, and ending in
837 the next one. Such a line is called an extender line, and it is
838 entered as @samp{ __ } (note the spaces before and after the two
839 underscore characters).
841 @warning{Melismata are indicated in the score with extender lines,
842 which are entered as one double underscore; but short melismata can
843 also be entered by skipping individual notes, which are entered as
844 single underscore characters; these do not make an extender line to be
849 @c leave this as samp. -gp
850 Centered hyphens are entered as @samp{ -- } between syllables of a
851 same word (note the spaces before and after the two hyphen
852 characters). The hyphen will be centered between the syllables, and
853 its length will be adjusted depending on the space between the
856 In tightly engraved music, hyphens can be removed. Whether this
857 happens can be controlled with the @code{minimum-distance} (minimum
858 distance between two syllables) and the @code{minimum-length}
859 (threshold below which hyphens are removed) properties of
865 @rinternals{LyricExtender},
866 @rinternals{LyricHyphen}.
869 @node Techniques specific to lyrics
870 @subsection Techniques specific to lyrics
872 @c TODO this whole section is to be reorganised
875 * Working with lyrics and variables::
876 * Placing lyrics vertically::
877 * Placing syllables horizontally::
878 * Lyrics and repeats::
884 @node Working with lyrics and variables
885 @unnumberedsubsubsec Working with lyrics and variables
887 @cindex lyrics, using variables
889 Variables containing lyrics can be created, but the lyrics must be
890 entered in lyric mode:
892 @lilypond[quote,verbatim]
893 musicOne = \relative c'' {
894 c4 b8. a16 g4. f8 e4 d c2
896 verseOne = \lyricmode {
897 Joy to the world, the Lord is come.
905 \new Lyrics \lyricsto "one" {
912 Durations do not need to be added if the variable is to be invoked
913 with @code{\addlyrics} or @code{\lyricsto}.
915 For different or more complex orderings, the best way is to define
916 the music and lyric variables first, then set up the hierarchy of
917 staves and lyrics, omitting the lyrics themselves, and then add the
918 lyrics using @code{\context} underneath. This ensures that the
919 voices referenced by @code{\lyricsto} have always been defined
920 earlier. For example:
922 @lilypond[quote,verbatim]
923 sopranoMusic = \relative c'' { c4 c c c }
924 contraltoMusic = \relative c'' { a4 a a a }
925 sopranoWords = \lyricmode { Sop -- ra -- no words }
926 contraltoWords = \lyricmode { Con -- tral -- to words }
931 \new Voice = "sopranos" {
935 \new Lyrics = "sopranos"
936 \new Lyrics = "contraltos"
938 \new Voice = "contraltos" {
942 \context Lyrics = "sopranos" {
943 \lyricsto "sopranos" {
947 \context Lyrics = "contraltos" {
948 \lyricsto "contraltos" {
959 @ref{Placing lyrics vertically}.
962 @rinternals{LyricCombineMusic},
966 @node Placing lyrics vertically
967 @unnumberedsubsubsec Placing lyrics vertically
969 @cindex placement of lyrics
970 @cindex lyrics, positioning
972 Depending on the type of music, lyrics may be positioned
973 above the staff, below the staff, or between staves. Placing
974 lyrics below the associated staff is the easiest, and can be
975 achieved by simply defining the Lyrics context below the Staff
978 @lilypond[quote,verbatim]
982 \new Voice = "melody" {
983 \relative c'' { c4 c c c }
995 Lyrics may be positioned above the staff using one of
996 two methods. The simplest (and preferred) method
997 is to use the same syntax as above and explicitly
998 specify the position of the lyrics:
1000 @lilypond[quote,verbatim]
1003 \new Staff = "staff" {
1004 \new Voice = "melody" {
1005 \relative c'' { c4 c c c }
1008 \new Lyrics \with { alignAboveContext = "staff" } {
1009 \lyricsto "melody" {
1017 Alternatively, a two-step process may be used. First the Lyrics
1018 context is declared (without any content) before the Staff and
1019 Voice contexts, then the @code{\lyricsto} command is placed after
1020 the Voice declaration it references by using @code{\context}, as
1023 @lilypond[quote,verbatim]
1026 \new Lyrics = "lyrics" \with {
1027 % lyrics above a staff should have this override
1028 \override VerticalAxisGroup #'staff-affinity = #DOWN
1031 \new Voice = "melody" {
1032 \relative c'' { c4 c c c }
1035 \context Lyrics = "lyrics" {
1036 \lyricsto "melody" {
1044 When there are two voices on separate staves the lyrics may be
1045 placed between the staves using either of these methods. Here
1046 is an example of the second method:
1048 @lilypond[quote,verbatim]
1052 \new Voice = "sopranos" {
1053 \relative c'' { c4 c c c }
1056 \new Lyrics = "sopranos"
1057 \new Lyrics = "contraltos" \with {
1058 % lyrics above a staff should have this override
1059 \override VerticalAxisGroup #'staff-affinity = #DOWN
1062 \new Voice = "contraltos" {
1063 \relative c'' { a4 a a a }
1066 \context Lyrics = "sopranos" {
1067 \lyricsto "sopranos" {
1068 Sop -- ra -- no words
1071 \context Lyrics = "contraltos" {
1072 \lyricsto "contraltos" {
1073 Con -- tral -- to words
1080 Other combinations of lyrics and staves may be generated by
1081 elaborating these examples, or by examining the
1082 @rlearning{Vocal ensembles} templates in the Learning Manual.
1085 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1086 {lyrics-old-spacing-settings.ly}
1090 @rlearning{Vocal ensembles}.
1093 @ref{Aligning contexts},
1094 @ref{Creating contexts}.
1096 @node Placing syllables horizontally
1097 @unnumberedsubsubsec Placing syllables horizontally
1099 @cindex Spacing lyrics
1100 @cindex Lyrics, increasing space between
1102 To increase the spacing between lyrics, set the
1103 @code{minimum-distance} property of @code{LyricSpace}.
1105 @lilypond[relative=1,verbatim,quote,ragged-right]
1108 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1112 longtext longtext longtext longtext
1113 longtext longtext longtext longtext
1118 To make this change for all lyrics in the score, set the property in the
1119 @code{\layout} block.
1121 @lilypond[verbatim,quote,ragged-right]
1128 longtext longtext longtext longtext
1129 longtext longtext longtext longtext
1134 \override LyricSpace #'minimum-distance = #1.0
1141 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1142 {lyrics-alignment.ly}
1144 @c TODO: move to LSR -vv
1146 Checking to make sure that text scripts and lyrics are within the
1147 margins is a relatively large computational task. To speed up processing,
1148 LilyPond does not perform such calculations by default; to enable it, use
1151 \override Score.PaperColumn #'keep-inside-line = ##t
1154 To make lyrics avoid bar lines as well, use
1160 \consists "Bar_engraver"
1161 \consists "Separating_line_group_engraver"
1162 \override BarLine #'transparent = ##t
1167 @c TODO Create and add lsr example of lyricMelismaAlignment
1168 @c It's used like this to center-align all lyric syllables,
1169 @c even when notes are tied. -td
1174 \context { \Score lyricMelismaAlignment = #0 }
1179 @node Lyrics and repeats
1180 @unnumberedsubsubsec Lyrics and repeats
1182 @cindex repeats and lyrics
1183 @cindex lyrics, repeating
1185 @subheading Simple repeats
1187 Repeats in @emph{music} are fully described elsewhere; see
1188 @ref{Repeats}. This section explains how to add lyrics to repeated
1191 Lyrics to a section of music that is repeated should be surrounded
1192 by exactly the same repeat construct as the music, if the words are
1195 @lilypond[verbatim,quote]
1199 \new Voice = "melody" {
1202 \repeat volta 2 { b4 b b b }
1207 \lyricsto "melody" {
1208 Not re -- peat -- ed.
1209 \repeat volta 2 { Re -- peat -- ed twice. }
1216 The words will then be correctly expanded if the repeats are
1219 @lilypond[verbatim,quote]
1224 \new Voice = "melody" {
1227 \repeat volta 2 { b4 b b b }
1232 \lyricsto "melody" {
1233 Not re -- peat -- ed.
1234 \repeat volta 2 { Re -- peat -- ed twice. }
1242 If the repeated section is to be unfolded and has different words,
1243 simply enter all the words:
1245 @lilypond[verbatim,quote,ragged-right]
1249 \new Voice = "melody" {
1252 \repeat unfold 2 { b4 b b b }
1257 \lyricsto "melody" {
1258 Not re -- peat -- ed.
1259 The first time words.
1260 Sec -- ond time words.
1267 When the words to a repeated volta section are different, the words
1268 to each repeat must be entered in separate @code{Lyrics} contexts,
1269 correctly nested in parallel sections:
1271 @lilypond[verbatim,quote]
1275 \new Voice = "melody" {
1278 \repeat volta 2 { b4 b b b }
1282 \new Lyrics \lyricsto "melody" {
1283 Not re -- peat -- ed.
1285 { The first time words. }
1287 \set associatedVoice = "melody"
1288 Sec -- ond time words.
1296 More verses may be added in a similar way:
1298 @lilypond[verbatim,quote]
1302 \new Voice = "singleVoice" {
1305 \repeat volta 3 { b4 b b b }
1310 \new Lyrics \lyricsto "singleVoice" {
1311 Not re -- peat -- ed.
1313 { The first time words. }
1315 \set associatedVoice = "singleVoice"
1316 Sec -- ond time words.
1319 \set associatedVoice = "singleVoice"
1320 The third time words.
1323 The end sec -- tion.
1330 @c TODO positioning a common line of lyrics
1332 @subheading Repeats with alternative endings
1334 @cindex lyrics, repeats with alternative endings
1335 @cindex repeating lyrics with alternative endings
1336 @cindex alternative endings and lyrics
1338 If the words of the repeated section are the same, exactly the
1339 same structure can be used for both the lyrics and music.
1341 @lilypond[quote,verbatim]
1346 \new Voice = "melody" {
1349 \repeat volta 2 { b4 b }
1350 \alternative { { b b } { b c } }
1355 \lyricsto "melody" {
1356 Not re -- peat -- ed.
1357 \repeat volta 2 { Re -- peat -- }
1358 \alternative { { ed twice. } { ed twice. } }
1366 @cindex skipping notes in lyrics
1367 @cindex lyrics, skipping notes
1369 But when the repeated section has different words, a repeat
1370 construct cannot be used around the words and @code{\skip} commands
1371 have to be inserted manually to skip over the notes in the
1372 alternative sections which do not apply.
1374 Note: do not use an underscore, @code{_}, to skip notes -- an
1375 underscore indicates a melisma, causing the preceding syllable
1378 @warning{The @code{@bs{}skip} command must be followed by a number,
1379 but this number is ignored in lyrics which derive their durations
1380 from the notes in an associated melody through @code{\addlyrics} or
1381 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1382 value, irrespective of the value of the following number.}
1384 @lilypond[verbatim,quote,ragged-right]
1389 \new Voice = "melody" {
1391 \repeat volta 2 { b4 b }
1392 \alternative { { b b } { b c } }
1398 \lyricsto "melody" {
1399 The first time words.
1400 \repeat unfold 2 { \skip 1 }
1405 \lyricsto "melody" {
1407 \repeat unfold 2 { \skip 1 }
1415 @cindex lyrics and tied notes
1416 @funindex \repeatTie
1418 When a note is tied over into two or more alternative endings a
1419 tie is used to carry the note into the first alternative ending and
1420 a @code{\repeatTie} is used in the second and subsequent endings.
1421 This structure causes difficult alignment problems when lyrics are
1422 involved and increasing the length of the alternative sections so
1423 the tied notes are contained wholly within them may give a more
1426 The tie creates a melisma into the first alternative, but not into
1427 the second and subsequent alternatives, so to align the lyrics
1428 correctly it is necessary to disable the automatic creation of
1429 melismata over the volta section and insert manual skips.
1431 @lilypond[quote,verbatim]
1436 \new Voice = "melody" {
1438 \set melismaBusyProperties = #'()
1439 \repeat volta 2 { b4 b ~}
1440 \alternative { { b b } { b \repeatTie c } }
1441 \unset melismaBusyProperties
1447 \lyricsto "melody" {
1448 \repeat volta 2 { Here's a __ }
1460 Note that if @code{\unfoldRepeats} is used around a section
1461 containing @code{\repeatTie}, the @code{\repeatTie} should be
1462 removed to avoid both types of tie being printed.
1464 When the repeated section has different words a @code{\repeat}
1465 cannot be used around the lyrics and @code{\skip} commands need to
1466 be inserted manually, as before.
1468 @lilypond[quote,verbatim]
1473 \new Voice = "melody" {
1475 \repeat volta 2 { b4 b ~}
1476 \alternative { { b b } { b \repeatTie c } }
1482 \lyricsto "melody" {
1484 \repeat unfold 2 { \skip 1 }
1488 \lyricsto "melody" {
1490 \repeat unfold 2 { \skip 1 }
1498 If you wish to show extenders and hyphens into and out of
1499 alternative sections these must be inserted manually.
1501 @lilypond[quote,verbatim]
1506 \new Voice = "melody" {
1508 \repeat volta 2 { b4 b ~}
1509 \alternative { { b b } { b \repeatTie c } }
1515 \lyricsto "melody" {
1517 \repeat unfold 2 { \skip 1 }
1521 \lyricsto "melody" {
1533 @ref{Keeping contexts alive},
1538 @unnumberedsubsubsec Divisi lyrics
1540 @cindex divided lyrics
1541 @cindex lyrics, divided
1543 When just the words and rhythms of the two parts differ with the
1544 pitches remaining the same, temporarily turning off the automatic
1545 detection of melismata and indicating the melisma in the lyrics
1546 may be the appropriate method to use:
1548 @lilypond[quote,verbatim]
1551 \new Voice = "melody" {
1553 \set melismaBusyProperties = #'()
1557 \unset melismaBusyProperties
1561 \new Lyrics \lyricsto "melody" {
1562 They shall not o -- ver -- come
1564 \new Lyrics \lyricsto "melody" {
1571 When both music and words differ it may be better to display
1572 the differing music and lyrics by naming voice contexts and
1573 attaching lyrics to those specific contexts:
1575 @lilypond[verbatim,ragged-right,quote]
1578 \new Voice = "melody" {
1585 \new Voice = "splitpart" {
1595 \new Lyrics \lyricsto "melody" {
1596 They shall not o -- ver -- come
1598 \new Lyrics \lyricsto "splitpart" {
1610 * Adding stanza numbers::
1611 * Adding dynamics marks to stanzas::
1612 * Adding singers' names to stanzas::
1613 * Stanzas with different rhythms::
1614 * Printing stanzas at the end::
1615 * Printing stanzas at the end in multiple columns::
1619 @node Adding stanza numbers
1620 @unnumberedsubsubsec Adding stanza numbers
1622 @cindex stanza number
1624 Stanza numbers can be added by setting @code{stanza}, e.g.,
1626 @lilypond[quote,ragged-right,verbatim,relative=2]
1628 \time 3/4 g2 e4 a2 f4 g2.
1630 \set stanza = #"1. "
1631 Hi, my name is Bert.
1633 \set stanza = #"2. "
1634 Oh, ché -- ri, je t'aime
1640 These numbers are put just before the start of the first syllable.
1642 @c TODO Create and add snippet to show how two lines of a
1643 @c stanza can be grouped together, along these lines:
1644 @c (might need improving a bit) -td
1647 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1651 \set stanza = \markup { "1. " \leftbrace }
1652 \lyricmode { Child, you're mine and I love you.
1653 Lend thine ear to what I say.
1659 % \set stanza = \markup { " "}
1660 \lyricmode { Child, I have no great -- er joy
1661 Than to have you walk in truth.
1667 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1668 c'8 c' c' c' c' c' c'4 }
1669 } \addlyrics { \stanzaOneOne }
1670 \addlyrics { \stanzaOneThree }
1674 @node Adding dynamics marks to stanzas
1675 @unnumberedsubsubsec Adding dynamics marks to stanzas
1677 Stanzas differing in loudness may be indicated by putting a
1678 dynamics mark before each stanza. In LilyPond, everything coming in
1679 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1680 marks are no different. For technical reasons, you have to set the
1681 stanza outside @code{\lyricmode}:
1683 @lilypond[quote,ragged-right,verbatim]
1685 \set stanza = \markup { \dynamic "ff" "1. " }
1692 \new Voice = "tune" {
1696 \new Lyrics \lyricsto "tune" \text
1700 @node Adding singers' names to stanzas
1701 @unnumberedsubsubsec Adding singers' names to stanzas
1704 @cindex name of singer
1706 Names of singers can also be added. They are printed at the start of
1707 the line, just like instrument names. They are created by setting
1708 @code{vocalName}. A short version may be entered as
1709 @code{shortVocalName}.
1711 @lilypond[ragged-right,quote,verbatim,relative=2]
1713 \time 3/4 g2 e4 a2 f4 g2.
1715 \set vocalName = #"Bert "
1716 Hi, my name is Bert.
1718 \set vocalName = #"Ernie "
1719 Oh, ché -- ri, je t'aime
1723 @node Stanzas with different rhythms
1724 @unnumberedsubsubsec Stanzas with different rhythms
1726 Often, different stanzas of one song are put to one melody in slightly
1727 differing ways. Such variations can still be captured with
1730 @subsubheading Ignoring melismata
1732 One possibility is that the text has a melisma in one stanza, but
1733 multiple syllables in another. One solution is to make the faster
1734 voice ignore the melisma. This is done by setting
1735 @code{ignoreMelismata} in the Lyrics context.
1737 @lilypond[verbatim,ragged-right,quote]
1739 \relative c' \new Voice = "lahlah" {
1740 \set Staff.autoBeaming = ##f
1746 \new Lyrics \lyricsto "lahlah" {
1749 \new Lyrics \lyricsto "lahlah" {
1751 \set ignoreMelismata = ##t
1753 \unset ignoreMelismata
1760 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1761 not work if prefixed with @code{\once}. It is necessary to use
1762 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1765 @subsubheading Adding syllables to grace notes
1767 @cindex grace notes and lyrics
1768 @cindex lyrics on grace notes
1770 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1771 syllables when using @code{\lyricsto}, but this behavior can be
1774 @lilypond[verbatim,ragged-right,quote]
1776 \new Voice = melody \relative c' {
1777 f4 \appoggiatura a32 b4
1778 \grace { f16[ a16] } b2
1779 \afterGrace b2 { f16[ a16] }
1780 \appoggiatura a32 b4
1786 \set includeGraceNotes = ##t
1789 after -- grace case,
1790 \set ignoreMelismata = ##t
1798 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1799 set at latest one syllable before the one which is to be put under a
1800 grace note. For the case of a grace note at the very beginning of a
1801 piece of music, consider using a @code{\with} or @code{\context}
1804 @lilypond[verbatim,ragged-right,quote]
1806 \new Voice = melody \relative c' {
1807 \grace { c16[( d e f] }
1810 \new Lyrics \with { includeGraceNotes = ##t }
1817 @subsubheading Switching to an alternative melody
1819 @cindex associatedVoice
1820 @cindex alternative melody, switching to
1822 More complex variations in setting lyrics to music are possible.
1823 The melody to which the lyrics are being set can be changed from
1824 within the lyrics by setting the @code{associatedVoice} property:
1826 @lilypond[verbatim,quote]
1828 \relative c' \new Voice = "lahlah" {
1829 \set Staff.autoBeaming = ##f
1832 \new Voice = "alternative" {
1835 % show associations clearly.
1836 \override NoteColumn #'force-hshift = #-3
1847 \new Lyrics \lyricsto "lahlah" {
1848 Ju -- ras -- sic Park
1850 \new Lyrics \lyricsto "lahlah" {
1851 % Tricky: need to set associatedVoice
1852 % one syllable too soon!
1853 \set associatedVoice = "alternative" % applies to "ran"
1857 \set associatedVoice = "lahlah" % applies to "rus"
1863 The text for the first stanza is set to the melody called
1864 @q{lahlah} in the usual way, but the second stanza is set initally
1865 to the @code{lahlah} context and is then switched to the
1866 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1870 \set associatedVoice = "alternative" % applies to "ran"
1874 \set associatedVoice = "lahlah" % applies to "rus"
1879 Here, @code{alternative} is the name of the @code{Voice} context
1880 containing the triplet.
1882 Note the placement of the @code{\set associatedVoice} command --
1883 it appears to be one syllable too early, but this is correct.
1885 @warning{The @code{\set associatedVoice} command must be placed
1886 one syllable @emph{before} the one at which the switch to the new
1887 voice is to occur. In other words, changing the associated Voice
1888 happens one syllable later than expected. This is for technical
1889 reasons, and it is not a bug.}
1892 @node Printing stanzas at the end
1893 @unnumberedsubsubsec Printing stanzas at the end
1895 Sometimes it is appropriate to have one stanza set
1896 to the music, and the rest added in verse form at
1897 the end of the piece. This can be accomplished by adding
1898 the extra verses into a @code{\markup} section outside
1899 of the main score block. Notice that there are two
1900 different ways to force linebreaks when using
1903 @lilypond[ragged-right,verbatim,quote]
1904 melody = \relative c' {
1910 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1911 its fleece was white as snow.
1915 \new Voice = "one" { \melody }
1916 \new Lyrics \lyricsto "one" \text
1922 \line{ All the children laughed and played }
1923 \line{ To see a lamb at school. }
1930 Mary took it home again,
1932 It was against the rule."
1937 @node Printing stanzas at the end in multiple columns
1938 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1940 When a piece of music has many verses, they are often printed in
1941 multiple columns across the page. An outdented verse number often
1942 introduces each verse. The following example shows how to produce such
1945 @lilypond[ragged-right,quote,verbatim]
1946 melody = \relative c' {
1951 \set stanza = #"1." This is verse one.
1957 \new Voice = "one" { \melody }
1958 \new Lyrics \lyricsto "one" \text
1965 \hspace #0.1 % moves the column off the left margin;
1966 % can be removed if space on the page is tight
1970 "This is verse two."
1974 \hspace #0.1 % adds vertical spacing between verses
1977 "This is verse three."
1982 \hspace #0.1 % adds horizontal spacing between columns;
1983 % if they are still too close, add more " " pairs
1984 % until the result looks good
1988 "This is verse four."
1992 \hspace #0.1 % adds vertical spacing between verses
1995 "This is verse five."
2000 \hspace #0.1 % gives some extra space on the right margin;
2001 % can be removed if page space is tight
2008 Internals Reference:
2009 @rinternals{LyricText},
2010 @rinternals{StanzaNumber}.
2017 * References for songs::
2021 @node References for songs
2022 @unnumberedsubsubsec References for songs
2024 Songs are usually written on three staves with the melody for the
2025 singer on the top staff and two staves of piano accompaniment at
2026 the bottom. The lyrics of the first stanza are printed immediately
2027 underneath the top staff. If there are just a small number of
2028 further stanzas these can be printed immediately under the first
2029 one, but if there are more stanzas than can be easily accommodated
2030 there the second and subsequent stanzas are printed after the music
2031 as stand-alone text.
2033 All the notational elements needed to write songs are fully described
2039 For constructing the staff layout, see @ref{Displaying staves}.
2042 For writing piano music, see
2043 @ref{Keyboard and other multi-staff instruments}.
2046 For writing the lyrics to a melody line, see
2047 @ref{Common notation for vocal music}.
2050 For placing the lyrics, see @ref{Placing lyrics vertically}.
2053 For entering stanzas, see @ref{Stanzas}.
2056 Songs are frequently printed with the chording indicated by chord
2057 names above the staves. This is described in @ref{Displaying chords}.
2060 To print fret diagrams of the chords for guitar accompaniment or
2061 accompaniment by other fretted instruments, see @qq{Fret diagram
2062 markups} in @ref{Common notation for fretted strings}.
2071 @ref{Common notation for vocal music},
2072 @ref{Displaying chords},
2073 @ref{Displaying staves},
2074 @ref{Keyboard and other multi-staff instruments},
2075 @ref{Placing lyrics vertically},
2082 @unnumberedsubsubsec Lead sheets
2084 Lead sheets may be printed by combining vocal parts and
2085 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2088 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2089 {simple-lead-sheet.ly}
2093 @ref{Chord notation}.
2104 This section discusses notation issues that relate most directly
2105 to choral music. This includes anthems, part songs, oratorio,
2109 * References for choral::
2110 * Score layouts for choral::
2114 @node References for choral
2115 @unnumberedsubsubsec References for choral
2117 Choral music is usually notated on two, three or four staves within
2118 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2119 beneath in a @code{PianoStaff} group, which is usually reduced in
2120 size for @emph{a capella} choral works. The notes for each vocal
2121 part are placed in a @code{Voice} context, with each staff
2122 being given either a single vocal part (i.e., one @code{Voice}) or
2123 a pair of vocal parts (i.e., two @code{Voice}s).
2125 Words are placed in @code{Lyrics} contexts, either underneath each
2126 corresponding music staff, or one above and one below the music
2127 staff if this contains the music for two parts.
2129 Several common topics in choral music are described fully elsewhere:
2134 An introduction to creating an SATB vocal score can be found in
2135 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2138 Several templates suitable for various styles of choral music can
2139 also be found in the Learning Manual, see
2140 @rlearning{Vocal ensembles}.
2143 For information about @code{ChoirStaff} and @code{PianoStaff} see
2144 @ref{Grouping staves}.
2147 Shape note heads, as used in Sacred Harp and similar notation, are
2148 described in @ref{Shape note heads}.
2151 When two vocal parts share a staff the stems, ties, slurs, etc., of
2152 the higher part will be directed up and those of the lower part
2153 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2154 @ref{Single-staff polyphony}.
2165 @rlearning{Four-part SATB vocal score},
2166 @rlearning{Vocal ensembles}.
2169 @ref{Context layout order},
2170 @ref{Grouping staves},
2171 @ref{Shape note heads},
2172 @ref{Single-staff polyphony}.
2177 Internals Reference:
2178 @rinternals{ChoirStaff},
2179 @rinternals{Lyrics},
2180 @rinternals{PianoStaff}.
2182 @node Score layouts for choral
2183 @unnumberedsubsubsec Score layouts for choral
2185 Choral music containing four staves, with or without piano
2186 accompaniment, is usually laid out with two systems per page.
2187 Depending on the page size, achieving this may require changes
2188 to several default settings. The following settings should be
2194 The global staff size can be modified to change the overall size
2195 of the elements of the score. See @ref{Setting the staff size}.
2198 The distances between the systems, the staves and the lyrics can
2199 all be adjusted independently. See @ref{Vertical spacing}.
2202 The dimensions of the vertical layout variables can be displayed as
2203 an aid to adjusting the vertical spacing. This and other
2204 possibilities for fitting the music onto fewer pages are described
2205 in @ref{Fitting music onto fewer pages}.
2208 If the number of systems per page changes from one to two it is
2209 customary to indicate this with a system separator mark between
2210 the two systems. See @ref{Separating systems}.
2213 For details of other page formatting properties, see
2219 Dynamic markings by default are placed below the staff, but in
2220 choral music they are usually placed above the staff in order to
2221 avoid the lyrics. The predefined command @code{\dynamicUp} does
2222 this for the dynamic markings in a single @code{Voice} context.
2223 If there are many @code{Voice} contexts this predefined command
2224 would have to be placed in every one. Alternatively its expanded
2225 form can be used to place all dynamic markings in the entire score
2226 above their respective staves, as shown here:
2228 @lilypond[verbatim,quote]
2233 \relative c'' { g4\f g g g }
2238 \relative c' { d4 d d\p d }
2245 \override DynamicText #'direction = #UP
2246 \override DynamicLineSpanner #'direction = #UP
2253 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2257 @ref{Changing spacing},
2258 @ref{Displaying spacing},
2259 @ref{Fitting music onto fewer pages},
2262 @ref{Separating systems},
2263 @ref{Setting the staff size},
2264 @ref{Using an extra voice for breaks},
2265 @ref{Vertical spacing}.
2267 Internals Reference:
2268 @rinternals{VerticalAxisGroup},
2269 @rinternals{StaffGrouper}.
2272 @node Divided voices
2273 @unnumberedsubsubsec Divided voices
2275 @cindex voices, divided
2277 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2278 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2282 @ref{Expressive marks as lines}.
2285 @node Opera and stage musicals
2286 @subsection Opera and stage musicals
2288 The music, lyrics and dialogue to opera and stage musicals are
2289 usually set out in one or more of the following forms:
2294 A @emph{Conductors' Score} containing the full orchestral and vocal
2295 parts, together with libretto cues if there are spoken passages.
2298 @emph{Orchestral Parts} containing the music for the individual
2299 instruments of the orchestra or band.
2302 A @emph{Vocal Score} containing all vocal parts with piano
2303 accompaniment. The accompaniment is usually an orchestral
2304 reduction, and if so the name of the original orchestral instrument
2305 is often indicated. Vocal scores sometimes includes stage
2306 directions and libretto cues.
2309 A @emph{Vocal Book} containing just the vocal parts
2310 (no accompaniment), sometimes combined with the libretto.
2313 A @emph{Libretto} containing the extended passages of spoken
2314 dialogue usually found in musicals, together with the words to the
2315 sung parts. Stage directions are usually included. LilyPond can
2316 be used to typeset libretti but as they contain no music
2317 alternative methods may be preferable.
2321 The sections in the LilyPond documentation which cover the topics
2322 needed to create scores in the styles commonly found in opera and
2323 musicals are indicated in the References below. This is followed
2324 by sections covering those techniques which are peculiar to
2325 typesetting opera and musical scores.
2328 * References for opera and stage musicals::
2332 * Dialogue over music::
2335 @node References for opera and stage musicals
2336 @unnumberedsubsubsec References for opera and stage musicals
2341 A conductors' score contains many grouped staves and lyrics. Ways
2342 of grouping staves is shown in @ref{Grouping staves}. To nest
2343 groups of staves see @ref{Nested staff groups}.
2346 The printing of empty staves in conductors' scores and vocal scores
2347 is often suppressed. To create such a @qq{Frenched score} see
2348 @ref{Hiding staves}.
2351 Writing orchestral parts is covered in @ref{Writing parts}.
2352 Other sections in the Specialist notation chapter may be relevant,
2353 depending on the orchestration used. Many instruments are
2354 transposing instruments, see @ref{Instrument transpositions}.
2357 If the number of systems per page changes from page to page it is
2358 customary to separate the systems with a system separator mark.
2359 See @ref{Separating systems}.
2362 For details of other page formatting properties, see
2366 Dialogue cues and stage directions can be inserted with markup.
2367 See @ref{Text}. Extensive stage directions can be inserted with
2368 a section of stand-alone markup between two @code{\score} blocks.
2369 See @ref{Separate text}.
2375 @rglos{Frenched score},
2376 @rglos{Frenched staves},
2377 @rglos{transposing instrument}.
2380 @ref{Grouping staves},
2381 @ref{Hiding staves},
2382 @ref{Instrument transpositions},
2383 @ref{Nested staff groups},
2385 @ref{Separating systems},
2387 @ref{Writing parts},
2394 @node Character names
2395 @unnumberedsubsubsec Character names
2397 @cindex character names
2398 @cindex names, character
2400 Character names are usually shown to the left of the staff when the
2401 staff is dedicated to that character alone:
2403 @lilypond[quote,verbatim,ragged-right]
2407 \set Staff.vocalName = \markup \smallCaps Kaspar
2408 \set Staff.shortVocalName = \markup \smallCaps Kas.
2417 \set Staff.vocalName = \markup \smallCaps Melchior
2418 \set Staff.shortVocalName = \markup \smallCaps Mel
2429 When two or more characters share a staff the character's name is
2430 usually printed above the staff at the start of every section
2431 applying to that character. This can be done with markup. Often a
2432 specific font is used for this purpose.
2434 @lilypond[quote,verbatim,relative=1]
2436 c4^\markup \fontsize #1 \smallCaps Kaspar
2439 a4^\markup \fontsize #1 \smallCaps Melchior
2442 c4^\markup \fontsize #1 \smallCaps Kaspar
2446 Alternatively, if there are many character changes, it may be
2447 easier to set up @qq{instrument} definitions for each character at
2448 the top level so that @code{\instrumentSwitch} can be used to
2449 indicate each change.
2451 @lilypond[quote,verbatim]
2452 \addInstrumentDefinition #"kaspar"
2453 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2454 (shortInstrumentName . "Kas.")
2455 (clefGlyph . "clefs.G")
2456 (clefOctavation . -7)
2457 (middleCPosition . 1)
2459 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2460 (midiInstrument . "voice oohs"))
2462 \addInstrumentDefinition #"melchior"
2463 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2464 (shortInstrumentName . "Mel.")
2465 (clefGlyph . "clefs.F")
2466 (clefOctavation . 0)
2467 (middleCPosition . 6)
2469 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2470 (midiInstrument . "voice aahs"))
2473 \instrumentSwitch "kaspar"
2475 \instrumentSwitch "melchior"
2477 \instrumentSwitch "kaspar"
2484 @ref{Instrument names},
2485 @ref{Scheme functions},
2487 @ref{Text markup commands}.
2490 @rextend{Markup construction in Scheme}.
2493 @unnumberedsubsubsec Musical cues
2495 @cindex musical cues
2496 @cindex cues, musical
2498 Musical cues can be inserted in Vocal Scores, Vocal Books and
2499 Orchestral Parts to indicate what music in another part
2500 immediately precedes an entry. Also, cues are often inserted in the
2501 piano reduction in Vocal Scores to indicate what each orchestral
2502 instrument is playing. This aids the conductor when a full
2503 Conductors' Score is not available.
2505 The basic mechanism for inserting cues is fully explained in the
2506 main text, see @ref{Quoting other voices} and
2507 @ref{Formatting cue notes}. But when many cues have to be
2508 inserted, for example, as an aid to a conductor in a vocal score,
2509 the instrument name must be positioned carefully just before and
2510 close to the start of the cue notes. The following example shows
2513 @lilypond[quote,verbatim]
2514 flute = \relative c'' {
2517 \addQuote "flute" { \flute }
2519 pianoRH = \relative c'' {
2521 % position name of cue-ing instrument just before the cue notes,
2522 % and above the staff
2523 s1*0^\markup { \right-align { \tiny "Flute" } }
2524 \cueDuring "flute" #UP { g4 bes4 }
2526 pianoLH = \relative c { c4 <c' e> e, <g c> }
2541 If a transposing instrument is being quoted the instrument part should
2542 specify its key so the conversion of its cue notes will be done
2543 automatically. The example below shows this transposition for a
2544 B-flat clarinet. The notes in this example are low on the staff so
2545 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2546 down) and the instrument name is positioned below the staff. Note
2547 also that the piano right-hand voice is explicitly declared. This
2548 is because the cue notes in this example begin at the start of the
2549 first bar and this would otherwise cause the entire piano right-hand
2550 notes to be placed in a @code{CueVoice} context.
2552 @lilypond[quote,verbatim]
2553 clarinet = \relative c' {
2557 \addQuote "clarinet" { \clarinet }
2559 pianoRH = \relative c'' {
2561 % position name of cue-ing instrument below the staff
2562 s1*0_\markup { \right-align { \tiny "Clar." } }
2563 \cueDuring "clarinet" #DOWN { c4. g8 }
2566 pianoLH = \relative c { c4 <c' e> e, <g c> }
2585 From these two examples it is clear that inserting many cues in a
2586 Vocal Score would be tedious, and the notes of the piano part would
2587 become obscured. However, as the following snippet shows, it is
2588 possible to define a music function to reduce the amount of typing
2589 and to make the piano notes clearer.
2592 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2593 {adding-orchestral-cues-to-a-vocal-score.ly}
2600 @ref{Aligning objects},
2601 @ref{Direction and placement},
2602 @ref{Formatting cue notes},
2603 @ref{Quoting other voices},
2604 @ref{Using music functions}.
2609 Internals Reference:
2610 @rinternals{InstrumentSwitch},
2611 @rinternals{CueVoice}.
2614 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2615 and all cue notes are placed in that context. This means it is not
2616 possible to have two overlapping sequences of cue notes by this
2617 technique. Overlapping sequences could be entered by explicitly
2618 declaring separate @code{CueVoice} contexts and using
2619 @code{\quoteDuring} to extract and insert the cue notes.
2623 @unnumberedsubsubsec Spoken music
2626 @cindex Sprechgesang
2627 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2628 speak without pitch but still with rhythm; these are notated by cross
2629 note heads, as demonstrated in @ref{Special note heads}.
2631 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2632 @c add "showing the rhythm of a melody" snip
2633 @c add "one staff-line notation"
2634 @c add "improvisation" ref
2635 @c add "lyrics independents of notes" ref
2637 @node Dialogue over music
2638 @unnumberedsubsubsec Dialogue over music
2640 Dialogue over music is usually printed over the staves in an italic
2641 font, with the start of each phrase keyed in to a particular music
2644 For short interjections a simple markup suffices.
2646 @lilypond[quote,verbatim,relative=2]
2647 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2648 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2652 For longer phrases it may be necessary to expand the music to make
2653 the words fit neatly. There is no provision in LilyPond to do this
2654 fully automatically, and some manual intervention to layout the
2655 page will be necessary.
2657 For long phrases or for passages with a lot of closely packed
2658 dialogue, using a Lyrics context will give better results. The
2659 Lyrics context should not be associated with a music Voice; instead
2660 each section of dialogue should be given an explicit duration. If
2661 there is a gap in the dialogue, the final word should be separated
2662 from the rest and the duration split between them so that the
2663 underlying music spaces out smoothly.
2665 If the dialogue extends for more than one line it will be necessary
2666 to manually insert @code{\break}s and adjust the placing of the
2667 dialogue to avoid running into the right margin. The final word of
2668 the last measure on a line should also be separated out, as above.
2670 Here is an example illustrating how this might be done.
2672 @c This should be a snippet, but it can't be as it needs to be
2673 @c manually adjusted to suit the imposed line length. -td
2675 @lilypond[quote,verbatim,ragged-right]
2676 music = \relative c'' {
2677 \repeat unfold 3 { a4 a a a }
2680 dialogue = \lyricmode {
2682 \fontsize #1 \upright \smallCaps Abe:
2683 "Say this over measures one and"
2687 "and this over measure"4*3
2694 \override LyricText #'font-shape = #'italic
2695 \override LyricText #'self-alignment-X = #LEFT
2699 \new Voice { \music }
2705 @c TODO show use of \column to produce dialogue on two lines
2709 @ref{Manual syllable durations},
2713 @rinternals{LyricText}.
2716 @node Chants psalms and hymns
2717 @subsection Chants psalms and hymns
2722 @cindex religious music
2724 The music and words for chants, psalms and hymns usually follow a
2725 well-established format in any particular church. Although the
2726 formats may differ from church to church the type-setting problems
2727 which arise are broadly similar, and are covered in this section.
2730 * References for chants and psalms::
2732 * Pointing a psalm::
2733 * Partial measures in hymn tunes::
2736 @node References for chants and psalms
2737 @unnumberedsubsubsec References for chants and psalms
2739 Typesetting Gregorian chant in various styles of ancient notation
2740 is described in @ref{Ancient notation}.
2744 @ref{Ancient notation}.
2750 @node Setting a chant
2751 @unnumberedsubsubsec Setting a chant
2753 Modern chant settings use modern notation with varying numbers of
2754 elements taken from ancient notation. Some of the elements and
2755 methods to consider are shown here.
2757 Chants often use quarter notes without stems to indicate the pitch,
2758 with the rhythm being taken from the spoken rhythm of the words.
2760 @lilypond[verbatim,quote]
2761 stemOff = { \override Staff.Stem #'transparent = ##t }
2770 Chants often omit the bar lines or use shortened or dotted bar
2771 lines to indicate pauses in the music. To omit all bar lines from
2772 all staves remove the bar line engraver completely:
2774 @lilypond[verbatim,quote]
2795 \remove Bar_engraver
2801 Bar lines can also be removed on a staff-by-staff basis:
2803 @lilypond[verbatim, quote]
2807 \with { \remove Bar_engraver } {
2825 To remove bar lines from just a section of music treat it as a
2826 cadenza. If the section is long you may need to insert dummy
2827 bar lines with @code{\bar ""} to show where the line should break.
2829 @lilypond[verbatim,quote,relative=2]
2842 Rests or pauses in chants can be indicated by modified bar lines.
2844 @lilypond[verbatim, quote,relative=2]
2859 Alternatively, the notation used in Gregorian chant for pauses or
2860 rests is sometimes used even though the rest of the notation is
2861 modern. This uses a modified @code{\breathe} mark:
2863 @lilypond[verbatim,quote]
2865 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2866 \once \override BreathingSign #'Y-offset = #0
2870 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2871 \once \override BreathingSign #'Y-offset = #0
2875 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2876 \once \override BreathingSign #'Y-offset = #0
2880 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2881 \once \override BreathingSign #'Y-offset = #0
2899 \remove Bar_engraver
2905 Chants usually omit the time signature and often omit the clef too.
2907 @lilypond[verbatim,quote]
2919 \remove Bar_engraver
2920 \remove Time_signature_engraver
2921 \remove Clef_engraver
2927 Chants for psalms in the Anglican tradition are usually either
2928 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2929 of 7 bars. Each group of 7 bars is divided into two halves,
2930 corresponding to the two halves of each verse, usually separated by
2931 a double bar line. Only whole and half notes are used. The 1st bar
2932 in each half always contains a single chord of whole notes. This is
2933 the @qq{reciting note}. Chants are usually centered on the page.
2935 @lilypond[verbatim,quote]
2936 SopranoMusic = \relative g' {
2937 g1 | c2 b | a1 | \bar "||"
2938 a1 | d2 c | c b | c1 | \bar "||"
2941 AltoMusic = \relative c' {
2943 f1 | f2 e | d d | e1 |
2946 TenorMusic = \relative a {
2948 d1 | g,2 g | g g | g1 |
2951 BassMusic = \relative c {
2953 d1 | b2 c | g' g | c,1 |
2960 % Use markup to center the chant on the page
2969 \new Voice = "Soprano" <<
2973 \new Voice = "Alto" <<
2981 \new Voice = "Tenor" <<
2985 \new Voice = "Bass" <<
2995 \override SpacingSpanner
2996 #'base-shortest-duration = #(ly:make-moment 1 2)
3000 \remove "Time_signature_engraver"
3008 Some other approaches to setting such a chant are shown in the first
3009 of the following snippets.
3013 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3014 {chant-or-psalms-notation.ly}
3016 Canticles and other liturgical texts may be set more freely, and
3017 may use notational elements from ancient music. Often the words
3018 are shown underneath and aligned with the notes. If so, the notes
3019 are spaced in accordance with the syllables rather than the notes'
3022 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3023 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3027 @rlearning{Visibility and color of objects},
3028 @rlearning{Vocal ensembles}.
3031 @ref{Ancient notation},
3033 @ref{Modifying context plug-ins},
3034 @ref{Typesetting Gregorian chant},
3035 @ref{Unmetered music},
3036 @ref{Visibility of objects}.
3039 @node Pointing a psalm
3040 @unnumberedsubsubsec Pointing a psalm
3042 The words to an Anglican psalm are usually printed in separate
3043 verses centered underneath the chant.
3045 Single chants (with 7 bars) are repeated for every verse. Double
3046 chants (with 14 bars) are repeated for every pair of verses. Marks
3047 are inserted in the words to show how they should be fitted to the
3048 chant. Each verse is divided into two halves. A colon is usually
3049 used to indicate this division. This corresponds to the double bar
3050 line in the music. The words before the colon are sung to the first
3051 three bars of music; the words after the colon are sung to the last
3054 Single bar lines (or in some psalters an inverted comma or similar
3055 symbol) are inserted between words to indicate where the bar lines
3056 in the music fall. In markup mode a single bar line can be entered
3057 with the bar check symbol, @code{|}.
3059 @lilypond[verbatim,quote]
3064 \line { O come let us sing | unto the | Lord : let }
3065 \line { us heartily rejoice in the | strength of | our }
3066 \line { sal- | -vation. }
3073 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3074 For details, see @ref{Fonts}.
3076 @lilypond[verbatim,quote]
3078 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3084 \line { O come let us sing \tick unto the \tick Lord : let }
3086 us heartily rejoice in the \tick strength of \tick our
3088 \line { sal \tick vation. }
3095 Where there is one whole note in a bar all the words corresponding
3096 to that bar are recited on that one note in speech rhythm. Where
3097 there are two notes in a bar there will usually be only one or two
3098 corresponding syllables. If there are more that two syllables a
3099 dot is usually inserted to indicate where the change in note occurs.
3101 @lilypond[verbatim,quote]
3103 \raise #0.7 \musicglyph #"dots.dot"
3106 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3113 O come let us sing \tick unto \dot the \tick Lord : let
3116 us heartily rejoice in the \tick strength of \tick our
3118 \line { sal \tick vation. }
3125 In some psalters an asterisk is used to indicate a break in a
3126 recited section instead of a comma, and stressed or slightly
3127 lengthened syllables are indicated in bold text.
3129 @lilypond[verbatim,quote]
3131 \raise #0.7 \musicglyph #"dots.dot"
3134 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3140 \line { Today if ye will hear his voice * }
3142 \concat { \bold hard en }
3143 | not your | hearts : as in the pro-
3145 \line { vocation * and as in the \bold day of tempt- | }
3146 \line { -ation | in the | wilderness. }
3153 In other psalters an accent is placed over the syllable to indicate
3156 @lilypond[verbatim,quote]
3158 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3165 O come let us \concat {
3166 si \combine \tick ng
3168 | unto the | Lord : let
3171 us heartily \concat {
3172 rejo \combine \tick ice
3174 in the | strength of | our
3176 \line { sal- | -vation. }
3183 The use of markup to center text, and arrange lines in columns is
3184 described in @ref{Formatting text}.
3186 Most of these elements are shown in one or other of the two verses
3187 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3191 @rlearning{Vocal ensembles}.
3195 @ref{Formatting text}.
3198 @node Partial measures in hymn tunes
3199 @unnumberedsubsubsec Partial measures in hymn tunes
3201 Hymn tunes frequently start and end every line of music with
3202 partial measures so that each line of music corresponds exactly
3203 with a line of text. This requires a @code{\partial} command at
3204 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3205 commands at the end of each line.
3207 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3211 @node Ancient vocal music
3212 @subsection Ancient vocal music
3214 Ancient vocal music is supported, as explained in
3215 @ref{Ancient notation}.
3219 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3220 @c and "Transcription of Ancient music with incipit" snippet. -vv
3224 @ref{Ancient notation}.