@menu
* Common notation for vocal music::
-* Entering lyrics::
-* Aligning lyrics to a melody::
-* Specific uses of lyrics::
+* Techniques specific to lyrics::
* Stanzas::
+* Songs::
+* Choral::
+* Opera and stage musicals::
+* Chants psalms and hymns::
+* Ancient vocal music::
+
@end menu
@node Common notation for vocal music
@subsection Common notation for vocal music
-This section discusses issues related to vocal music in general, and
-to some particular styles of vocal music.
+This section discusses issues common to most types of vocal music.
@menu
-* References for vocal music and lyrics::
-* Opera::
-* Song books::
-* Spoken music::
-* Chants::
-* Ancient vocal music::
+* References for vocal music::
+* Entering lyrics::
+* Aligning lyrics to a melody::
+* Automatic syllable durations::
+* Manual syllable durations::
+* Multiple syllables to one note::
+* Multiple notes to one syllable::
+* Skipping notes::
+* Extenders and hyphens::
@end menu
-@node References for vocal music and lyrics
-@unnumberedsubsubsec References for vocal music and lyrics
+@node References for vocal music
+@unnumberedsubsubsec References for vocal music
-@c TODO: split this section in two parts? -vv
-
-Various issues may arise when engraving vocal music. Some of these
-are discussed in this section, while others are explained elsewhere:
+This section indicates where to find details of notation issues
+that may arise in any type of vocal music.
@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}.
This syntax is described in @ref{Text markup introduction}.
@item
-Lead sheets may be printed by combining vocal parts and @q{chord mode};
-this syntax is explained in @ref{Chord notation}.
-
-@item
-@q{Ambitus} may be added at the beginning of vocal staves, as explained
+@notation{Ambitus} may be added at the beginning of vocal staves, as explained
in @ref{Ambitus}.
-@item
-Vocal parts may be printed using traditional clefs, as shown in @ref{Clef}.
-
-@item
-Ancient vocal music is supported, as explained in @ref{Ancient notation}.
@end itemize
-
-@node Opera
-@unnumberedsubsubsec Opera
-
-@c TODO
-TBC
-
-@c add characters names snippet -vv
-
-@node Song books
-@unnumberedsubsubsec Song books
-
-@c TODO
-TBC
-
-@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{simple-lead-sheet.ly}
-
-
-@seealso
-Notation Reference:
-@ref{Chord notation}.
-
-
-@node Spoken music
-@unnumberedsubsubsec Spoken music
-@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
-note heads, as demonstrated in @ref{Special note heads}.
-
-@c TODO add "marking-notes-on-spoken-parts" snippet -vv
-@c add "showing the rhythm of a melody" snip
-@c add "one staff-line notation"
-@c add "improvisation" ref
-@c add "lyrics independents of notes" ref
-
-@node Chants
-@unnumberedsubsubsec Chants
-
-@c TODO Add text from lsr and -user
-TBC
-
-@node Ancient vocal music
-@unnumberedsubsubsec Ancient vocal music
-
-@c TODO
-TBC
-
-@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
-@c and "Transcription of Ancient music with incipit" snippet. -vv
-
-
@seealso
-Notation Reference:
-@ref{Ancient notation}.
-
+Music Glossary:
+@rglos{ambitus}.
@node Entering lyrics
-@subsection Entering lyrics
-
-@c TODO add one sentence here. -vv
-
-@menu
-* Lyrics explained::
-* Setting simple songs::
-* Working with lyrics and variables::
-@end menu
+@unnumberedsubsubsec Entering lyrics
-
-@node Lyrics explained
-@unnumberedsubsubsec Lyrics explained
+Lyrics are entered in lyric mode. This section explains how this
+done.
@cindex lyrics
@funindex \lyricmode
\override Score . LyricText #'font-shape = #'italic
@end example
-@funindex _
-@cindex spaces, in lyrics
-@cindex quotes, in lyrics
-@cindex ties, in lyrics
-
-In order to assign more than one syllable to a single note, you can
-surround them with quotes or use a @code{_} character, to get spaces
-between syllables, or use 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 }
-@end lilypond
-
-@noindent
-The lyric tie is implemented with the Unicode character
-@code{U+203F}; therefore a font that includes this glyph
-(such as DejaVuLGC) has to be used. More explanations about
-text and non-text fonts can be found in @ref{Fonts}.
-
-
To enter lyrics with characters from non-English languages, or with
accented and special characters (such as the heart symbol or slanted quotes),
simply insert the characters directly into the input file and save
@rinternals{LyricSpace}.
-@c TODO: this title has to be changed (possible confusion with LM) -vv
-@node Setting simple songs
-@unnumberedsubsubsec Setting simple songs
-
-@cindex \addlyrics
-
-The easiest way to add lyrics to a melody is to append
-
-@example
-\addlyrics @{ @var{the lyrics} @}
-@end example
-
-@noindent
-to a melody. Here is an example,
-
-@lilypond[ragged-right,verbatim,fragment,quote]
-\time 3/4
-\relative c' { c2 e4 g2. }
-\addlyrics { play the game }
-@end lilypond
-
-More stanzas can be added by adding more
-@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 }
-@end lilypond
-
-The command @code{\addlyrics} cannot handle polyphony settings. For these
-cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
-introduced in @ref{Lyrics explained}.
-
-@c TODO: one additional section may be needed here,
-@c such as "advanced lyric syntax" or whatever -vv
-
-@node Working with lyrics and variables
-@unnumberedsubsubsec Working with lyrics and variables
-
-@cindex lyrics, variables
-
-To define variables containing lyrics, the function @code{\lyricmode}
-must be used. You do not have to enter durations though, if you add
-@code{\addlyrics} or @code{\lyricsto}
-when invoking your variable.
-
-@example
-verseOne = \lyricmode @{ Joy to the world the Lord is come @}
-\score @{
- <<
- \new Voice = "one" \relative c'' @{
- \autoBeamOff
- \time 2/4
- c4 b8. a16 g4. f8 e4 d c2
- @}
- \addlyrics @{ \verseOne @}
- >>
-@}
-@end example
-
-For different or more complex orderings, the best way is to set up the
-hierarchy of staves and lyrics first, e.g.,
-@example
-\new ChoirStaff <<
- \new Voice = "soprano" @{ @emph{music} @}
- \new Lyrics = "sopranoLyrics" @{ s1 @}
- \new Lyrics = "tenorLyrics" @{ s1 @}
- \new Voice = "tenor" @{ @emph{music} @}
->>
-@end example
-
-@noindent
-and then combine the appropriate melodies and lyric lines
-
-@example
-\context Lyrics = sopranoLyrics \lyricsto "soprano"
-@emph{the lyrics}
-@end example
-
-@noindent
-The final input would resemble
-
-@example
-<<\new ChoirStaff << @emph{setup the music} >>
- \lyricsto "soprano" @emph{etc}
- \lyricsto "alto" @emph{etc}
-@emph{etc}
->>
-@end example
-
-@ignore
-@c TODO
-http://code.google.com/p/lilypond/issues/detail?id=329
-The problem cannot be reproduced.
-The following has no sense, because the issue seems to be fixed.
-A comment is in tracker waiting for response ---FV
-
-
-Be careful when defining a variable with lyrics that creates a new
-context, for example, using the deprecated @code{\lyrics} command. See
-the next erroneous example:
-
-@example
-words = \lyrics{ %warning: this creates a new context
- one two
-}
-<<
- \new Voice = "sop" { c1 }
- \new Lyrics \lyricsto "sop" { \words }
- \new Voice = "alt" { c2 c }
- \new Lyrics \lyricsto "alt" { \words }
->>
-@end example
-
-the problem is that \lyricsto will try to connect the "sop" melody with the context
-created by "\new Lyrics".
-
-Then \lyrics in \words creates another context, and the original "\new Lyrics" one
-remains empty.
-
-@end ignore
-
-
-@seealso
-@c TODO: document \new Staff << Voice \lyricsto >> bug
-Internals Reference:
-@rinternals{LyricCombineMusic},
-@rinternals{Lyrics}.
-
-
@node Aligning lyrics to a melody
-@subsection Aligning lyrics to a melody
+@unnumberedsubsubsec Aligning lyrics to a melody
@funindex \lyricmode
@funindex \addlyrics
@ref{Keeping contexts alive}.
-@menu
-* Automatic syllable durations::
-* Manual syllable durations::
-* Multiple syllables to one note::
-* Multiple notes to one syllable::
-* Skipping notes::
-* Extenders and hyphens::
-* Lyrics and repeats::
-@end menu
-
@node Automatic syllable durations
@unnumberedsubsubsec Automatic syllable durations
-@cindex automatic syllable durations
+@cindex syllable durations, automatic
@cindex lyrics and melodies
The lyrics can be aligned under a given melody
The second stanza is not properly aligned because the durations
were not specified. A solution for that would be to use @code{\lyricsto}.
+@cindex \addlyrics
+
The @code{\addlyrics} command is actually just a convenient way
to write a more complicated LilyPond structure that sets up the
lyrics.
\new Lyrics \lyricsto "blah" @{ LYRICS @}
@end example
+Here is an example,
+
+@lilypond[ragged-right,verbatim,fragment,quote]
+\time 3/4
+\relative c' { c2 e4 g2. }
+\addlyrics { play the game }
+@end lilypond
+
+More stanzas can be added by adding more
+@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 }
+@end lilypond
+
+The command @code{\addlyrics} cannot handle polyphony settings.
+For these cases you should use @code{\lyricsto} and
+@code{\lyricmode}, for details see @ref{Entering lyrics}.
+
@node Manual syllable durations
@unnumberedsubsubsec Manual syllable durations
@node Multiple syllables to one note
@unnumberedsubsubsec Multiple syllables to one note
-
@funindex _
+@cindex spaces, in lyrics
+@cindex quotes, in lyrics
@cindex ties, in lyrics
-In order to assign more than one syllable to a single note, you can
-surround them with quotes or use a @code{_} character, to get spaces
-between syllables, or use tilde symbol (@code{~}) to get a lyric
-tie.@footnote{The lyric ties is implemented with the Unicode character
-U+203F, so be
+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.}
+glyph.
@lilypond[quote,ragged-right,fragment,verbatim]
\time 3/4
@c duplicated: TODO fix
Additionally, you can make an extender line to be typeset to indicate
the melisma in the score, writing a double underscore next to the
-first syllable of the melisma. This example shows the three elements
+first syllable of the melisma. This example shows the three elements
that are used for this purpose (all of them surrounded by spaces):
double hyphens to separate syllables in a word, underscores to add
notes to a melisma, and a double underscore to put an extender line.
-@c wrong: extender line only on last syllable of a word. Change example
+@c wrong: extender line only on last syllable of a word. Change example
@lilypond[relative=1,verbatim,fragment,quote]
{ \set melismaBusyProperties = #'()
c d( e) f f( e) e e }
@rinternals{LyricHyphen}.
-@node Lyrics and repeats
-@unnumberedsubsubsec Lyrics and repeats
-
-@c TODO New section. Add text
-TBC
+@node Techniques specific to lyrics
+@subsection Techniques specific to lyrics
-
-@node Specific uses of lyrics
-@subsection Specific uses of lyrics
-
-@c TODO This whole section is to be reorganized. -vv
-
-Often, different stanzas of one song are put to one melody in slightly
-differing ways. Such variations can still be captured with
-@code{\lyricsto}.
+@c TODO This whole section is to be reorganized. -vv
@menu
+* Working with lyrics and variables::
+* Lyrics and repeats::
* Divisi lyrics::
* Lyrics independent of notes::
* Spacing out syllables::
-* Centering lyrics between staves::
+* Placement of lyrics::
@end menu
-@node Divisi lyrics
-@unnumberedsubsubsec Divisi lyrics
-
-You can display alternate (or divisi) lyrics by naming voice
-contexts and attaching lyrics to those specific contexts.
+@node Working with lyrics and variables
+@unnumberedsubsubsec Working with lyrics and variables
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" {
- \relative c' {
- c4
- <<
- { \voiceOne c8 e }
- \new Voice = "splitpart" { \voiceTwo c4 }
- >>
- \oneVoice c4 c | c
- }
- }
- \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
- \new Lyrics \lyricsto "splitpart" { will }
->> }
-@end lilypond
+@cindex lyrics, variables
+To define variables containing lyrics, the function @code{\lyricmode}
+must be used. You do not have to enter durations though, if you add
+@code{\addlyrics} or @code{\lyricsto}
+when invoking your variable.
-You can use this trick to display different lyrics for a repeated
-section.
+@example
+verseOne = \lyricmode @{ Joy to the world the Lord is come @}
+\score @{
+ <<
+ \new Voice = "one" \relative c'' @{
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ @}
+ \addlyrics @{ \verseOne @}
+ >>
+@}
+@end example
-@lilypond[verbatim,ragged-right,quote]
-\score{ <<
- \new Voice = "melody" \relative c' {
- c2 e | g e | c1 |
- \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
- a2 b | c1}
- \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
- do mi sol mi do
- la si do }
- \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
- do re mi fa sol }
- \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
- dodo rere mimi fafa solsol }
+For different or more complex orderings, the best way is to set up the
+hierarchy of staves and lyrics first, e.g.,
+@example
+\new ChoirStaff <<
+ \new Voice = "soprano" @{ @emph{music} @}
+ \new Lyrics = "sopranoLyrics" @{ s1 @}
+ \new Lyrics = "tenorLyrics" @{ s1 @}
+ \new Voice = "tenor" @{ @emph{music} @}
>>
-}
-@end lilypond
+@end example
+@noindent
+and then combine the appropriate melodies and lyric lines
+@example
+\context Lyrics = sopranoLyrics \lyricsto "soprano"
+@emph{the lyrics}
+@end example
-@node Lyrics independent of notes
-@unnumberedsubsubsec Lyrics independent of notes
+@noindent
+The final input would resemble
-@cindex Devnull context
+@example
+<<\new ChoirStaff << @emph{setup the music} >>
+ \lyricsto "soprano" @emph{etc}
+ \lyricsto "alto" @emph{etc}
+@emph{etc}
+>>
+@end example
-In some complex vocal music, it may be desirable to place
-lyrics completely independently of notes. Music defined
-inside @code{lyricrhythm} disappears into the
-@code{Devnull} context, but the rhythms can still be used
-to place the lyrics.
+@ignore
+@c TODO
+http://code.google.com/p/lilypond/issues/detail?id=329
+The problem cannot be reproduced.
+The following has no sense, because the issue seems to be fixed.
+A comment is in tracker waiting for response ---FV
-@lilypond[quote,verbatim,ragged-right]
-voice = {
- c''2
- \tag #'music { c''2 }
- \tag #'lyricrhythm { c''4. c''8 }
- d''1
-}
-lyr = \lyricmode { I like my cat! }
+Be careful when defining a variable with lyrics that creates a new
+context, for example, using the deprecated @code{\lyrics} command. See
+the next erroneous example:
+@example
+words = \lyrics{ %warning: this creates a new context
+ one two
+}
<<
- \new Staff \keepWithTag #'music \voice
- \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
- \new Lyrics \lyricsto "nowhere" \lyr
- \new Staff { c'8 c' c' c' c' c' c' c'
- c' c' c' c' c' c' c' c' }
+ \new Voice = "sop" { c1 }
+ \new Lyrics \lyricsto "sop" { \words }
+ \new Voice = "alt" { c2 c }
+ \new Lyrics \lyricsto "alt" { \words }
>>
-@end lilypond
+@end example
-This method is recommended only if the music in the @code{Devnull}
-context does not contain melismata. Melismata are defined by the
-@code{Voice} context. Connecting lyrics to a @code{Devnull} context
-makes the voice/lyrics links to get lost, and so does the info on
-melismata. Therefore, if you link lyrics to a @code{Devnull} context,
-the implicit melismata get ignored.
+the problem is that \lyricsto will try to connect the "sop" melody with the context
+created by "\new Lyrics".
-@c Conclusion: do not use devnull for lyrics -FV
+Then \lyrics in \words creates another context, and the original "\new Lyrics" one
+remains empty.
-@c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
+@end ignore
-@node Spacing out syllables
-@unnumberedsubsubsec Spacing out syllables
-@cindex Spacing lyrics
-@cindex Lyrics, increasing space between
+@seealso
+@c TODO: document \new Staff << Voice \lyricsto >> bug
+Internals Reference:
+@rinternals{LyricCombineMusic},
+@rinternals{Lyrics}.
-To increase the spacing between lyrics, set the @code{minimum-distance}
-property of @code{LyricSpace}.
-@lilypond[relative,verbatim,fragment,quote,ragged-right]
-{
- c c c c
- \override Lyrics.LyricSpace #'minimum-distance = #1.0
- c c c c
-}
-\addlyrics {
- longtext longtext longtext longtext
- longtext longtext longtext longtext
+@node Lyrics and repeats
+@unnumberedsubsubsec Lyrics and repeats
+
+@cindex repeats and lyrics
+@cindex lyrics, repeating
+
+@subheading Simple repeats
+
+Repeats in @emph{music} are fully described elsewhere; see
+@ref{Repeats}. This section explains how to add lyrics to repeated
+sections of music.
+
+Lyrics to a section of music that is repeated should be surrounded
+by exactly the same repeat construct as the music, if the words are
+unchanged.
+
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- ed twice. }
+ }
+ }
+ >>
}
@end lilypond
-@noindent
-To make this change for all lyrics in the score, set the property in the
-layout.
+The words will then be correctly expanded if the repeats are
+unfolded.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\score {
- \relative c' {
- c c c c
- c c c c
- }
- \addlyrics {
- longtext longtext longtext longtext
- longtext longtext longtext longtext
- }
- \layout {
- \context {
- \Lyrics
- \override LyricSpace #'minimum-distance = #1.0
- }
+ \unfoldRepeats {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- ed twice. }
+ }
+ }
+ >>
}
}
@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}
-
-@c TODO: move to LSR -vv
-@snippets
+If the repeated section has different words and is unfolded simply
+enter all the words:
-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
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat unfold 2 { b4 b b b }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ The first time words.
+ Sec -- ond time words.
+ }
+ }
+ >>
+}
+@end lilypond
-@example
-\override Score.PaperColumn #'keep-inside-line = ##t
-@end example
+@cindex lyric skip
+@funindex \skip
-To make lyrics avoid bar lines as well, use
+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.
-@example
-\layout @{
- \context @{
- \Lyrics
- \consists "Bar_engraver"
- \consists "Separating_line_group_engraver"
- \override BarLine #'transparent = ##t
- @}
-@}
-@end example
+Note: do not use an underscore, @code{_}, to skip notes as this
+indicates a melisma and will cause the preceding syllable to be
+left-aligned.
-@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
+@warning{The @code{@bs{}skip} command must be followed by a number,
+but this number is ignored in lyric mode. Each @code{@bs{}skip}
+skips a single note of any value, irrespective of the value of the
+following number.}
-@ignore
-\layout
-{
- \context { \Score lyricMelismaAlignment = #0 }
+@lilypond[verbatim,quote]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 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" {
+ % skip 4 notes of any duration
+ \repeat unfold 4 { \skip 1 }
+ Sec -- ond time words.
+ }
+ }
+ >>
}
-@end ignore
+@end lilypond
+@cindex lyrics, repeating with a temporary voice
-@node Centering lyrics between staves
-@unnumberedsubsubsec Centering lyrics between staves
+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}.
-@c TODO Add text from -user
-TBC
+@lilypond[verbatim,quote,ragged-right]
+\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 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 {
+ \lyricsto "repeatVoice" {
+ The third time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@c TODO lowering a common line of lyrics
+
+@subheading Repeats with alternative endings
+
+@cindex lyrics, 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.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ a4 a a a
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Not re -- peat -- ed.
+ \repeat volta 2 { Re -- peat -- }
+ \alternative { { ed twice. } { ed twice. } }
+ }
+ }
+ >>
+}
+@end lilypond
+
+But when the repeated section has different words, 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.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b }
+ \alternative { { b b } { b c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ The first time words.
+ \repeat unfold 2 { \skip 1 }
+ End here.
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Sec -- ond
+ \repeat unfold 2 { \skip 1 }
+ time words.
+ }
+ }
+ >>
+}
+@end lilypond
+
+@cindex lyrics and tied notes
+@funindex \repeatTie
+
+When a note is tied over into two or more alternative endings a
+tie is used to carry the note into the first alternative ending and
+a @code{\repeatTie} is used in the second and subsequent endings.
+This structure causes difficult alignment problems when lyrics are
+involved and increasing the length of the alternative sections so
+the tied notes are contained wholly within them may give a more
+acceptable result.
+
+The tie creates a melisma into the first alternative, but not into
+the second and subsequent alternatives, so to align the lyrics
+correctly it is necessary to disable the automatic creation of
+melismata over the volta section and insert manual skips.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \set melismaBusyProperties = #'()
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ \unset melismaBusyProperties
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ \repeat volta 2 { Here's a __ }
+ \alternative {
+ { \skip 1 verse }
+ { \skip 1 sec }
+ }
+ ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
+Note that if @code{\unfoldRepeats} is used around a section
+containing @code{\repeatTie}, the @code{\repeatTie} should be
+removed to avoid both types of tie being printed.
+
+When the repeated section has different words a @code{\repeat}
+cannot be used around the lyrics and @code{\skip} commands need to
+be inserted manually, as before.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's one
+ \repeat unfold 2 { \skip 1 }
+ more to sing.
+ }
+ }
+ >>
+}
+@end lilypond
+
+If you wish to show extenders and hyphens into and out of
+alternative sections these must be inserted manually.
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \time 2/4
+ \new Voice = "melody" {
+ \relative c'' {
+ \repeat volta 2 { b4 b ~}
+ \alternative { { b b } { b \repeatTie c } }
+ c4 c
+ }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's a __ verse.
+ \repeat unfold 2 { \skip 1 }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here's "a_"
+ \skip 1
+ "_" sec -- ond one.
+ }
+ }
+ >>
+}
+@end lilypond
+
+
+
+@node Divisi lyrics
+@unnumberedsubsubsec Divisi lyrics
+
+You can display alternate (or divisi) lyrics by naming voice
+contexts and attaching lyrics to those specific contexts.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" {
+ \relative c' {
+ c4
+ <<
+ { \voiceOne c8 e }
+ \new Voice = "splitpart" { \voiceTwo c4 }
+ >>
+ \oneVoice c4 c | c
+ }
+ }
+ \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
+ \new Lyrics \lyricsto "splitpart" { will }
+>> }
+@end lilypond
+
+
+You can use this trick to display different lyrics for a repeated
+section.
+
+@lilypond[verbatim,ragged-right,quote]
+\score{ <<
+ \new Voice = "melody" \relative c' {
+ c2 e | g e | c1 |
+ \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
+ a2 b | c1}
+ \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
+ do mi sol mi do
+ la si do }
+ \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
+ do re mi fa sol }
+ \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
+ dodo rere mimi fafa solsol }
+>>
+}
+@end lilypond
+
+
+
+@node Lyrics independent of notes
+@unnumberedsubsubsec Lyrics independent of notes
+
+@cindex Devnull context
+
+In some complex vocal music, it may be desirable to place
+lyrics completely independently of notes. Music defined
+inside @code{lyricrhythm} disappears into the
+@code{Devnull} context, but the rhythms can still be used
+to place the lyrics.
+
+@lilypond[quote,verbatim,ragged-right]
+voice = {
+ c''2
+ \tag #'music { c''2 }
+ \tag #'lyricrhythm { c''4. c''8 }
+ d''1
+}
+
+lyr = \lyricmode { I like my cat! }
+
+<<
+ \new Staff \keepWithTag #'music \voice
+ \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
+ \new Lyrics \lyricsto "nowhere" \lyr
+ \new Staff { c'8 c' c' c' c' c' c' c'
+ c' c' c' c' c' c' c' c' }
+>>
+@end lilypond
+
+This method is recommended only if the music in the @code{Devnull}
+context does not contain melismata. Melismata are defined by the
+@code{Voice} context. Connecting lyrics to a @code{Devnull} context
+makes the voice/lyrics links to get lost, and so does the info on
+melismata. Therefore, if you link lyrics to a @code{Devnull} context,
+the implicit melismata get ignored.
+
+@c Conclusion: do not use devnull for lyrics -FV
+
+@c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
+
+@node Spacing out syllables
+@unnumberedsubsubsec Spacing out syllables
+
+@cindex Spacing lyrics
+@cindex Lyrics, increasing space between
+
+To increase the spacing between lyrics, set the @code{minimum-distance}
+property of @code{LyricSpace}.
+
+@lilypond[relative,verbatim,fragment,quote,ragged-right]
+{
+ c c c c
+ \override Lyrics.LyricSpace #'minimum-distance = #1.0
+ c c c c
+}
+\addlyrics {
+ longtext longtext longtext longtext
+ longtext longtext longtext longtext
+}
+@end lilypond
+
+@noindent
+To make this change for all lyrics in the score, set the property in the
+layout.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ \relative c' {
+ c c c c
+ c c c c
+ }
+ \addlyrics {
+ longtext longtext longtext longtext
+ longtext longtext longtext longtext
+ }
+ \layout {
+ \context {
+ \Lyrics
+ \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}
+
+@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
+
+@example
+\override Score.PaperColumn #'keep-inside-line = ##t
+@end example
+
+To make lyrics avoid bar lines as well, use
+
+@example
+\layout @{
+ \context @{
+ \Lyrics
+ \consists "Bar_engraver"
+ \consists "Separating_line_group_engraver"
+ \override BarLine #'transparent = ##t
+ @}
+@}
+@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 Placement of lyrics
+@unnumberedsubsubsec Placement of lyrics
+
+@cindex placement of lyrics
+@cindex lyrics, positioning
+
+@c TODO Add text from -user
+
+Lyrics are positioned above the staff, below the staff, or between
+staves, depending on the type of music. To place lyrics below the
+associated staff simply define the Lyrics context below the Staff
+context:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+To position lyrics above the staff, place the declaration of the
+Lyrics context before the Staff and Voice contexts, but the
+@code{\lyricsto} command must come after the Voice declaration it
+references, like this:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Lyrics = "lyrics"
+ \new Staff {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \context Lyrics = "lyrics" {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Alternatively, the position of the lyrics may be specified
+explicitly:
+
+@lilypond[quote,verbatim]
+\score {
+ <<
+ \new Staff = "staff" {
+ \new Voice = "melody" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics \with { alignAboveContext = "staff" } {
+ \lyricsto "melody" {
+ Here are the words
+ }
+ }
+ >>
+}
+@end lilypond
+
+When there are two voices on separate staves the lyrics may be
+placed between the staves using either of these methods. Here
+is an example of the first method:
+
+@lilypond[quote,verbatim]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice = "sopranos" {
+ \relative c'' { c4 c c c }
+ }
+ }
+ \new Lyrics = "sopranos"
+ \new Lyrics = "contraltos"
+ \new Staff {
+ \new Voice = "contraltos" {
+ \relative c'' { a4 a a a }
+ }
+ }
+ \context Lyrics = "sopranos" {
+ \lyricsto "sopranos" {
+ Sop -- ra -- no words
+ }
+ }
+ \context Lyrics = "contraltos" {
+ \lyricsto "contraltos" {
+ Con -- tral -- to words
+ }
+ }
+ >>
+}
+@end lilypond
+
+Other combinations of lyrics and staves may be generated by
+elaborating these examples, or by examining the SATB templates in
+the Learning Manual.
+
+@seealso
+Learning Manual:
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Aligning contexts},
+@ref{Creating contexts}.
+
+@node Stanzas
+@subsection Stanzas
+
+@menu
+* Adding stanza numbers::
+* Adding dynamics marks to stanzas::
+* Adding singers' names to stanzas::
+* Stanzas with different rhythms::
+* Printing stanzas at the end::
+* Printing stanzas at the end in multiple columns::
+@end menu
+
+
+@node Adding stanza numbers
+@unnumberedsubsubsec Adding stanza numbers
+
+@cindex stanza number
+
+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.
+} \addlyrics {
+ \set stanza = #"1. "
+ Hi, my name is Bert.
+} \addlyrics {
+ \set stanza = #"2. "
+ Oh, ché -- ri, je t'aime
+}
+@end lilypond
+
+
+@noindent
+These numbers are put just before the start of the first syllable.
+
+@c TODO Create and add snippet to show how two lines of a
+@c stanza can be grouped together, along these lines:
+@c (might need improving a bit) -td
+
+@ignore
+leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
+#"brace105" }
+
+stanzaOneOne = {
+ \set stanza = \markup { "1. " \leftbrace }
+ \lyricmode { Child, you're mine and I love you.
+ Lend thine ear to what I say.
+
+ }
+}
+
+stanzaOneThree = {
+% \set stanza = \markup { " "}
+ \lyricmode { Child, I have no great -- er joy
+ Than to have you walk in truth.
+
+ }
+}
+
+\new Voice {
+ \repeat volta 2 { c'8 c' c' c' c' c' c'4
+ c'8 c' c' c' c' c' c'4 }
+} \addlyrics { \stanzaOneOne }
+ \addlyrics { \stanzaOneThree }
+
+@end ignore
+
+@node Adding dynamics marks to stanzas
+@unnumberedsubsubsec Adding dynamics marks to stanzas
+
+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}:
+
+@lilypond[quote,ragged-right,verbatim]
+text = {
+ \set stanza = \markup { \dynamic "ff" "1. " }
+ \lyricmode {
+ Big bang
+ }
+}
+
+<<
+ \new Voice = "tune" {
+ \time 3/4
+ g'4 c'2
+ }
+\new Lyrics \lyricsto "tune" \text
+>>
+@end lilypond
+
+@node Adding singers' names to stanzas
+@unnumberedsubsubsec Adding singers' names to stanzas
+
+@cindex singer name
+@cindex name of singer
+
+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}.
+
+@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
+\new Voice {
+ \time 3/4 g2 e4 a2 f4 g2.
+} \addlyrics {
+ \set vocalName = #"Bert "
+ Hi, my name is Bert.
+} \addlyrics {
+ \set vocalName = #"Ernie "
+ Oh, ché -- ri, je t'aime
+}
+@end lilypond
+
+@node Stanzas with different rhythms
+@unnumberedsubsubsec Stanzas with different rhythms
+
+Often, different stanzas of one song are put to one melody in slightly
+differing ways. Such variations can still be captured with
+@code{\lyricsto}.
+
+@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
+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" {
+ \set Staff.autoBeaming = ##f
+ c4
+ \slurDotted
+ f8.[( g16])
+ a4
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ more slow -- ly
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ go
+ \set ignoreMelismata = ##t
+ fas -- ter
+ \unset ignoreMelismata
+ still
+ }
+>>
+@end lilypond
+
+@knownissues
+Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
+not work if prefixed with @code{\once}. It is necessary to use
+@code{\set} and @code{\unset} to bracket the lyrics where melismata
+are to be ignored.
+
+@subsubheading Adding syllables to 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.
+}
+@end lilypond
+
+@knownissues
+Like for @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}
+block:
+
+@lilypond[verbatim,ragged-right,quote]
+<<
+ \new Voice = melody \relative c' {
+ \grace { c16[( d e f] }
+ g1) f
+ }
+ \new Lyrics \with { includeGraceNotes = ##t }
+ \lyricsto melody {
+ Ah __ fa
+ }
+>>
+@end lilypond
+
+@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
+
+@lilypond[ragged-right,quote]
+<<
+ \relative c' \new Voice = "lahlah" {
+ \set Staff.autoBeaming = ##f
+ c4
+ <<
+ \new Voice = "alternative" {
+ \voiceOne
+ \times 2/3 {
+ % show associations clearly.
+ \override NoteColumn #'force-hshift = #-3
+ f8 f g
+ }
+ }
+ {
+ \voiceTwo
+ f8.[ g16]
+ \oneVoice
+ } >>
+ a8( b) c
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ Ju -- ras -- sic Park
+ }
+ \new Lyrics \lyricsto "lahlah" {
+ % Tricky: need to set associatedVoice
+ % one syllable too soon!
+ \set associatedVoice = alternative % applies to "ran"
+ Ty --
+ ran --
+ no --
+ \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},
+
+@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
+@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
+
+@noindent
+The underlay is switched back to the starting situation by assigning
+@code{lahlah} to @code{associatedVoice}.
+
+
+@node Printing stanzas at the end
+@unnumberedsubsubsec Printing stanzas at the end
+
+Sometimes it is appropriate to have one stanza set
+to the music, and the rest added in verse form at
+the end of the piece. This can be accomplished by adding
+the extra verses into a @code{\markup} section outside
+of the main score block. Notice that there are two
+different ways to force linebreaks when using
+@code{\markup}.
+
+@lilypond[ragged-right,verbatim,quote]
+melody = \relative c' {
+e d c d | e e e e |
+d d e d | c1 |
+}
+
+text = \lyricmode {
+\set stanza = #"1." Ma- ry had a lit- tle lamb,
+its fleece was white as snow.
+}
+
+\score{ <<
+ \new Voice = "one" { \melody }
+ \new Lyrics \lyricsto "one" \text
+>>
+ \layout { }
+}
+\markup { \column{
+ \line{ Verse 2. }
+ \line{ All the children laughed and played }
+ \line{ To see a lamb at school. }
+ }
+}
+\markup{
+ \wordwrap-string #"
+ Verse 3.
+
+ Mary took it home again,
+
+ It was against the rule."
+}
+@end lilypond
+
+
+@node Printing stanzas at the end in multiple columns
+@unnumberedsubsubsec Printing stanzas at the end in multiple columns
+
+When a piece of music has many verses, they are often printed in
+multiple columns across the page. An outdented verse number often
+introduces each verse. The following example shows how to produce such
+output in LilyPond.
+
+@lilypond[ragged-right,quote,verbatim]
+melody = \relative c' {
+ c c c c | d d d d
+}
+
+text = \lyricmode {
+ \set stanza = #"1." This is verse one.
+ It has two lines.
+}
+
+\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
+ \column {
+ \line { \bold "2."
+ \column {
+ "This is verse two."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "3."
+ \column {
+ "This is verse three."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % adds horizontal spacing between columns;
+ % if they are still too close, add more " " pairs
+ % until the result looks good
+ \column {
+ \line { \bold "4."
+ \column {
+ "This is verse four."
+ "It has two lines."
+ }
+ }
+ \hspace #0.1 % adds vertical spacing between verses
+ \line { \bold "5."
+ \column {
+ "This is verse five."
+ "It has two lines."
+ }
+ }
+ }
+ \hspace #0.1 % gives some extra space on the right margin;
+ % can be removed if page space is tight
+ }
+}
+@end lilypond
+
+
+@seealso
+Internals Reference:
+@rinternals{LyricText},
+@rinternals{StanzaNumber}.
+
+
+@node Songs
+@subsection Songs
+
+@menu
+* References for songs::
+* Lead sheets::
+@end menu
+
+@node References for songs
+@unnumberedsubsubsec References for songs
+
+@c TODO chords, setting simple songs (LM), stanzas
+TBC
+
+@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}.
+
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{simple-lead-sheet.ly}
+
+@seealso
+Notation Reference:
+@ref{Chord notation}.
+
+
+@node Choral
+@subsection Choral
+
+@cindex anthems
+@cindex part songs
+@cindex oratorio
+@cindex SATB
+
+This section discusses notation issues that relate most directly
+to choral music. This includes anthems, part songs, oratorio,
+etc.
+
+@menu
+* References for choral::
+* Score layouts for choral::
+* Divided voices::
+@end menu
+
+@node References for choral
+@unnumberedsubsubsec References for choral
+
+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
+being given either a single vocal part (i.e., one @code{Voice}) or
+a pair of vocal parts (i.e., two @code{Voice}s).
+
+Words are placed in @code{Lyrics} contexts, either underneath each
+corresponding music staff, or one above and one below the music
+staff if this contains the music for two parts.
+
+Several common topics in choral music are described fully elsewhere:
+
+@itemize
+
+@item
+An introduction to creating an SATB vocal score can be found in
+the Learning Manual, see @rlearning{Four-part SATB vocal score}.
+
+@item
+Several templates suitable for various styles of choral music can
+also be found in the Learning Manual, see
+@rlearning{Vocal ensembles}.
+
+@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
+described in @ref{Shape note heads}.
+
+@item
+When two vocal parts share a staff the stems, ties, slurs, etc., of
+the higher part will be directed up and those of the lower part
+down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
+@ref{Single-staff polyphony}.
+
+@end itemize
+
+@predefined
+@code{\oneVoice},
+@code{\voiceOne},
+@code{\voiceTwo}.
+
+@seealso
+Learning Manual:
+@rlearning{Four-part SATB vocal score},
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Context layout order},
+@ref{Grouping staves},
+@ref{Shape note heads},
+@ref{Single-staff polyphony}.
+
+Internals Reference:
+@rinternals{ChoirStaff},
+@rinternals{Lyrics},
+@rinternals{PianoStaff}.
+
+@node Score layouts for choral
+@unnumberedsubsubsec Score layouts for choral
+
+Choral music containing four staves, with or without piano
+accompaniment, is usually laid out with two systems per page.
+Depending on the page size, achieving this may require changes
+to several default settings. The following settings should be
+considered:
+
+@itemize
+
+@item
+The global staff size can be modified to change the overall size
+of the elements of the score. See @ref{Setting the staff size}.
+
+@item
+The distances between the systems, the staves and the lyrics can
+all be adjusted independently. See @ref{Vertical spacing}.
+
+@item
+The dimensions of the vertical layout variables can be displayed as
+an aid to adjusting the vertical spacing. This and other
+possibilities for fitting the music onto fewer pages are described
+in @ref{Fitting music onto fewer pages}.
+
+@item
+If the number of systems per page changes from one to two it is
+customary to indicate this with a system separator mark between
+the two systems. See @ref{Separating systems}.
+
+@item
+For details of other page formatting properties, see
+@ref{Page formatting}.
+
+@end itemize
+
+
+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. The predefined command @code{\dynamicUp} does
+this for the dynamic markings in a single @code{Voice} context.
+If there are many @code{Voice} contexts this predefined command
+would have to be placed in every one. Alternatively its expanded
+form can be used to place all dynamic markings in the entire score
+above their respective staves, as shown here:
+
+@lilypond[verbatim,quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff {
+ \new Voice {
+ \relative c'' { g4\f g g g }
+ }
+ }
+ \new Staff {
+ \new Voice {
+ \relative c' { d4 d d\p d }
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override DynamicText #'direction = #UP
+ \override DynamicLineSpanner #'direction = #UP
+ }
+ }
+}
+@end lilypond
+
+@predefined
+@code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
+
+@seealso
+Notation Reference:
+@ref{Changing spacing},
+@ref{Displaying spacing},
+@ref{Fitting music onto fewer pages},
+@ref{Page formatting},
+@ref{Score layout},
+See @ref{Separating systems},
+@ref{Setting the staff size},
+@ref{Using an extra voice for breaks},
+@ref{Vertical spacing}.
+
+Internals Reference:
+@rinternals{VerticalAxisGroup},
+@rinternals{StaffGrouper}.
+
+
+@node Divided voices
+@unnumberedsubsubsec Divided voices
+
+@cindex voices, divided
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-arpeggiobracket-to-make-divisi-more-visible.ly}
+
+@seealso
+Notation Reference:
+@ref{Expressive marks as lines}.
+
+
+@node Opera and stage musicals
+@subsection Opera and stage musicals
+
+The music, lyrics and dialogue to opera and stage musicals are
+usually set out in one or more of the following forms:
+
+@itemize
+
+@item
+A @emph{Conductors' Score} containing the full orchestral and vocal
+parts, together with libretto cues if there are spoken passages.
+
+@item
+@emph{Orchestral Parts} containing the music for the individual
+instruments of the orchestra or band.
+
+@item
+A @emph{Vocal Score} containing all vocal parts with piano
+accompaniment. The accompaniment is usually an orchestral
+reduction, and if so the name of the original orchestral instrument
+is often indicated. Vocal scores sometimes includes stage
+directions and libretto cues.
+
+@item
+A @emph{Vocal Book} containing just the vocal parts
+(no accompaniment), sometimes combined with the libretto.
+
+@item
+A @emph{Libretto} containing the extended passages of spoken
+dialogue usually found in musicals, together with the words to the
+sung parts. Stage directions are usually included. LilyPond can
+be used to typeset libretti but as they contain no music
+alternative methods may be preferable.
-@node Stanzas
-@subsection Stanzas
+@end itemize
+
+The sections in the LilyPond documentation which cover the topics
+needed to create scores in the styles commonly found in opera and
+musicals are indicated in the References below. This is followed
+by sections covering those techniques which are peculiar to
+typesetting opera and musical scores.
@menu
-* Adding stanza numbers::
-* Adding dynamics marks to stanzas::
-* Adding singers' names to stanzas::
-* Stanzas with different rhythms::
-* Printing stanzas at the end::
-* Printing stanzas at the end in multiple columns::
+* References for opera and stage musicals::
+* Character names::
+* Musical cues::
+* Spoken music::
+* Dialogue over music::
@end menu
+@node References for opera and stage musicals
+@unnumberedsubsubsec References for opera and stage musicals
-@node Adding stanza numbers
-@unnumberedsubsubsec Adding stanza numbers
-
-@cindex stanza number
-
-Stanza numbers can be added by setting @code{stanza}, e.g.,
+@itemize
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
-} \addlyrics {
- \set stanza = #"1. "
- Hi, my name is Bert.
-} \addlyrics {
- \set stanza = #"2. "
- Oh, ché -- ri, je t'aime
-}
-@end lilypond
+@item
+A conductors' score contains many grouped staves and lyrics. Ways
+of grouping staves is shown in @ref{Grouping staves}. To nest
+groups of staves see @ref{Nested staff groups}.
+@item
+The printing of empty staves in conductors' scores and vocal scores
+is often suppressed. To create such a @qq{Frenched score} see
+@ref{Hiding staves}.
-@noindent
-These numbers are put just before the start of the first syllable.
+@item
+Writing orchestral parts is covered in @ref{Writing parts}.
+Other sections in the Specialist notation chapter may be relevant,
+depending on the orchestration used. Many instruments are
+transposing instruments, see @ref{Instrument transpositions}.
-@c TODO Create and add snippet to show how two lines of a
-@c stanza can be grouped together, along these lines:
-@c (might need improving a bit) -td
+@item
+If the number of systems per page changes from page to page it is
+customary to separate the systems with a system separator mark.
+See @ref{Separating systems}.
-@ignore
-leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
-#"brace105" }
+@item
+For details of other page formatting properties, see
+@ref{Page formatting}.
-stanzaOneOne = {
- \set stanza = \markup { "1. " \leftbrace }
- \lyricmode { Child, you're mine and I love you.
- Lend thine ear to what I say.
+@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}.
- }
-}
+@end itemize
-stanzaOneThree = {
-% \set stanza = \markup { " "}
- \lyricmode { Child, I have no great -- er joy
- Than to have you walk in truth.
+@seealso
+Musical Glossary:
+@rglos{Frenched score},
+@rglos{Frenched staves},
+@rglos{transposing instrument}.
- }
-}
+Notation Manual:
+@ref{Grouping staves},
+@ref{Hiding staves},
+@ref{Instrument transpositions},
+@ref{Nested staff groups},
+@ref{Page formatting},
+@ref{Separating systems},
+@ref{Transpose},
+@ref{Writing parts},
+@ref{Writing text}.
-\new Voice {
- \repeat volta 2 { c'8 c' c' c' c' c' c'4
- c'8 c' c' c' c' c' c'4 }
-} \addlyrics { \stanzaOneOne }
- \addlyrics { \stanzaOneThree }
-@end ignore
+@node Character names
+@unnumberedsubsubsec Character names
-@node Adding dynamics marks to stanzas
-@unnumberedsubsubsec Adding dynamics marks to stanzas
+@cindex character names
+@cindex names, character
-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}:
+Character names are usually shown to the left of the staff when the
+staff is dedicated to that character alone. The instrument name can
+be used for this purpose.
-@lilypond[quote,ragged-right,verbatim]
-text = {
- \set stanza = \markup { \dynamic "ff" "1. " }
- \lyricmode {
- Big bang
- }
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ <<
+ \new Staff {
+ \set Staff.instrumentName = #"Kaspar"
+ \set Staff.shortInstrumentName = #"Kas"
+ \relative c' {
+ \clef "G_8"
+ c4 c c c
+ \break
+ c4 c c c
+ }
+ }
+ \new Staff {
+ \set Staff.instrumentName = #"Melchior"
+ \set Staff.shortInstrumentName = #"Mel"
+ \clef "bass"
+ \relative c' {
+ a4 a a a
+ a4 a a a
+ }
+ }
+ >>
}
+@end lilypond
-<<
- \new Voice = "tune" {
- \time 3/4
- g'4 c'2
- }
-\new Lyrics \lyricsto "tune" \text
->>
+When two or more characters share a staff the character's name is
+usually printed above the staff at the start of every section
+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
@end lilypond
-@node Adding singers' names to stanzas
-@unnumberedsubsubsec Adding singers' names to stanzas
+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.
+
+@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"))
-@cindex singer name
-@cindex name of singer
+\relative c' {
+ \instrumentSwitch "kaspar"
+ c4 c c c
+ \instrumentSwitch "melchior"
+ a4 a a a
+ \instrumentSwitch "kaspar"
+ c4 c c c
+}
+@end lilypond
-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}.
+@seealso
+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
+
+@cindex musical cues
+@cindex cues, musical
+
+Musical cues can be inserted in Vocal Scores, Vocal Books and
+Orchestral Parts to indicate what music in another part
+immediately precedes an entry. Also, cues are often inserted in the
+piano reduction in Vocal Scores to indicate what each orchestral
+instrument is playing. This aids the conductor when a full
+Conductors' Score is not available.
+
+The basic mechanism for inserting cues is fully explained in the
+main text, see @ref{Quoting other voices} and
+@ref{Formatting cue notes}. But when many cues have to be
+inserted, for example, as an aid to a conductor in a vocal score,
+the instrument name must be positioned carefully just before and
+close to the start of the cued notes. The following example shows
+how this is done. Note that the name of the grob for overriding
+the cued instrument name is @code{InstrumentSwitch}.
+
+@lilypond[quote,verbatim]
+flute = \relative c'' {
+ s4 s4 e g
+}
+\addQuote "flute" { \flute }
+
+pianoRH = \relative c'' {
+ c4. g8
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument above the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #UP
+ \set CueVoice.instrumentCueName = "Flute"
+ \cueDuring "flute" #UP { g4 bes4 }
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
-@lilypond[fragment,ragged-right,quote,verbatim,relative=2]
-\new Voice {
- \time 3/4 g2 e4 a2 f4 g2.
-} \addlyrics {
- \set vocalName = #"Bert "
- Hi, my name is Bert.
-} \addlyrics {
- \set vocalName = #"Ernie "
- Oh, ché -- ri, je t'aime
+\score {
+ \new PianoStaff <<
+ \new Staff {
+ \pianoRH
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
}
@end lilypond
-@node Stanzas with different rhythms
-@unnumberedsubsubsec Stanzas with different rhythms
+If a transposing instrument is being cued the instrument part should
+specify its key so the conversion of its cued 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 cued 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.
+
+@lilypond[quote,verbatim]
+clarinet = \relative c' {
+ \transposition bes
+ fis4 d d c
+}
+\addQuote "clarinet" { \clarinet }
+
+pianoRH = \relative c'' {
+ \transposition c'
+ % position name of cued instrument just before the cued notes
+ \once \override CueVoice.InstrumentSwitch
+ #'self-alignment-X = #RIGHT
+ % position name of cued instrument below the staff
+ \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
+ \set CueVoice.instrumentCueName = "Clar."
+ \cueDuring "clarinet" #DOWN { c4. g8 }
+ g4 bes4
+}
+pianoLH = \relative c { c4 <c' e> e, <g c> }
-@subsubheading Ignoring melismata
+\score {
+ <<
+ \new PianoStaff <<
+ \new Staff {
+ \new Voice {
+ \pianoRH
+ }
+ }
+ \new Staff {
+ \clef "bass"
+ \pianoLH
+ }
+ >>
+ >>
+}
+@end lilypond
-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
-voice ignore the melisma. This is done by setting
-@code{ignoreMelismata} in the Lyrics context.
+From these two examples it is clear that inserting many cues in a
+Vocal Score would be extremely tedious, and the notes of the piano
+part would be obscured by the many overrides. However, as the
+following snippet shows, it is possible to define a music function
+to reduce the amount of typing and to make the piano notes clearer.
-@lilypond[verbatim,ragged-right,quote]
-<<
- \relative c' \new Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- \slurDotted
- f8.[( g16])
- a4
- }
- \new Lyrics \lyricsto "lahlah" {
- more slow -- ly
- }
- \new Lyrics \lyricsto "lahlah" {
- go
- \set ignoreMelismata = ##t
- fas -- ter
- \unset ignoreMelismata
- still
- }
->>
-@end lilypond
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{adding-orchestral-cues-to-a-vocal-score.ly}
-@knownissues
-Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
-not work if prefixed with @code{\once}. It is necessary to use
-@code{\set} and @code{\unset} to bracket the lyrics where melismata
-are to be ignored.
+@seealso
+Musical Glossary:
+@rglos{cue-notes}.
-@subsubheading Adding syllables to grace notes
+Notation Reference:
+@ref{Aligning objects},
+@ref{Direction and placement},
+@ref{Formatting cue notes},
+@ref{Quoting other voices},
+@ref{Using music functions}.
-By default, grace notes (e.g. via @code{\grace}) do not get assigned
-syllables when using @code{\lyricsto}, but this behavior can be
-changed:
+Snippets:
+@rlsr{vocal-music}.
-@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.
-}
-@end lilypond
+Internals Reference:
+@rinternals{InstrumentSwitch},
+@rinternals{CueVoice}.
@knownissues
-Like for @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}
-block:
+@code{\cueDuring} automatically inserts a @code{CueVoice} context
+and all cue notes are placed in that context. This means it is not
+possible to have two overlapping sequences of cued notes by this
+technique. Overlapping sequences could be entered by explicitly
+declaring separate @code{CueVoice} contexts and using
+@code{\quoteDuring} to extract and insert the cued notes.
-@lilypond[verbatim,ragged-right,quote]
-<<
- \new Voice = melody \relative c' {
- \grace { c16[( d e f] }
- g1) f
- }
- \new Lyrics \with { includeGraceNotes = ##t }
- \lyricsto melody {
- Ah __ fa
- }
->>
-@end lilypond
-@subsubheading Switching to an alternative melody
+@node Spoken music
+@unnumberedsubsubsec Spoken music
-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 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
+note heads, as demonstrated in @ref{Special note heads}.
-@lilypond[ragged-right,quote]
-<<
- \relative c' \new Voice = "lahlah" {
- \set Staff.autoBeaming = ##f
- c4
- <<
- \new Voice = "alternative" {
- \voiceOne
- \times 2/3 {
- % show associations clearly.
- \override NoteColumn #'force-hshift = #-3
- f8 f g
- }
- }
- {
- \voiceTwo
- f8.[ g16]
- \oneVoice
- } >>
- a8( b) c
- }
- \new Lyrics \lyricsto "lahlah" {
- Ju -- ras -- sic Park
- }
- \new Lyrics \lyricsto "lahlah" {
- % Tricky: need to set associatedVoice
- % one syllable too soon!
- \set associatedVoice = alternative % applies to "ran"
- Ty --
- ran --
- no --
- \set associatedVoice = lahlah % applies to "rus"
- sau -- rus Rex
- } >>
-@end lilypond
+@c TODO add "marking-notes-on-spoken-parts" snippet -vv
+@c add "showing the rhythm of a melody" snip
+@c add "one staff-line notation"
+@c add "improvisation" ref
+@c add "lyrics independents of notes" ref
-@noindent
-the text for the first stanza is set to a melody called @q{lahlah},
+@node Dialogue over music
+@unnumberedsubsubsec Dialogue over music
-@example
-\new Lyrics \lyricsto "lahlah" @{
- Ju -- ras -- sic Park
-@}
-@end example
+TBC
-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
-@end example
+@node Chants psalms and hymns
+@subsection Chants psalms and hymns
-@noindent
-Here, @code{alternative} is the name of the @code{Voice} context
-containing the triplet.
+@cindex chants
+@cindex psalms
+@cindex hymns
+@cindex religious music
-@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.
+The music and words for chants, psalms and hymns usually follow a
+well-established format in any particular church. Although the
+formats may differ from church to church the type-setting problems
+which arise are broadly similar, and are covered in this section.
-@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
+@menu
+* References for chants and psalms::
+* Setting a chant::
+* Pointing a psalm::
+* Partial measures in hymn tunes::
+@end menu
-@noindent
-The underlay is switched back to the starting situation by assigning
-@code{lahlah} to @code{associatedVoice}.
+@node References for chants and psalms
+@unnumberedsubsubsec References for chants and psalms
+Typesetting Gregorian chant in various styles of ancient notation
+is described in @ref{Ancient notation}.
-@node Printing stanzas at the end
-@unnumberedsubsubsec Printing stanzas at the end
+@seealso
+Notation reference:
+@ref{Ancient notation}.
-Sometimes it is appropriate to have one stanza set
-to the music, and the rest added in verse form at
-the end of the piece. This can be accomplished by adding
-the extra verses into a @code{\markup} section outside
-of the main score block. Notice that there are two
-different ways to force linebreaks when using
-@code{\markup}.
-@lilypond[ragged-right,verbatim,quote]
-melody = \relative c' {
-e d c d | e e e e |
-d d e d | c1 |
+@node Setting a chant
+@unnumberedsubsubsec Setting a chant
+
+Modern chant settings use modern notation with varying numbers of
+elements taken from ancient notation. Some of the elements and
+methods to consider are shown here.
+
+Chants often use quarter notes without stems to indicate the pitch,
+with the rhythm being taken from the spoken rhythm of the words.
+
+@lilypond[verbatim,quote]
+stemOff = { \override Staff.Stem #'transparent = ##t }
+
+\relative c' {
+ \stemOff
+ a'4 b c2 |
}
-text = \lyricmode {
-\set stanza = #"1." Ma- ry had a lit- tle lamb,
-its fleece was white as snow.
+@end lilypond
+
+Chants often omit the bar lines or use shortened or dotted bar
+lines to indicate pauses in the music. To omit all bar lines from
+all staves remove the bar line engraver completely:
+
+@lilypond[verbatim,quote]
+\score {
+ \new StaffGroup <<
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
+ }
}
+@end lilypond
-\score{ <<
- \new Voice = "one" { \melody }
- \new Lyrics \lyricsto "one" \text
->>
- \layout { }
+Bar lines can also be removed on a staff-by-staff basis:
+
+@lilypond[verbatim, quote]
+\score {
+ \new ChoirStaff <<
+ \new Staff
+ \with { \remove Bar_engraver } {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ >>
}
-\markup { \column{
- \line{ Verse 2. }
- \line{ All the children laughed and played }
- \line{ To see a lamb at school. }
+@end lilypond
+
+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.
+
+@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 |
+@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 "||"
+@end lilypond
+
+Alternatively, the notation used in Gregorian chant for pauses or
+rests is sometimes used even though the rest of the notation is
+modern. This uses a modified @code{\breathe} mark:
+
+@lilypond[verbatim,quote]
+divisioMinima = {
+ \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
+ \breathe
+}
+divisioMaxima = {
+ \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
+ \breathe
+}
+
+\score {
+ \relative c'' {
+ g2 a4 g
+ \divisioMinima
+ g2 a4 g
+ \divisioMaior
+ g2 a4 g
+ \divisioMaxima
+ g2 a4 g
+ \finalis
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ }
}
}
-\markup{
- \wordwrap-string #"
- Verse 3.
+@end lilypond
- Mary took it home again,
+Chants usually omit the time signature and often omit the clef too.
- It was against the rule."
+@lilypond[verbatim,quote]
+\score {
+ \new Staff {
+ \relative c'' {
+ a4 b c2 |
+ a4 b c2 |
+ a4 b c2 |
+ }
+ }
+ \layout {
+ \context {
+ \Staff
+ \remove Bar_engraver
+ \remove Time_signature_engraver
+ \remove Clef_engraver
+ }
+ }
}
@end lilypond
+Chants for psalms in the Anglican tradition are usually either
+@emph{single}, with 7 bars of music, or @emph{double}, with two lots
+of 7 bars. Each group of 7 bars is divided into two halves,
+corresponding to the two halves of each verse, usually separated by
+a double bar line. Only whole and half notes are used. The 1st bar
+in each half always contains a single chord of whole notes. This is
+the @qq{reciting note}. Chants are usually centered on the page.
+
+@lilypond[verbatim,quote]
+SopranoMusic = \relative g' {
+ g1 | c2 b | a1 | \bar "||"
+ a1 | d2 c | c b | c1 | \bar "||"
+}
-@node Printing stanzas at the end in multiple columns
-@unnumberedsubsubsec Printing stanzas at the end in multiple columns
+AltoMusic = \relative c' {
+ e1 | g2 g | f1 |
+ f1 | f2 e | d d | e1 |
+}
-When a piece of music has many verses, they are often printed in
-multiple columns across the page. An outdented verse number often
-introduces each verse. The following example shows how to produce such
-output in LilyPond.
+TenorMusic = \relative a {
+ c1 | c2 c | c1 |
+ d1 | g,2 g | g g | g1 |
+}
-@lilypond[ragged-right,quote,verbatim]
-melody = \relative c' {
- c c c c | d d d d
+BassMusic = \relative c {
+ c1 | e2 e | f1 |
+ d1 | b2 c | g' g | c,1 |
}
-text = \lyricmode {
- \set stanza = #"1." This is verse one.
- It has two lines.
+global = {
+ \time 2/2
}
-\score{ <<
- \new Voice = "one" { \melody }
- \new Lyrics \lyricsto "one" \text
- >>
- \layout { }
+% Use markup to center the chant on the page
+\markup {
+ \fill-line {
+ \score { % centered
+ <<
+ \new ChoirStaff <<
+ \new Staff <<
+ \global
+ \clef "treble"
+ \new Voice = "Soprano" <<
+ \voiceOne
+ \SopranoMusic
+ >>
+ \new Voice = "Alto" <<
+ \voiceTwo
+ \AltoMusic
+ >>
+ >>
+ \new Staff <<
+ \clef "bass"
+ \global
+ \new Voice = "Tenor" <<
+ \voiceOne
+ \TenorMusic
+ >>
+ \new Voice = "Bass" <<
+ \voiceTwo
+ \BassMusic
+ >>
+ >>
+ >>
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 2)
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+ }
+ } % End score
+ }
+} % End markup
+@end lilypond
+
+Some other approaches to setting such a chant are shown in the first
+of the following snippets.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{chant-or-psalms-notation.ly}
+
+Canticles and other liturgical texts may be set more freely, and
+may use notational elements from ancient music. Often the words
+are shown underneath and aligned with the notes. If so, the notes
+are spaced in accordance with the syllables rather than the notes'
+durations.
+
+@lilypondfile[verbatim,lilyquote,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}.
+
+Notation Reference:
+@ref{Ancient notation},
+@ref{Bar lines},
+@ref{Modifying context plug-ins},
+@ref{Typesetting Gregorian chant},
+@ref{Unmetered music},
+@ref{Visibility of objects}.
+
+
+@node Pointing a psalm
+@unnumberedsubsubsec Pointing a psalm
+
+The words to an Anglican psalm are usually printed in separate
+verses centered underneath the chant.
+
+Single chants (with 7 bars) are repeated for every verse. Double
+chants (with 14 bars) are repeated for every pair of verses. Marks
+are inserted in the words to show how they should be fitted to the
+chant. Each verse is divided into two halves. A colon is usually
+used to indicate this division. This corresponds to the double bar
+line in the music. The words before the colon are sung to the first
+three bars of music; the words after the colon are sung to the last
+four bars.
+
+Single bar lines (or in some psalters an inverted comma or similar
+symbol) are inserted between words to indicate where the bar lines
+in the music fall. In markup mode a single bar line can be entered
+with the bar check symbol, @code{|}.
+
+@lilypond[verbatim,quote]
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { O come let us sing | unto the | Lord : let }
+ \line { us heartily rejoice in the | strength of | our }
+ \line { sal- | -vation. }
+ }
+ }
+ }
}
+@end lilypond
+
+Other symbols may require glyphs from the @code{fetaMusic} fonts.
+For details, see @ref{Fonts}.
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
\markup {
\fill-line {
- \hspace #0.1 % moves the column off the left margin;
- % can be removed if space on the page is tight
- \column {
- \line { \bold "2."
- \column {
- "This is verse two."
- "It has two lines."
+ \column {
+ \left-align {
+ \line { O come let us sing \tick unto the \tick Lord : let }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
}
+ \line { sal \tick vation. }
}
- \hspace #0.1 % adds vertical spacing between verses
- \line { \bold "3."
- \column {
- "This is verse three."
- "It has two lines."
+ }
+ }
+}
+@end lilypond
+
+Where there is one whole note in a bar all the words corresponding
+to that bar are recited on that one note in speech rhythm. Where
+there are two notes in a bar there will usually be only one or two
+corresponding syllables. If there are more that two syllables a
+dot is usually inserted to indicate where the change in note occurs.
+
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us sing \tick unto \dot the \tick Lord : let
+ }
+ \line {
+ us heartily rejoice in the \tick strength of \tick our
}
+ \line { sal \tick vation. }
}
}
- \hspace #0.1 % adds horizontal spacing between columns;
- % if they are still too close, add more " " pairs
- % until the result looks good
- \column {
- \line { \bold "4."
- \column {
- "This is verse four."
- "It has two lines."
+ }
+}
+@end lilypond
+
+In some psalters an asterisk is used to indicate a break in a
+recited section instead of a comma, and stressed or slightly
+lengthened syllables are indicated in bold text.
+
+@lilypond[verbatim,quote]
+dot = \markup {
+ \raise #0.7 \musicglyph #"dots.dot"
+}
+tick = \markup {
+ \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line { Today if ye will hear his voice * }
+ \line {
+ \concat { \bold hard en }
+ | not your | hearts : as in the pro-
}
+ \line { vocation * and as in the \bold day of tempt- | }
+ \line { -ation | in the | wilderness. }
}
- \hspace #0.1 % adds vertical spacing between verses
- \line { \bold "5."
- \column {
- "This is verse five."
- "It has two lines."
+ }
+ }
+}
+@end lilypond
+
+In other psalters an accent is placed over the syllable to indicate
+stress.
+
+@lilypond[verbatim,quote]
+tick = \markup {
+ \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
+}
+\markup {
+ \fill-line {
+ \column {
+ \left-align {
+ \line {
+ O come let us \concat {
+ si \combine \tick ng
+ }
+ | unto the | Lord : let
+ }
+ \line {
+ us heartily \concat {
+ rejo \combine \tick ice
+ }
+ in the | strength of | our
}
+ \line { sal- | -vation. }
}
}
- \hspace #0.1 % gives some extra space on the right margin;
- % can be removed if page space is tight
}
}
@end lilypond
+The use of markup to center text, and arrange lines in columns is
+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}.
@seealso
-Internals Reference:
-@rinternals{LyricText},
-@rinternals{StanzaNumber}.
+Learning Manual:
+@rlearning{Vocal ensembles}.
+
+Notation Reference:
+@ref{Fonts},
+@ref{Formatting text}.
+
+
+@node Partial measures in hymn tunes
+@unnumberedsubsubsec Partial measures in hymn tunes
+
+Hymn tunes frequently start and end every line of music with
+partial measures so that each line of music corresponds exactly
+with a line of text. This requires a @code{\partial} command at
+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]
+{hymn-template.ly}
+
+
+@node Ancient vocal music
+@subsection Ancient vocal music
+
+Ancient vocal music is supported, as explained in @ref{Ancient notation}.
+
+@c TODO
+
+@c Add "Printing both the ancient and the modern clef in vocal music" snippet,
+@c and "Transcription of Ancient music with incipit" snippet. -vv
+
+@seealso
+Notation Reference:
+@ref{Ancient notation}.
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