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
205 Lyrics are printed by interpreting them in the context called
206 @code{Lyrics}, see @ref{Contexts explained}.
209 \new Lyrics \lyricmode @{ @dots{} @}
212 Lyrics can be aligned with melodies in two main ways:
217 They can be aligned automatically, with the durations of the
218 syllables being taken from an associated melody or other voice
219 of music, using @code{\addlyrics} or @code{\lyricsto}. See
220 @ref{Automatic syllable durations}.
223 They can be aligned independently of the duration of any notes
224 if the durations of the syllables are specified explicitly,
225 and entered with @code{\lyricmode}. See
226 @ref{Manual syllable durations}.
230 The following example compares different ways to align lyrics.
232 @lilypond[quote,ragged-right,verbatim]
234 \new Voice = "one" \relative c'' {
237 c4 b8. a16 g4. f8 e4 d c2
240 % uses default durations of 2;
241 \new Lyrics \lyricmode {
245 % explicit durations; left-aligned by default
246 \new Lyrics \lyricmode {
247 Joy4 to8. the16 world!4. the8 Lord4 is come.2
250 % takes durations and alignment from notes in "one"
251 \new Lyrics \lyricsto "one" {
252 No more let sins and sor -- rows grow.
257 The first stanza is not aligned with the notes because the durations
258 were not specified, and the default value of 2 is used for each
259 word. This can be useful for dialogue over music; for more, see
260 @ref{Dialogue over music}.
262 The second stanza with explicitly specified durations is
263 aligned to the notes because the durations are the same as the
264 corresponding notes. The words are left-aligned to the notes by
265 default. Useful if the words to different stanzas fit the notes in
268 The third stanza shows the normal way of entering lyrics.
272 @rlearning{Aligning lyrics to a melody}.
277 @node Automatic syllable durations
278 @unnumberedsubsubsec Automatic syllable durations
280 @cindex syllable durations, automatic
281 @cindex lyrics and melodies
283 Lyrics are aligned and typeset with the help of skips, hyphens and
286 The @code{Voice} context containing the melody to which the lyrics
287 are being aligned must not have @qq{died}, or the lyrics after that
288 point will be lost. This can happen if there are periods when that
289 voice has nothing to do. For methods of keeping contexts alive, see
290 @ref{Keeping contexts alive}.
292 The lyrics can be aligned under a given melody
293 automatically. This is achieved by combining the
294 melody and the lyrics with the @code{\lyricsto} expression
297 \new Lyrics \lyricsto @var{name} @{ @dots{} @}
301 This aligns the lyrics to the
302 notes of the @code{Voice} context called @var{name}, which must
303 already exist. Therefore normally the @code{Voice} is specified first, and
304 then the lyrics are specified with @code{\lyricsto}. The command
305 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
306 @code{\lyricmode} keyword may be omitted.
311 The @code{\addlyrics} command is actually just a convenient shortcut
312 that can sometimes be used instead of having to set up the lyrics
313 through a more complicated LilyPond structure.
317 \addlyrics @{ LYRICS @}
324 \new Voice = "blah" @{ music @}
325 \new Lyrics \lyricsto "blah" @{ LYRICS @}
330 @lilypond[ragged-right,verbatim,fragment,quote]
332 \relative c' { c2 e4 g2. }
333 \addlyrics { play the game }
336 More stanzas can be added by adding more
337 @code{\addlyrics} sections:
339 @lilypond[ragged-right,verbatim,fragment,quote]
341 \relative c' { c2 e4 g2. }
342 \addlyrics { play the game }
343 \addlyrics { speel het spel }
344 \addlyrics { joue le jeu }
347 The command @code{\addlyrics} cannot handle polyphony settings.
348 For these cases one should use @code{\lyricsto} and
349 @code{\lyricmode}, for details see @ref{Entering lyrics}.
351 @node Manual syllable durations
352 @unnumberedsubsubsec Manual syllable durations
354 Lyrics can also be entered without @code{\addlyrics} or
355 @code{\lyricsto}. In this case, syllables are entered like
356 notes -- but with pitches replaced by text -- and the duration
357 of each syllable must be entered explicitly. For example:
364 The alignment to a melody can be specified with the
365 @code{associatedVoice} property,
368 \set associatedVoice = #"lala"
373 @c TODO setting associated voice does more than format extender
374 @c lines. Document it properly. Does it have anything to do
375 @c with manual durations in lyrics?
377 The value of the property (here: @code{"lala"}) should be the name of
378 a @code{Voice} context. Without this setting, extender lines
379 will not be formatted properly.
381 Here is an example demonstrating manual lyric durations,
383 @lilypond[relative=1,verbatim,quote]
385 \new Voice = "melody" {
389 \new Lyrics \lyricmode {
390 \set associatedVoice = #"melody"
396 In some complex vocal music, it may be desirable to place lyrics
397 completely independently of notes. In this case do not use
398 @code{\lyricsto} or @code{\addlyrics} and do not set
399 @code{associatedVoice}:
401 @lilypond[quote,verbatim,ragged-right]
423 @c TODO see also feature request 707 - show how to do this with manual durations
427 @ref{Keeping contexts alive}.
434 @node Multiple syllables to one note
435 @unnumberedsubsubsec Multiple syllables to one note
438 @cindex spaces, in lyrics
439 @cindex quotes, in lyrics
440 @cindex ties, in lyrics
442 In order to assign more than one syllable to a single note with
443 spaces between the syllables, you can surround the phrase with
444 quotes or use a @code{_} character. Alternatively, you can use
445 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
446 tie is implemented with the Unicode character U+203F, so be
447 sure to have a font (like DejaVuLGC) installed that includes this
450 @lilypond[quote,ragged-right,fragment,verbatim]
452 \relative c' { c2 e4 g2 e4 }
453 \addlyrics { gran- de_a- mi- go }
454 \addlyrics { pu- "ro y ho-" nes- to }
455 \addlyrics { pu- ro~y~ho- nes- to }
461 @rinternals{LyricCombineMusic}.
464 @node Multiple notes to one syllable
465 @unnumberedsubsubsec Multiple notes to one syllable
469 @cindex phrasing, in lyrics
471 @funindex \melismaEnd
473 Sometimes, particularly in Medieval music, several notes are to be
474 sung on one syllable; such vocalises are called melismata, or
475 @rglos{melisma}s. The syllable to a melisma is usually
476 left-aligned with the first note of the melisma.
478 When a melisma occurs on a syllable other that the last one in a
479 word, that syllable is usually joined to the following one with a
480 hyphenated line. This is indicated by placing a double hyphen,
481 @code{--}, immediately after the syllable.
483 Alternatively, when a melisma occurs on the last or only syllable in
484 a word an extender line is usually drawn from the end of the syllable
485 to the last note of the melisma. This is indicated by placing a
486 double underscore, @code{__}, immediately after the word.
488 There are five ways in which melismata can be indicated:
493 Melismata are created automatically over notes which are tied
496 @lilypond[quote,relative=2,verbatim]
498 \new Voice = "melody" {
504 \new Lyrics \lyricsto "melody" {
511 Melismata can be created automatically from the music by placing
512 slurs over the notes of each melisma. This is the usual way of
515 @lilypond[quote,relative=2,verbatim]
517 \new Voice = "melody" {
522 \new Lyrics \lyricsto "melody" {
529 Notes are considered a melisma if they are manually beamed,
530 providing automatic beaming is switched off. See
531 @ref{Setting automatic beam behavior}.
533 @lilypond[quote,relative=2,verbatim]
535 \new Voice = "melody" {
541 \new Lyrics \lyricsto "melody" {
547 Clearly this is not suited to melisma over notes which are longer
551 An unslurred group of notes will be treated as a melisma if they
552 are bracketed between @code{\melisma} and @code{\melismaEnd}.
554 @lilypond[quote,relative=2,verbatim]
556 \new Voice = "melody" {
564 \new Lyrics \lyricsto "melody" {
570 Note that this method cannot be used to indicate two melismata if
571 the first one is immediately followed by another.
574 A melisma can be defined entirely in the lyrics by entering a
575 single underscore character, @code{_}, for every extra note that has
576 to be added to the melisma.
578 @lilypond[verbatim, quote, relative=2]
580 \new Voice = "melody" {
585 \new Lyrics \lyricsto "melody" {
586 Ki -- ri -- _ _ _ e __ _ _
593 It is possible to have ties, slurs and manual beams in the melody
594 without their indicating melismata. To do this, set
595 @code{melismaBusyProperties} and indicate the melismata with single
596 underscores in the lyrics, one underscore for each extra note:
598 @lilypond[relative=1,verbatim,quote]
600 \new Voice = "melody" {
602 \set melismaBusyProperties = #'()
607 \new Lyrics \lyricsto "melody" {
608 Ky -- _ _ _ _ ri -- _ _ e __ _
613 Other settings for @code{melismaBusyProperties} can be used to
614 include or exclude ties, slurs, and beams from the automatic
615 detection of melismata; see @code{melismaBusyProperties} in
616 @rinternals{Tunable context properties}.
630 @rlearning{Aligning lyrics to a melody}.
633 @ref{Aligning lyrics to a melody},
634 @ref{Automatic syllable durations},
635 @ref{Setting automatic beam behavior}.
638 @rinternals{Tunable context properties}.
642 Extender lines under melismata are not created automatically; they
643 must be inserted manually with a double underscore.
646 @unnumberedsubsubsec Skipping notes
648 Making a lyric line run slower than the melody can be achieved by
649 inserting @code{\skip}s into the lyrics. For every @code{\skip},
650 the text will be delayed by another note. The @code{\skip} command
651 must be followed by a valid duration, but this is ignored when
652 @code{\skip} is used in lyrics which derive their durations from the
653 notes in an associated melody through @code{\addlyrics} or
656 @lilypond[verbatim,ragged-right,quote]
657 \relative c' { c c g' }
665 @node Extenders and hyphens
666 @unnumberedsubsubsec Extenders and hyphens
671 @c leave this as samp. -gp
672 In the last syllable of a word, melismata are sometimes indicated with
673 a long horizontal line starting in the melisma syllable, and ending in
674 the next one. Such a line is called an extender line, and it is
675 entered as @samp{ __ } (note the spaces before and after the two
676 underscore characters).
678 @warning{Melismata are indicated in the score with extender lines,
679 which are entered as one double underscore; but short melismata can
680 also be entered by skipping individual notes, which are entered as
681 single underscore characters; these do not make an extender line to be
686 @c leave this as samp. -gp
687 Centered hyphens are entered as @samp{ -- } between syllables of a same word
688 (note the spaces before and after the two hyphen characters). The hyphen
689 will be centered between the syllables, and its length will be adjusted
690 depending on the space between the syllables.
692 In tightly engraved music, hyphens can be removed. Whether this
693 happens can be controlled with the @code{minimum-distance} (minimum
694 distance between two syllables) and the @code{minimum-length}
695 (threshold below which hyphens are removed).
700 @rinternals{LyricExtender},
701 @rinternals{LyricHyphen}.
704 @node Techniques specific to lyrics
705 @subsection Techniques specific to lyrics
707 @c TODO this whole section is to be reorganised
710 * Working with lyrics and variables::
711 * Placement of lyrics::
712 * Lyrics and repeats::
714 * Spacing out syllables::
719 @node Working with lyrics and variables
720 @unnumberedsubsubsec Working with lyrics and variables
722 @c TODO rewrite this section
724 @cindex lyrics, variables
726 To define variables containing lyrics, the function @code{\lyricmode}
727 must be used. Durations do not need to be added if the variable is
728 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
730 @lilypond[quote,verbatim]
731 verseOne = \lyricmode { Joy to the world, the Lord is come. }
734 \new Voice = "one" \relative c'' {
737 c4 b8. a16 g4. f8 e4 d c2
739 \addlyrics { \verseOne }
744 For different or more complex orderings, the best way is to set up the
745 hierarchy of staves and lyrics first, e.g.,
748 \new Voice = "soprano" @{ @emph{music} @}
749 \new Lyrics = "sopranoLyrics" @{ s1 @}
750 \new Lyrics = "tenorLyrics" @{ s1 @}
751 \new Voice = "tenor" @{ @emph{music} @}
756 and then combine the appropriate melodies and lyric lines:
759 \context Lyrics = sopranoLyrics \lyricsto "soprano"
764 The final input would resemble
769 @emph{setup the music}
771 \lyricsto "soprano" @emph{etc}
772 \lyricsto "alto" @emph{etc}
778 @c TODO: document \new Staff << Voice \lyricsto >> bug
780 @rinternals{LyricCombineMusic},
784 @node Placement of lyrics
785 @unnumberedsubsubsec Placement of lyrics
787 @cindex placement of lyrics
788 @cindex lyrics, positioning
790 Depending on the type of music, lyrics may be positioned
791 above the staff, below the staff, or between staves. Placing
792 lyrics below the associated staff is the easiest, and can be
793 achieved by simply defining the Lyrics context below the Staff
796 @lilypond[quote,verbatim]
800 \new Voice = "melody" {
801 \relative c'' { c4 c c c }
813 Lyrics may be positioned above the staff using one of
814 two methods. The simplest is to use the same syntax as
815 above and explicitly specify the position of the lyrics:
817 @lilypond[quote,verbatim]
820 \new Staff = "staff" {
821 \new Voice = "melody" {
822 \relative c'' { c4 c c c }
825 \new Lyrics \with { alignAboveContext = "staff" } {
834 Alternatively, a two-step process may be used. First the Lyrics
835 context is declared (without any content) before the Staff and
836 Voice contexts, then the @code{\lyricsto} command comes after
837 the Voice declaration it references, as follows:
839 @lilypond[quote,verbatim]
842 \new Lyrics = "lyrics"
844 \new Voice = "melody" {
845 \relative c'' { c4 c c c }
848 \context Lyrics = "lyrics" {
857 When there are two voices on separate staves the lyrics may be
858 placed between the staves using either of these methods. Here
859 is an example of the second method:
861 @lilypond[quote,verbatim]
865 \new Voice = "sopranos" {
866 \relative c'' { c4 c c c }
869 \new Lyrics = "sopranos"
870 \new Lyrics = "contraltos"
872 \new Voice = "contraltos" {
873 \relative c'' { a4 a a a }
876 \context Lyrics = "sopranos" {
877 \lyricsto "sopranos" {
878 Sop -- ra -- no words
881 \context Lyrics = "contraltos" {
882 \lyricsto "contraltos" {
883 Con -- tral -- to words
890 Other combinations of lyrics and staves may be generated by
891 elaborating these examples, or by examining the
892 @rlearning{Vocal ensembles} templates in the Learning Manual.
896 @rlearning{Vocal ensembles}.
899 @ref{Aligning contexts},
900 @ref{Creating contexts}.
902 @node Lyrics and repeats
903 @unnumberedsubsubsec Lyrics and repeats
905 @cindex repeats and lyrics
906 @cindex lyrics, repeating
908 @subheading Simple repeats
910 Repeats in @emph{music} are fully described elsewhere; see
911 @ref{Repeats}. This section explains how to add lyrics to repeated
914 Lyrics to a section of music that is repeated should be surrounded
915 by exactly the same repeat construct as the music, if the words are
918 @lilypond[verbatim,quote]
922 \new Voice = "melody" {
925 \repeat volta 2 { b4 b b b }
931 Not re -- peat -- ed.
932 \repeat volta 2 { Re -- peat -- ed twice. }
939 The words will then be correctly expanded if the repeats are
942 @lilypond[verbatim,quote]
947 \new Voice = "melody" {
950 \repeat volta 2 { b4 b b b }
956 Not re -- peat -- ed.
957 \repeat volta 2 { Re -- peat -- ed twice. }
965 If the repeated section is to be unfolded and has different words,
966 simply enter all the words:
968 @lilypond[verbatim,quote,ragged-right]
972 \new Voice = "melody" {
975 \repeat unfold 2 { b4 b b b }
981 Not re -- peat -- ed.
982 The first time words.
983 Sec -- ond time words.
993 When the words to a repeated volta section are different, the words
994 to each repeat must be entered in separate @code{Lyrics} contexts.
995 Earlier unrepeated sections must be skipped in the second and
996 subsequent repeats. The easiest way to skip several notes is to
997 use @code{\repeat unfold} around the @code{\skip} command.
999 Note: do not use an underscore, @code{_}, to skip notes in this
1000 particular case. As this syntax indicates a melisma, it will cause
1001 the preceding syllable to be left-aligned.
1003 @warning{The @code{@bs{}skip} command must be followed by a number,
1004 but this number is ignored in lyrics which derive their durations
1005 from the notes in an associated melody through @code{\addlyrics} or
1006 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1007 value, irrespective of the value of the following number.}
1009 @lilypond[verbatim,quote]
1013 \new Voice = "melody" {
1016 \repeat volta 2 { b4 b b b }
1021 \lyricsto "melody" {
1022 Not re -- peat -- ed.
1023 The first time words.
1027 \lyricsto "melody" {
1028 % skip 4 notes of any duration
1029 \repeat unfold 4 { \skip 1 }
1030 Sec -- ond time words.
1037 @cindex lyrics, repeating with a temporary voice
1039 An alternative way, which avoids skips and having to count notes,
1040 is to use a temporary voice for the repeated section. This may be
1041 preferable if the earlier sections are still subject to change. A
1042 temporary voice can be inserted anywhere in the main music stream
1043 in parallel with it, as shown below, but it may be necessary to
1044 keep the main voice alive in complex scores when using this
1045 technique; see @ref{Keeping contexts alive}.
1047 @lilypond[verbatim,quote,ragged-right]
1051 \new Voice = "singleVoice" {
1052 \relative c'' { a4 a a a }
1053 \new Voice = "repeatVoice" {
1054 \relative c'' \repeat volta 3 { b4 b b b }
1056 \relative c'' { c4 c c c }
1060 \lyricsto "singleVoice" {
1061 Not re -- peat -- ed.
1062 The end sec -- tion.
1064 \lyricsto "repeatVoice" {
1065 The first time words.
1069 \lyricsto "repeatVoice" {
1070 Sec -- ond time words.
1074 \lyricsto "repeatVoice" {
1075 The third time words.
1082 @c TODO lowering a common line of lyrics
1084 @subheading Repeats with alternative endings
1086 @cindex lyrics, repeats with alternative endings
1087 @cindex repeating lyrics with alternative endings
1088 @cindex alternative endings and lyrics
1090 If the words of the repeated section are the same, exactly the
1091 same structure can be used for both the lyrics and music.
1093 @lilypond[quote,verbatim]
1098 \new Voice = "melody" {
1101 \repeat volta 2 { b4 b }
1102 \alternative { { b b } { b c } }
1107 \lyricsto "melody" {
1108 Not re -- peat -- ed.
1109 \repeat volta 2 { Re -- peat -- }
1110 \alternative { { ed twice. } { ed twice. } }
1117 But when the repeated section has different words, a repeat
1118 construct cannot be used around the words and @code{\skip} commands
1119 have to be inserted manually as described in the previous section to
1120 skip over the notes in the alternative sections which do not apply.
1122 @lilypond[verbatim,quote,ragged-right]
1127 \new Voice = "melody" {
1129 \repeat volta 2 { b4 b }
1130 \alternative { { b b } { b c } }
1136 \lyricsto "melody" {
1137 The first time words.
1138 \repeat unfold 2 { \skip 1 }
1143 \lyricsto "melody" {
1145 \repeat unfold 2 { \skip 1 }
1153 @cindex lyrics and tied notes
1154 @funindex \repeatTie
1156 When a note is tied over into two or more alternative endings a
1157 tie is used to carry the note into the first alternative ending and
1158 a @code{\repeatTie} is used in the second and subsequent endings.
1159 This structure causes difficult alignment problems when lyrics are
1160 involved and increasing the length of the alternative sections so
1161 the tied notes are contained wholly within them may give a more
1164 The tie creates a melisma into the first alternative, but not into
1165 the second and subsequent alternatives, so to align the lyrics
1166 correctly it is necessary to disable the automatic creation of
1167 melismata over the volta section and insert manual skips.
1169 @lilypond[quote,verbatim]
1174 \new Voice = "melody" {
1176 \set melismaBusyProperties = #'()
1177 \repeat volta 2 { b4 b ~}
1178 \alternative { { b b } { b \repeatTie c } }
1179 \unset melismaBusyProperties
1185 \lyricsto "melody" {
1186 \repeat volta 2 { Here's a __ }
1198 Note that if @code{\unfoldRepeats} is used around a section
1199 containing @code{\repeatTie}, the @code{\repeatTie} should be
1200 removed to avoid both types of tie being printed.
1202 When the repeated section has different words a @code{\repeat}
1203 cannot be used around the lyrics and @code{\skip} commands need to
1204 be inserted manually, as before.
1206 @lilypond[quote,verbatim]
1211 \new Voice = "melody" {
1213 \repeat volta 2 { b4 b ~}
1214 \alternative { { b b } { b \repeatTie c } }
1220 \lyricsto "melody" {
1222 \repeat unfold 2 { \skip 1 }
1226 \lyricsto "melody" {
1228 \repeat unfold 2 { \skip 1 }
1236 If you wish to show extenders and hyphens into and out of
1237 alternative sections these must be inserted manually.
1239 @lilypond[quote,verbatim]
1244 \new Voice = "melody" {
1246 \repeat volta 2 { b4 b ~}
1247 \alternative { { b b } { b \repeatTie c } }
1253 \lyricsto "melody" {
1255 \repeat unfold 2 { \skip 1 }
1259 \lyricsto "melody" {
1272 @unnumberedsubsubsec Divisi lyrics
1274 @cindex divided lyrics
1275 @cindex lyrics, divided
1277 When just the words and rhythms of the two parts differ with the
1278 pitches remaining the same, temporarily turning off the automatic
1279 detection of melismata and indicating the melisma in the lyrics
1280 may be the appropriate method to use:
1282 @lilypond[quote,verbatim]
1285 \new Voice = "melody" {
1287 \set melismaBusyProperties = #'()
1291 \unset melismaBusyProperties
1295 \new Lyrics \lyricsto "melody" {
1296 They shall not o -- ver -- come
1298 \new Lyrics \lyricsto "melody" {
1305 When both music and words differ it may be better to display
1306 the differing music and lyrics by naming voice contexts and
1307 attaching lyrics to those specific contexts:
1309 @lilypond[verbatim,ragged-right,quote]
1312 \new Voice = "melody" {
1319 \new Voice = "splitpart" {
1329 \new Lyrics \lyricsto "melody" {
1330 They shall not o -- ver -- come
1332 \new Lyrics \lyricsto "splitpart" {
1340 @node Spacing out syllables
1341 @unnumberedsubsubsec Spacing out syllables
1343 @cindex Spacing lyrics
1344 @cindex Lyrics, increasing space between
1346 To increase the spacing between lyrics, set the @code{minimum-distance}
1347 property of @code{LyricSpace}.
1349 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1352 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1356 longtext longtext longtext longtext
1357 longtext longtext longtext longtext
1362 To make this change for all lyrics in the score, set the property in the
1365 @lilypond[verbatim,quote,ragged-right]
1372 longtext longtext longtext longtext
1373 longtext longtext longtext longtext
1378 \override LyricSpace #'minimum-distance = #1.0
1385 @c This snippet has been renamed to "lyrics-alignment.ly"
1386 @c update as soon as lsr/is updated -vv
1387 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1388 @c {lyrics-alignment.ly}
1390 @c TODO: move to LSR -vv
1393 Checking to make sure that text scripts and lyrics are within the margins is
1394 a relatively large computational task. To speed up processing, LilyPond does
1395 not perform such calculations by default; to enable it, use
1398 \override Score.PaperColumn #'keep-inside-line = ##t
1401 To make lyrics avoid bar lines as well, use
1407 \consists "Bar_engraver"
1408 \consists "Separating_line_group_engraver"
1409 \override BarLine #'transparent = ##t
1414 @c TODO Create and add lsr example of lyricMelismaAlignment
1415 @c It's used like this to center-align all lyric syllables,
1416 @c even when notes are tied. -td
1421 \context { \Score lyricMelismaAlignment = #0 }
1430 * Adding stanza numbers::
1431 * Adding dynamics marks to stanzas::
1432 * Adding singers' names to stanzas::
1433 * Stanzas with different rhythms::
1434 * Printing stanzas at the end::
1435 * Printing stanzas at the end in multiple columns::
1439 @node Adding stanza numbers
1440 @unnumberedsubsubsec Adding stanza numbers
1442 @cindex stanza number
1444 Stanza numbers can be added by setting @code{stanza}, e.g.,
1446 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1448 \time 3/4 g2 e4 a2 f4 g2.
1450 \set stanza = #"1. "
1451 Hi, my name is Bert.
1453 \set stanza = #"2. "
1454 Oh, ché -- ri, je t'aime
1460 These numbers are put just before the start of the first syllable.
1462 @c TODO Create and add snippet to show how two lines of a
1463 @c stanza can be grouped together, along these lines:
1464 @c (might need improving a bit) -td
1467 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1471 \set stanza = \markup { "1. " \leftbrace }
1472 \lyricmode { Child, you're mine and I love you.
1473 Lend thine ear to what I say.
1479 % \set stanza = \markup { " "}
1480 \lyricmode { Child, I have no great -- er joy
1481 Than to have you walk in truth.
1487 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1488 c'8 c' c' c' c' c' c'4 }
1489 } \addlyrics { \stanzaOneOne }
1490 \addlyrics { \stanzaOneThree }
1494 @node Adding dynamics marks to stanzas
1495 @unnumberedsubsubsec Adding dynamics marks to stanzas
1497 Stanzas differing in loudness may be indicated by putting a
1498 dynamics mark before each stanza. In LilyPond, everything coming in
1499 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1500 are no different. For technical reasons, you have to set the stanza
1501 outside @code{\lyricmode}:
1503 @lilypond[quote,ragged-right,verbatim]
1505 \set stanza = \markup { \dynamic "ff" "1. " }
1512 \new Voice = "tune" {
1516 \new Lyrics \lyricsto "tune" \text
1520 @node Adding singers' names to stanzas
1521 @unnumberedsubsubsec Adding singers' names to stanzas
1524 @cindex name of singer
1526 Names of singers can also be added. They are printed at the start of
1527 the line, just like instrument names. They are created by setting
1528 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1530 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1532 \time 3/4 g2 e4 a2 f4 g2.
1534 \set vocalName = #"Bert "
1535 Hi, my name is Bert.
1537 \set vocalName = #"Ernie "
1538 Oh, ché -- ri, je t'aime
1542 @node Stanzas with different rhythms
1543 @unnumberedsubsubsec Stanzas with different rhythms
1545 Often, different stanzas of one song are put to one melody in slightly
1546 differing ways. Such variations can still be captured with
1549 @subsubheading Ignoring melismata
1551 One possibility is that the text has a melisma in one stanza, but
1552 multiple syllables in another one. One solution is to make the faster
1553 voice ignore the melisma. This is done by setting
1554 @code{ignoreMelismata} in the Lyrics context.
1556 @lilypond[verbatim,ragged-right,quote]
1558 \relative c' \new Voice = "lahlah" {
1559 \set Staff.autoBeaming = ##f
1565 \new Lyrics \lyricsto "lahlah" {
1568 \new Lyrics \lyricsto "lahlah" {
1570 \set ignoreMelismata = ##t
1572 \unset ignoreMelismata
1579 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1580 not work if prefixed with @code{\once}. It is necessary to use
1581 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1584 @subsubheading Adding syllables to grace notes
1586 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1587 syllables when using @code{\lyricsto}, but this behavior can be
1590 @lilypond[verbatim,ragged-right,quote]
1592 f4 \appoggiatura a32 b4
1593 \grace { f16[ a16] } b2
1594 \afterGrace b2 { f16[ a16] }
1595 \appoggiatura a32 b4
1600 \set includeGraceNotes = ##t
1603 after -- grace case,
1604 \set ignoreMelismata = ##t
1611 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1612 set at latest one syllable before the one which is to be put under a
1613 grace note. For the case of a grace note at the very beginning of a
1614 piece of music, consider using a @code{\with} or @code{\context}
1617 @lilypond[verbatim,ragged-right,quote]
1619 \new Voice = melody \relative c' {
1620 \grace { c16[( d e f] }
1623 \new Lyrics \with { includeGraceNotes = ##t }
1630 @subsubheading Switching to an alternative melody
1632 More complex variations in text underlay are possible. It is possible
1633 to switch the melody for a line of lyrics during the text. This is
1634 done by setting the @code{associatedVoice} property. In the example
1636 @lilypond[ragged-right,quote]
1638 \relative c' \new Voice = "lahlah" {
1639 \set Staff.autoBeaming = ##f
1642 \new Voice = "alternative" {
1645 % show associations clearly.
1646 \override NoteColumn #'force-hshift = #-3
1657 \new Lyrics \lyricsto "lahlah" {
1658 Ju -- ras -- sic Park
1660 \new Lyrics \lyricsto "lahlah" {
1661 % Tricky: need to set associatedVoice
1662 % one syllable too soon!
1663 \set associatedVoice = alternative % applies to "ran"
1667 \set associatedVoice = lahlah % applies to "rus"
1673 the text for the first stanza is set to a melody called @q{lahlah},
1676 \new Lyrics \lyricsto "lahlah" @{
1677 Ju -- ras -- sic Park
1682 The second stanza initially is set to the @code{lahlah} context, but
1683 for the syllable @q{ran}, it switches to a different melody.
1684 This is achieved with
1686 \set associatedVoice = alternative
1690 Here, @code{alternative} is the name of the @code{Voice} context
1691 containing the triplet.
1693 @c TODO: make this easier to understand -vv
1694 This command must be one syllable too early, before @q{Ty} in this
1695 case. In other words, changing the associatedVoice happens one step
1696 later than expected. This is for technical reasons, and it is not a
1700 \new Lyrics \lyricsto "lahlah" @{
1701 \set associatedVoice = alternative % applies to "ran"
1705 \set associatedVoice = lahlah % applies to "rus"
1711 The underlay is switched back to the starting situation by assigning
1712 @code{lahlah} to @code{associatedVoice}.
1715 @node Printing stanzas at the end
1716 @unnumberedsubsubsec Printing stanzas at the end
1718 Sometimes it is appropriate to have one stanza set
1719 to the music, and the rest added in verse form at
1720 the end of the piece. This can be accomplished by adding
1721 the extra verses into a @code{\markup} section outside
1722 of the main score block. Notice that there are two
1723 different ways to force linebreaks when using
1726 @lilypond[ragged-right,verbatim,quote]
1727 melody = \relative c' {
1733 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1734 its fleece was white as snow.
1738 \new Voice = "one" { \melody }
1739 \new Lyrics \lyricsto "one" \text
1745 \line{ All the children laughed and played }
1746 \line{ To see a lamb at school. }
1753 Mary took it home again,
1755 It was against the rule."
1760 @node Printing stanzas at the end in multiple columns
1761 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1763 When a piece of music has many verses, they are often printed in
1764 multiple columns across the page. An outdented verse number often
1765 introduces each verse. The following example shows how to produce such
1768 @lilypond[ragged-right,quote,verbatim]
1769 melody = \relative c' {
1774 \set stanza = #"1." This is verse one.
1779 \new Voice = "one" { \melody }
1780 \new Lyrics \lyricsto "one" \text
1787 \hspace #0.1 % moves the column off the left margin;
1788 % can be removed if space on the page is tight
1792 "This is verse two."
1796 \hspace #0.1 % adds vertical spacing between verses
1799 "This is verse three."
1804 \hspace #0.1 % adds horizontal spacing between columns;
1805 % if they are still too close, add more " " pairs
1806 % until the result looks good
1810 "This is verse four."
1814 \hspace #0.1 % adds vertical spacing between verses
1817 "This is verse five."
1822 \hspace #0.1 % gives some extra space on the right margin;
1823 % can be removed if page space is tight
1830 Internals Reference:
1831 @rinternals{LyricText},
1832 @rinternals{StanzaNumber}.
1839 * References for songs::
1843 @node References for songs
1844 @unnumberedsubsubsec References for songs
1846 Songs are usually written on three staves with the melody for the
1847 singer on the top staff and two staves of piano accompaniment at
1848 the bottom. The lyrics of the first stanza are printed immediately
1849 underneath the top staff. If there are just a small number of
1850 further stanzas these can be printed immediately under the first
1851 one, but if there are more stanzas than can be easily accommodated
1852 there the second and subsequent stanzas are printed after the music
1853 as stand-alone text.
1855 All the notational elements needed to write songs are fully described
1861 For constructing the staff layout, see @ref{Displaying staves}.
1864 For writing piano music, see
1865 @ref{Keyboard and other multi-staff instruments}.
1868 For writing the lyrics to a melody line, see
1869 @ref{Common notation for vocal music}.
1872 For placing the lyrics, see @ref{Placement of lyrics}.
1875 For entering stanzas, see @ref{Stanzas}.
1878 Songs are frequently printed with the chording indicated by chord
1879 names above the staves. This is described in
1880 @ref{Displaying chords}.
1883 To print fret diagrams of the chords for guitar accompaniment or
1884 accompaniment by other fretted instruments, see @qq{Fret diagram
1885 markups} in @ref{Common notation for fretted strings}.
1894 @ref{Common notation for vocal music},
1895 @ref{Displaying chords},
1896 @ref{Displaying staves},
1897 @ref{Keyboard and other multi-staff instruments},
1898 @ref{Placement of lyrics},
1902 @unnumberedsubsubsec Lead sheets
1904 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1905 this syntax is explained in @ref{Chord notation}.
1908 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1909 {simple-lead-sheet.ly}
1913 @ref{Chord notation}.
1924 This section discusses notation issues that relate most directly
1925 to choral music. This includes anthems, part songs, oratorio,
1929 * References for choral::
1930 * Score layouts for choral::
1934 @node References for choral
1935 @unnumberedsubsubsec References for choral
1937 Choral music is usually notated on two, three or four staves within
1938 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1939 beneath in a @code{PianoStaff} group, which is usually reduced in
1940 size for @emph{a capella} choral works. The notes for each vocal
1941 part are placed in a @code{Voice} context, with each staff
1942 being given either a single vocal part (i.e., one @code{Voice}) or
1943 a pair of vocal parts (i.e., two @code{Voice}s).
1945 Words are placed in @code{Lyrics} contexts, either underneath each
1946 corresponding music staff, or one above and one below the music
1947 staff if this contains the music for two parts.
1949 Several common topics in choral music are described fully elsewhere:
1954 An introduction to creating an SATB vocal score can be found in
1955 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1958 Several templates suitable for various styles of choral music can
1959 also be found in the Learning Manual, see
1960 @rlearning{Vocal ensembles}.
1963 For information about @code{ChoirStaff} and @code{PianoStaff} see
1964 @ref{Grouping staves}.
1967 Shape noteheads, as used in Sacred Harp and similar notation, are
1968 described in @ref{Shape note heads}.
1971 When two vocal parts share a staff the stems, ties, slurs, etc., of
1972 the higher part will be directed up and those of the lower part
1973 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1974 @ref{Single-staff polyphony}.
1985 @rlearning{Four-part SATB vocal score},
1986 @rlearning{Vocal ensembles}.
1989 @ref{Context layout order},
1990 @ref{Grouping staves},
1991 @ref{Shape note heads},
1992 @ref{Single-staff polyphony}.
1994 Internals Reference:
1995 @rinternals{ChoirStaff},
1996 @rinternals{Lyrics},
1997 @rinternals{PianoStaff}.
1999 @node Score layouts for choral
2000 @unnumberedsubsubsec Score layouts for choral
2002 Choral music containing four staves, with or without piano
2003 accompaniment, is usually laid out with two systems per page.
2004 Depending on the page size, achieving this may require changes
2005 to several default settings. The following settings should be
2011 The global staff size can be modified to change the overall size
2012 of the elements of the score. See @ref{Setting the staff size}.
2015 The distances between the systems, the staves and the lyrics can
2016 all be adjusted independently. See @ref{Vertical spacing}.
2019 The dimensions of the vertical layout variables can be displayed as
2020 an aid to adjusting the vertical spacing. This and other
2021 possibilities for fitting the music onto fewer pages are described
2022 in @ref{Fitting music onto fewer pages}.
2025 If the number of systems per page changes from one to two it is
2026 customary to indicate this with a system separator mark between
2027 the two systems. See @ref{Separating systems}.
2030 For details of other page formatting properties, see
2031 @ref{Page formatting}.
2036 Dynamic markings by default are placed below the staff, but in
2037 choral music they are usually placed above the staff in order to
2038 avoid the lyrics. The predefined command @code{\dynamicUp} does
2039 this for the dynamic markings in a single @code{Voice} context.
2040 If there are many @code{Voice} contexts this predefined command
2041 would have to be placed in every one. Alternatively its expanded
2042 form can be used to place all dynamic markings in the entire score
2043 above their respective staves, as shown here:
2045 @lilypond[verbatim,quote]
2050 \relative c'' { g4\f g g g }
2055 \relative c' { d4 d d\p d }
2062 \override DynamicText #'direction = #UP
2063 \override DynamicLineSpanner #'direction = #UP
2070 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2074 @ref{Changing spacing},
2075 @ref{Displaying spacing},
2076 @ref{Fitting music onto fewer pages},
2077 @ref{Page formatting},
2079 @ref{Separating systems},
2080 @ref{Setting the staff size},
2081 @ref{Using an extra voice for breaks},
2082 @ref{Vertical spacing}.
2084 Internals Reference:
2085 @rinternals{VerticalAxisGroup},
2086 @rinternals{StaffGrouper}.
2089 @node Divided voices
2090 @unnumberedsubsubsec Divided voices
2092 @cindex voices, divided
2094 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2095 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2099 @ref{Expressive marks as lines}.
2102 @node Opera and stage musicals
2103 @subsection Opera and stage musicals
2105 The music, lyrics and dialogue to opera and stage musicals are
2106 usually set out in one or more of the following forms:
2111 A @emph{Conductors' Score} containing the full orchestral and vocal
2112 parts, together with libretto cues if there are spoken passages.
2115 @emph{Orchestral Parts} containing the music for the individual
2116 instruments of the orchestra or band.
2119 A @emph{Vocal Score} containing all vocal parts with piano
2120 accompaniment. The accompaniment is usually an orchestral
2121 reduction, and if so the name of the original orchestral instrument
2122 is often indicated. Vocal scores sometimes includes stage
2123 directions and libretto cues.
2126 A @emph{Vocal Book} containing just the vocal parts
2127 (no accompaniment), sometimes combined with the libretto.
2130 A @emph{Libretto} containing the extended passages of spoken
2131 dialogue usually found in musicals, together with the words to the
2132 sung parts. Stage directions are usually included. LilyPond can
2133 be used to typeset libretti but as they contain no music
2134 alternative methods may be preferable.
2138 The sections in the LilyPond documentation which cover the topics
2139 needed to create scores in the styles commonly found in opera and
2140 musicals are indicated in the References below. This is followed
2141 by sections covering those techniques which are peculiar to
2142 typesetting opera and musical scores.
2145 * References for opera and stage musicals::
2149 * Dialogue over music::
2152 @node References for opera and stage musicals
2153 @unnumberedsubsubsec References for opera and stage musicals
2158 A conductors' score contains many grouped staves and lyrics. Ways
2159 of grouping staves is shown in @ref{Grouping staves}. To nest
2160 groups of staves see @ref{Nested staff groups}.
2163 The printing of empty staves in conductors' scores and vocal scores
2164 is often suppressed. To create such a @qq{Frenched score} see
2165 @ref{Hiding staves}.
2168 Writing orchestral parts is covered in @ref{Writing parts}.
2169 Other sections in the Specialist notation chapter may be relevant,
2170 depending on the orchestration used. Many instruments are
2171 transposing instruments, see @ref{Instrument transpositions}.
2174 If the number of systems per page changes from page to page it is
2175 customary to separate the systems with a system separator mark.
2176 See @ref{Separating systems}.
2179 For details of other page formatting properties, see
2180 @ref{Page formatting}.
2183 Dialogue cues and stage directions can be inserted with markup.
2184 See @ref{Text}. Extensive stage directions can be inserted with
2185 a section of stand-alone markup between two @code{\score} blocks.
2186 See @ref{Separate text}.
2192 @rglos{Frenched score},
2193 @rglos{Frenched staves},
2194 @rglos{transposing instrument}.
2197 @ref{Grouping staves},
2198 @ref{Hiding staves},
2199 @ref{Instrument transpositions},
2200 @ref{Nested staff groups},
2201 @ref{Page formatting},
2202 @ref{Separating systems},
2204 @ref{Writing parts},
2208 @node Character names
2209 @unnumberedsubsubsec Character names
2211 @cindex character names
2212 @cindex names, character
2214 Character names are usually shown to the left of the staff when the
2215 staff is dedicated to that character alone. The instrument name can
2216 be used for this purpose.
2218 @lilypond[quote,verbatim,ragged-right]
2222 \set Staff.instrumentName = #"Kaspar"
2223 \set Staff.shortInstrumentName = #"Kas"
2232 \set Staff.instrumentName = #"Melchior"
2233 \set Staff.shortInstrumentName = #"Mel"
2244 When two or more characters share a staff the character's name is
2245 usually printed above the staff at the start of every section
2246 applying to that character. This can be done with markup. Often a
2247 specific font is used for this purpose.
2249 @lilypond[quote,verbatim,relative=1]
2251 c4^\markup \fontsize #1 \smallCaps Kaspar
2254 a4^\markup \fontsize #1 \smallCaps Melchior
2257 c4^\markup \fontsize #1 \smallCaps Kaspar
2261 Alternatively, if there are many character changes, it may be
2262 easier to set up @qq{instrument} definitions for each character at
2263 the top level so that @code{\instrumentSwitch} can be used to
2264 indicate each change.
2266 @lilypond[quote,verbatim]
2267 \addInstrumentDefinition #"kaspar"
2268 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2269 (shortInstrumentName . "Kas.")
2270 (clefGlyph . "clefs.G")
2271 (clefOctavation . -7)
2272 (middleCPosition . 1)
2274 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2275 (midiInstrument . "voice oohs"))
2277 \addInstrumentDefinition #"melchior"
2278 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2279 (shortInstrumentName . "Mel.")
2280 (clefGlyph . "clefs.F")
2281 (clefOctavation . 0)
2282 (middleCPosition . 6)
2284 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2285 (midiInstrument . "voice aahs"))
2288 \instrumentSwitch "kaspar"
2290 \instrumentSwitch "melchior"
2292 \instrumentSwitch "kaspar"
2299 @ref{Instrument names},
2300 @ref{Scheme functions},
2302 @ref{Text markup commands}.
2305 @rextend{Markup construction in Scheme}.
2308 @unnumberedsubsubsec Musical cues
2310 @cindex musical cues
2311 @cindex cues, musical
2313 Musical cues can be inserted in Vocal Scores, Vocal Books and
2314 Orchestral Parts to indicate what music in another part
2315 immediately precedes an entry. Also, cues are often inserted in the
2316 piano reduction in Vocal Scores to indicate what each orchestral
2317 instrument is playing. This aids the conductor when a full
2318 Conductors' Score is not available.
2320 The basic mechanism for inserting cues is fully explained in the
2321 main text, see @ref{Quoting other voices} and
2322 @ref{Formatting cue notes}. But when many cues have to be
2323 inserted, for example, as an aid to a conductor in a vocal score,
2324 the instrument name must be positioned carefully just before and
2325 close to the start of the cued notes. The following example shows
2326 how this is done. Note that the name of the grob for overriding
2327 the cued instrument name is @code{InstrumentSwitch}.
2329 @lilypond[quote,verbatim]
2330 flute = \relative c'' {
2333 \addQuote "flute" { \flute }
2335 pianoRH = \relative c'' {
2337 % position name of cued instrument just before the cued notes
2338 \once \override CueVoice.InstrumentSwitch
2339 #'self-alignment-X = #RIGHT
2340 % position name of cued instrument above the staff
2341 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2342 \set CueVoice.instrumentCueName = "Flute"
2343 \cueDuring "flute" #UP { g4 bes4 }
2345 pianoLH = \relative c { c4 <c' e> e, <g c> }
2360 If a transposing instrument is being cued the instrument part should
2361 specify its key so the conversion of its cued notes will be done
2362 automatically. The example below shows this transposition for a
2363 B-flat clarinet. The notes in this example are low on the staff so
2364 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2365 down) and the instrument name is positioned below the staff. Note
2366 also that the piano right-hand voice is explicitly declared. This
2367 is because the cued notes in this example begin at the start of the
2368 first bar and this would otherwise cause the entire piano right-hand
2369 notes to be placed in a @code{CueVoice} context.
2371 @lilypond[quote,verbatim]
2372 clarinet = \relative c' {
2376 \addQuote "clarinet" { \clarinet }
2378 pianoRH = \relative c'' {
2380 % position name of cued instrument just before the cued notes
2381 \once \override CueVoice.InstrumentSwitch
2382 #'self-alignment-X = #RIGHT
2383 % position name of cued instrument below the staff
2384 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2385 \set CueVoice.instrumentCueName = "Clar."
2386 \cueDuring "clarinet" #DOWN { c4. g8 }
2389 pianoLH = \relative c { c4 <c' e> e, <g c> }
2408 From these two examples it is clear that inserting many cues in a
2409 Vocal Score would be extremely tedious, and the notes of the piano
2410 part would be obscured by the many overrides. However, as the
2411 following snippet shows, it is possible to define a music function
2412 to reduce the amount of typing and to make the piano notes clearer.
2415 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2416 {adding-orchestral-cues-to-a-vocal-score.ly}
2423 @ref{Aligning objects},
2424 @ref{Direction and placement},
2425 @ref{Formatting cue notes},
2426 @ref{Quoting other voices},
2427 @ref{Using music functions}.
2432 Internals Reference:
2433 @rinternals{InstrumentSwitch},
2434 @rinternals{CueVoice}.
2437 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2438 and all cue notes are placed in that context. This means it is not
2439 possible to have two overlapping sequences of cued notes by this
2440 technique. Overlapping sequences could be entered by explicitly
2441 declaring separate @code{CueVoice} contexts and using
2442 @code{\quoteDuring} to extract and insert the cued notes.
2446 @unnumberedsubsubsec Spoken music
2449 @cindex Sprechgesang
2450 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2451 without pitch but still with rhythm; these are notated by cross
2452 note heads, as demonstrated in @ref{Special note heads}.
2454 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2455 @c add "showing the rhythm of a melody" snip
2456 @c add "one staff-line notation"
2457 @c add "improvisation" ref
2458 @c add "lyrics independents of notes" ref
2460 @node Dialogue over music
2461 @unnumberedsubsubsec Dialogue over music
2463 Dialogue over music is usually printed over the staves in an italic
2464 font, with the start of each phrase keyed in to a particular music
2467 For short interjections a simple markup suffices.
2469 @lilypond[quote,verbatim,relative=2]
2470 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2471 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2475 For longer phrases it may be necessary to expand the music to make
2476 the words fit neatly. There is no provision in LilyPond to do this
2477 fully automatically, and some manual intervention to layout the
2478 page will be necessary.
2480 For long phrases or for passages with a lot of closely packed
2481 dialogue, using a Lyrics context will give better results. The
2482 Lyrics context should not be associated with a music Voice; instead
2483 each section of dialogue should be given an explicit duration. If
2484 there is a gap in the dialogue, the final word should be separated
2485 from the rest and the duration split between them so that the
2486 underlying music spaces out smoothly.
2488 If the dialogue extends for more than one line it will be necessary
2489 to manually insert @code{\break}s and adjust the placing of the
2490 dialogue to avoid running into the right margin. The final word of
2491 the last measure on a line should also be separated out, as above.
2493 Here is an example illustating how this might be done.
2495 @c This should be a snippet, but it can't be as it needs to be
2496 @c manually adjusted to suit the imposed line length. -td
2498 @lilypond[quote,verbatim,ragged-right]
2499 music = \relative c'' {
2500 \repeat unfold 3 { a4 a a a }
2503 dialogue = \lyricmode {
2505 \fontsize #1 \upright \smallCaps Abe:
2506 "Say this over measures one and"
2510 "and this over measure"4*3
2517 \override LyricText #'font-shape = #'italic
2518 \override LyricText #'self-alignment-X = #LEFT
2522 \new Voice { \music }
2528 @c TODO show use of \column to produce dialogue on two lines
2532 @ref{Manual syllable durations},
2536 @rinternals{LyricText}.
2539 @node Chants psalms and hymns
2540 @subsection Chants psalms and hymns
2545 @cindex religious music
2547 The music and words for chants, psalms and hymns usually follow a
2548 well-established format in any particular church. Although the
2549 formats may differ from church to church the type-setting problems
2550 which arise are broadly similar, and are covered in this section.
2553 * References for chants and psalms::
2555 * Pointing a psalm::
2556 * Partial measures in hymn tunes::
2559 @node References for chants and psalms
2560 @unnumberedsubsubsec References for chants and psalms
2562 Typesetting Gregorian chant in various styles of ancient notation
2563 is described in @ref{Ancient notation}.
2567 @ref{Ancient notation}.
2570 @node Setting a chant
2571 @unnumberedsubsubsec Setting a chant
2573 Modern chant settings use modern notation with varying numbers of
2574 elements taken from ancient notation. Some of the elements and
2575 methods to consider are shown here.
2577 Chants often use quarter notes without stems to indicate the pitch,
2578 with the rhythm being taken from the spoken rhythm of the words.
2580 @lilypond[verbatim,quote]
2581 stemOff = { \override Staff.Stem #'transparent = ##t }
2590 Chants often omit the bar lines or use shortened or dotted bar
2591 lines to indicate pauses in the music. To omit all bar lines from
2592 all staves remove the bar line engraver completely:
2594 @lilypond[verbatim,quote]
2615 \remove Bar_engraver
2621 Bar lines can also be removed on a staff-by-staff basis:
2623 @lilypond[verbatim, quote]
2627 \with { \remove Bar_engraver } {
2645 To remove bar lines from just a section of music treat it as a
2646 cadenza. If the section is long you may need to insert dummy
2647 barlines with @code{\bar ""} to show where the line should break.
2649 @lilypond[verbatim,quote,relative=2]
2662 Rests or pauses in chants can be indicated by modified bar lines.
2664 @lilypond[verbatim, quote,relative=2]
2679 Alternatively, the notation used in Gregorian chant for pauses or
2680 rests is sometimes used even though the rest of the notation is
2681 modern. This uses a modified @code{\breathe} mark:
2683 @lilypond[verbatim,quote]
2685 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2686 \once \override BreathingSign #'Y-offset = #0
2690 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2691 \once \override BreathingSign #'Y-offset = #0
2695 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2696 \once \override BreathingSign #'Y-offset = #0
2700 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2701 \once \override BreathingSign #'Y-offset = #0
2719 \remove Bar_engraver
2725 Chants usually omit the time signature and often omit the clef too.
2727 @lilypond[verbatim,quote]
2739 \remove Bar_engraver
2740 \remove Time_signature_engraver
2741 \remove Clef_engraver
2747 Chants for psalms in the Anglican tradition are usually either
2748 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2749 of 7 bars. Each group of 7 bars is divided into two halves,
2750 corresponding to the two halves of each verse, usually separated by
2751 a double bar line. Only whole and half notes are used. The 1st bar
2752 in each half always contains a single chord of whole notes. This is
2753 the @qq{reciting note}. Chants are usually centered on the page.
2755 @lilypond[verbatim,quote]
2756 SopranoMusic = \relative g' {
2757 g1 | c2 b | a1 | \bar "||"
2758 a1 | d2 c | c b | c1 | \bar "||"
2761 AltoMusic = \relative c' {
2763 f1 | f2 e | d d | e1 |
2766 TenorMusic = \relative a {
2768 d1 | g,2 g | g g | g1 |
2771 BassMusic = \relative c {
2773 d1 | b2 c | g' g | c,1 |
2780 % Use markup to center the chant on the page
2789 \new Voice = "Soprano" <<
2793 \new Voice = "Alto" <<
2801 \new Voice = "Tenor" <<
2805 \new Voice = "Bass" <<
2815 \override SpacingSpanner
2816 #'base-shortest-duration = #(ly:make-moment 1 2)
2820 \remove "Time_signature_engraver"
2828 Some other approaches to setting such a chant are shown in the first
2829 of the following snippets.
2833 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2834 {chant-or-psalms-notation.ly}
2836 Canticles and other liturgical texts may be set more freely, and
2837 may use notational elements from ancient music. Often the words
2838 are shown underneath and aligned with the notes. If so, the notes
2839 are spaced in accordance with the syllables rather than the notes'
2842 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2843 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2847 @rlearning{Visibility and color of objects},
2848 @rlearning{Vocal ensembles}.
2851 @ref{Ancient notation},
2853 @ref{Modifying context plug-ins},
2854 @ref{Typesetting Gregorian chant},
2855 @ref{Unmetered music},
2856 @ref{Visibility of objects}.
2859 @node Pointing a psalm
2860 @unnumberedsubsubsec Pointing a psalm
2862 The words to an Anglican psalm are usually printed in separate
2863 verses centered underneath the chant.
2865 Single chants (with 7 bars) are repeated for every verse. Double
2866 chants (with 14 bars) are repeated for every pair of verses. Marks
2867 are inserted in the words to show how they should be fitted to the
2868 chant. Each verse is divided into two halves. A colon is usually
2869 used to indicate this division. This corresponds to the double bar
2870 line in the music. The words before the colon are sung to the first
2871 three bars of music; the words after the colon are sung to the last
2874 Single bar lines (or in some psalters an inverted comma or similar
2875 symbol) are inserted between words to indicate where the bar lines
2876 in the music fall. In markup mode a single bar line can be entered
2877 with the bar check symbol, @code{|}.
2879 @lilypond[verbatim,quote]
2884 \line { O come let us sing | unto the | Lord : let }
2885 \line { us heartily rejoice in the | strength of | our }
2886 \line { sal- | -vation. }
2893 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2894 For details, see @ref{Fonts}.
2896 @lilypond[verbatim,quote]
2898 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2904 \line { O come let us sing \tick unto the \tick Lord : let }
2906 us heartily rejoice in the \tick strength of \tick our
2908 \line { sal \tick vation. }
2915 Where there is one whole note in a bar all the words corresponding
2916 to that bar are recited on that one note in speech rhythm. Where
2917 there are two notes in a bar there will usually be only one or two
2918 corresponding syllables. If there are more that two syllables a
2919 dot is usually inserted to indicate where the change in note occurs.
2921 @lilypond[verbatim,quote]
2923 \raise #0.7 \musicglyph #"dots.dot"
2926 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2933 O come let us sing \tick unto \dot the \tick Lord : let
2936 us heartily rejoice in the \tick strength of \tick our
2938 \line { sal \tick vation. }
2945 In some psalters an asterisk is used to indicate a break in a
2946 recited section instead of a comma, and stressed or slightly
2947 lengthened syllables are indicated in bold text.
2949 @lilypond[verbatim,quote]
2951 \raise #0.7 \musicglyph #"dots.dot"
2954 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2960 \line { Today if ye will hear his voice * }
2962 \concat { \bold hard en }
2963 | not your | hearts : as in the pro-
2965 \line { vocation * and as in the \bold day of tempt- | }
2966 \line { -ation | in the | wilderness. }
2973 In other psalters an accent is placed over the syllable to indicate
2976 @lilypond[verbatim,quote]
2978 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2985 O come let us \concat {
2986 si \combine \tick ng
2988 | unto the | Lord : let
2991 us heartily \concat {
2992 rejo \combine \tick ice
2994 in the | strength of | our
2996 \line { sal- | -vation. }
3003 The use of markup to center text, and arrange lines in columns is
3004 described in @ref{Formatting text}.
3006 Most of these elements are shown in one or other of the two verses
3007 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3011 @rlearning{Vocal ensembles}.
3015 @ref{Formatting text}.
3018 @node Partial measures in hymn tunes
3019 @unnumberedsubsubsec Partial measures in hymn tunes
3021 Hymn tunes frequently start and end every line of music with
3022 partial measures so that each line of music corresponds exactly
3023 with a line of text. This requires a @code{\partial} command at
3024 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3025 commands at the end of each line.
3027 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3031 @node Ancient vocal music
3032 @subsection Ancient vocal music
3034 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3038 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3039 @c and "Transcription of Ancient music with incipit" snippet. -vv
3043 @ref{Ancient notation}.