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. See TRANSLATION for details.
14 @c TODO: inspirational headword
16 This section explains how to typeset vocal music, and make sure
17 that the lyrics will be aligned with the notes of their melody.
20 * Common notation for vocal music::
22 * Aligning lyrics to a melody::
23 * Specific uses of lyrics::
28 @node Common notation for vocal music
29 @subsection Common notation for vocal music
31 This section discusses issues related to vocal music in general, and
32 to some particular styles of vocal music.
35 * References for vocal music and lyrics::
40 * Ancient vocal music::
44 @node References for vocal music and lyrics
45 @unnumberedsubsubsec References for vocal music and lyrics
47 @c TODO: split this section in two parts? -vv
49 Various issues may arise when engraving vocal music. Some of these
50 are discussed in this section, while others are explained elsewhere:
54 Most styles of vocal music use written text as lyrics. An introduction
55 to this notation is to be found in @rlearning{Setting simple songs}.
58 Vocal music is likely to require the use of @code{markup} mode, either
59 for lyrics of for other text elements (character's names, etc.).
60 This syntax is described in @ref{Text markup introduction}.
63 Lead sheets may be printed by combining vocal parts and @q{chord mode};
64 this syntax is explained in @ref{Chord notation}.
67 @q{Ambitus} may be added at the beginning of vocal staves, as explained
71 Vocal parts may be printed using traditional clefs, as shown in @ref{Clef}.
74 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
79 @unnumberedsubsubsec Opera
84 @c add characters names snippet -vv
87 @unnumberedsubsubsec Song books
93 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
94 {simple-lead-sheet.ly}
101 @unnumberedsubsubsec Spoken music
104 Such effects as @q{parlato} or @q{Sprechgesang} require perfomers to speak
105 without pitch but still with rhythm; these are notated by cross
106 note heads, as demonstrated in @ref{Special note heads}.
108 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
109 @c add "showing the rhythm of a melody" snip
110 @c add "one staff-line notation"
111 @c add "improvisation" ref
112 @c add "lyrics independents of notes" ref
115 @unnumberedsubsubsec Chants
117 @c TODO Add text from lsr and -user
120 @node Ancient vocal music
121 @unnumberedsubsubsec Ancient vocal music
126 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
127 @c and "Transcription of Ancient music with incipit" snippet. -vv
131 @ref{Ancient notation}.
134 @node Entering lyrics
135 @subsection Entering lyrics
137 @c TODO add one sentence here. -vv
141 * Setting simple songs::
142 * Working with lyrics and variables::
146 @node Lyrics explained
147 @unnumberedsubsubsec Lyrics explained
152 @cindex spaces, in lyrics
153 @cindex quotes, in lyrics
155 @c FIXME: this section is to be rewritten.
156 Since LilyPond input files are text, there is at least one
157 issue to consider when working with vocal music:
158 song texts must be interpreted as text, not notes. For example, the
159 input@tie{}@code{d} should be interpreted as a one letter syllable,
161 Therefore, a special lyric mode has to be used, either explicitely
162 or using some abbreviated methods.
164 Lyrics are entered in a special input mode, which can be introduced
165 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
166 @code{\lyricsto}. In this mode you can enter lyrics,
167 with punctuation and accents, and the input @code{d} is not parsed as
168 a pitch, but rather as a one letter syllable. Syllables are entered
169 like notes, but with pitches replaced by text. For example,
172 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
175 There are two main methods to specify the horizontal placement
176 of the syllables, either by specifying the duration of each syllable
177 explicitly, like in the example above, or by automatically aligning
178 the lyrics to a melody or other voice of music, using @code{\addlyrics}
181 @c For more details see @ref{The Lyrics context}.
183 A word or syllable of lyrics begins with an alphabetic character, and ends
185 any space or digit. The following characters can be any character
186 that is not a digit or white space.
188 Any character that is not a digit or white space will be regarded as
189 part of the syllable; one important consequence of this is that a word
190 can end with @code{@}}, which often leads to the following mistake:
193 \lyricmode @{ lah- lah@}
196 In this example, the @code{@}} is included in the final syllable, so the
197 opening brace is not balanced and the input file will probably not
201 @funindex \property in \lyricmode
204 Similarly, a period which follows an alphabetic sequence is included in
205 the resulting string. As a consequence, spaces must be inserted around
206 property commands: do @emph{not} write
209 \override Score.LyricText #'font-shape = #'italic
216 \override Score . LyricText #'font-shape = #'italic
220 @cindex spaces, in lyrics
221 @cindex quotes, in lyrics
222 @cindex ties, in lyrics
224 In order to assign more than one syllable to a single note, you can
225 surround them with quotes or use a @code{_} character, to get spaces
226 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
228 @lilypond[quote,ragged-right,fragment,verbatim]
230 \relative c' { c2 e4 g2 e4 }
231 \addlyrics { gran- de_a- mi- go }
232 \addlyrics { pu- "ro y ho-" nes- to }
233 \addlyrics { pu- ro~y~ho- nes- to }
237 The lyric tie is implemented with the Unicode character
238 @code{U+203F}; therefore a font that includes this glyph
239 (such as DejaVuLGC) has to be used. More explanations about
240 text and non-text fonts can be found in @ref{Fonts}.
243 To enter lyrics with characters from non-English languages, or with
244 accented and special characters (such as the heart symbol or slanted quotes),
245 simply insert the characters directly into the input file and save
246 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
248 @lilypond[quote,ragged-right,fragment,verbatim]
249 \relative c' { e4 f e d e f e2 }
250 \addlyrics { He said: “Let my peo ple go”. }
253 To use normal quotes in lyrics, add a backslash before the
256 @lilypond[quote,ragged-right,fragment,verbatim]
257 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
258 \addlyrics { "\"I" am so lone- "ly\"" said she }
261 The full definition of a word start in Lyrics mode is somewhat more
264 A word in Lyrics mode begins with: an alphabetic character, @code{_},
265 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
266 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
267 any 8-bit character with ASCII code over 127, or a two-character
268 combination of a backslash followed by one of @code{`}, @code{'},
269 @code{"}, or @code{^}.
271 @c " to balance double quotes for not-so-bright context-sensitive editors
273 To define variables containing lyrics, the function @code{lyricmode}
277 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
280 \new Voice = "one" \relative c'' @{
283 c4 b8. a16 g4. f8 e4 d c2
285 \addlyrics @{ \verseOne @}
297 @rinternals{LyricText},
298 @rinternals{LyricSpace}.
300 @c FIXME: this title has to be changed (possible confusion with LM) -vv
301 @node Setting simple songs
302 @unnumberedsubsubsec Setting simple songs
306 The easiest way to add lyrics to a melody is to append
309 \addlyrics @{ @var{the lyrics} @}
313 to a melody. Here is an example,
315 @lilypond[ragged-right,verbatim,fragment,quote]
317 \relative c' { c2 e4 g2. }
318 \addlyrics { play the game }
321 More stanzas can be added by adding more
322 @code{\addlyrics} sections
324 @lilypond[ragged-right,verbatim,fragment,quote]
326 \relative c' { c2 e4 g2. }
327 \addlyrics { play the game }
328 \addlyrics { speel het spel }
329 \addlyrics { joue le jeu }
332 The command @code{\addlyrics} cannot handle polyphony settings. For these
333 cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
334 introduced in @ref{Lyrics explained}.
336 @c TODO: one additional section may be needed here,
337 @c such as "advanced lyric syntax" or whatever -vv
339 @node Working with lyrics and variables
340 @unnumberedsubsubsec Working with lyrics and variables
342 @cindex lyrics, variables
344 To define variables containing lyrics, the function @code{\lyricmode}
345 must be used. You do not have to enter durations though, if you add
346 @code{\addlyrics} or @code{\lyricsto}
347 when invoking your variable.
350 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
353 \new Voice = "one" \relative c'' @{
356 c4 b8. a16 g4. f8 e4 d c2
358 \addlyrics @{ \verseOne @}
363 For different or more complex orderings, the best way is to setup the
364 hierarchy of staves and lyrics first, e.g.,
367 \new Voice = "soprano" @{ @emph{music} @}
368 \new Lyrics = "sopranoLyrics" @{ s1 @}
369 \new Lyrics = "tenorLyrics" @{ s1 @}
370 \new Voice = "tenor" @{ @emph{music} @}
374 and then combine the appropriate melodies and lyric lines
377 \context Lyrics = sopranoLyrics \lyricsto "soprano"
383 The final input would resemble
386 <<\new ChoirStaff << @emph{setup the music} >>
387 \lyricsto "soprano" @emph{etc}
388 \lyricsto "alto" @emph{etc}
395 http://code.google.com/p/lilypond/issues/detail?id=329
396 The problem cannot be reproduced.
397 The following has no sense, because the issue seems to be fixed.
398 A comment is in tracker waiting for response ---FV
401 Be careful when defining a variable with lyrics that creates a new
402 context, for example, using the deprecated @code{\lyrics} command. See
403 the next erroneous example:
406 words = \lyrics{ %warning: this creates a new context
410 \new Voice = "sop" { c1 }
411 \new Lyrics \lyricsto "sop" { \words }
412 \new Voice = "alt" { c2 c }
413 \new Lyrics \lyricsto "alt" { \words }
417 the problem is that \lyricsto will try to connect the "sop" melody with the context
418 created by "\new Lyrics".
420 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
427 @c TODO: document \new Staff << Voice \lyricsto >> bug
429 @rinternals{LyricCombineMusic},
433 @node Aligning lyrics to a melody
434 @subsection Aligning lyrics to a melody
440 @c FIXME: this stuff is to be rewritten. -vv
442 Aligning of text with melodies can be made automatically, but if you
443 specify the durations of the syllables it can also be made manually.
444 Lyrics aligning and typesetting are prepared with the help of skips,
445 hyphens and extender lines.
447 Lyrics are printed by interpreting them in the context called
451 \new Lyrics \lyricmode @dots{}
454 There are two main methods to specify the horizontal placement
459 by automatically aligning
460 the lyrics to a melody or other voice of music, using @code{\addlyrics}
464 or by specifying the duration of each syllable
465 explicitly, using @code{\lyricmode}
469 * Automatic syllable durations::
470 * Manual syllable durations::
471 * Multiple syllables to one note::
472 * Multiple notes to one syllable::
474 * Extenders and hyphens::
475 * Lyrics and repeats::
478 @node Automatic syllable durations
479 @unnumberedsubsubsec Automatic syllable durations
481 @cindex automatic syllable durations
482 @cindex lyrics and melodies
484 The lyrics can be aligned under a given melody
485 automatically. This is achieved by combining the
486 melody and the lyrics with the @code{\lyricsto} expression
489 \new Lyrics \lyricsto @var{name} @dots{}
492 This aligns the lyrics to the
493 notes of the @rinternals{Voice} context called @var{name}, which must
494 already exist. Therefore normally the @code{Voice} is specified first, and
495 then the lyrics are specified with @code{\lyricsto}. The command
496 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
497 @code{\lyricmode} keyword may be omitted.
499 The following example uses different commands for entering lyrics.
501 @lilypond[quote,fragment,ragged-right,verbatim]
503 \new Voice = "one" \relative c'' {
506 c4 b8. a16 g4. f8 e4 d c2
509 % not recommended: left aligns syllables
510 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
512 % wrong: durations needed
513 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
516 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
520 The second stanza is not properly aligned because the durations
521 were not specified. A solution for that would be to use @code{\lyricsto}.
523 The @code{\addlyrics} command is actually just a convenient way
524 to write a more complicated LilyPond structure that sets up the
529 \addlyrics @{ LYRICS @}
536 \new Voice = "blah" @{ music @}
537 \new Lyrics \lyricsto "blah" @{ LYRICS @}
540 @node Manual syllable durations
541 @unnumberedsubsubsec Manual syllable durations
543 Lyrics can also be entered without @code{\addlyrics} or
544 @code{\lyricsto}. In this case,
545 syllables are entered like notes -- but with pitches replaced by text -- and the
546 duration of each syllable must be entered explicitly. For example:
553 The alignment to a melody can be specified with the
554 @code{associatedVoice} property,
557 \set associatedVoice = #"lala"
561 The value of the property (here: @code{"lala"}) should be the name of
562 a @rinternals{Voice} context. Without this setting, extender lines
563 will not be formatted properly.
565 Here is an example demonstrating manual lyric durations,
567 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
568 << \new Voice = "melody" {
572 \new Lyrics \lyricmode {
573 \set associatedVoice = #"melody"
584 @node Multiple syllables to one note
585 @unnumberedsubsubsec Multiple syllables to one note
589 @cindex ties, in lyrics
591 In order to assign more than one syllable to a single note, you can
592 surround them with quotes or use a @code{_} character, to get spaces
593 between syllables, or use tilde symbol (@code{~}) to get a lyric
594 tie@footnote{The lyric ties is implemented with the Unicode character
596 sure to have a font (Like DejaVuLGC) installed that includes this
599 @lilypond[quote,ragged-right,fragment,verbatim]
601 \relative c' { c2 e4 g2 e4 }
602 \addlyrics { gran- de_a- mi- go }
603 \addlyrics { pu- "ro y ho-" nes- to }
604 \addlyrics { pu- ro~y~ho- nes- to }
610 @rinternals{LyricCombineMusic}.
612 @c Here come the section which used to be "Melismata"
613 @c the new title might be more self-explanatory
616 @node Multiple notes to one syllable
617 @unnumberedsubsubsec Multiple notes to one syllable
621 @cindex phrasing, in lyrics
623 Sometimes, particularly in Medieval music, several notes are to be sung on one
624 single syllable; such vocalises are called melismas, or melismata.
626 @c this method seems to be the simplest; therefore
627 @c it might be better to present it first - vv
629 You can define melismata entirely in the lyrics, by entering @code{_}
630 for every extra note that has to be added to the the melisma.
632 @c FIXME: clarify: __ is used to crate a lyric extender,
633 @c _ is used to add a note to a melisma, so both __ and _ are needed.
636 @c duplicated: TODO fix
637 Additionaly, you can make an extender line to be typeset to indicate
638 the melisma in the score, writing a double underscore next to the
639 first syllable of the melisma. This example shows the three elements
640 that are used for this purpose (all of them surrounded by spaces):
641 double hyphens to separate syllables in a word, underscores to add
642 notes to a melisma, and a double underscore to put an extender line.
644 @c wrong: extender line only on last syllable of a word. Change example
645 @lilypond[relative=1,verbatim,fragment,quote]
646 { \set melismaBusyProperties = #'()
647 c d( e) f f( e) e e }
649 { Ky -- _ _ ri __ _ _ _ e }
652 In this case, you can also have ties and slurs in the melody if you
653 set @code{melismaBusyProperties}, as is done in the example above.
655 However, the @code{\lyricsto} command can also
656 detect melismata automatically: it only puts one
657 syllable under a tied or slurred group of notes. If you want to force
658 an unslurred group of notes to be a melisma, insert @code{\melisma}
659 after the first note of the group, and @code{\melismaEnd} after the
662 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
664 \new Voice = "lala" {
672 \new Lyrics \lyricsto "lala" {
678 In addition, notes are considered a melisma if they are manually
679 beamed, and automatic beaming (see @ref{Setting automatic beam
680 behavior}) is switched off.
682 @c FIXME: this now links to LM -vv
687 A complete example of a SATB score setup is in section
688 @rlearning{Vocal ensembles}.
693 @code{\melisma}, @code{\melismaEnd}
694 @funindex \melismaEnd
699 @c @lsr{vocal,lyric@/-combine.ly}.
703 Melismata are not detected automatically, and extender lines must be
707 @unnumberedsubsubsec Skipping notes
709 Making a lyric line run slower than the melody can be achieved by
710 inserting @code{\skip}s into the lyrics. For every @code{\skip},
711 the text will be delayed another note. The @code{\skip} command
712 must be followed by a valid duration, but this is ignored when
713 @code{\skip} is used in lyrics.
717 @lilypond[verbatim,ragged-right,quote]
718 \relative c' { c c g' }
726 @node Extenders and hyphens
727 @unnumberedsubsubsec Extenders and hyphens
732 @c leave this as samp. -gp
733 In the last syllable of a word, melismata are sometimes indicated with
734 a long horizontal line starting in the melisma syllable, and ending in
735 the next one. Such a line is called an extender line, and it is
736 entered as @samp{ __ } (note the spaces before and after the two
737 underscore characters).
739 @warning{Melismata are indicated in the score with extender lines,
740 which are entered as one double underscore; but short melismata can
741 also be entered by skipping individual notes, which are entered as
742 single underscore characters; these do not make an extender line to be
747 @c leave this as samp. -gp
748 Centered hyphens are entered as @samp{ -- } between syllables of a same word
749 (note the spaces before and after the two hyphen characters). The hyphen
750 will be centered between the syllables, and its length will be adjusted
751 depending on the space between the syllables.
753 In tightly engraved music, hyphens can be removed. Whether this
754 happens can be controlled with the @code{minimum-distance} (minimum
755 distance between two syllables) and the @code{minimum-length}
756 (threshold below which hyphens are removed).
761 @rinternals{LyricExtender},
762 @rinternals{LyricHyphen}
764 @node Lyrics and repeats
765 @unnumberedsubsubsec Lyrics and repeats
767 @c TODO New section. Add text
771 @node Specific uses of lyrics
772 @subsection Specific uses of lyrics
774 @c FIXME This whole section is to be reorganized. -vv
776 Often, different stanzas of one song are put to one melody in slightly
777 differing ways. Such variations can still be captured with
782 * Lyrics independent of notes::
783 * Spacing out syllables::
784 * Centering lyrics between staves::
790 @unnumberedsubsubsec Divisi lyrics
792 You can display alternate (or divisi) lyrics by naming voice
793 contexts and attaching lyrics to those specific contexts.
795 @lilypond[verbatim,ragged-right,quote]
797 \new Voice = "melody" {
802 \new Voice = "splitpart" { \voiceTwo c4 }
807 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
808 \new Lyrics \lyricsto "splitpart" { will }
813 You can use this trick to display different lyrics for a repeated
816 @lilypond[verbatim,ragged-right,quote]
818 \new Voice = "melody" \relative c' {
820 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
822 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
825 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
827 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
828 dodo rere mimi fafa solsol }
835 @node Lyrics independent of notes
836 @unnumberedsubsubsec Lyrics independent of notes
838 @cindex Devnull context
840 In some complex vocal music, it may be desirable to place
841 lyrics completely independently of notes. Music defined
842 inside @code{lyricrhythm} disappears into the
843 @code{Devnull} context, but the rhythms can still be used
846 @lilypond[quote,verbatim,ragged-right]
849 \tag #'music { c''2 }
850 \tag #'lyricrhythm { c''4. c''8 }
854 lyr = \lyricmode { I like my cat! }
857 \new Staff \keepWithTag #'music \voice
858 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
859 \new Lyrics \lyricsto "nowhere" \lyr
860 \new Staff { c'8 c' c' c' c' c' c' c'
861 c' c' c' c' c' c' c' c' }
865 This method is recommended only if the music in the @code{Devnull}
866 context does not contain melismata. Melismata are defined by the
867 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
868 makes the voice/lyrics links to get lost, and so does the info on
869 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
870 the implicit melismata get ignored.
872 @c Conclusion: do not use devnull for lyrics -FV
874 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
876 @node Spacing out syllables
877 @unnumberedsubsubsec Spacing out syllables
879 @cindex Spacing lyrics
880 @cindex Lyrics, increasing space between
882 To increase the spacing between lyrics, set the minimum-distance property of
885 @lilypond[relative,verbatim,fragment,quote,ragged-right]
888 \override Lyrics.LyricSpace #'minimum-distance = #1.0
892 longtext longtext longtext longtext
893 longtext longtext longtext longtext
897 To make this change for all lyrics in the score, set the property in the
900 @lilypond[verbatim,quote,ragged-right]
907 longtext longtext longtext longtext
908 longtext longtext longtext longtext
913 \override LyricSpace #'minimum-distance = #1.0
920 @c This snippet has been renamed to "lyrics-alignment.ly"
921 @c update as soon as lsr/is updated -vv
922 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
923 @c {lyrics-alignment.ly}
925 @c TODO: move to LSR -vv
928 Checking to make sure that text scripts and lyrics are within the margins is
929 a relatively large computational task. To speed up processing, LilyPond does
930 not perform such calculations by default; to enable it, use
933 \override Score.PaperColumn #'keep-inside-line = ##t
936 To make lyrics avoid bar lines as well, use
942 \consists "Bar_engraver"
943 \consists "Separating_line_group_engraver"
944 \override BarLine #'transparent = ##t
949 @c TODO Create and add lsr example of lyricMelismaAlignment
950 @c It's used like this to center-align all lyric syllables,
951 @c even when notes are tied. -td
956 \context { \Score lyricMelismaAlignment = #0 }
961 @node Centering lyrics between staves
962 @unnumberedsubsubsec Centering lyrics between staves
964 @c TODO Add text from -user
971 * Adding stanza numbers ::
972 * Adding dynamics marks to stanzas::
973 * Adding singers' names to stanzas::
974 * Stanzas with different rhythms::
975 * Printing stanzas at the end ::
976 * Printing stanzas at the end in multiple columns ::
980 @node Adding stanza numbers
981 @unnumberedsubsubsec Adding stanza numbers
983 @cindex stanza number
985 Stanza numbers can be added by setting @code{stanza}, e.g.,
987 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
989 \time 3/4 g2 e4 a2 f4 g2.
995 Oh, ché -- ri, je t'aime
1001 These numbers are put just before the start of the first syllable.
1003 @c TODO Create and add snippet to show how two lines of a
1004 @c stanza can be grouped together, along these lines:
1005 @c (might need improving a bit) -td
1008 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1012 \set stanza = \markup { "1. " \leftbrace }
1013 \lyricmode { Child, you're mine and I love you.
1014 Lend thine ear to what I say.
1020 % \set stanza = \markup { " "}
1021 \lyricmode { Child, I have no great -- er joy
1022 Than to have you walk in truth.
1028 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1029 c'8 c' c' c' c' c' c'4 }
1030 } \addlyrics { \stanzaOneOne }
1031 \addlyrics { \stanzaOneThree }
1035 @node Adding dynamics marks to stanzas
1036 @unnumberedsubsubsec Adding dynamics marks to stanzas
1038 Stanzas differing in loudness may be indicated by putting a
1039 dynamics mark before each stanza. In LilyPond, everything coming in
1040 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1041 are no different. For technical reasons, you have to set the stanza
1042 outside @code{\lyricmode}:
1044 @lilypond[quote,ragged-right,verbatim]
1046 \set stanza = \markup { \dynamic "ff" "1. " }
1053 \new Voice = "tune" {
1057 \new Lyrics \lyricsto "tune" \text
1061 @node Adding singers' names to stanzas
1062 @unnumberedsubsubsec Adding singers' names to stanzas
1065 @cindex name of singer
1067 Names of singers can also be added. They are printed at the start of
1068 the line, just like instrument names. They are created by setting
1069 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1071 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1073 \time 3/4 g2 e4 a2 f4 g2.
1075 \set vocalName = "Bert "
1076 Hi, my name is Bert.
1078 \set vocalName = "Ernie "
1079 Oh, ché -- ri, je t'aime
1083 @node Stanzas with different rhythms
1084 @unnumberedsubsubsec Stanzas with different rhythms
1086 @subsubheading Ignoring melismata
1088 One possibility is that the text has a melisma in one stanza, but
1089 multiple syllables in another one. One solution is to make the faster
1090 voice ignore the melisma. This is done by setting
1091 @code{ignoreMelismata} in the Lyrics context.
1093 There is one tricky aspect: the setting for @code{ignoreMelismata}
1094 must be set one syllable @emph{before} the non-melismatic syllable
1095 in the text, as shown here,
1097 @c TODO: breaks compile
1098 @c seems to be fixed, does not break compile anymore --FV
1099 @lilypond[verbatim,ragged-right,quote]
1101 \relative c' \new Voice = "lahlah" {
1102 \set Staff.autoBeaming = ##f
1108 \new Lyrics \lyricsto "lahlah" {
1111 \new Lyrics \lyricsto "lahlah" {
1112 \set ignoreMelismata = ##t % applies to "fas"
1114 \unset ignoreMelismata
1121 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1122 should be entered before @q{go}.
1125 @subsubheading Switching to an alternative melody
1127 More complex variations in text underlay are possible. It is possible
1128 to switch the melody for a line of lyrics during the text. This is
1129 done by setting the @code{associatedVoice} property. In the example
1131 @lilypond[ragged-right,quote]
1133 \relative c' \new Voice = "lahlah" {
1134 \set Staff.autoBeaming = ##f
1137 \new Voice = "alternative" {
1140 % show associations clearly.
1141 \override NoteColumn #'force-hshift = #-3
1152 \new Lyrics \lyricsto "lahlah" {
1153 Ju -- ras -- sic Park
1155 \new Lyrics \lyricsto "lahlah" {
1156 % Tricky: need to set associatedVoice
1157 % one syllable too soon!
1158 \set associatedVoice = alternative % applies to "ran"
1162 \set associatedVoice = lahlah % applies to "rus"
1168 the text for the first stanza is set to a melody called @q{lahlah},
1171 \new Lyrics \lyricsto "lahlah" @{
1172 Ju -- ras -- sic Park
1177 The second stanza initially is set to the @code{lahlah} context, but
1178 for the syllable @q{ran}, it switches to a different melody.
1179 This is achieved with
1181 \set associatedVoice = alternative
1185 Here, @code{alternative} is the name of the @code{Voice} context
1186 containing the triplet.
1188 @c FIXME: make this easier to understand -vv
1189 This command must be one syllable too early, before @q{Ty} in this
1190 case. In other words, changing the associatedVoice happens one step
1191 later than expected. This is for technical reasons, and it is not a
1195 \new Lyrics \lyricsto "lahlah" @{
1196 \set associatedVoice = alternative % applies to "ran"
1200 \set associatedVoice = lahlah % applies to "rus"
1206 The underlay is switched back to the starting situation by assigning
1207 @code{lahlah} to @code{associatedVoice}.
1210 @node Printing stanzas at the end
1211 @unnumberedsubsubsec Printing stanzas at the end
1213 Sometimes it is appropriate to have one stanza set
1214 to the music, and the rest added in verse form at
1215 the end of the piece. This can be accomplished by adding
1216 the extra verses into a @code{\markup} section outside
1217 of the main score block. Notice that there are two
1218 different ways to force linebreaks when using
1221 @lilypond[ragged-right,verbatim,quote]
1222 melody = \relative c' {
1228 \set stanza = "1." Ma- ry had a lit- tle lamb,
1229 its fleece was white as snow.
1233 \new Voice = "one" { \melody }
1234 \new Lyrics \lyricsto "one" \text
1240 \line{ All the children laughed and played }
1241 \line{ To see a lamb at school. }
1248 Mary took it home again,
1250 It was against the rule."
1255 @node Printing stanzas at the end in multiple columns
1256 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1258 When a piece of music has many verses, they are often printed in
1259 multiple columns across the page. An outdented verse number often
1260 introduces each verse. The following example shows how to produce such
1263 @lilypond[ragged-right,quote,verbatim]
1264 melody = \relative c' {
1269 \set stanza = "1." This is verse one.
1274 \new Voice = "one" { \melody }
1275 \new Lyrics \lyricsto "one" \text
1282 \hspace #0.1 % moves the column off the left margin;
1283 % can be removed if space on the page is tight
1287 "This is verse two."
1291 \hspace #0.1 % adds vertical spacing between verses
1294 "This is verse three."
1299 \hspace #0.1 % adds horizontal spacing between columns;
1300 % if they are still too close, add more " " pairs
1301 % until the result looks good
1305 "This is verse four."
1309 \hspace #0.1 % adds vertical spacing between verses
1312 "This is verse five."
1317 \hspace #0.1 % gives some extra space on the right margin;
1318 % can be removed if page space is tight
1326 Internals Reference:
1327 @rinternals{LyricText},
1328 @rinternals{StanzaNumber}.