X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fvocal.itely;fp=Documentation%2Fnotation%2Fvocal.itely;h=b8f13106e30ed0650294da924781e735aa9dfdfd;hb=941dff9d2a67080e0dd8474f1e70f0c72ace6424;hp=0000000000000000000000000000000000000000;hpb=5a22d6233a39d3164e1ca043244794c268be4ad0;p=lilypond.git diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely new file mode 100644 index 0000000000..b8f13106e3 --- /dev/null +++ b/Documentation/notation/vocal.itely @@ -0,0 +1,3243 @@ +@c -*- coding: utf-8; mode: texinfo; -*- +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. For details, see the Contributors' + Guide, node Updating translation committishes.. +@end ignore + +@c \version "2.14.0" + +@node Vocal music +@section Vocal music + +@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. + +@menu +* Common notation for vocal music:: +* 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 common to most types of vocal music. + +@menu +* 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:: +* Extenders and hyphens:: +@end menu + + +@node References for vocal music +@unnumberedsubsubsec References for vocal music + +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}. + +@item +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}. + +@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 + +@seealso +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 +@cindex quotes in lyrics +@funindex \lyricmode + +@c TODO should we explain hyphens here + +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 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: + +@example +\lyricmode @{ Three4 blind mice,2 three4 blind mice2 @} +@end example + +There are two main methods for specifying the horizontal placement +of the syllables, either by specifying the duration of each syllable +explicitly, as in the example above, or by leaving the lyrics to be +aligned automatically to a melody or other voice of music, using +@code{\addlyrics} or @code{\lyricsto}. The former method is +described below in @ref{Manual syllable durations}. The latter +method is described in @ref{Automatic syllable durations}. + +A word or syllable of lyrics begins with an alphabetic character +(plus some other characters, see below) and is terminated by any +white space or a digit. Later characters in the syllable can be any +character that is not a digit or white space. + +Because any character that is not a digit or white space is regarded +as part of the syllable, a word is valid even if it ends with +@code{@}}, which often leads to the following mistake: + +@example +\lyricmode @{ lah lah lah@} +@end example + +In this example, the @code{@}} is included in the final syllable, so the +opening brace is not balanced and the input file will probably not +compile. Instead, braces should always be surrounded with white space: + +@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}. + +@lilypond[quote,verbatim] +\relative c'' { d8 c16 a bes8 f e' 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 +with a backslash character and the whole syllable has to be +enclosed between additional quotes. For example, + +@lilypond[quote,verbatim] +\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. } +\addlyrics { "\"I" am so lone -- "ly,\"" said she } +@end lilypond + +The full definition of a word start in lyrics mode is somewhat more +complex. A word in lyrics mode is one that begins with an +alphabetic character, @code{_}, @code{?}, @code{!}, @code{:}, +@code{'}, the control characters @code{^A} through @code{^F}, +@code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit +character with an ASCII code over 127, or a two-character +combination of a backslash followed by one of @code{`}, @code{'}, +@code{"}, or @code{^}. + +@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,lilyquote,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{Text encoding}. + +Internals Reference: +@rinternals{LyricText}. + +Snippets: +@rlsr{Text} + +@node Aligning lyrics to a melody +@unnumberedsubsubsec Aligning lyrics to a melody + +@cindex lyrics, aligning to a melody +@cindex @code{associatedVoice} +@funindex \lyricmode +@funindex \addlyrics +@funindex \lyricsto + +Lyrics are printed by interpreting them in the context called +@code{Lyrics}, see @ref{Contexts explained}. + +@example +\new Lyrics \lyricmode @{ @dots{} @} +@end example + +Lyrics can be aligned with melodies in two main ways: + +@itemize + +@item +Lyrics can be aligned automatically, with the durations of the +syllables being taken from another voice of music or (in special +circumstances) an associated melody, using @code{\addlyrics}, +@code{\lyricsto}, or by setting the @code{associatedVoice} property. +For more details, see @ref{Automatic syllable durations}. + +@lilypond[quote,ragged-right,verbatim] +<< + \new Staff << + \time 2/4 + \new Voice = "one" \relative c'' { + \voiceOne + c4 b8. a16 g4. r8 a4 ( b ) c2 + } + \new Voice = "two" \relative c' { + \voiceTwo + s2 s4. f8 e4 d c2 + } + >> + +% takes durations and alignment from notes in "one" + \new Lyrics \lyricsto "one" { + Life is __ _ love, live __ life. + } + +% takes durations and alignment from notes in "one" initially +% then switches to "two" + \new Lyrics \lyricsto "one" { + No more let + \set associatedVoice = "two" % must be set one syllable early + sins and sor -- rows grow. + } +>> +@end lilypond + +The first stanza shows the normal way of entering lyrics. + +The second stanza shows how the voice from which the lyric +durations are taken can be changed. This is useful if the words to +different stanzas fit the notes in different ways and all the +durations are available in Voice contexts. For more details, see +@ref{Stanzas}. + +@item +Lyrics can be aligned independently of the duration of any notes +if the durations of the syllables are specified explicitly, +and entered with @code{\lyricmode}. + +@lilypond[quote,ragged-right,verbatim] +<< + \new Voice = "one" \relative c'' { + \time 2/4 + c4 b8. a16 g4. f8 e4 d c2 + } + +% uses previous explicit duration of 2; + \new Lyrics \lyricmode { + Joy to the earth! + } + +% explicit durations, set to a different rhythm + \new Lyrics \lyricmode { + Life4 is love,2. live4 life.2 + } +>> +@end lilypond + +The first stanza is not aligned with the notes because the durations +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 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 + +@cindex syllable durations, automatic +@cindex lyrics and melodies +@cindex associatedVoice +@funindex \addlyrics +@funindex \lyricsto + +Lyrics can be automatically aligned to the notes of a melody in +three ways: + +@itemize + +@item +by specifying the named Voice context containing the melody with +@code{\lyricsto}, + +@item +by introducing the lyrics with @code{\addlyrics} and placing them +immediately after the Voice context containing the melody, + +@item +by setting the @code{associatedVoice} property, the alignment of +the lyrics may be switched to a different named Voice context at +any musical moment. + +@end itemize + +In all three methods hyphens can be drawn between the syllables of +a word and extender lines can be drawn beyond the end of a word. For +details, see @ref{Extenders and hyphens}. + +The @code{Voice} context containing the melody to which the lyrics +are being aligned must not have @qq{died}, or the lyrics after that +point will be lost. This can happen if there are periods when that +voice has nothing to do. For methods of keeping contexts alive, see +@ref{Keeping contexts alive}. + +@subheading Using @code{\lyricsto} + +@cindex \lyricsto +@funindex \lyricsto + +Lyrics can be aligned under a melody automatically by specifying +the named Voice context containing the melody with +@code{\lyricsto}: + +@lilypond[quote,verbatim,relative=2] +<< + \new Voice = "melody" { + a4 a a a + } + \new Lyrics \lyricsto "melody" { + These are the words + } +>> +@end lilypond + +@noindent +This aligns the lyrics to the notes of the named @code{Voice} +context, which must already exist. Therefore normally the +@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}. + +@subheading Using @code{\addlyrics} + +@cindex \addlyrics +@funindex \addlyrics + +The @code{\addlyrics} command is just a convenient shortcut that +can sometimes be used instead of having to set up the lyrics +through a more complicated LilyPond structure. + +@example +@{ MUSIC @} +\addlyrics @{ LYRICS @} +@end example + +@noindent +is the same as + +@example +\new Voice = "blah" @{ MUSIC @} +\new Lyrics \lyricsto "blah" @{ LYRICS @} +@end example + +Here is an example, + +@lilypond[verbatim,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,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 polyphonic settings. +For these cases one should use @code{\lyricsto}. + +@subheading Using associatedVoice + +The melody to which the lyrics are being aligned can be changed by +setting the @code{associatedVoice} property, + +@example +\set associatedVoice = #"lala" +@end example + +@noindent + +The value of the property (here: @code{"lala"}) should be the name +of a @code{Voice} context. For technical reasons, the @code{\set} +command must be placed one syllable before the one to which the +change in voice is to apply. + +Here is an example demonstrating its use: + +@lilypond[quote,ragged-right,verbatim] +<< + \new Staff << + \time 2/4 + \new Voice = "one" \relative c'' { + \voiceOne + c4 b8. a16 g4. r8 a4 ( b ) c2 + } + \new Voice = "two" \relative c' { + \voiceTwo + s2 s4. f8 e8 d4. c2 + } + >> +% takes durations and alignment from notes in "one" initially +% then switches to "two" + \new Lyrics \lyricsto "one" { + No more let + \set associatedVoice = "two" % must be set one syllable early + sins and sor -- rows grow. + } +>> +@end lilypond + +@seealso +Notation Reference: +@ref{Extenders and hyphens}, +@ref{Keeping contexts alive}, +@ref{Placing lyrics vertically}. + +@node Manual syllable durations +@unnumberedsubsubsec Manual syllable durations + +In some complex vocal music, it may be desirable to place lyrics +completely independently of notes. In this case do not use +@code{\lyricsto} or @code{\addlyrics} and do not set +@code{associatedVoice}. Syllables are entered like notes -- +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 +as usual, but extender lines cannot be drawn when there is no +associated voice. + +Here are two examples: + +@lilypond[relative=1,verbatim,quote] +<< + \new Voice = "melody" { + \time 3/4 + c2 e4 g2 f + } + \new Lyrics \lyricmode { + play1 the4 game4 + } +>> +@end lilypond + + +@lilypond[quote,verbatim,ragged-right] +<< + \new Staff { + \relative c'' { + c2 c2 + d1 + } + } + \new Lyrics { + \lyricmode { + I2 like4. my8 cat!1 + } + } + \new Staff { + \relative c' { + c8 c c c c c c c + c8 c c c c c c c + } + } +>> +@end lilypond + +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. + +@lilypond[relative=1,verbatim,quote] +<< + \new Voice = "melody" { + \time 3/4 + c2 e4 g f g + } + \new Lyrics \lyricmode { + \set associatedVoice = #"melody" + play2 the4 game2. __ + } +>> +@end lilypond + +@c TODO see also feature request 707 - show how to do this with manual durations + +@seealso +Notation Reference: +@ref{Dialogue over music}. + +Internals Reference: +@rinternals{Lyrics}, +@rinternals{Voice}. + + +@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 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 use a font for this glyph which actually contains it. +Freely available fonts with a lyric tie are, for example, +`FreeSerif' (a Times clone), `DejaVuSans' (but not +`DejaVuSerif'), or `TeXGyreSchola' (a Century Schoolbook +clone). + +@lilypond[quote,ragged-right,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 + + +@seealso +Internals Reference: +@rinternals{LyricCombineMusic}. + + +@node Multiple notes to one syllable +@unnumberedsubsubsec Multiple notes to one syllable + +@cindex melisma +@cindex melismata +@cindex phrasing, in lyrics +@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 +left-aligned with the first note of the melisma. + +When a melisma occurs on a syllable other that 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. + +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 +to the last note of the melisma. This is indicated by placing a +double underscore, @code{__}, immediately after the word. + +There are five ways in which melismata can be indicated: + +@itemize + +@item +Melismata are created automatically over notes which are tied +together: + +@lilypond[quote,relative=2,verbatim] +<< + \new Voice = "melody" { + \time 3/4 + f4 g2 ~ | + g4 e2 ~ | + e8 + } + \new Lyrics \lyricsto "melody" { + Ky -- ri -- e __ + } +>> +@end lilypond + +@item +Melismata can be created automatically from the music by placing +slurs over the notes of each melisma. This is the usual way of +entering lyrics: + +@lilypond[quote,relative=2,verbatim] +<< + \new Voice = "melody" { + \time 3/4 + f4 g8 ( f e f ) + e8 ( d e2 ) + } + \new Lyrics \lyricsto "melody" { + Ky -- ri -- e __ + } +>> +@end lilypond + +@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] +<< + \new Voice = "melody" { + \time 3/4 + \autoBeamOff + f4 g8[ f e f] + e2. + } + \new Lyrics \lyricsto "melody" { + Ky -- ri -- e + } +>> +@end lilypond + +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] +<< + \new Voice = "melody" { + \time 3/4 + f4 g8 + \melisma + f e f + \melismaEnd + e2. + } + \new Lyrics \lyricsto "melody" { + 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] +<< + \new Voice = "melody" { + \time 3/4 + f4 g8 f e f + e8 d e2 + } + \new Lyrics \lyricsto "melody" { + Ky -- ri -- _ _ _ e __ _ _ + } +>> +@end lilypond + +@end itemize + +It is possible to have ties, slurs and manual beams in the melody +without their indicating melismata. To do this, set +@code{melismaBusyProperties}: + +@lilypond[relative=1,verbatim,quote] +<< + \new Voice = "melody" { + \time 3/4 + \set melismaBusyProperties = #'() + c4 d ( e ) + g8 [ f ] f4 ~ f + } + \new Lyrics \lyricsto "melody" { + Ky -- ri -- e e -- le -- i -- son + } +>> +@end lilypond + +Other settings for @code{melismaBusyProperties} can be used to +selectively include or exclude ties, slurs, and beams from the +automatic detection of melismata; see @code{melismaBusyProperties} +in @rinternals{Tunable context properties}. + +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[relative=1,verbatim,quote] +<< + \new Voice = "melody" { + \time 3/4 + \set melismaBusyProperties = #'() + c4 d ( e ) + g8 [ f ] ~ f4 ~ f + } + \new Lyrics \lyricsto "melody" { + Ky -- ri -- _ e __ _ _ _ + } +>> +@end lilypond + + +@predefined + +@code{\autoBeamOff}, +@code{\autoBeamOn}, +@code{\melisma}, +@code{\melismaEnd}. + +@seealso +Musical Glossary: +@rglos{melisma}. + +Learning Manual: +@rlearning{Aligning lyrics to a melody}. + +Notation Reference: +@ref{Aligning lyrics to a melody}, +@ref{Automatic syllable durations}, +@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 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 +the next one. Such a line is called an extender line, and it is +entered as @samp{ __ } (note the spaces before and after the two +underscore characters). + +@warning{Melismata are indicated in the score with extender lines, +which are entered as one double underscore; but short melismata can +also be entered by skipping individual notes, which are entered as +single underscore characters; these do not make an extender line to be +typeset by default.} + +@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. + +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) properties of +@code{LyricHyphen}. + + +@seealso +Internals Reference: +@rinternals{LyricExtender}, +@rinternals{LyricHyphen}. + + +@node Techniques specific to lyrics +@subsection Techniques specific to lyrics + +@c TODO this whole section is to be reorganised + +@menu +* Working with lyrics and variables:: +* Placing lyrics vertically:: +* Placing syllables horizontally:: +* Lyrics and repeats:: +* Divisi lyrics:: +@end menu + + + +@node Working with lyrics and variables +@unnumberedsubsubsec Working with lyrics and variables + +@cindex lyrics, using variables + +Variables containing lyrics can be created, but the lyrics must be +entered in lyric mode: + +@lilypond[quote,verbatim] +musicOne = \relative c'' { + c4 b8. a16 g4. f8 e4 d c2 +} +verseOne = \lyricmode { + Joy to the world, the Lord is come. +} +\score { + << + \new Voice = "one" { + \time 2/4 + \musicOne + } + \new Lyrics \lyricsto "one" { + \verseOne + } + >> +} +@end lilypond + +Durations do not need to be added if the variable is to be invoked +with @code{\addlyrics} or @code{\lyricsto}. + +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 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 } +sopranoWords = \lyricmode { Sop -- ra -- no words } +contraltoWords = \lyricmode { Con -- tral -- to words } + +\score { + \new ChoirStaff << + \new Staff { + \new Voice = "sopranos" { + \sopranoMusic + } + } + \new Lyrics = "sopranos" + \new Lyrics = "contraltos" + \new Staff { + \new Voice = "contraltos" { + \contraltoMusic + } + } + \context Lyrics = "sopranos" { + \lyricsto "sopranos" { + \sopranoWords + } + } + \context Lyrics = "contraltos" { + \lyricsto "contraltos" { + \contraltoWords + } + } + >> +} +@end lilypond + + +@seealso +Notation Reference: +@ref{Placing lyrics vertically}. + +Internals Reference: +@rinternals{LyricCombineMusic}, +@rinternals{Lyrics}. + + +@node Placing lyrics vertically +@unnumberedsubsubsec Placing lyrics vertically + +@cindex placement of lyrics +@cindex lyrics, positioning + +Depending on the type of music, lyrics may be positioned +above the staff, below the staff, or between staves. Placing +lyrics below the associated staff is the easiest, and can be +achieved by simply defining 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 + +Lyrics may be positioned above the staff using one of +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 } + } + } + \new Lyrics \with { alignAboveContext = "staff" } { + \lyricsto "melody" { + Here are the words + } + } + >> +} +@end lilypond + +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 is placed after +the Voice declaration it references by using @code{\context}, as +follows: + +@lilypond[quote,verbatim] +\score { + << + \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 } + } + } + \context Lyrics = "lyrics" { + \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 second method: + +@lilypond[quote,verbatim] +\score { + \new ChoirStaff << + \new Staff { + \new Voice = "sopranos" { + \relative c'' { c4 c c c } + } + } + \new Lyrics = "sopranos" + \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 } + } + } + \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 +@rlearning{Vocal ensembles} templates in the Learning Manual. + +@snippets +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{lyrics-old-spacing-settings.ly} + +@seealso +Learning Manual: +@rlearning{Vocal ensembles}. + +Notation Reference: +@ref{Aligning contexts}, +@ref{Creating 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}. + +@lilypond[relative=1,verbatim,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 +@code{\layout} block. + +@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 + +@snippets +@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +{lyrics-alignment.ly} + +@c TODO: move to LSR -vv + +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 = ##f +@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 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 + +The words will then be correctly expanded if the repeats are +unfolded. + +@lilypond[verbatim,quote] +\score { + \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 + +If the repeated section is to be unfolded and has different words, +simply enter all the words: + +@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 + +When the words to a repeated volta section are different, the words +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 + \repeat volta 2 { b4 b b b } + } + } + } + \new Lyrics \lyricsto "melody" { + Not re -- peat -- ed. + << + { The first time words. } + \new Lyrics { + \set associatedVoice = "melody" + 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 c'' { + a4 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 + + +@c TODO positioning 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 + +@funindex \skip +@cindex skipping notes in lyrics +@cindex lyrics, skipping notes + +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 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 } + \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 + +@seealso +Notation Reference: +@ref{Keeping contexts alive}, +@ref{Repeats}. + + +@node Divisi lyrics +@unnumberedsubsubsec Divisi lyrics + +@cindex divided lyrics +@cindex lyrics, divided + +When just the words and rhythms of the two parts differ with the +pitches remaining the same, temporarily turning off the automatic +detection of melismata and indicating the melisma in the lyrics +may be the appropriate method to use: + +@lilypond[quote,verbatim] +\score { + << + \new Voice = "melody" { + \relative c' { + \set melismaBusyProperties = #'() + \slurDown + \slurDashed + e4 e8 ( e ) c4 c | + \unset melismaBusyProperties + c + } + } + \new Lyrics \lyricsto "melody" { + They shall not o -- ver -- come + } + \new Lyrics \lyricsto "melody" { + We will _ + } + >> +} +@end lilypond + +When both music and words differ it may be better to display +the differing music and lyrics by naming voice contexts and +attaching lyrics to those specific contexts: + +@lilypond[verbatim,ragged-right,quote] +\score { + << + \new Voice = "melody" { + \relative c' { + << + { + \voiceOne + e4 e8 e + } + \new Voice = "splitpart" { + \voiceTwo + c4 c + } + >> + \oneVoice + c4 c | + c + } + } + \new Lyrics \lyricsto "melody" { + They shall not o -- ver -- come + } + \new Lyrics \lyricsto "splitpart" { + We will + } + >> +} +@end lilypond + + +@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] +\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[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 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 + +@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] +<< + \new Voice = melody \relative c' { + f4 \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 @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 + +@cindex associatedVoice +@cindex alternative melody, switching to + +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" { + \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 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 +\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. + +Note the placement of the @code{\set associatedVoice} command -- +it appears to be one syllable too early, but this is correct. + +@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 +@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 + +Songs are usually written on three staves with the melody for the +singer on the top staff and two staves of piano accompaniment at +the bottom. The lyrics of the first stanza are printed immediately +underneath the top staff. If there are just a small number of +further stanzas these can be printed immediately under the first +one, but if there are more stanzas than can be easily accommodated +there the second and subsequent stanzas are printed after the music +as stand-alone text. + +All the notational elements needed to write songs are fully described +elsewhere: + +@itemize + +@item +For constructing the staff layout, see @ref{Displaying staves}. + +@item +For writing piano music, see +@ref{Keyboard and other multi-staff instruments}. + +@item +For writing the lyrics to a melody line, see +@ref{Common notation for vocal music}. + +@item +For placing the lyrics, see @ref{Placing lyrics vertically}. + +@item +For entering stanzas, see @ref{Stanzas}. + +@item +Songs are frequently printed with the chording indicated by chord +names above the staves. This is described in @ref{Displaying chords}. + +@item +To print fret diagrams of the chords for guitar accompaniment or +accompaniment by other fretted instruments, see @qq{Fret diagram +markups} in @ref{Common notation for fretted strings}. + +@end itemize + +@seealso +Learning Manual: +@rlearning{Songs}. + +Notation Reference: +@ref{Common notation for vocal music}, +@ref{Displaying chords}, +@ref{Displaying staves}, +@ref{Keyboard and other multi-staff instruments}, +@ref{Placing lyrics vertically}, +@ref{Stanzas}. + +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}. + +@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 note heads, 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}. + +Snippets: +@rlsr{Vocal music}. + +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 layout}. + +@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 layout}, +@ref{Score layout}, +@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. + +@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 +* 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 + +@itemize + +@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}. + +@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}. + +@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}. + +@item +For details of other page formatting properties, see +@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}. + +@end itemize + +@seealso +Musical Glossary: +@rglos{Frenched score}, +@rglos{Frenched staves}, +@rglos{transposing instrument}. + +Notation Reference: +@ref{Grouping staves}, +@ref{Hiding staves}, +@ref{Instrument transpositions}, +@ref{Nested staff groups}, +@ref{Page layout}, +@ref{Separating systems}, +@ref{Transpose}, +@ref{Writing parts}, +@ref{Writing text}. + +Snippets: +@rlsr{Vocal music}. + + +@node Character names +@unnumberedsubsubsec Character names + +@cindex character names +@cindex names, character + +Character names are usually shown to the left of the staff when the +staff is dedicated to that character alone: + +@lilypond[quote,verbatim,ragged-right] +\score { + << + \new Staff { + \set Staff.vocalName = \markup \smallCaps Kaspar + \set Staff.shortVocalName = \markup \smallCaps Kas. + \relative c' { + \clef "G_8" + c4 c c c + \break + c4 c c c + } + } + \new Staff { + \set Staff.vocalName = \markup \smallCaps Melchior + \set Staff.shortVocalName = \markup \smallCaps Mel + \clef "bass" + \relative c' { + a4 a a a + a4 a a a + } + } + >> +} +@end lilypond + +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 + +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")) + +\relative c' { + \instrumentSwitch "kaspar" + c4 c c c + \instrumentSwitch "melchior" + a4 a a a + \instrumentSwitch "kaspar" + c4 c c c +} +@end lilypond + +@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 cue notes. The following example shows +how this is done. + +@lilypond[quote,verbatim] +flute = \relative c'' { + s4 s4 e g +} +\addQuote "flute" { \flute } + +pianoRH = \relative c'' { + c4. g8 + % position name of cue-ing instrument just before the cue notes, + % and above the staff + s1*0^\markup { \right-align { \tiny "Flute" } } + \cueDuring "flute" #UP { g4 bes4 } +} +pianoLH = \relative c { c4 e, } + +\score { + \new PianoStaff << + \new Staff { + \pianoRH + } + \new Staff { + \clef "bass" + \pianoLH + } + >> +} +@end lilypond + +If a transposing instrument is being quoted the instrument part should +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. + +@lilypond[quote,verbatim] +clarinet = \relative c' { + \transposition bes + fis4 d d c +} +\addQuote "clarinet" { \clarinet } + +pianoRH = \relative c'' { + \transposition c' + % position name of cue-ing instrument below the staff + s1*0_\markup { \right-align { \tiny "Clar." } } + \cueDuring "clarinet" #DOWN { c4. g8 } + g4 bes4 +} +pianoLH = \relative c { c4 e, } + +\score { + << + \new PianoStaff << + \new Staff { + \new Voice { + \pianoRH + } + } + \new Staff { + \clef "bass" + \pianoLH + } + >> + >> +} +@end lilypond + +From these two examples it is clear that inserting many cues in a +Vocal Score would be tedious, and the notes of the piano part would +become obscured. 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. + +@snippets +@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +{adding-orchestral-cues-to-a-vocal-score.ly} + +@seealso +Musical Glossary: +@rglos{cue-notes}. + +Notation Reference: +@ref{Aligning objects}, +@ref{Direction and placement}, +@ref{Formatting cue notes}, +@ref{Quoting other voices}, +@ref{Using music functions}. + +Snippets: +@rlsr{Vocal music}. + +Internals Reference: +@rinternals{InstrumentSwitch}, +@rinternals{CueVoice}. + +@knownissues +@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 cue 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 cue notes. + + +@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 Dialogue over music +@unnumberedsubsubsec Dialogue over music + +Dialogue over music is usually printed over the staves in an italic +font, with the start of each phrase keyed in to a particular music +moment. + +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 +@end lilypond + +For longer phrases it may be necessary to expand the music to make +the words fit neatly. There is no provision in LilyPond to do this +fully automatically, and some manual intervention to layout the +page will be necessary. + +For long phrases or for passages with a lot of closely packed +dialogue, using a Lyrics context will give better results. The +Lyrics context should not be associated with a music Voice; instead +each section of dialogue should be given an explicit duration. If +there is a gap in the dialogue, the final word should be separated +from the rest and the duration split between them so that the +underlying music spaces out smoothly. + +If the dialogue extends for more than one line it will be necessary +to manually insert @code{\break}s and adjust the placing of the +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 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 } +} + +dialogue = \lyricmode { + \markup { + \fontsize #1 \upright \smallCaps Abe: + "Say this over measures one and" + }4*7 + "two"4 | + \break + "and this over measure"4*3 + "three"4 | +} + +\score { + << + \new Lyrics \with { + \override LyricText #'font-shape = #'italic + \override LyricText #'self-alignment-X = #LEFT + } + { \dialogue } + \new Staff { + \new Voice { \music } + } + >> +} +@end lilypond + +@c TODO show use of \column to produce dialogue on two lines + +@seealso +Notation Reference: +@ref{Manual syllable durations}, +@ref{Text}. + +Internal Reference: +@rinternals{LyricText}. + + +@node Chants psalms and hymns +@subsection Chants psalms and hymns + +@cindex chants +@cindex psalms +@cindex hymns +@cindex religious music + +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. + +@menu +* References for chants and psalms:: +* Setting a chant:: +* Pointing a psalm:: +* Partial measures in hymn tunes:: +@end menu + +@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}. + +@seealso +Notation reference: +@ref{Ancient notation}. + +Snippets: +@rlsr{Vocal music}. + + +@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 | +} + +@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 + +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 | + } + } + >> +} +@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 +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 | +@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 + } + } +} +@end lilypond + +Chants usually omit the time signature and often omit the clef too. + +@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 "||" +} + +AltoMusic = \relative c' { + e1 | g2 g | f1 | + f1 | f2 e | d d | e1 | +} + +TenorMusic = \relative a { + c1 | c2 c | c1 | + d1 | g,2 g | g g | g1 | +} + +BassMusic = \relative c { + c1 | e2 e | f1 | + d1 | b2 c | g' g | c,1 | +} + +global = { + \time 2/2 +} + +% 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 { + \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. } + } + } + } +} +@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. } + } + } + } +} +@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. } + } + } + } +} +@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. } + } + } + } +} +@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 +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}. + + + +