Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.19.21"
@node Vocal music
@section Vocal music
-@c TODO: inspirational headword
+@lilypondfile[quote]{vocal-headword.ly}
This section explains how to typeset vocal music, and make sure
that the lyrics will be aligned with the notes of their melody.
* Manual syllable durations::
* Multiple syllables to one note::
* Multiple notes to one syllable::
-* Skipping notes::
* Extenders and hyphens::
@end menu
@itemize
@item
-Most styles of vocal music use written text as lyrics. An introduction
-to this notation is to be found in @rlearning{Setting simple songs}.
+Most styles of vocal music use written text as lyrics. An
+introduction to this notation is to be found in
+@rlearning{Setting simple songs}.
@item
-Vocal music is likely to require the use of @code{markup} mode, either
-for lyrics of for other text elements (character's names, etc.).
-This syntax is described in @ref{Text markup introduction}.
+Vocal music is likely to require the use of @code{markup} mode,
+either for lyrics or for other text elements (characters' names,
+etc.). This syntax is described in @ref{Text markup introduction}.
@item
-@notation{Ambitus} may be added at the beginning of vocal staves, as explained
-in @ref{Ambitus}.
+@notation{Ambitus} may be added at the beginning of vocal staves,
+as explained in @ref{Ambitus}.
+
+@item
+Dynamic markings by default are placed below the staff, but in
+choral music they are usually placed above the staff in order to
+avoid the lyrics, as explained in @ref{Score layouts for choral}.
@end itemize
Music Glossary:
@rglos{ambitus}.
+Learning Manual:
+@rlearning{Setting simple songs}.
+
+Notation Reference:
+@ref{Text markup introduction},
+@ref{Ambitus},
+@ref{Score layouts for choral}.
+
Snippets:
@rlsr{Vocal music}.
+
@node Entering lyrics
@unnumberedsubsubsec Entering lyrics
@cindex lyrics, entering
@cindex entering lyrics
+@cindex formatting in lyrics
+@cindex lyrics, formatting
@cindex punctuation in lyrics
@cindex lyrics punctuation
@cindex spaces in lyrics
Lyrics are entered in a special input mode, which can be introduced
by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
-@code{\lyricsto}. In this mode the input @code{d} is not parsed as
-the pitch @notation{D}, but rather as a one-letter syllable of text.
-In other words, syllables are entered like notes but with pitches
-replaced by text.
+@code{\lyricsto}. In this special input mode, the input @code{d}
+is not parsed as the pitch @notation{D}, but rather as a one-letter
+syllable of text. In other words, syllables are entered like notes
+but with pitches replaced by text.
For example:
\lyricmode @{ lah lah lah @}
@end example
-@cindex overrides in lyric mode
-@funindex \override in \lyricmode
-
-Similarly, in lyric mode, a period will be included in the
-alphabetic sequence that it follows. As a consequence, spaces
-must be inserted around the period in @code{\override} commands.
-Do @emph{not} write
-
-@example
-\override Score.LyricText #'font-shape = #'italic
-@end example
-
-@noindent
-but instead use
-
-@example
-\override Score . LyricText #'font-shape = #'italic
-@end example
-
Punctuation, lyrics with accented characters, characters from
non-English languages, or special characters (such as the heart
symbol or slanted quotes), may simply be inserted directly
into the input file, providing it is saved with UTF-8 encoding.
-For more information, see @ref{Text encoding}.
+For more information, see @ref{Special characters}.
@lilypond[quote,verbatim]
-\relative c' { e4 f e d e f e2 }
-\addlyrics { He said: “Let my peo -- ple go.” }
+\relative { d''8 c16 a bes8 f ees' d c4 }
+\addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
@end lilypond
Normal quotes may be used in lyrics, but they have to be preceded
enclosed between additional quotes. For example,
@lilypond[quote,verbatim]
-\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
+\relative { \time 3/4 e'4 e4. e8 d4 e d c2. }
\addlyrics { "\"I" am so lone -- "ly,\"" said she }
@end lilypond
@c " to balance double quotes for not-so-bright context-sensitive editors
+Great control over the appearance of lyrics comes from using
+@code{\markup} inside the lyrics themselves. For explanation of many
+options, see @ref{Formatting text}.
+
+@snippets
+
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{formatting-lyrics-syllables.ly}
+
+
@seealso
Learning Manual:
@rlearning{Songs}.
Notation Reference:
@ref{Automatic syllable durations},
@ref{Fonts},
+@ref{Formatting text},
@ref{Input modes},
-@ref{Manual syllable durations}.
+@ref{Manual syllable durations},
+@ref{Special characters}.
Internals Reference:
@rinternals{LyricText}.
+Snippets:
+@rlsr{Text}.
+
@node Aligning lyrics to a melody
@unnumberedsubsubsec Aligning lyrics to a melody
@funindex \addlyrics
@funindex \lyricsto
-Lyrics are printed by interpreting them in the context called
-@code{Lyrics}, see @ref{Contexts explained}.
+Lyrics are interpreted in @code{\lyricmode} and printed in a
+@code{Lyrics} context, see @ref{Contexts explained}.
@example
\new Lyrics \lyricmode @{ @dots{} @}
@end example
+Two variants of @code{\lyricmode} additionally set an associated
+context used to synchronise the lyric syllables to music. The more
+convenient @code{\addlyrics} immediately follows the musical content
+of the Voice context with which it should be synchronised, implicitly
+creating a Lyrics context of its own. The more versatile
+@code{\lyricsto} requires both specifying the associated Voice context
+by name and explicitly creating a containing Lyrics context. For
+details see @ref{Automatic syllable durations}.
+
Lyrics can be aligned with melodies in two main ways:
@itemize
<<
\new Staff <<
\time 2/4
- \new Voice = "one" \relative c'' {
+ \new Voice = "one" \relative {
\voiceOne
- c4 b8. a16 g4. r8 a4 ( b ) c2
+ c''4 b8. a16 g4. r8 a4 ( b ) c2
}
- \new Voice = "two" \relative c' {
+ \new Voice = "two" \relative {
\voiceTwo
- s2 s4. f8 e4 d c2
+ s2 s4. f'8 e4 d c2
}
>>
@lilypond[quote,ragged-right,verbatim]
<<
- \new Voice = "one" \relative c'' {
+ \new Voice = "one" \relative {
\time 2/4
- c4 b8. a16 g4. f8 e4 d c2
+ c''4 b8. a16 g4. f8 e4 d c2
}
-% uses default durations of 2;
+% uses previous explicit duration of 2;
\new Lyrics \lyricmode {
Joy to the earth!
}
@end lilypond
The first stanza is not aligned with the notes because the durations
-were not specified, and the default value of 2 is used for each
+were not specified, and the previous value of 2 is used for each
word.
The second stanza shows how the words can be aligned quite
independently from the notes. This is useful if the words to
different stanzas fit the notes in different ways and the required
durations are not available in a music context. For more details
-see @ref{Manual syllable durations}. This technical is also useful
+see @ref{Manual syllable durations}. This technique is also useful
when setting dialogue over music; for examples showing this, see
@ref{Dialogue over music}.
-When entered in this way the words are left-aligned to the notes
-by default, but may be center-aligned to the notes of a melody by
-specifying an associated voice, if one exists. For details, see
-@ref{Manual syllable durations}.
-
@end itemize
@seealso
Learning Manual:
@rlearning{Aligning lyrics to a melody}.
+Notation Reference:
+@ref{Contexts explained},
+@ref{Automatic syllable durations},
+@ref{Stanzas},
+@ref{Manual syllable durations},
+@ref{Dialogue over music},
+@ref{Manual syllable durations}.
+
Internals Reference:
@rinternals{Lyrics}.
+
@node Automatic syllable durations
@unnumberedsubsubsec Automatic syllable durations
the named Voice context containing the melody with
@code{\lyricsto}:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
- a4 a a a
+ \new Voice = "melody" \relative {
+ a'1 a4. a8 a2
}
\new Lyrics \lyricsto "melody" {
These are the words
@code{Voice} context is specified first, followed by the
@code{Lyrics} context. The lyrics themselves follow the
@code{\lyricsto} command. The @code{\lyricsto} command
-invokes lyric mode automatically, so the @code{\lyricmode} keyword
-may be omitted. By default, the lyrics are placed underneath the
-notes. For other placements, see @ref{Placing lyrics vertically}.
+invokes lyric mode automatically. By default, the lyrics are placed
+underneath the notes. For other placements, see
+@ref{Placing lyrics vertically}.
@subheading Using @code{\addlyrics}
@lilypond[verbatim,quote]
{
\time 3/4
- \relative c' { c2 e4 g2. }
+ \relative { c'2 e4 g2. }
\addlyrics { play the game }
}
@end lilypond
@code{\addlyrics} sections:
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative c' { c2 e4 g2. }
-\addlyrics { play the game }
-\addlyrics { speel het spel }
-\addlyrics { joue le jeu }
+@lilypond[ragged-right,verbatim,quote]
+{
+ \time 3/4
+ \relative { c'2 e4 g2. }
+ \addlyrics { play the game }
+ \addlyrics { speel het spel }
+ \addlyrics { joue le jeu }
+}
@end lilypond
The command @code{\addlyrics} cannot handle polyphonic settings.
+Also, it cannot be used to associate lyrics to a @code{TabVoice}.
For these cases one should use @code{\lyricsto}.
@subheading Using associatedVoice
<<
\new Staff <<
\time 2/4
- \new Voice = "one" \relative c'' {
+ \new Voice = "one" \relative {
\voiceOne
- c4 b8. a16 g4. r8 a4 ( b ) c2
+ c''4 b8. a16 g4. r8 a4 ( b ) c2
}
- \new Voice = "two" \relative c' {
+ \new Voice = "two" \relative {
\voiceTwo
- s2 s4. f8 e8 d4. c2
+ s2 s4. f'8 e8 d4. c2
}
>>
% takes durations and alignment from notes in "one" initially
@seealso
Notation Reference:
-@ref{Extenders and hyphens}.
+@ref{Extenders and hyphens},
+@ref{Keeping contexts alive},
+@ref{Placing lyrics vertically}.
+
@node Manual syllable durations
@unnumberedsubsubsec Manual syllable durations
but with pitches replaced by text -- and the duration of each
syllable is entered explicitly after the syllable.
-By default, syllables will be left-aligned to the corresponding
-musical moment. Hyphenated lines may be drawn between syllables
+Hyphenated lines may be drawn between syllables
as usual, but extender lines cannot be drawn when there is no
associated voice.
Here are two examples:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
- \time 3/4
- c2 e4 g2 f
+ \new Voice = "melody" \relative {
+ c''2 a f f e e
}
\new Lyrics \lyricmode {
- play1 the4 game4
+ c4. -- a -- f -- f -- e2. -- e
}
>>
@end lilypond
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff {
- \relative c'' {
- c2 c2
+ \relative {
+ c''2 c2
d1
}
}
}
}
\new Staff {
- \relative c' {
- c8 c c c c c c c
+ \relative {
+ c'8 c c c c c c c
c8 c c c c c c c
}
}
This technique is useful when writing dialogue over music, see
@ref{Dialogue over music}.
-To center-align syllables on the notes at the corresponding musical
-moments, set @code{associatedVoice} to the name of the Voice context
-containing those notes. When @code{associatedVoice} is set, both
-double hyphens and double underscores can be used to draw
-hyphenated lines and extenders under melismata correctly.
+To change syllable alignment, simply override the @code{self-alignment-X}
+property:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- c2 e4 g f g
+ c'2 e4 g2 f
}
\new Lyrics \lyricmode {
- \set associatedVoice = #"melody"
- play2 the4 game2. __
+ \override LyricText.self-alignment-X = #LEFT
+ play1 a4 game4
}
>>
@end lilypond
-@c TODO see also feature request 707 - show how to do this with manual durations
-
@seealso
Notation Reference:
-@ref{Dialogue over music},
-@ref{Keeping contexts alive}.
+@ref{Dialogue over music}.
Internals Reference:
@rinternals{Lyrics},
In order to assign more than one syllable to a single note with
spaces between the syllables, you can surround the phrase with
quotes or use a @code{_} character. Alternatively, you can use
-code the tilde symbol (@code{~}) to get a lyric tie. The lyric
-tie is implemented with the Unicode character U+203F, so be
-sure to have a font (like DejaVuLGC) installed that includes this
-glyph.
+the tilde symbol (@code{~}) to get a lyric tie.
-@lilypond[quote,ragged-right,fragment,verbatim]
-\time 3/4
-\relative c' { c2 e4 g2 e4 }
-\addlyrics { gran- de_a- mi- go }
-\addlyrics { pu- "ro y ho-" nes- to }
-\addlyrics { pu- ro~y~ho- nes- to }
+@lilypond[quote,ragged-right,verbatim]
+{
+ \relative {
+ \autoBeamOff
+ r8 b' c fis, fis c' b e,
+ }
+ \addlyrics
+ {
+ \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
+ Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
+ }
+ \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
+ \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
+}
@end lilypond
-
@seealso
Internals Reference:
@rinternals{LyricCombineMusic}.
@funindex \melisma
@funindex \melismaEnd
-Sometimes, particularly in Medieval music, several notes are to be
-sung on one syllable; such vocalises are called melismata, or
-@rglos{melisma}s. The syllable to a melisma is usually
+Sometimes, particularly in Medieval and baroque music, several notes are
+sung on one syllable; this is called melisma, see
+@rglos{melisma}. The syllable to a melisma is usually
left-aligned with the first note of the melisma.
-When a melisma occurs on a syllable other that the last one in a
+When a melisma occurs on a syllable other than the last one in a
word, that syllable is usually joined to the following one with a
hyphenated line. This is indicated by placing a double hyphen,
-@code{--}, immediately after the syllable.
+@w{@code{--}}, immediately after the syllable.
Alternatively, when a melisma occurs on the last or only syllable in
a word an extender line is usually drawn from the end of the syllable
Melismata are created automatically over notes which are tied
together:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g2 ~ |
- g4 e2 ~ |
- e8
+ f''4 g2 ~ |
+ 4 e2 ~ |
+ 8
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e __
+ Ky -- ri -- e __
}
>>
@end lilypond
slurs over the notes of each melisma. This is the usual way of
entering lyrics:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 ( f e f )
+ f''4 g8 ( f e f )
e8 ( d e2 )
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e __
+ Ky -- ri -- e __
}
>>
@end lilypond
+Note that phrasing slurs do not affect the creation of melismata.
+
@item
Notes are considered a melisma if they are manually beamed,
providing automatic beaming is switched off. See
@ref{Setting automatic beam behavior}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\autoBeamOff
- f4 g8[ f e f]
+ f''4 g8[ f e f]
e2.
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e
+ Ky -- ri -- e
}
>>
@end lilypond
-Clearly this is not suited to melisma over notes which are longer
+Clearly this is not suited to melismata over notes which are longer
than eighth notes.
@item
An unslurred group of notes will be treated as a melisma if they
are bracketed between @code{\melisma} and @code{\melismaEnd}.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8
+ f''4 g8
\melisma
f e f
\melismaEnd
e2.
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- e
+ Ky -- ri -- e
}
>>
@end lilypond
-Note that this method cannot be used to indicate two melismata if
-the first one is immediately followed by another.
-
@item
A melisma can be defined entirely in the lyrics by entering a
single underscore character, @code{_}, for every extra note that has
to be added to the melisma.
-@lilypond[verbatim, quote, relative=2]
+@lilypond[verbatim, quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
- f4 g8 f e f
+ f''4 g8 f e f
e8 d e2
}
\new Lyrics \lyricsto "melody" {
- Ki -- ri -- _ _ _ e __ _ _
+ Ky -- ri -- _ _ _ e __ _ _
}
>>
@end lilypond
It is possible to have ties, slurs and manual beams in the melody
without their indicating melismata. To do this, set
-@code{melismaBusyProperties} and indicate the melismata with single
-underscores in the lyrics, one underscore for each extra note:
+@code{melismaBusyProperties}:
-@lilypond[relative=1,verbatim,quote]
+@lilypond[verbatim,quote]
<<
- \new Voice = "melody" {
+ \new Voice = "melody" \relative {
\time 3/4
\set melismaBusyProperties = #'()
- c4 d ( e )
- g8 [ f ] f4( e)
- d e ~ e
+ c'4 d ( e )
+ g8 [ f ] f4 ~ 4
}
\new Lyrics \lyricsto "melody" {
- Ky -- _ _ _ _ ri -- _ _ e __ _
+ Ky -- ri -- e e -- le -- i -- son
}
>>
@end lilypond
Other settings for @code{melismaBusyProperties} can be used to
-include or exclude ties, slurs, and beams from the automatic
-detection of melismata; see @code{melismaBusyProperties} in
-@rinternals{Tunable context properties}.
+selectively include or exclude ties, slurs, and beams from the
+automatic detection of melismata; see @code{melismaBusyProperties}
+in @rinternals{Tunable context properties}.
-@predefined
+Alternatively, if all melismata indications are to be ignored,
+@code{ignoreMelismata} may be set true;
+see @ref{Stanzas with different rhythms}.
+If a melisma is required during a passage in which
+@code{melismaBusyProperties} is active, it may be indicated by
+placing a single underscore in the lyrics for each note which
+should be included in the melisma:
+
+@lilypond[verbatim,quote]
+<<
+ \new Voice = "melody" \relative {
+ \time 3/4
+ \set melismaBusyProperties = #'()
+ c'4 d ( e )
+ g8 [ f ] ~ 4 ~ f
+ }
+ \new Lyrics \lyricsto "melody" {
+ Ky -- ri -- _ e __ _ _ _
+ }
+>>
+@end lilypond
+
+
+@predefined
@code{\autoBeamOff},
@code{\autoBeamOn},
@code{\melisma},
@code{\melismaEnd}.
+@endpredefined
@seealso
Musical Glossary:
Notation Reference:
@ref{Aligning lyrics to a melody},
@ref{Automatic syllable durations},
-@ref{Setting automatic beam behavior}.
+@ref{Setting automatic beam behavior},
+@ref{Stanzas with different rhythms}.
Internals Reference:
@rinternals{Tunable context properties}.
@knownissues
-
Extender lines under melismata are not created automatically; they
must be inserted manually with a double underscore.
-@node Skipping notes
-@unnumberedsubsubsec Skipping notes
-
-Making a lyric line run slower than the melody can be achieved by
-inserting @code{\skip}s into the lyrics. For every @code{\skip},
-the text will be delayed by another note. The @code{\skip} command
-must be followed by a valid duration, but this is ignored when
-@code{\skip} is used in lyrics which derive their durations from the
-notes in an associated melody through @code{\addlyrics} or
-@code{\lyricsto}.
-
-@lilypond[verbatim,ragged-right,quote]
-\relative c' { c c g' }
-\addlyrics {
- twin -- \skip 4
- kle
-}
-@end lilypond
-
@node Extenders and hyphens
@unnumberedsubsubsec Extenders and hyphens
@cindex melisma
@cindex extender
+@c TODO cf Multiple notes to one syllable; should this be merged in?
+
@c leave this as samp. -gp
In the last syllable of a word, melismata are sometimes indicated with
a long horizontal line starting in the melisma syllable, and ending in
@cindex hyphens
@c leave this as samp. -gp
-Centered hyphens are entered as @samp{ -- } between syllables of a same word
-(note the spaces before and after the two hyphen characters). The hyphen
-will be centered between the syllables, and its length will be adjusted
-depending on the space between the syllables.
+Centered hyphens are entered as @samp{ -- } between syllables of a
+same word (note the spaces before and after the two hyphen
+characters). The hyphen will be centered between the syllables, and
+its length will be adjusted depending on the space between the
+syllables.
In tightly engraved music, hyphens can be removed. Whether this
happens can be controlled with the @code{minimum-distance} (minimum
distance between two syllables) and the @code{minimum-length}
-(threshold below which hyphens are removed).
-
+(threshold below which hyphens are removed) properties of
+@code{LyricHyphen}.
@seealso
Internals Reference:
* Placing syllables horizontally::
* Lyrics and repeats::
* Divisi lyrics::
+* Polyphony with shared lyrics::
@end menu
entered in lyric mode:
@lilypond[quote,verbatim]
-musicOne = \relative c'' {
- c4 b8. a16 g4. f8 e4 d c2
+musicOne = \relative {
+ c''4 b8. a16 g4. f8 e4 d c2
}
verseOne = \lyricmode {
Joy to the world, the Lord is come.
For different or more complex orderings, the best way is to define
the music and lyric variables first, then set up the hierarchy of
-staves and lyrics, omitting the lyrics and then add the lyrics using
-@code{\context} underneath. This ensures that the voices referenced
-by @code{\lyricsto} have always been defined earlier. For example:
+staves and lyrics, omitting the lyrics themselves, and then add the
+lyrics using @code{\context} underneath. This ensures that the
+voices referenced by @code{\lyricsto} have always been defined
+earlier. For example:
@lilypond[quote,verbatim]
-sopranoMusic = \relative c'' { c4 c c c }
-contraltoMusic = \relative c'' { a4 a a a }
+sopranoMusic = \relative { c''4 c c c }
+contraltoMusic = \relative { a'4 a a a }
sopranoWords = \lyricmode { Sop -- ra -- no words }
contraltoWords = \lyricmode { Con -- tral -- to words }
}
@end lilypond
-
@seealso
Notation Reference:
@ref{Placing lyrics vertically}.
<<
\new Staff {
\new Voice = "melody" {
- \relative c'' { c4 c c c }
+ \relative { c''4 c c c }
}
}
\new Lyrics {
@end lilypond
Lyrics may be positioned above the staff using one of
-two methods. The simplest is to use the same syntax as
-above and explicitly specify the position of the lyrics:
+two methods. The simplest (and preferred) method
+is to use the same syntax as above and explicitly
+specify the position of the lyrics:
@lilypond[quote,verbatim]
\score {
<<
\new Staff = "staff" {
\new Voice = "melody" {
- \relative c'' { c4 c c c }
+ \relative { c''4 c c c }
}
}
\new Lyrics \with { alignAboveContext = "staff" } {
Alternatively, a two-step process may be used. First the Lyrics
context is declared (without any content) before the Staff and
-Voice contexts, then the @code{\lyricsto} command comes after
-the Voice declaration it references, as follows:
+Voice contexts, then the @code{\lyricsto} command is placed after
+the Voice declaration it references by using @code{\context}, as
+follows:
@lilypond[quote,verbatim]
\score {
<<
- \new Lyrics = "lyrics"
+ \new Lyrics = "lyrics" \with {
+ % lyrics above a staff should have this override
+ \override VerticalAxisGroup.staff-affinity = #DOWN
+ }
\new Staff {
\new Voice = "melody" {
- \relative c'' { c4 c c c }
+ \relative { c''4 c c c }
}
}
\context Lyrics = "lyrics" {
\new ChoirStaff <<
\new Staff {
\new Voice = "sopranos" {
- \relative c'' { c4 c c c }
+ \relative { c''4 c c c }
}
}
\new Lyrics = "sopranos"
- \new Lyrics = "contraltos"
+ \new Lyrics = "contraltos" \with {
+ % lyrics above a staff should have this override
+ \override VerticalAxisGroup.staff-affinity = #DOWN
+ }
\new Staff {
\new Voice = "contraltos" {
- \relative c'' { a4 a a a }
+ \relative { a'4 a a a }
}
}
\context Lyrics = "sopranos" {
@end lilypond
Other combinations of lyrics and staves may be generated by
-elaborating these examples, or by examining the
-@rlearning{Vocal ensembles} templates in the Learning Manual.
+elaborating these examples, or by examining the templates in the
+Learning Manual, see @rlearning{Vocal ensembles templates}.
+
+@snippets
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
@seealso
Learning Manual:
-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.
Notation Reference:
-@ref{Aligning contexts},
-@ref{Creating contexts}.
+@ref{Context layout order},
+@ref{Creating and referencing contexts}.
+
@node Placing syllables horizontally
@unnumberedsubsubsec Placing syllables horizontally
@cindex Spacing lyrics
@cindex Lyrics, increasing space between
-To increase the spacing between lyrics, set the @code{minimum-distance}
-property of @code{LyricSpace}.
+To increase the spacing between lyrics, set the
+@code{minimum-distance} property of @code{LyricSpace}.
-@lilypond[relative,verbatim,fragment,quote,ragged-right]
-{
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
c c c c
- \override Lyrics.LyricSpace #'minimum-distance = #1.0
+ \override Lyrics.LyricSpace.minimum-distance = #1.0
c c c c
}
\addlyrics {
@noindent
To make this change for all lyrics in the score, set the property in the
-layout.
+@code{\layout} block.
@lilypond[verbatim,quote,ragged-right]
\score {
- \relative c' {
- c c c c
+ \relative {
+ c' c c c
c c c c
}
\addlyrics {
\layout {
\context {
\Lyrics
- \override LyricSpace #'minimum-distance = #1.0
+ \override LyricSpace.minimum-distance = #1.0
}
}
}
@end lilypond
-@c @snippets
-@c This snippet has been renamed to "lyrics-alignment.ly"
-@c update as soon as lsr/is updated -vv
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-@c {lyrics-alignment.ly}
+@snippets
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{lyrics-alignment.ly}
@c TODO: move to LSR -vv
-@snippets
-Checking to make sure that text scripts and lyrics are within the margins is
-a relatively large computational task. To speed up processing, LilyPond does
-not perform such calculations by default; to enable it, use
+Checking to make sure that text scripts and lyrics are within the margins
+requires additional calculations. To speed up processing slightly, this
+feature can be disabled:
@example
-\override Score.PaperColumn #'keep-inside-line = ##t
+\override Score.PaperColumn.keep-inside-line = ##f
@end example
To make lyrics avoid bar lines as well, use
\Lyrics
\consists "Bar_engraver"
\consists "Separating_line_group_engraver"
- \override BarLine #'transparent = ##t
+ \hide BarLine
@}
@}
@end example
-@c TODO Create and add lsr example of lyricMelismaAlignment
-@c It's used like this to center-align all lyric syllables,
-@c even when notes are tied. -td
-
-@ignore
-\layout
-{
- \context { \Score lyricMelismaAlignment = #0 }
-}
-@end ignore
-
-
@node Lyrics and repeats
@unnumberedsubsubsec Lyrics and repeats
<<
\new Staff {
\new Voice = "melody" {
- \relative c'' {
- a4 a a a
+ \relative {
+ a'4 a a a
\repeat volta 2 { b4 b b b }
}
}
<<
\new Staff {
\new Voice = "melody" {
- \relative c'' {
- a4 a a a
+ \relative {
+ a'4 a a a
\repeat volta 2 { b4 b b b }
}
}
<<
\new Staff {
\new Voice = "melody" {
- \relative c'' {
- a4 a a a
+ \relative {
+ a'4 a a a
\repeat unfold 2 { b4 b b b }
}
}
}
@end lilypond
-@cindex lyric skip
-@funindex \skip
-
When the words to a repeated volta section are different, the words
-to each repeat must be entered in separate @code{Lyrics} contexts.
-Earlier unrepeated sections must be skipped in the second and
-subsequent repeats. The easiest way to skip several notes is to
-use @code{\repeat unfold} around the @code{\skip} command.
-
-Note: do not use an underscore, @code{_}, to skip notes in this
-particular case. As this syntax indicates a melisma, it will cause
-the preceding syllable to be left-aligned.
-
-@warning{The @code{@bs{}skip} command must be followed by a number,
-but this number is ignored in lyrics which derive their durations
-from the notes in an associated melody through @code{\addlyrics} or
-@code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
-value, irrespective of the value of the following number.}
+to each repeat must be entered in separate @code{Lyrics} contexts,
+correctly nested in parallel sections:
@lilypond[verbatim,quote]
\score {
<<
\new Staff {
\new Voice = "melody" {
- \relative c'' {
- a4 a a a
+ \relative {
+ a'4 a a a
\repeat volta 2 { b4 b b b }
}
}
}
- \new Lyrics {
- \lyricsto "melody" {
- Not re -- peat -- ed.
- The first time words.
- }
+ \new Lyrics \lyricsto "melody" {
+ Not re -- peat -- ed.
+ <<
+ { The first time words. }
+ \new Lyrics {
+ \set associatedVoice = "melody"
+ Sec -- ond time words.
+ }
+ >>
}
- \new Lyrics {
- \lyricsto "melody" {
- % skip 4 notes of any duration
- \repeat unfold 4 { \skip 1 }
- Sec -- ond time words.
+ >>
+}
+@end lilypond
+
+More verses may be added in a similar way:
+
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "singleVoice" {
+ \relative {
+ a'4 a a a
+ \repeat volta 3 { b4 b b b }
+ c4 c c c
+ }
}
}
+ \new Lyrics \lyricsto "singleVoice" {
+ Not re -- peat -- ed.
+ <<
+ { The first time words. }
+ \new Lyrics {
+ \set associatedVoice = "singleVoice"
+ Sec -- ond time words.
+ }
+ \new Lyrics {
+ \set associatedVoice = "singleVoice"
+ The third time words.
+ }
+ >>
+ The end sec -- tion.
+ }
>>
}
@end lilypond
-@cindex lyrics, repeating with a temporary voice
+@cindex alignBelowContext
+@funindex alignBelowContext
-An alternative way, which avoids skips and having to count notes,
-is to use a temporary voice for the repeated section. This may be
-preferable if the earlier sections are still subject to change. A
-temporary voice can be inserted anywhere in the main music stream
-in parallel with it, as shown below, but it may be necessary to
-keep the main voice alive in complex scores when using this
-technique; see @ref{Keeping contexts alive}.
+However, if this construct is embedded within a multi-staved
+context such as a @code{ChoirStaff} the lyrics of the second and
+third verses will appear beneath the bottom staff.
-@lilypond[verbatim,quote,ragged-right]
+To position them correctly use @code{alignBelowContext}:
+
+@lilypond[verbatim,quote]
\score {
<<
\new Staff {
- \new Voice = "singleVoice" {
- \relative c'' { a4 a a a }
- \new Voice = "repeatVoice" {
- \relative c'' \repeat volta 3 { b4 b b b }
- }
- \relative c'' { c4 c c c }
+ \new Voice = "melody" {
+ \relative {
+ a'4 a a a
+ \repeat volta 3 { b4 b b b }
+ c4 c c c
+ }
}
}
- \new Lyrics <<
- \lyricsto "singleVoice" {
- Not re -- peat -- ed.
- The end sec -- tion.
- }
- \lyricsto "repeatVoice" {
- The first time words.
- }
- >>
- \new Lyrics {
- \lyricsto "repeatVoice" {
- Sec -- ond time words.
- }
+ \new Lyrics = "firstVerse" \lyricsto "melody" {
+ Not re -- peat -- ed.
+ <<
+ { The first time words. }
+ \new Lyrics = "secondVerse"
+ \with { alignBelowContext = #"firstVerse" } {
+ \set associatedVoice = "melody"
+ Sec -- ond time words.
+ }
+ \new Lyrics = "thirdVerse"
+ \with { alignBelowContext = #"secondVerse" } {
+ \set associatedVoice = "melody"
+ The third time words.
+ }
+ >>
+ The end sec -- tion.
}
- \new Lyrics {
- \lyricsto "repeatVoice" {
- The third time words.
+ \new Voice = "harmony" {
+ \relative {
+ f'4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
}
}
>>
}
@end lilypond
-@c TODO lowering a common line of lyrics
+
+
+@c TODO positioning a common line of lyrics
@subheading Repeats with alternative endings
@cindex repeating lyrics with alternative endings
@cindex alternative endings and lyrics
-If the words of the repeated section are the same, exactly the
-same structure can be used for both the lyrics and music.
+If the words of the repeated section are the same, and none of the
+@code{\alternative} blocks start with a rest, exactly the same
+structure can be used for both the lyrics and music. This has the
+advantage that @code{\unfoldRepeats} will expand both music and
+lyrics correctly.
@lilypond[quote,verbatim]
\score {
\new Staff {
\time 2/4
\new Voice = "melody" {
- \relative c'' {
- a4 a a a
+ \relative {
+ a'4 a a a
\repeat volta 2 { b4 b }
\alternative { { b b } { b c } }
}
}
@end lilypond
-But when the repeated section has different words, a repeat
+@funindex \skip
+@cindex skipping notes in lyrics
+@cindex lyrics, skipping notes
+
+But when the repeated section has different words, or when one
+of the @code{\alternative} blocks starts with a rest, a repeat
construct cannot be used around the words and @code{\skip} commands
-have to be inserted manually as described in the previous section to
-skip over the notes in the alternative sections which do not apply.
+have to be inserted manually to skip over the notes in the
+alternative sections which do not apply.
+
+Note: do not use an underscore, @code{_}, to skip notes -- an
+underscore indicates a melisma, causing the preceding syllable
+to be left-aligned.
+
+@warning{The @code{@bs{}skip} command must be followed by a number,
+but this number is ignored in lyrics which derive their durations
+from the notes in an associated melody through @code{\addlyrics} or
+@code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
+value, irrespective of the value of the following number.}
@lilypond[verbatim,quote,ragged-right]
\score {
\new Staff {
\time 2/4
\new Voice = "melody" {
- \relative c'' {
- \repeat volta 2 { b4 b }
+ \relative {
+ \repeat volta 2 { b'4 b }
\alternative { { b b } { b c } }
c4 c
}
\new Staff {
\time 2/4
\new Voice = "melody" {
- \relative c'' {
+ \relative {
\set melismaBusyProperties = #'()
- \repeat volta 2 { b4 b ~}
+ \repeat volta 2 { b'4 b ~}
\alternative { { b b } { b \repeatTie c } }
\unset melismaBusyProperties
c4 c
\new Staff {
\time 2/4
\new Voice = "melody" {
- \relative c'' {
- \repeat volta 2 { b4 b ~}
+ \relative {
+ \repeat volta 2 { b'4 b ~}
\alternative { { b b } { b \repeatTie c } }
c4 c
}
\new Staff {
\time 2/4
\new Voice = "melody" {
- \relative c'' {
- \repeat volta 2 { b4 b ~}
+ \relative {
+ \repeat volta 2 { b'4 b ~}
\alternative { { b b } { b \repeatTie c } }
c4 c
}
}
@end lilypond
+@seealso
+Notation Reference:
+@ref{Keeping contexts alive},
+@ref{Repeats}.
@node Divisi lyrics
\score {
<<
\new Voice = "melody" {
- \relative c' {
+ \relative {
<<
{
\voiceOne
- e4 e8 e
+ e'4 e8 e
}
\new Voice = "splitpart" {
\voiceTwo
}
@end lilypond
+It is common in choral music to have a voice part split for
+several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
+construct, where the two (or more) musical expressions are
+separated by double backslashes, might seem the proper way to
+set the split voices. This construct, however, will assign
+@strong{all} the expressions within it to @strong{NEW Voice
+contexts} which will result in @emph{no lyrics} being set for
+them since the lyrics will be set to the original voice context
+-- not, typically, what one wants. The temporary polyphonic
+passage is the proper construct to use, see section
+@emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
+
+
+@node Polyphony with shared lyrics
+@unnumberedsubsubsec Polyphony with shared lyrics
+
+@cindex NullVoice
+@cindex polyphony, shared lyrics
+@cindex lyrics, shared among voices
+@cindex \partcombine and lyrics
+@funindex \partcombine
+
+When two voices with different rhythms share the same lyrics,
+aligning the lyrics to one of the voices may lead to problems in
+the other voice. For example, the second lyric extender below is
+too short, since the lyrics are aligned only to the top voice:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+alto = \relative { g'2 b8( a g a) }
+words = \lyricmode { la __ la __ }
+
+\new Staff <<
+ \new Voice = "sopranoVoice" { \voiceOne \soprano }
+ \new Voice { \voiceTwo \alto }
+ \new Lyrics \lyricsto "sopranoVoice" \words
+>>
+@end lilypond
+
+To get the desired result, align the lyrics to a new
+@code{NullVoice} context containing a suitable combination of the
+two voices. The notes of the @code{NullVoice} context do not
+appear on the printed page, but can be used to align the lyrics
+appropriately:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+alto = \relative { g'2 b8( a g a) }
+aligner = \relative { b'8( c d c) b( a g a) }
+words = \lyricmode { la __ la __ }
+
+\new Staff <<
+ \new Voice { \voiceOne \soprano }
+ \new Voice { \voiceTwo \alto }
+ \new NullVoice = "aligner" \aligner
+ \new Lyrics \lyricsto "aligner" \words
+>>
+@end lilypond
+
+This method also can be used with the @code{\partcombine}
+function, which does not allow lyrics on its own:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+alto = \relative { g'2 b8( a g a) }
+aligner = \relative { b'8( c d c) b( a g a) }
+words = \lyricmode { la __ la __ }
+
+\new Staff <<
+ \new Voice \partcombine \soprano \alto
+ \new NullVoice = "aligner" \aligner
+ \new Lyrics \lyricsto "aligner" \words
+>>
+@end lilypond
+
+@knownissues
+The @code{\addLyrics} function only works with @code{Voice} lyrics
+and so cannot be used with @code{NullVoice}.
+
+@noindent
+The @code{\partcombine} function is described in
+@ref{Automatic part combining}.
+
+Lastly, this method can be used even when the voices are in
+different staves, and is not limited to only two voices:
+
+@lilypond[quote,verbatim]
+soprano = \relative { b'8( c d c) d2 }
+altoOne = \relative { g'2 b8( a b4) }
+altoTwo = \relative { d'2 g4( fis8 g) }
+aligner = \relative { b'8( c d c) d( d d d) }
+words = \lyricmode { la __ la __ }
+
+\new ChoirStaff \with {\accepts NullVoice } <<
+ \new Staff \soprano
+ \new NullVoice = "aligner" \aligner
+ \new Lyrics \lyricsto "aligner" \words
+ \new Staff \partcombine \altoOne \altoTwo
+>>
+@end lilypond
@node Stanzas
@subsection Stanzas
Stanza numbers can be added by setting @code{stanza}, e.g.,
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[quote,ragged-right,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set stanza = #"1. "
Hi, my name is Bert.
Stanzas differing in loudness may be indicated by putting a
dynamics mark before each stanza. In LilyPond, everything coming in
-front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
-are no different. For technical reasons, you have to set the stanza
-outside @code{\lyricmode}:
+front of a stanza goes into the @code{StanzaNumber} object; dynamics
+marks are no different. For technical reasons, you have to set the
+stanza outside @code{\lyricmode}:
@lilypond[quote,ragged-right,verbatim]
text = {
Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
-@code{vocalName}. A short version may be entered as @code{shortVocalName}.
+@code{vocalName}. A short version may be entered as
+@code{shortVocalName}.
-@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
+@lilypond[ragged-right,quote,verbatim]
+\new Voice \relative {
+ \time 3/4 g'2 e4 a2 f4 g2.
} \addlyrics {
\set vocalName = #"Bert "
Hi, my name is Bert.
@subsubheading Ignoring melismata
One possibility is that the text has a melisma in one stanza, but
-multiple syllables in another one. One solution is to make the faster
+multiple syllables in another. One solution is to make the faster
voice ignore the melisma. This is done by setting
@code{ignoreMelismata} in the Lyrics context.
@lilypond[verbatim,ragged-right,quote]
<<
- \relative c' \new Voice = "lahlah" {
+ \relative \new Voice = "lahlah" {
\set Staff.autoBeaming = ##f
- c4
+ c'4
\slurDotted
f8.[( g16])
a4
@subsubheading Adding syllables to grace notes
-By default, grace notes (e.g. via @code{\grace}) do not get assigned
+@cindex grace notes and lyrics
+@cindex lyrics on grace notes
+
+By default, grace notes (e.g., via @code{\grace}) do not get assigned
syllables when using @code{\lyricsto}, but this behavior can be
changed:
@lilypond[verbatim,ragged-right,quote]
-\relative c' {
- f4 \appoggiatura a32 b4
- \grace { f16[ a16] } b2
- \afterGrace b2 { f16[ a16] }
- \appoggiatura a32 b4
- \acciaccatura a8 b4
-}
-\addlyrics {
- normal
- \set includeGraceNotes = ##t
- case,
- gra -- ce case,
- after -- grace case,
- \set ignoreMelismata = ##t
- app. case,
- acc. case.
-}
+<<
+ \new Voice = melody \relative {
+ f'4 \appoggiatura a32 b4
+ \grace { f16 a16 } b2
+ \afterGrace b2 { f16[ a16] }
+ \appoggiatura a32 b4
+ \acciaccatura a8 b4
+ }
+ \new Lyrics
+ \lyricsto melody {
+ normal
+ \set includeGraceNotes = ##t
+ case,
+ gra -- ce case,
+ after -- grace case,
+ \set ignoreMelismata = ##t
+ app. case,
+ acc. case.
+ }
+>>
@end lilypond
@knownissues
-Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
+Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
set at latest one syllable before the one which is to be put under a
grace note. For the case of a grace note at the very beginning of a
piece of music, consider using a @code{\with} or @code{\context}
@lilypond[verbatim,ragged-right,quote]
<<
\new Voice = melody \relative c' {
- \grace { c16[( d e f] }
+ \grace { c16( d e f }
g1) f
}
\new Lyrics \with { includeGraceNotes = ##t }
@subsubheading Switching to an alternative melody
-More complex variations in text underlay are possible. It is possible
-to switch the melody for a line of lyrics during the text. This is
-done by setting the @code{associatedVoice} property. In the example
+@cindex associatedVoice
+@cindex alternative melody, switching to
-@lilypond[ragged-right,quote]
+More complex variations in setting lyrics to music are possible.
+The melody to which the lyrics are being set can be changed from
+within the lyrics by setting the @code{associatedVoice} property:
+
+@lilypond[verbatim,quote]
<<
- \relative c' \new Voice = "lahlah" {
+ \relative \new Voice = "lahlah" {
\set Staff.autoBeaming = ##f
- c4
+ c'4
<<
\new Voice = "alternative" {
\voiceOne
- \times 2/3 {
+ \tuplet 3/2 {
% show associations clearly.
- \override NoteColumn #'force-hshift = #-3
+ \override NoteColumn.force-hshift = #-3
f8 f g
}
}
\new Lyrics \lyricsto "lahlah" {
% Tricky: need to set associatedVoice
% one syllable too soon!
- \set associatedVoice = alternative % applies to "ran"
+ \set associatedVoice = "alternative" % applies to "ran"
Ty --
ran --
no --
- \set associatedVoice = lahlah % applies to "rus"
+ \set associatedVoice = "lahlah" % applies to "rus"
sau -- rus Rex
} >>
@end lilypond
@noindent
-the text for the first stanza is set to a melody called @q{lahlah},
+The text for the first stanza is set to the melody called
+@q{lahlah} in the usual way, but the second stanza is set initally
+to the @code{lahlah} context and is then switched to the
+@code{alternative} melody for the syllables @q{ran} to @q{sau} by
+the lines:
@example
-\new Lyrics \lyricsto "lahlah" @{
- Ju -- ras -- sic Park
-@}
-@end example
-
-
-The second stanza initially is set to the @code{lahlah} context, but
-for the syllable @q{ran}, it switches to a different melody.
-This is achieved with
-@example
-\set associatedVoice = alternative
+\set associatedVoice = "alternative" % applies to "ran"
+Ty --
+ran --
+no --
+\set associatedVoice = "lahlah" % applies to "rus"
+sau -- rus Rex
@end example
@noindent
Here, @code{alternative} is the name of the @code{Voice} context
containing the triplet.
-@c TODO: make this easier to understand -vv
-This command must be one syllable too early, before @q{Ty} in this
-case. In other words, changing the associatedVoice happens one step
-later than expected. This is for technical reasons, and it is not a
-bug.
-
-@example
-\new Lyrics \lyricsto "lahlah" @{
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
-@}
-@end example
+Note the placement of the @code{\set associatedVoice} command --
+it appears to be one syllable too early, but this is correct.
-@noindent
-The underlay is switched back to the starting situation by assigning
-@code{lahlah} to @code{associatedVoice}.
+@warning{The @code{\set associatedVoice} command must be placed
+one syllable @emph{before} the one at which the switch to the new
+voice is to occur. In other words, changing the associated Voice
+happens one syllable later than expected. This is for technical
+reasons, and it is not a bug.}
@node Printing stanzas at the end
@code{\markup}.
@lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
+melody = \relative {
+e' d c d | e e e e |
d d e d | c1 |
}
output in LilyPond.
@lilypond[ragged-right,quote,verbatim]
-melody = \relative c' {
- c c c c | d d d d
+melody = \relative {
+ c'4 c c c | d d d d
}
text = \lyricmode {
It has two lines.
}
-\score{ <<
+\score {
+ <<
\new Voice = "one" { \melody }
\new Lyrics \lyricsto "one" \text
- >>
+ >>
\layout { }
}
\markup {
\fill-line {
\hspace #0.1 % moves the column off the left margin;
- % can be removed if space on the page is tight
+ % can be removed if space on the page is tight
\column {
\line { \bold "2."
\column {
"It has two lines."
}
}
- \hspace #0.1 % adds vertical spacing between verses
+ \combine \null \vspace #0.1 % adds vertical spacing between verses
\line { \bold "3."
\column {
"This is verse three."
}
}
}
- \hspace #0.1 % adds horizontal spacing between columns;
- % if they are still too close, add more " " pairs
- % until the result looks good
- \column {
+ \hspace #0.1 % adds horizontal spacing between columns;
+ \column {
\line { \bold "4."
\column {
"This is verse four."
"It has two lines."
}
}
- \hspace #0.1 % adds vertical spacing between verses
+ \combine \null \vspace #0.1 % adds vertical spacing between verses
\line { \bold "5."
\column {
"This is verse five."
}
}
\hspace #0.1 % gives some extra space on the right margin;
- % can be removed if page space is tight
+ % can be removed if page space is tight
}
}
@end lilypond
@item
Songs are frequently printed with the chording indicated by chord
-names above the staves. This is described in
-@ref{Displaying chords}.
+names above the staves. This is described in @ref{Displaying chords}.
@item
To print fret diagrams of the chords for guitar accompaniment or
Snippets:
@rlsr{Vocal music}.
+
@node Lead sheets
@unnumberedsubsubsec Lead sheets
-Lead sheets may be printed by combining vocal parts and @q{chord mode};
-this syntax is explained in @ref{Chord notation}.
+Lead sheets may be printed by combining vocal parts and
+@q{chord mode}; this syntax is explained in @ref{Chord notation}.
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{simple-lead-sheet.ly}
@seealso
Choral music is usually notated on two, three or four staves within
a @code{ChoirStaff} group. Accompaniment, if required, is placed
beneath in a @code{PianoStaff} group, which is usually reduced in
-size for @emph{a capella} choral works. The notes for each vocal
-part are placed in a @code{Voice} context, with each staff
+size for rehearsal of @emph{a cappella} choral works. The notes for
+each vocal part are placed in a @code{Voice} context, with each staff
being given either a single vocal part (i.e., one @code{Voice}) or
a pair of vocal parts (i.e., two @code{Voice}s).
@item
An introduction to creating an SATB vocal score can be found in
the Learning Manual, see @rlearning{Four-part SATB vocal score}.
+There is also a built-in template which simplifies the entry of
+SATB vocal music, see @rlearning{Built-in templates}.
@item
Several templates suitable for various styles of choral music can
also be found in the Learning Manual, see
-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.
@item
For information about @code{ChoirStaff} and @code{PianoStaff} see
@ref{Grouping staves}.
@item
-Shape noteheads, as used in Sacred Harp and similar notation, are
+Shape note heads, as used in Sacred Harp and similar notation, are
described in @ref{Shape note heads}.
@item
down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
@ref{Single-staff polyphony}.
+@item
+When a vocal part temporarily splits, you should use
+@emph{Temporary polyphonic passages}
+(see @ref{Single-staff polyphony}).
+
@end itemize
@predefined
@code{\oneVoice},
@code{\voiceOne},
@code{\voiceTwo}.
+@endpredefined
@seealso
Learning Manual:
@rlearning{Four-part SATB vocal score},
-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.
Notation Reference:
@ref{Context layout order},
@rinternals{Lyrics},
@rinternals{PianoStaff}.
+
@node Score layouts for choral
@unnumberedsubsubsec Score layouts for choral
@item
For details of other page formatting properties, see
-@ref{Page formatting}.
+@ref{Page layout}.
@end itemize
\new ChoirStaff <<
\new Staff {
\new Voice {
- \relative c'' { g4\f g g g }
+ \relative { g'4\f g g g }
}
}
\new Staff {
\new Voice {
- \relative c' { d4 d d\p d }
+ \relative { d'4 d d\p d }
}
}
>>
\layout {
\context {
\Score
- \override DynamicText #'direction = #UP
- \override DynamicLineSpanner #'direction = #UP
+ \override DynamicText.direction = #UP
+ \override DynamicLineSpanner.direction = #UP
}
}
}
@end lilypond
@predefined
-@code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
+@code{\dynamicUp},
+@code{\dynamicDown},
+@code{\dynamicNeutral}.
+@endpredefined
@seealso
Notation Reference:
@ref{Changing spacing},
@ref{Displaying spacing},
@ref{Fitting music onto fewer pages},
-@ref{Page formatting},
+@ref{Page layout},
@ref{Score layout},
@ref{Separating systems},
@ref{Setting the staff size},
-@ref{Using an extra voice for breaks},
+@ref{Breaks},
@ref{Vertical spacing}.
Internals Reference:
@cindex voices, divided
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{using-arpeggiobracket-to-make-divisi-more-visible.ly}
@seealso
@item
For details of other page formatting properties, see
-@ref{Page formatting}.
+@ref{Page layout}.
@item
-Dialogue cues and stage directions can be inserted with markup.
-See @ref{Text}. Extensive stage directions can be inserted with
-a section of stand-alone markup between two @code{\score} blocks.
-See @ref{Separate text}.
+Dialogue cues, stage directions and footnotes can be inserted, see
+@ref{Creating footnotes} and @ref{Text}. Extensive stage directions
+can also be added with a section of stand-alone markups between two
+@code{\score} blocks, see @ref{Separate text}.
@end itemize
@rglos{transposing instrument}.
Notation Reference:
+@ref{Creating footnotes},
@ref{Grouping staves},
@ref{Hiding staves},
@ref{Instrument transpositions},
@ref{Nested staff groups},
-@ref{Page formatting},
+@ref{Page layout},
@ref{Separating systems},
@ref{Transpose},
@ref{Writing parts},
\new Staff {
\set Staff.vocalName = \markup \smallCaps Kaspar
\set Staff.shortVocalName = \markup \smallCaps Kas.
- \relative c' {
+ \relative {
\clef "G_8"
- c4 c c c
+ c'4 c c c
\break
c4 c c c
}
\set Staff.vocalName = \markup \smallCaps Melchior
\set Staff.shortVocalName = \markup \smallCaps Mel
\clef "bass"
- \relative c' {
+ \relative {
a4 a a a
a4 a a a
}
applying to that character. This can be done with markup. Often a
specific font is used for this purpose.
-@lilypond[quote,verbatim,relative=1]
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
-\clef "bass"
-a4^\markup \fontsize #1 \smallCaps Melchior
-a a a
-\clef "G_8"
-c4^\markup \fontsize #1 \smallCaps Kaspar
-c c c
+@lilypond[quote,verbatim]
+\relative c' {
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+ \clef "bass"
+ a4^\markup \fontsize #1 \smallCaps Melchior
+ a a a
+ \clef "G_8"
+ c4^\markup \fontsize #1 \smallCaps Kaspar
+ c c c
+}
@end lilypond
-Alternatively, if there are many character changes, it may be
-easier to set up @qq{instrument} definitions for each character at
-the top level so that @code{\instrumentSwitch} can be used to
-indicate each change.
+Alternatively, if there are many character changes, it may be easier
+to set up variables to hold the definitions for each character so
+that the switch of characters can be indicated easily and concisely.
@lilypond[quote,verbatim]
-\addInstrumentDefinition #"kaspar"
- #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
- (shortInstrumentName . "Kas.")
- (clefGlyph . "clefs.G")
- (clefOctavation . -7)
- (middleCPosition . 1)
- (clefPosition . -2)
- (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
- (midiInstrument . "voice oohs"))
-
-\addInstrumentDefinition #"melchior"
- #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
- (shortInstrumentName . "Mel.")
- (clefGlyph . "clefs.F")
- (clefOctavation . 0)
- (middleCPosition . 6)
- (clefPosition . 2)
- (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
- (midiInstrument . "voice aahs"))
+kaspar = {
+ \clef "G_8"
+ \set Staff.shortVocalName = "Kas."
+ \set Staff.midiInstrument = "voice oohs"
+ <>^\markup \smallCaps "Kaspar"
+}
+
+melchior = {
+ \clef "bass"
+ \set Staff.shortVocalName = "Mel."
+ \set Staff.midiInstrument = "choir aahs"
+ <>^\markup \smallCaps "Melchior"
+}
\relative c' {
- \instrumentSwitch "kaspar"
+ \kaspar
c4 c c c
- \instrumentSwitch "melchior"
+ \melchior
a4 a a a
- \instrumentSwitch "kaspar"
+ \kaspar
c4 c c c
}
@end lilypond
@seealso
+Learning Manual:
+@rlearning{Organizing pieces with variables}.
+
Notation Reference:
-@ref{Instrument names},
-@ref{Scheme functions},
@ref{Text},
@ref{Text markup commands}.
-Extending LilyPond:
-@rextend{Markup construction in Scheme}.
@node Musical cues
@unnumberedsubsubsec Musical cues
how this is done.
@lilypond[quote,verbatim]
-flute = \relative c'' {
- s4 s4 e g
+flute = \relative {
+ s4 s4 e'' g
}
\addQuote "flute" { \flute }
-pianoRH = \relative c'' {
- c4. g8
+pianoRH = \relative {
+ c''4. g8
% position name of cue-ing instrument just before the cue notes,
% and above the staff
- s1*0^\markup { \right-align { \tiny "Flute" } }
+ <>^\markup { \right-align { \tiny "Flute" } }
\cueDuring "flute" #UP { g4 bes4 }
}
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
\score {
\new PianoStaff <<
specify its key so the conversion of its cue notes will be done
automatically. The example below shows this transposition for a
B-flat clarinet. The notes in this example are low on the staff so
-@code{#DOWN} is specified in @code{\cueDuring} (so the stems are
-down) and the instrument name is positioned below the staff. Note
-also that the piano right-hand voice is explicitly declared. This
-is because the cue notes in this example begin at the start of the
-first bar and this would otherwise cause the entire piano right-hand
-notes to be placed in a @code{CueVoice} context.
+@code{DOWN} is specified in @code{\cueDuring} (so the stems are
+down) and the instrument name is positioned below the staff.
@lilypond[quote,verbatim]
clarinet = \relative c' {
pianoRH = \relative c'' {
\transposition c'
% position name of cue-ing instrument below the staff
- s1*0_\markup { \right-align { \tiny "Clar." } }
+ <>_\markup { \right-align { \tiny "Clar." } }
\cueDuring "clarinet" #DOWN { c4. g8 }
g4 bes4
}
-pianoLH = \relative c { c4 <c' e> e, <g c> }
+pianoLH = \relative { c4 <c' e> e, <g c> }
\score {
<<
and to make the piano notes clearer.
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{adding-orchestral-cues-to-a-vocal-score.ly}
@seealso
@rlsr{Vocal music}.
Internals Reference:
-@rinternals{InstrumentSwitch},
@rinternals{CueVoice}.
@knownissues
@cindex parlato
@cindex Sprechgesang
-Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
-without pitch but still with rhythm; these are notated by cross
+Such effects as @q{parlato} or @q{Sprechgesang} require performers to
+speak without pitch but still with rhythm; these are notated by cross
note heads, as demonstrated in @ref{Special note heads}.
@c TODO add "marking-notes-on-spoken-parts" snippet -vv
For short interjections a simple markup suffices.
-@lilypond[quote,verbatim,relative=2]
-a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
-a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
-a4 a a a
+@lilypond[quote,verbatim]
+\relative {
+ a'4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
+ a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
+ a4 a a a
+}
@end lilypond
For longer phrases it may be necessary to expand the music to make
dialogue to avoid running into the right margin. The final word of
the last measure on a line should also be separated out, as above.
-Here is an example illustating how this might be done.
+Here is an example illustrating how this might be done.
@c This should be a snippet, but it can't be as it needs to be
@c manually adjusted to suit the imposed line length. -td
@lilypond[quote,verbatim,ragged-right]
-music = \relative c'' {
- \repeat unfold 3 { a4 a a a }
+music = \relative {
+ \repeat unfold 3 { a'4 a a a }
}
dialogue = \lyricmode {
\score {
<<
\new Lyrics \with {
- \override LyricText #'font-shape = #'italic
- \override LyricText #'self-alignment-X = #LEFT
+ \override LyricText.font-shape = #'italic
+ \override LyricText.self-alignment-X = #LEFT
}
{ \dialogue }
\new Staff {
with the rhythm being taken from the spoken rhythm of the words.
@lilypond[verbatim,quote]
-stemOff = { \override Staff.Stem #'transparent = ##t }
+stemOff = { \hide Staff.Stem }
\relative c' {
\stemOff
\score {
\new StaffGroup <<
\new Staff {
- \relative c'' {
- a4 b c2 |
+ \relative {
+ a'4 b c2 |
a4 b c2 |
a4 b c2 |
}
}
\new Staff {
- \relative c'' {
- a4 b c2 |
+ \relative {
+ a'4 b c2 |
a4 b c2 |
a4 b c2 |
}
\layout {
\context {
\Staff
- \remove Bar_engraver
+ \remove "Bar_engraver"
}
}
}
\score {
\new ChoirStaff <<
\new Staff
- \with { \remove Bar_engraver } {
- \relative c'' {
- a4 b c2 |
+ \with { \remove "Bar_engraver" } {
+ \relative {
+ a'4 b c2 |
a4 b c2 |
a4 b c2 |
}
}
\new Staff {
- \relative c'' {
- a4 b c2 |
+ \relative {
+ a'4 b c2 |
a4 b c2 |
a4 b c2 |
}
To remove bar lines from just a section of music treat it as a
cadenza. If the section is long you may need to insert dummy
-barlines with @code{\bar ""} to show where the line should break.
+bar lines with @code{\bar ""} to show where the line should break.
-@lilypond[verbatim,quote,relative=2]
-a4 b c2 |
-\cadenzaOn
-a4 b c2
-a4 b c2
-\bar ""
-a4 b c2
-a4 b c2
-\cadenzaOff
-a4 b c2 |
-a4 b c2 |
+@lilypond[verbatim,quote]
+\relative a' {
+ a4 b c2 |
+ \cadenzaOn
+ a4 b c2
+ a4 b c2
+ \bar ""
+ a4 b c2
+ a4 b c2
+ \cadenzaOff
+ a4 b c2 |
+ a4 b c2 |
+}
@end lilypond
Rests or pauses in chants can be indicated by modified bar lines.
-@lilypond[verbatim, quote,relative=2]
-a4
-\cadenzaOn
-b c2
-a4 b c2
-\bar "'"
-a4 b c2
-a4 b c2
-\bar ":"
-a4 b c2
-\bar "dashed"
-a4 b c2
-\bar "||"
+@lilypond[verbatim, quote]
+\relative a' {
+ a4
+ \cadenzaOn
+ b c2
+ a4 b c2
+ \bar "'"
+ a4 b c2
+ a4 b c2
+ \bar ";"
+ a4 b c2
+ \bar "!"
+ a4 b c2
+ \bar "||"
+}
@end lilypond
Alternatively, the notation used in Gregorian chant for pauses or
@lilypond[verbatim,quote]
divisioMinima = {
- \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
- \once \override BreathingSign #'Y-offset = #0
+ \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
+ \once \override BreathingSign.Y-offset = #0
\breathe
}
divisioMaior = {
- \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
- \once \override BreathingSign #'Y-offset = #0
+ \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
+ \once \override BreathingSign.Y-offset = #0
\breathe
}
divisioMaxima = {
- \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
- \once \override BreathingSign #'Y-offset = #0
+ \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
+ \once \override BreathingSign.Y-offset = #0
\breathe
}
finalis = {
- \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
- \once \override BreathingSign #'Y-offset = #0
+ \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
+ \once \override BreathingSign.Y-offset = #0
\breathe
}
\score {
- \relative c'' {
- g2 a4 g
+ \relative {
+ g'2 a4 g
\divisioMinima
g2 a4 g
\divisioMaior
\layout {
\context {
\Staff
- \remove Bar_engraver
+ \remove "Bar_engraver"
}
}
}
@lilypond[verbatim,quote]
\score {
\new Staff {
- \relative c'' {
- a4 b c2 |
+ \relative {
+ a'4 b c2 |
a4 b c2 |
a4 b c2 |
}
\layout {
\context {
\Staff
- \remove Bar_engraver
- \remove Time_signature_engraver
- \remove Clef_engraver
+ \remove "Bar_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Clef_engraver"
}
}
}
the @qq{reciting note}. Chants are usually centered on the page.
@lilypond[verbatim,quote]
-SopranoMusic = \relative g' {
- g1 | c2 b | a1 | \bar "||"
+SopranoMusic = \relative {
+ g'1 | c2 b | a1 | \bar "||"
a1 | d2 c | c b | c1 | \bar "||"
}
-AltoMusic = \relative c' {
- e1 | g2 g | f1 |
+AltoMusic = \relative {
+ e'1 | g2 g | f1 |
f1 | f2 e | d d | e1 |
}
-TenorMusic = \relative a {
- c1 | c2 c | c1 |
+TenorMusic = \relative {
+ c'1 | c2 c | c1 |
d1 | g,2 g | g g | g1 |
}
-BassMusic = \relative c {
+BassMusic = \relative {
c1 | e2 e | f1 |
d1 | b2 c | g' g | c,1 |
}
\layout {
\context {
\Score
- \override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 2)
+ \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
}
\context {
\Staff
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{chant-or-psalms-notation.ly}
Canticles and other liturgical texts may be set more freely, and
are spaced in accordance with the syllables rather than the notes'
durations.
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{ancient-notation-template----modern-transcription-of-gregorian-music.ly}
@seealso
Learning Manual:
@rlearning{Visibility and color of objects},
-@rlearning{Vocal ensembles}.
+@rlearning{Vocal ensembles templates}.
Notation Reference:
@ref{Ancient notation},
described in @ref{Formatting text}.
Most of these elements are shown in one or other of the two verses
-in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
+in the template, see @rlearning{Psalms}.
@seealso
Learning Manual:
-@rlearning{Vocal ensembles}.
+@rlearning{Psalms},
+@rlearning{Vocal ensembles templates}.
Notation Reference:
@ref{Fonts},
the start of the music and @code{\bar "|"} or @code{\bar "||"}
commands at the end of each line.
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{hymn-template.ly}
@node Ancient vocal music
@subsection Ancient vocal music
-Ancient vocal music is supported, as explained in @ref{Ancient notation}.
+Ancient vocal music is supported, as explained in
+@ref{Ancient notation}.
@c TODO
projects / lilypond.git / blobdiff