1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @c TODO: inspirational headword
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 @cindex lyrics, entering
82 @cindex entering lyrics
83 @cindex punctuation in lyrics
84 @cindex lyrics punctuation
85 @cindex spaces in lyrics
86 @cindex quotes in lyrics
89 Lyrics are entered in a special input mode, which can be introduced
90 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
91 @code{\lyricsto}. In this mode the input @code{d} is not parsed as
92 the pitch @notation{D}, but rather as a one-letter syllable of text.
93 In other words, syllables are entered like notes but with pitches
99 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
102 There are two main methods for specifying the horizontal placement
103 of the syllables, either by specifying the duration of each syllable
104 explicitly, as in the example above, or by leaving the lyrics to be
105 aligned automatically to a melody or other voice of music, using
106 @code{\addlyrics} or @code{\lyricsto}. The former method is
107 described below in @ref{Manual syllable durations}. The latter
108 method is described in @ref{Automatic syllable durations}.
110 A word or syllable of lyrics begins with an alphabetic character
111 (plus some other characters, see below) and is terminated by any
112 white space or a digit. Later characters in the syllable can be any
113 character that is not a digit or white space.
115 Because any character that is not a digit or white space is regarded
116 as part of the syllable, a word is valid even if it ends with
117 @code{@}}, which often leads to the following mistake:
120 \lyricmode @{ lah lah lah@}
123 In this example, the @code{@}} is included in the final syllable, so the
124 opening brace is not balanced and the input file will probably not
125 compile. Instead, always place white space around braces:
128 \lyricmode @{ lah lah lah @}
131 @cindex overrides in lyric mode
132 @funindex \override in \lyricmode
134 Similarly, a period which follows an alphabetic sequence is included
135 in that sequence in lyric mode. As a consequence, spaces must be
136 inserted around the period in @code{\override} commands. Do
140 \override Score.LyricText #'font-shape = #'italic
147 \override Score . LyricText #'font-shape = #'italic
150 To enter punctuation, lyrics with accented characters, characters
151 from non-English languages, or special characters (such as the heart
152 symbol or slanted quotes), simply insert the characters directly
153 into the input file and save it with UTF-8 encoding. For more
154 information, see @ref{Text encoding}.
156 @lilypond[quote,verbatim]
157 \relative c' { e4 f e d e f e2 }
158 \addlyrics { He said: “Let my peo -- ple go.” }
161 To use normal quotes in lyrics, add a backslash before the
162 quotes and place the whole syllable in quotes. For example,
164 @lilypond[quote,verbatim]
165 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
166 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
169 The full definition of a word start in lyrics mode is somewhat more
170 complex. A word in lyrics mode is one that begins with an
171 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
172 @code{'}, the control characters @code{^A} through @code{^F},
173 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
174 character with an ASCII code over 127, or a two-character
175 combination of a backslash followed by one of @code{`}, @code{'},
176 @code{"}, or @code{^}.
178 @c " to balance double quotes for not-so-bright context-sensitive editors
185 @ref{Automatic syllable durations},
188 @ref{Manual syllable durations}.
191 @rinternals{LyricText}.
194 @node Aligning lyrics to a melody
195 @unnumberedsubsubsec Aligning lyrics to a melody
197 @cindex lyrics, aligning to a melody
202 Lyrics are printed by interpreting them in the context called
203 @code{Lyrics}, see @ref{Contexts explained}.
206 \new Lyrics \lyricmode @dots{}
209 Lyrics can be aligned with melodies in two main ways:
214 They can be aligned automatically, with the durations of the
215 syllables being taken from an associated melody or other voice
216 of music, using @code{\addlyrics} or @code{\lyricsto}. See
217 @ref{Automatic syllable durations}.
220 They can be aligned independently of the duration of any notes
221 if the durations of the syllables are specified explicitly,
222 and entered with @code{\lyricmode}. See
223 @ref{Manual syllable durations}.
227 The following example compares different ways to align lyrics.
229 @lilypond[quote,ragged-right,verbatim]
231 \new Voice = "one" \relative c'' {
234 c4 b8. a16 g4. f8 e4 d c2
237 % uses default durations of 2;
238 \new Lyrics \lyricmode {
242 % explicit durations; left-aligned by default
243 \new Lyrics \lyricmode {
244 Joy4 to8. the16 world!4. the8 Lord4 is come.2
247 % takes durations and alignment from notes in "one"
248 \new Lyrics \lyricsto "one" {
249 No more let sins and sor -- rows grow.
254 The first stanza is not aligned with the notes because the durations
255 were not specified, and the default value of 2 is used for each
256 word. This can be useful for dialogue over music; for more, see
257 @ref{Dialogue over music}.
259 The second stanza with explicitly specified durations is
260 aligned to the notes because the durations are the same as the
261 corresponding notes. The words are left-aligned to the notes by
262 default. Useful if the words to different stanzas fit the notes in
265 The third stanza shows the normal way of entering lyrics.
271 @node Automatic syllable durations
272 @unnumberedsubsubsec Automatic syllable durations
274 @cindex syllable durations, automatic
275 @cindex lyrics and melodies
277 Lyrics are aligned and typeset with the help of skips, hyphens and
280 The @code{Voice} context containing the melody to which the lyrics
281 are being aligned must not have @qq{died}, or the lyrics after that
282 point will be lost. This can happen if there are periods when that
283 voice has nothing to do. For methods of keeping contexts alive, see
284 @ref{Keeping contexts alive}.
286 The lyrics can be aligned under a given melody
287 automatically. This is achieved by combining the
288 melody and the lyrics with the @code{\lyricsto} expression
291 \new Lyrics \lyricsto @var{name} @dots{}
295 This aligns the lyrics to the
296 notes of the @code{Voice} context called @var{name}, which must
297 already exist. Therefore normally the @code{Voice} is specified first, and
298 then the lyrics are specified with @code{\lyricsto}. The command
299 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
300 @code{\lyricmode} keyword may be omitted.
305 The @code{\addlyrics} command is actually just a convenient way
306 to write a more complicated LilyPond structure that sets up the
311 \addlyrics @{ LYRICS @}
318 \new Voice = "blah" @{ music @}
319 \new Lyrics \lyricsto "blah" @{ LYRICS @}
324 @lilypond[ragged-right,verbatim,fragment,quote]
326 \relative c' { c2 e4 g2. }
327 \addlyrics { play the game }
330 More stanzas can be added by adding more
331 @code{\addlyrics} sections
333 @lilypond[ragged-right,verbatim,fragment,quote]
335 \relative c' { c2 e4 g2. }
336 \addlyrics { play the game }
337 \addlyrics { speel het spel }
338 \addlyrics { joue le jeu }
341 The command @code{\addlyrics} cannot handle polyphony settings.
342 For these cases you should use @code{\lyricsto} and
343 @code{\lyricmode}, for details see @ref{Entering lyrics}.
345 @node Manual syllable durations
346 @unnumberedsubsubsec Manual syllable durations
348 Lyrics can also be entered without @code{\addlyrics} or
349 @code{\lyricsto}. In this case,
350 syllables are entered like notes -- but with pitches replaced by text -- and the
351 duration of each syllable must be entered explicitly. For example:
358 The alignment to a melody can be specified with the
359 @code{associatedVoice} property,
362 \set associatedVoice = #"lala"
366 The value of the property (here: @code{"lala"}) should be the name of
367 a @code{Voice} context. Without this setting, extender lines
368 will not be formatted properly.
370 Here is an example demonstrating manual lyric durations,
372 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
373 << \new Voice = "melody" {
377 \new Lyrics \lyricmode {
378 \set associatedVoice = #"melody"
386 @ref{Keeping contexts alive}.
393 @node Multiple syllables to one note
394 @unnumberedsubsubsec Multiple syllables to one note
397 @cindex spaces, in lyrics
398 @cindex quotes, in lyrics
399 @cindex ties, in lyrics
401 In order to assign more than one syllable to a single note with
402 spaces between the syllables, you can surround the phrase with
403 quotes or use a @code{_} character. Alternatively, you can use
404 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
405 tie is implemented with the Unicode character U+203F, so be
406 sure to have a font (like DejaVuLGC) installed that includes this
409 @lilypond[quote,ragged-right,fragment,verbatim]
411 \relative c' { c2 e4 g2 e4 }
412 \addlyrics { gran- de_a- mi- go }
413 \addlyrics { pu- "ro y ho-" nes- to }
414 \addlyrics { pu- ro~y~ho- nes- to }
420 @rinternals{LyricCombineMusic}.
423 @c Here come the section which used to be "Melismata"
424 @c the new title might be more self-explanatory
427 @node Multiple notes to one syllable
428 @unnumberedsubsubsec Multiple notes to one syllable
432 @cindex phrasing, in lyrics
434 Sometimes, particularly in Medieval music, several notes are to be sung on one
435 single syllable; such vocalises are called melismas, or melismata.
437 @c this method seems to be the simplest; therefore
438 @c it might be better to present it first - vv
440 You can define melismata entirely in the lyrics, by entering @code{_}
441 for every extra note that has to be added to the melisma.
443 @c TODO: clarify: __ is used to crate a lyric extender,
444 @c _ is used to add a note to a melisma, so both __ and _ are needed.
447 @c duplicated: TODO fix
448 Additionally, you can make an extender line to be typeset to indicate
449 the melisma in the score, writing a double underscore next to the
450 first syllable of the melisma. This example shows the three elements
451 that are used for this purpose (all of them surrounded by spaces):
452 double hyphens to separate syllables in a word, underscores to add
453 notes to a melisma, and a double underscore to put an extender line.
455 @c wrong: extender line only on last syllable of a word. Change example
456 @lilypond[relative=1,verbatim,fragment,quote]
457 { \set melismaBusyProperties = #'()
458 c d( e) f f( e) e e }
460 { Ky -- _ _ ri __ _ _ _ e }
463 In this case, you can also have ties and slurs in the melody if you
464 set @code{melismaBusyProperties}, as is done in the example above.
466 However, the @code{\lyricsto} command can also
467 detect melismata automatically: it only puts one
468 syllable under a tied or slurred group of notes. If you want to force
469 an unslurred group of notes to be a melisma, insert @code{\melisma}
470 after the first note of the group, and @code{\melismaEnd} after the
473 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
475 \new Voice = "lala" {
483 \new Lyrics \lyricsto "lala" {
489 In addition, notes are considered a melisma if they are manually
490 beamed, and automatic beaming (see @ref{Setting automatic beam
491 behavior}) is switched off.
493 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
495 \new Voice = "lala" {
501 \new Lyrics \lyricsto "lala" {
507 @c TODO: this now links to LM -vv
508 @c umm, yeah... so what? -gp
513 A complete example of a SATB score setup is in
514 @rlearning{Vocal ensembles}.
520 @funindex \melismaEnd
526 @c @lsr{vocal,lyric@/-combine.ly}.
531 Melismata are not detected automatically, and extender lines must be
535 @unnumberedsubsubsec Skipping notes
537 Making a lyric line run slower than the melody can be achieved by
538 inserting @code{\skip}s into the lyrics. For every @code{\skip},
539 the text will be delayed by another note. The @code{\skip} command
540 must be followed by a valid duration, but this is ignored when
541 @code{\skip} is used in lyrics which derive their durations from the
542 notes in an associated melody through @code{\addlyrics} or
545 @lilypond[verbatim,ragged-right,quote]
546 \relative c' { c c g' }
554 @node Extenders and hyphens
555 @unnumberedsubsubsec Extenders and hyphens
560 @c leave this as samp. -gp
561 In the last syllable of a word, melismata are sometimes indicated with
562 a long horizontal line starting in the melisma syllable, and ending in
563 the next one. Such a line is called an extender line, and it is
564 entered as @samp{ __ } (note the spaces before and after the two
565 underscore characters).
567 @warning{Melismata are indicated in the score with extender lines,
568 which are entered as one double underscore; but short melismata can
569 also be entered by skipping individual notes, which are entered as
570 single underscore characters; these do not make an extender line to be
575 @c leave this as samp. -gp
576 Centered hyphens are entered as @samp{ -- } between syllables of a same word
577 (note the spaces before and after the two hyphen characters). The hyphen
578 will be centered between the syllables, and its length will be adjusted
579 depending on the space between the syllables.
581 In tightly engraved music, hyphens can be removed. Whether this
582 happens can be controlled with the @code{minimum-distance} (minimum
583 distance between two syllables) and the @code{minimum-length}
584 (threshold below which hyphens are removed).
589 @rinternals{LyricExtender},
590 @rinternals{LyricHyphen}.
593 @node Techniques specific to lyrics
594 @subsection Techniques specific to lyrics
596 @c TODO This whole section is to be reorganized. -vv
599 * Working with lyrics and variables::
600 * Lyrics and repeats::
602 * Lyrics independent of notes::
603 * Spacing out syllables::
604 * Placement of lyrics::
609 @node Working with lyrics and variables
610 @unnumberedsubsubsec Working with lyrics and variables
612 @cindex lyrics, variables
614 To define variables containing lyrics, the function @code{\lyricmode}
615 must be used. Durations do not need to be added if the variable is
616 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
618 @lilypond[quote,verbatim]
619 verseOne = \lyricmode { Joy to the world, the Lord is come. }
622 \new Voice = "one" \relative c'' {
625 c4 b8. a16 g4. f8 e4 d c2
627 \addlyrics { \verseOne }
632 For different or more complex orderings, the best way is to set up the
633 hierarchy of staves and lyrics first, e.g.,
636 \new Voice = "soprano" @{ @emph{music} @}
637 \new Lyrics = "sopranoLyrics" @{ s1 @}
638 \new Lyrics = "tenorLyrics" @{ s1 @}
639 \new Voice = "tenor" @{ @emph{music} @}
644 and then combine the appropriate melodies and lyric lines
647 \context Lyrics = sopranoLyrics \lyricsto "soprano"
652 The final input would resemble
655 <<\new ChoirStaff << @emph{setup the music} >>
656 \lyricsto "soprano" @emph{etc}
657 \lyricsto "alto" @emph{etc}
664 http://code.google.com/p/lilypond/issues/detail?id=329
665 The problem cannot be reproduced.
666 The following has no sense, because the issue seems to be fixed.
667 A comment is in tracker waiting for response ---FV
670 Be careful when defining a variable with lyrics that creates a new
671 context, for example, using the deprecated @code{\lyrics} command. See
672 the next erroneous example:
675 words = \lyrics{ %warning: this creates a new context
679 \new Voice = "sop" { c1 }
680 \new Lyrics \lyricsto "sop" { \words }
681 \new Voice = "alt" { c2 c }
682 \new Lyrics \lyricsto "alt" { \words }
686 the problem is that \lyricsto will try to connect the "sop" melody with the context
687 created by "\new Lyrics".
689 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
696 @c TODO: document \new Staff << Voice \lyricsto >> bug
698 @rinternals{LyricCombineMusic},
702 @node Lyrics and repeats
703 @unnumberedsubsubsec Lyrics and repeats
705 @cindex repeats and lyrics
706 @cindex lyrics, repeating
708 @subheading Simple repeats
710 Repeats in @emph{music} are fully described elsewhere; see
711 @ref{Repeats}. This section explains how to add lyrics to repeated
714 Lyrics to a section of music that is repeated should be surrounded
715 by exactly the same repeat construct as the music, if the words are
718 @lilypond[verbatim,quote]
722 \new Voice = "melody" {
725 \repeat volta 2 { b4 b b b }
731 Not re -- peat -- ed.
732 \repeat volta 2 { Re -- peat -- ed twice. }
739 The words will then be correctly expanded if the repeats are
742 @lilypond[verbatim,quote]
747 \new Voice = "melody" {
750 \repeat volta 2 { b4 b b b }
756 Not re -- peat -- ed.
757 \repeat volta 2 { Re -- peat -- ed twice. }
765 If the repeated section has different words and is unfolded simply
768 @lilypond[verbatim,quote,ragged-right]
772 \new Voice = "melody" {
775 \repeat unfold 2 { b4 b b b }
781 Not re -- peat -- ed.
782 The first time words.
783 Sec -- ond time words.
793 When the words to a repeated volta section are different the words
794 to each repeat must be entered in separate @code{Lyrics} contexts.
795 Earlier unrepeated sections must be skipped in the second and
796 subsequent repeats. The easiest way to skip several notes is to
797 use @code{\repeat unfold} around the @code{\skip} command.
799 Note: do not use an underscore, @code{_}, to skip notes as this
800 indicates a melisma and will cause the preceding syllable to be
803 @warning{The @code{@bs{}skip} command must be followed by a number,
804 but this number is ignored in lyrics which derive their durations
805 from the notes in an associated melody through @code{\addlyrics} or
806 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
807 value, irrespective of the value of the following number.}
809 @lilypond[verbatim,quote]
813 \new Voice = "melody" {
816 \repeat volta 2 { b4 b b b }
822 Not re -- peat -- ed.
823 The first time words.
828 % skip 4 notes of any duration
829 \repeat unfold 4 { \skip 1 }
830 Sec -- ond time words.
837 @cindex lyrics, repeating with a temporary voice
839 An alternative way, which avoids skips and having to count notes,
840 is to use a temporary voice for the repeated section. This may be
841 preferable if the earlier sections are still subject to change. A
842 temporary voice can be inserted anywhere in the main music stream
843 in parallel with it, as shown below, but it may be necessary to
844 keep the main voice alive in complex scores when using this
845 technique; see @ref{Keeping contexts alive}.
847 @lilypond[verbatim,quote,ragged-right]
851 \new Voice = "singleVoice" {
852 \relative c'' { a4 a a a }
853 \new Voice = "repeatVoice" {
854 \relative c'' \repeat volta 3 { b4 b b b }
856 \relative c'' { c4 c c c }
860 \lyricsto "singleVoice" {
861 Not re -- peat -- ed.
864 \lyricsto "repeatVoice" {
865 The first time words.
869 \lyricsto "repeatVoice" {
870 Sec -- ond time words.
874 \lyricsto "repeatVoice" {
875 The third time words.
882 @c TODO lowering a common line of lyrics
884 @subheading Repeats with alternative endings
886 @cindex lyrics, repeats with alternative endings
887 @cindex repeating lyrics with alternative endings
888 @cindex alternative endings and lyrics
890 If the words of the repeated section are the same, exactly the
891 same structure can be used for both the lyrics and music.
893 @lilypond[quote,verbatim]
898 \new Voice = "melody" {
901 \repeat volta 2 { b4 b }
902 \alternative { { b b } { b c } }
908 Not re -- peat -- ed.
909 \repeat volta 2 { Re -- peat -- }
910 \alternative { { ed twice. } { ed twice. } }
917 But when the repeated section has different words, a repeat
918 construct cannot be used around the words and @code{\skip} commands
919 have to be inserted manually as described in the previous section to
920 skip over the notes in the alternative sections which do not apply.
922 @lilypond[verbatim,quote,ragged-right]
927 \new Voice = "melody" {
929 \repeat volta 2 { b4 b }
930 \alternative { { b b } { b c } }
937 The first time words.
938 \repeat unfold 2 { \skip 1 }
945 \repeat unfold 2 { \skip 1 }
953 @cindex lyrics and tied notes
956 When a note is tied over into two or more alternative endings a
957 tie is used to carry the note into the first alternative ending and
958 a @code{\repeatTie} is used in the second and subsequent endings.
959 This structure causes difficult alignment problems when lyrics are
960 involved and increasing the length of the alternative sections so
961 the tied notes are contained wholly within them may give a more
964 The tie creates a melisma into the first alternative, but not into
965 the second and subsequent alternatives, so to align the lyrics
966 correctly it is necessary to disable the automatic creation of
967 melismata over the volta section and insert manual skips.
969 @lilypond[quote,verbatim]
974 \new Voice = "melody" {
976 \set melismaBusyProperties = #'()
977 \repeat volta 2 { b4 b ~}
978 \alternative { { b b } { b \repeatTie c } }
979 \unset melismaBusyProperties
986 \repeat volta 2 { Here's a __ }
998 Note that if @code{\unfoldRepeats} is used around a section
999 containing @code{\repeatTie}, the @code{\repeatTie} should be
1000 removed to avoid both types of tie being printed.
1002 When the repeated section has different words a @code{\repeat}
1003 cannot be used around the lyrics and @code{\skip} commands need to
1004 be inserted manually, as before.
1006 @lilypond[quote,verbatim]
1011 \new Voice = "melody" {
1013 \repeat volta 2 { b4 b ~}
1014 \alternative { { b b } { b \repeatTie c } }
1020 \lyricsto "melody" {
1022 \repeat unfold 2 { \skip 1 }
1026 \lyricsto "melody" {
1028 \repeat unfold 2 { \skip 1 }
1036 If you wish to show extenders and hyphens into and out of
1037 alternative sections these must be inserted manually.
1039 @lilypond[quote,verbatim]
1044 \new Voice = "melody" {
1046 \repeat volta 2 { b4 b ~}
1047 \alternative { { b b } { b \repeatTie c } }
1053 \lyricsto "melody" {
1055 \repeat unfold 2 { \skip 1 }
1059 \lyricsto "melody" {
1072 @unnumberedsubsubsec Divisi lyrics
1074 You can display alternate (or divisi) lyrics by naming voice
1075 contexts and attaching lyrics to those specific contexts.
1077 @lilypond[verbatim,ragged-right,quote]
1079 \new Voice = "melody" {
1084 \new Voice = "splitpart" { \voiceTwo c4 }
1089 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1090 \new Lyrics \lyricsto "splitpart" { will }
1095 You can use this trick to display different lyrics for a repeated
1098 @lilypond[verbatim,ragged-right,quote]
1100 \new Voice = "melody" \relative c' {
1102 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1104 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1107 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1109 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1110 dodo rere mimi fafa solsol }
1117 @node Lyrics independent of notes
1118 @unnumberedsubsubsec Lyrics independent of notes
1120 @cindex Devnull context
1122 In some complex vocal music, it may be desirable to place
1123 lyrics completely independently of notes. Music defined
1124 inside @code{lyricrhythm} disappears into the
1125 @code{Devnull} context, but the rhythms can still be used
1126 to place the lyrics.
1128 @lilypond[quote,verbatim,ragged-right]
1131 \tag #'music { c''2 }
1132 \tag #'lyricrhythm { c''4. c''8 }
1136 lyr = \lyricmode { I like my cat! }
1139 \new Staff \keepWithTag #'music \voice
1140 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1141 \new Lyrics \lyricsto "nowhere" \lyr
1142 \new Staff { c'8 c' c' c' c' c' c' c'
1143 c' c' c' c' c' c' c' c' }
1147 This method is recommended only if the music in the @code{Devnull}
1148 context does not contain melismata. Melismata are defined by the
1149 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
1150 makes the voice/lyrics links to get lost, and so does the info on
1151 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
1152 the implicit melismata get ignored.
1154 @c Conclusion: do not use devnull for lyrics -FV
1156 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
1158 @node Spacing out syllables
1159 @unnumberedsubsubsec Spacing out syllables
1161 @cindex Spacing lyrics
1162 @cindex Lyrics, increasing space between
1164 To increase the spacing between lyrics, set the @code{minimum-distance}
1165 property of @code{LyricSpace}.
1167 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1170 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1174 longtext longtext longtext longtext
1175 longtext longtext longtext longtext
1180 To make this change for all lyrics in the score, set the property in the
1183 @lilypond[verbatim,quote,ragged-right]
1190 longtext longtext longtext longtext
1191 longtext longtext longtext longtext
1196 \override LyricSpace #'minimum-distance = #1.0
1203 @c This snippet has been renamed to "lyrics-alignment.ly"
1204 @c update as soon as lsr/is updated -vv
1205 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1206 @c {lyrics-alignment.ly}
1208 @c TODO: move to LSR -vv
1211 Checking to make sure that text scripts and lyrics are within the margins is
1212 a relatively large computational task. To speed up processing, LilyPond does
1213 not perform such calculations by default; to enable it, use
1216 \override Score.PaperColumn #'keep-inside-line = ##t
1219 To make lyrics avoid bar lines as well, use
1225 \consists "Bar_engraver"
1226 \consists "Separating_line_group_engraver"
1227 \override BarLine #'transparent = ##t
1232 @c TODO Create and add lsr example of lyricMelismaAlignment
1233 @c It's used like this to center-align all lyric syllables,
1234 @c even when notes are tied. -td
1239 \context { \Score lyricMelismaAlignment = #0 }
1244 @node Placement of lyrics
1245 @unnumberedsubsubsec Placement of lyrics
1247 @cindex placement of lyrics
1248 @cindex lyrics, positioning
1250 @c TODO Add text from -user
1252 Lyrics are positioned above the staff, below the staff, or between
1253 staves, depending on the type of music. To place lyrics below the
1254 associated staff simply define the Lyrics context below the Staff
1257 @lilypond[quote,verbatim]
1261 \new Voice = "melody" {
1262 \relative c'' { c4 c c c }
1266 \lyricsto "melody" {
1274 To position lyrics above the staff, place the declaration of the
1275 Lyrics context before the Staff and Voice contexts, but the
1276 @code{\lyricsto} command must come after the Voice declaration it
1277 references, like this:
1279 @lilypond[quote,verbatim]
1282 \new Lyrics = "lyrics"
1284 \new Voice = "melody" {
1285 \relative c'' { c4 c c c }
1288 \context Lyrics = "lyrics" {
1289 \lyricsto "melody" {
1297 Alternatively, the position of the lyrics may be specified
1300 @lilypond[quote,verbatim]
1303 \new Staff = "staff" {
1304 \new Voice = "melody" {
1305 \relative c'' { c4 c c c }
1308 \new Lyrics \with { alignAboveContext = "staff" } {
1309 \lyricsto "melody" {
1317 When there are two voices on separate staves the lyrics may be
1318 placed between the staves using either of these methods. Here
1319 is an example of the first method:
1321 @lilypond[quote,verbatim]
1325 \new Voice = "sopranos" {
1326 \relative c'' { c4 c c c }
1329 \new Lyrics = "sopranos"
1330 \new Lyrics = "contraltos"
1332 \new Voice = "contraltos" {
1333 \relative c'' { a4 a a a }
1336 \context Lyrics = "sopranos" {
1337 \lyricsto "sopranos" {
1338 Sop -- ra -- no words
1341 \context Lyrics = "contraltos" {
1342 \lyricsto "contraltos" {
1343 Con -- tral -- to words
1350 Other combinations of lyrics and staves may be generated by
1351 elaborating these examples, or by examining the SATB templates in
1352 the Learning Manual.
1356 @rlearning{Vocal ensembles}.
1359 @ref{Aligning contexts},
1360 @ref{Creating contexts}.
1366 * Adding stanza numbers::
1367 * Adding dynamics marks to stanzas::
1368 * Adding singers' names to stanzas::
1369 * Stanzas with different rhythms::
1370 * Printing stanzas at the end::
1371 * Printing stanzas at the end in multiple columns::
1375 @node Adding stanza numbers
1376 @unnumberedsubsubsec Adding stanza numbers
1378 @cindex stanza number
1380 Stanza numbers can be added by setting @code{stanza}, e.g.,
1382 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1384 \time 3/4 g2 e4 a2 f4 g2.
1386 \set stanza = #"1. "
1387 Hi, my name is Bert.
1389 \set stanza = #"2. "
1390 Oh, ché -- ri, je t'aime
1396 These numbers are put just before the start of the first syllable.
1398 @c TODO Create and add snippet to show how two lines of a
1399 @c stanza can be grouped together, along these lines:
1400 @c (might need improving a bit) -td
1403 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1407 \set stanza = \markup { "1. " \leftbrace }
1408 \lyricmode { Child, you're mine and I love you.
1409 Lend thine ear to what I say.
1415 % \set stanza = \markup { " "}
1416 \lyricmode { Child, I have no great -- er joy
1417 Than to have you walk in truth.
1423 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1424 c'8 c' c' c' c' c' c'4 }
1425 } \addlyrics { \stanzaOneOne }
1426 \addlyrics { \stanzaOneThree }
1430 @node Adding dynamics marks to stanzas
1431 @unnumberedsubsubsec Adding dynamics marks to stanzas
1433 Stanzas differing in loudness may be indicated by putting a
1434 dynamics mark before each stanza. In LilyPond, everything coming in
1435 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1436 are no different. For technical reasons, you have to set the stanza
1437 outside @code{\lyricmode}:
1439 @lilypond[quote,ragged-right,verbatim]
1441 \set stanza = \markup { \dynamic "ff" "1. " }
1448 \new Voice = "tune" {
1452 \new Lyrics \lyricsto "tune" \text
1456 @node Adding singers' names to stanzas
1457 @unnumberedsubsubsec Adding singers' names to stanzas
1460 @cindex name of singer
1462 Names of singers can also be added. They are printed at the start of
1463 the line, just like instrument names. They are created by setting
1464 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1466 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1468 \time 3/4 g2 e4 a2 f4 g2.
1470 \set vocalName = #"Bert "
1471 Hi, my name is Bert.
1473 \set vocalName = #"Ernie "
1474 Oh, ché -- ri, je t'aime
1478 @node Stanzas with different rhythms
1479 @unnumberedsubsubsec Stanzas with different rhythms
1481 Often, different stanzas of one song are put to one melody in slightly
1482 differing ways. Such variations can still be captured with
1485 @subsubheading Ignoring melismata
1487 One possibility is that the text has a melisma in one stanza, but
1488 multiple syllables in another one. One solution is to make the faster
1489 voice ignore the melisma. This is done by setting
1490 @code{ignoreMelismata} in the Lyrics context.
1492 @lilypond[verbatim,ragged-right,quote]
1494 \relative c' \new Voice = "lahlah" {
1495 \set Staff.autoBeaming = ##f
1501 \new Lyrics \lyricsto "lahlah" {
1504 \new Lyrics \lyricsto "lahlah" {
1506 \set ignoreMelismata = ##t
1508 \unset ignoreMelismata
1515 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1516 not work if prefixed with @code{\once}. It is necessary to use
1517 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1520 @subsubheading Adding syllables to grace notes
1522 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1523 syllables when using @code{\lyricsto}, but this behavior can be
1526 @lilypond[verbatim,ragged-right,quote]
1528 f4 \appoggiatura a32 b4
1529 \grace { f16[ a16] } b2
1530 \afterGrace b2 { f16[ a16] }
1531 \appoggiatura a32 b4
1536 \set includeGraceNotes = ##t
1539 after -- grace case,
1540 \set ignoreMelismata = ##t
1547 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1548 set at latest one syllable before the one which is to be put under a
1549 grace note. For the case of a grace note at the very beginning of a
1550 piece of music, consider using a @code{\with} or @code{\context}
1553 @lilypond[verbatim,ragged-right,quote]
1555 \new Voice = melody \relative c' {
1556 \grace { c16[( d e f] }
1559 \new Lyrics \with { includeGraceNotes = ##t }
1566 @subsubheading Switching to an alternative melody
1568 More complex variations in text underlay are possible. It is possible
1569 to switch the melody for a line of lyrics during the text. This is
1570 done by setting the @code{associatedVoice} property. In the example
1572 @lilypond[ragged-right,quote]
1574 \relative c' \new Voice = "lahlah" {
1575 \set Staff.autoBeaming = ##f
1578 \new Voice = "alternative" {
1581 % show associations clearly.
1582 \override NoteColumn #'force-hshift = #-3
1593 \new Lyrics \lyricsto "lahlah" {
1594 Ju -- ras -- sic Park
1596 \new Lyrics \lyricsto "lahlah" {
1597 % Tricky: need to set associatedVoice
1598 % one syllable too soon!
1599 \set associatedVoice = alternative % applies to "ran"
1603 \set associatedVoice = lahlah % applies to "rus"
1609 the text for the first stanza is set to a melody called @q{lahlah},
1612 \new Lyrics \lyricsto "lahlah" @{
1613 Ju -- ras -- sic Park
1618 The second stanza initially is set to the @code{lahlah} context, but
1619 for the syllable @q{ran}, it switches to a different melody.
1620 This is achieved with
1622 \set associatedVoice = alternative
1626 Here, @code{alternative} is the name of the @code{Voice} context
1627 containing the triplet.
1629 @c TODO: make this easier to understand -vv
1630 This command must be one syllable too early, before @q{Ty} in this
1631 case. In other words, changing the associatedVoice happens one step
1632 later than expected. This is for technical reasons, and it is not a
1636 \new Lyrics \lyricsto "lahlah" @{
1637 \set associatedVoice = alternative % applies to "ran"
1641 \set associatedVoice = lahlah % applies to "rus"
1647 The underlay is switched back to the starting situation by assigning
1648 @code{lahlah} to @code{associatedVoice}.
1651 @node Printing stanzas at the end
1652 @unnumberedsubsubsec Printing stanzas at the end
1654 Sometimes it is appropriate to have one stanza set
1655 to the music, and the rest added in verse form at
1656 the end of the piece. This can be accomplished by adding
1657 the extra verses into a @code{\markup} section outside
1658 of the main score block. Notice that there are two
1659 different ways to force linebreaks when using
1662 @lilypond[ragged-right,verbatim,quote]
1663 melody = \relative c' {
1669 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1670 its fleece was white as snow.
1674 \new Voice = "one" { \melody }
1675 \new Lyrics \lyricsto "one" \text
1681 \line{ All the children laughed and played }
1682 \line{ To see a lamb at school. }
1689 Mary took it home again,
1691 It was against the rule."
1696 @node Printing stanzas at the end in multiple columns
1697 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1699 When a piece of music has many verses, they are often printed in
1700 multiple columns across the page. An outdented verse number often
1701 introduces each verse. The following example shows how to produce such
1704 @lilypond[ragged-right,quote,verbatim]
1705 melody = \relative c' {
1710 \set stanza = #"1." This is verse one.
1715 \new Voice = "one" { \melody }
1716 \new Lyrics \lyricsto "one" \text
1723 \hspace #0.1 % moves the column off the left margin;
1724 % can be removed if space on the page is tight
1728 "This is verse two."
1732 \hspace #0.1 % adds vertical spacing between verses
1735 "This is verse three."
1740 \hspace #0.1 % adds horizontal spacing between columns;
1741 % if they are still too close, add more " " pairs
1742 % until the result looks good
1746 "This is verse four."
1750 \hspace #0.1 % adds vertical spacing between verses
1753 "This is verse five."
1758 \hspace #0.1 % gives some extra space on the right margin;
1759 % can be removed if page space is tight
1766 Internals Reference:
1767 @rinternals{LyricText},
1768 @rinternals{StanzaNumber}.
1775 * References for songs::
1779 @node References for songs
1780 @unnumberedsubsubsec References for songs
1782 Songs are usually written on three staves with the melody for the
1783 singer on the top staff and two staves of piano accompaniment at
1784 the bottom. The lyrics of the first stanza are printed immediately
1785 underneath the top staff. If there are just a small number of
1786 further stanzas these can be printed immediately under the first
1787 one, but if there are more stanzas than can be easily accommodated
1788 there the second and subsequent stanzas are printed after the music
1789 as stand-alone text.
1791 All the notational elements needed to write songs are fully described
1797 For constructing the staff layout, see @ref{Displaying staves}.
1800 For writing piano music, see
1801 @ref{Keyboard and other multi-staff instruments}.
1804 For writing the lyrics to a melody line, see
1805 @ref{Common notation for vocal music}.
1808 For placing the lyrics, see @ref{Placement of lyrics}.
1811 For entering stanzas, see @ref{Stanzas}.
1814 Songs are frequently printed with the chording indicated by chord
1815 names above the staves. This is described in
1816 @ref{Displaying chords}.
1819 To print fret diagrams of the chords for guitar accompaniment or
1820 accompaniment by other fretted instruments, see @qq{Fret diagram
1821 markups} in @ref{Common notation for fretted strings}.
1830 @ref{Common notation for vocal music},
1831 @ref{Displaying chords},
1832 @ref{Displaying staves},
1833 @ref{Keyboard and other multi-staff instruments},
1834 @ref{Placement of lyrics},
1838 @unnumberedsubsubsec Lead sheets
1840 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1841 this syntax is explained in @ref{Chord notation}.
1844 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1845 {simple-lead-sheet.ly}
1849 @ref{Chord notation}.
1860 This section discusses notation issues that relate most directly
1861 to choral music. This includes anthems, part songs, oratorio,
1865 * References for choral::
1866 * Score layouts for choral::
1870 @node References for choral
1871 @unnumberedsubsubsec References for choral
1873 Choral music is usually notated on two, three or four staves within
1874 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1875 beneath in a @code{PianoStaff} group, which is usually reduced in
1876 size for @emph{a capella} choral works. The notes for each vocal
1877 part are placed in a @code{Voice} context, with each staff
1878 being given either a single vocal part (i.e., one @code{Voice}) or
1879 a pair of vocal parts (i.e., two @code{Voice}s).
1881 Words are placed in @code{Lyrics} contexts, either underneath each
1882 corresponding music staff, or one above and one below the music
1883 staff if this contains the music for two parts.
1885 Several common topics in choral music are described fully elsewhere:
1890 An introduction to creating an SATB vocal score can be found in
1891 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1894 Several templates suitable for various styles of choral music can
1895 also be found in the Learning Manual, see
1896 @rlearning{Vocal ensembles}.
1899 For information about @code{ChoirStaff} and @code{PianoStaff} see
1900 @ref{Grouping staves}.
1903 Shape noteheads, as used in Sacred Harp and similar notation, are
1904 described in @ref{Shape note heads}.
1907 When two vocal parts share a staff the stems, ties, slurs, etc., of
1908 the higher part will be directed up and those of the lower part
1909 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1910 @ref{Single-staff polyphony}.
1921 @rlearning{Four-part SATB vocal score},
1922 @rlearning{Vocal ensembles}.
1925 @ref{Context layout order},
1926 @ref{Grouping staves},
1927 @ref{Shape note heads},
1928 @ref{Single-staff polyphony}.
1930 Internals Reference:
1931 @rinternals{ChoirStaff},
1932 @rinternals{Lyrics},
1933 @rinternals{PianoStaff}.
1935 @node Score layouts for choral
1936 @unnumberedsubsubsec Score layouts for choral
1938 Choral music containing four staves, with or without piano
1939 accompaniment, is usually laid out with two systems per page.
1940 Depending on the page size, achieving this may require changes
1941 to several default settings. The following settings should be
1947 The global staff size can be modified to change the overall size
1948 of the elements of the score. See @ref{Setting the staff size}.
1951 The distances between the systems, the staves and the lyrics can
1952 all be adjusted independently. See @ref{Vertical spacing}.
1955 The dimensions of the vertical layout variables can be displayed as
1956 an aid to adjusting the vertical spacing. This and other
1957 possibilities for fitting the music onto fewer pages are described
1958 in @ref{Fitting music onto fewer pages}.
1961 If the number of systems per page changes from one to two it is
1962 customary to indicate this with a system separator mark between
1963 the two systems. See @ref{Separating systems}.
1966 For details of other page formatting properties, see
1967 @ref{Page formatting}.
1972 Dynamic markings by default are placed below the staff, but in
1973 choral music they are usually placed above the staff in order to
1974 avoid the lyrics. The predefined command @code{\dynamicUp} does
1975 this for the dynamic markings in a single @code{Voice} context.
1976 If there are many @code{Voice} contexts this predefined command
1977 would have to be placed in every one. Alternatively its expanded
1978 form can be used to place all dynamic markings in the entire score
1979 above their respective staves, as shown here:
1981 @lilypond[verbatim,quote]
1986 \relative c'' { g4\f g g g }
1991 \relative c' { d4 d d\p d }
1998 \override DynamicText #'direction = #UP
1999 \override DynamicLineSpanner #'direction = #UP
2006 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2010 @ref{Changing spacing},
2011 @ref{Displaying spacing},
2012 @ref{Fitting music onto fewer pages},
2013 @ref{Page formatting},
2015 @ref{Separating systems},
2016 @ref{Setting the staff size},
2017 @ref{Using an extra voice for breaks},
2018 @ref{Vertical spacing}.
2020 Internals Reference:
2021 @rinternals{VerticalAxisGroup},
2022 @rinternals{StaffGrouper}.
2025 @node Divided voices
2026 @unnumberedsubsubsec Divided voices
2028 @cindex voices, divided
2030 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2031 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2035 @ref{Expressive marks as lines}.
2038 @node Opera and stage musicals
2039 @subsection Opera and stage musicals
2041 The music, lyrics and dialogue to opera and stage musicals are
2042 usually set out in one or more of the following forms:
2047 A @emph{Conductors' Score} containing the full orchestral and vocal
2048 parts, together with libretto cues if there are spoken passages.
2051 @emph{Orchestral Parts} containing the music for the individual
2052 instruments of the orchestra or band.
2055 A @emph{Vocal Score} containing all vocal parts with piano
2056 accompaniment. The accompaniment is usually an orchestral
2057 reduction, and if so the name of the original orchestral instrument
2058 is often indicated. Vocal scores sometimes includes stage
2059 directions and libretto cues.
2062 A @emph{Vocal Book} containing just the vocal parts
2063 (no accompaniment), sometimes combined with the libretto.
2066 A @emph{Libretto} containing the extended passages of spoken
2067 dialogue usually found in musicals, together with the words to the
2068 sung parts. Stage directions are usually included. LilyPond can
2069 be used to typeset libretti but as they contain no music
2070 alternative methods may be preferable.
2074 The sections in the LilyPond documentation which cover the topics
2075 needed to create scores in the styles commonly found in opera and
2076 musicals are indicated in the References below. This is followed
2077 by sections covering those techniques which are peculiar to
2078 typesetting opera and musical scores.
2081 * References for opera and stage musicals::
2085 * Dialogue over music::
2088 @node References for opera and stage musicals
2089 @unnumberedsubsubsec References for opera and stage musicals
2094 A conductors' score contains many grouped staves and lyrics. Ways
2095 of grouping staves is shown in @ref{Grouping staves}. To nest
2096 groups of staves see @ref{Nested staff groups}.
2099 The printing of empty staves in conductors' scores and vocal scores
2100 is often suppressed. To create such a @qq{Frenched score} see
2101 @ref{Hiding staves}.
2104 Writing orchestral parts is covered in @ref{Writing parts}.
2105 Other sections in the Specialist notation chapter may be relevant,
2106 depending on the orchestration used. Many instruments are
2107 transposing instruments, see @ref{Instrument transpositions}.
2110 If the number of systems per page changes from page to page it is
2111 customary to separate the systems with a system separator mark.
2112 See @ref{Separating systems}.
2115 For details of other page formatting properties, see
2116 @ref{Page formatting}.
2119 Dialogue cues and stage directions can be inserted with markup.
2120 See @ref{Text}. Extensive stage directions can be inserted with
2121 a section of stand-alone markup between two @code{\score} blocks.
2122 See @ref{Separate text}.
2128 @rglos{Frenched score},
2129 @rglos{Frenched staves},
2130 @rglos{transposing instrument}.
2133 @ref{Grouping staves},
2134 @ref{Hiding staves},
2135 @ref{Instrument transpositions},
2136 @ref{Nested staff groups},
2137 @ref{Page formatting},
2138 @ref{Separating systems},
2140 @ref{Writing parts},
2144 @node Character names
2145 @unnumberedsubsubsec Character names
2147 @cindex character names
2148 @cindex names, character
2150 Character names are usually shown to the left of the staff when the
2151 staff is dedicated to that character alone. The instrument name can
2152 be used for this purpose.
2154 @lilypond[quote,verbatim,ragged-right]
2158 \set Staff.instrumentName = #"Kaspar"
2159 \set Staff.shortInstrumentName = #"Kas"
2168 \set Staff.instrumentName = #"Melchior"
2169 \set Staff.shortInstrumentName = #"Mel"
2180 When two or more characters share a staff the character's name is
2181 usually printed above the staff at the start of every section
2182 applying to that character. This can be done with markup. Often a
2183 specific font is used for this purpose.
2185 @lilypond[quote,verbatim,relative=1]
2187 c4^\markup \fontsize #1 \smallCaps Kaspar
2190 a4^\markup \fontsize #1 \smallCaps Melchior
2193 c4^\markup \fontsize #1 \smallCaps Kaspar
2197 Alternatively, if there are many character changes, it may be
2198 easier to set up @qq{instrument} definitions for each character at
2199 the top level so that @code{\instrumentSwitch} can be used to
2200 indicate each change.
2202 @lilypond[quote,verbatim]
2203 \addInstrumentDefinition #"kaspar"
2204 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2205 (shortInstrumentName . "Kas.")
2206 (clefGlyph . "clefs.G")
2207 (clefOctavation . -7)
2208 (middleCPosition . 1)
2210 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2211 (midiInstrument . "voice oohs"))
2213 \addInstrumentDefinition #"melchior"
2214 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2215 (shortInstrumentName . "Mel.")
2216 (clefGlyph . "clefs.F")
2217 (clefOctavation . 0)
2218 (middleCPosition . 6)
2220 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2221 (midiInstrument . "voice aahs"))
2224 \instrumentSwitch "kaspar"
2226 \instrumentSwitch "melchior"
2228 \instrumentSwitch "kaspar"
2235 @ref{Instrument names},
2236 @ref{Scheme functions},
2238 @ref{Text markup commands}.
2241 @rextend{Markup construction in Scheme}.
2244 @unnumberedsubsubsec Musical cues
2246 @cindex musical cues
2247 @cindex cues, musical
2249 Musical cues can be inserted in Vocal Scores, Vocal Books and
2250 Orchestral Parts to indicate what music in another part
2251 immediately precedes an entry. Also, cues are often inserted in the
2252 piano reduction in Vocal Scores to indicate what each orchestral
2253 instrument is playing. This aids the conductor when a full
2254 Conductors' Score is not available.
2256 The basic mechanism for inserting cues is fully explained in the
2257 main text, see @ref{Quoting other voices} and
2258 @ref{Formatting cue notes}. But when many cues have to be
2259 inserted, for example, as an aid to a conductor in a vocal score,
2260 the instrument name must be positioned carefully just before and
2261 close to the start of the cued notes. The following example shows
2262 how this is done. Note that the name of the grob for overriding
2263 the cued instrument name is @code{InstrumentSwitch}.
2265 @lilypond[quote,verbatim]
2266 flute = \relative c'' {
2269 \addQuote "flute" { \flute }
2271 pianoRH = \relative c'' {
2273 % position name of cued instrument just before the cued notes
2274 \once \override CueVoice.InstrumentSwitch
2275 #'self-alignment-X = #RIGHT
2276 % position name of cued instrument above the staff
2277 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2278 \set CueVoice.instrumentCueName = "Flute"
2279 \cueDuring "flute" #UP { g4 bes4 }
2281 pianoLH = \relative c { c4 <c' e> e, <g c> }
2296 If a transposing instrument is being cued the instrument part should
2297 specify its key so the conversion of its cued notes will be done
2298 automatically. The example below shows this transposition for a
2299 B-flat clarinet. The notes in this example are low on the staff so
2300 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2301 down) and the instrument name is positioned below the staff. Note
2302 also that the piano right-hand voice is explicitly declared. This
2303 is because the cued notes in this example begin at the start of the
2304 first bar and this would otherwise cause the entire piano right-hand
2305 notes to be placed in a @code{CueVoice} context.
2307 @lilypond[quote,verbatim]
2308 clarinet = \relative c' {
2312 \addQuote "clarinet" { \clarinet }
2314 pianoRH = \relative c'' {
2316 % position name of cued instrument just before the cued notes
2317 \once \override CueVoice.InstrumentSwitch
2318 #'self-alignment-X = #RIGHT
2319 % position name of cued instrument below the staff
2320 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2321 \set CueVoice.instrumentCueName = "Clar."
2322 \cueDuring "clarinet" #DOWN { c4. g8 }
2325 pianoLH = \relative c { c4 <c' e> e, <g c> }
2344 From these two examples it is clear that inserting many cues in a
2345 Vocal Score would be extremely tedious, and the notes of the piano
2346 part would be obscured by the many overrides. However, as the
2347 following snippet shows, it is possible to define a music function
2348 to reduce the amount of typing and to make the piano notes clearer.
2351 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2352 {adding-orchestral-cues-to-a-vocal-score.ly}
2359 @ref{Aligning objects},
2360 @ref{Direction and placement},
2361 @ref{Formatting cue notes},
2362 @ref{Quoting other voices},
2363 @ref{Using music functions}.
2368 Internals Reference:
2369 @rinternals{InstrumentSwitch},
2370 @rinternals{CueVoice}.
2373 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2374 and all cue notes are placed in that context. This means it is not
2375 possible to have two overlapping sequences of cued notes by this
2376 technique. Overlapping sequences could be entered by explicitly
2377 declaring separate @code{CueVoice} contexts and using
2378 @code{\quoteDuring} to extract and insert the cued notes.
2382 @unnumberedsubsubsec Spoken music
2385 @cindex Sprechgesang
2386 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2387 without pitch but still with rhythm; these are notated by cross
2388 note heads, as demonstrated in @ref{Special note heads}.
2390 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2391 @c add "showing the rhythm of a melody" snip
2392 @c add "one staff-line notation"
2393 @c add "improvisation" ref
2394 @c add "lyrics independents of notes" ref
2396 @node Dialogue over music
2397 @unnumberedsubsubsec Dialogue over music
2399 Dialogue over music is usually printed over the staves in an italic
2400 font, with the start of each phrase keyed in to a particular music
2403 For short interjections a simple markup suffices.
2405 @lilypond[quote,verbatim,relative=2]
2406 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2407 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2411 For longer phrases it may be necessary to expand the music to make
2412 the words fit neatly. There is no provision in LilyPond to do this
2413 fully automatically, and some manual intervention to layout the
2414 page will be necessary.
2416 For long phrases or for passages with a lot of closely packed
2417 dialogue, using a Lyrics context will give better results. The
2418 Lyrics context should not be associated with a music Voice; instead
2419 each section of dialogue should be given an explicit duration. If
2420 there is a gap in the dialogue, the final word should be separated
2421 from the rest and the duration split between them so that the
2422 underlying music spaces out smoothly.
2424 If the dialogue extends for more than one line it will be necessary
2425 to manually insert @code{\break}s and adjust the placing of the
2426 dialogue to avoid running into the right margin. The final word of
2427 the last measure on a line should also be separated out, as above.
2429 Here is an example illustating how this might be done.
2431 @c This should be a snippet, but it can't be as it needs to be
2432 @c manually adjusted to suit the imposed line length. -td
2434 @lilypond[quote,verbatim,ragged-right]
2435 music = \relative c'' {
2436 \repeat unfold 3 { a4 a a a }
2439 dialogue = \lyricmode {
2441 \fontsize #1 \upright \smallCaps Abe:
2442 "Say this over measures one and"
2446 "and this over measure"4*3
2453 \override LyricText #'font-shape = #'italic
2454 \override LyricText #'self-alignment-X = #LEFT
2458 \new Voice { \music }
2464 @c TODO show use of \column to produce dialogue on two lines
2468 @ref{Manual syllable durations},
2472 @rinternals{LyricText}.
2475 @node Chants psalms and hymns
2476 @subsection Chants psalms and hymns
2481 @cindex religious music
2483 The music and words for chants, psalms and hymns usually follow a
2484 well-established format in any particular church. Although the
2485 formats may differ from church to church the type-setting problems
2486 which arise are broadly similar, and are covered in this section.
2489 * References for chants and psalms::
2491 * Pointing a psalm::
2492 * Partial measures in hymn tunes::
2495 @node References for chants and psalms
2496 @unnumberedsubsubsec References for chants and psalms
2498 Typesetting Gregorian chant in various styles of ancient notation
2499 is described in @ref{Ancient notation}.
2503 @ref{Ancient notation}.
2506 @node Setting a chant
2507 @unnumberedsubsubsec Setting a chant
2509 Modern chant settings use modern notation with varying numbers of
2510 elements taken from ancient notation. Some of the elements and
2511 methods to consider are shown here.
2513 Chants often use quarter notes without stems to indicate the pitch,
2514 with the rhythm being taken from the spoken rhythm of the words.
2516 @lilypond[verbatim,quote]
2517 stemOff = { \override Staff.Stem #'transparent = ##t }
2526 Chants often omit the bar lines or use shortened or dotted bar
2527 lines to indicate pauses in the music. To omit all bar lines from
2528 all staves remove the bar line engraver completely:
2530 @lilypond[verbatim,quote]
2551 \remove Bar_engraver
2557 Bar lines can also be removed on a staff-by-staff basis:
2559 @lilypond[verbatim, quote]
2563 \with { \remove Bar_engraver } {
2581 To remove bar lines from just a section of music treat it as a
2582 cadenza. If the section is long you may need to insert dummy
2583 barlines with @code{\bar ""} to show where the line should break.
2585 @lilypond[verbatim,quote,relative=2]
2598 Rests or pauses in chants can be indicated by modified bar lines.
2600 @lilypond[verbatim, quote,relative=2]
2615 Alternatively, the notation used in Gregorian chant for pauses or
2616 rests is sometimes used even though the rest of the notation is
2617 modern. This uses a modified @code{\breathe} mark:
2619 @lilypond[verbatim,quote]
2621 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2622 \once \override BreathingSign #'Y-offset = #0
2626 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2627 \once \override BreathingSign #'Y-offset = #0
2631 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2632 \once \override BreathingSign #'Y-offset = #0
2636 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2637 \once \override BreathingSign #'Y-offset = #0
2655 \remove Bar_engraver
2661 Chants usually omit the time signature and often omit the clef too.
2663 @lilypond[verbatim,quote]
2675 \remove Bar_engraver
2676 \remove Time_signature_engraver
2677 \remove Clef_engraver
2683 Chants for psalms in the Anglican tradition are usually either
2684 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2685 of 7 bars. Each group of 7 bars is divided into two halves,
2686 corresponding to the two halves of each verse, usually separated by
2687 a double bar line. Only whole and half notes are used. The 1st bar
2688 in each half always contains a single chord of whole notes. This is
2689 the @qq{reciting note}. Chants are usually centered on the page.
2691 @lilypond[verbatim,quote]
2692 SopranoMusic = \relative g' {
2693 g1 | c2 b | a1 | \bar "||"
2694 a1 | d2 c | c b | c1 | \bar "||"
2697 AltoMusic = \relative c' {
2699 f1 | f2 e | d d | e1 |
2702 TenorMusic = \relative a {
2704 d1 | g,2 g | g g | g1 |
2707 BassMusic = \relative c {
2709 d1 | b2 c | g' g | c,1 |
2716 % Use markup to center the chant on the page
2725 \new Voice = "Soprano" <<
2729 \new Voice = "Alto" <<
2737 \new Voice = "Tenor" <<
2741 \new Voice = "Bass" <<
2751 \override SpacingSpanner
2752 #'base-shortest-duration = #(ly:make-moment 1 2)
2756 \remove "Time_signature_engraver"
2764 Some other approaches to setting such a chant are shown in the first
2765 of the following snippets.
2769 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2770 {chant-or-psalms-notation.ly}
2772 Canticles and other liturgical texts may be set more freely, and
2773 may use notational elements from ancient music. Often the words
2774 are shown underneath and aligned with the notes. If so, the notes
2775 are spaced in accordance with the syllables rather than the notes'
2778 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2779 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2783 @rlearning{Visibility and color of objects},
2784 @rlearning{Vocal ensembles}.
2787 @ref{Ancient notation},
2789 @ref{Modifying context plug-ins},
2790 @ref{Typesetting Gregorian chant},
2791 @ref{Unmetered music},
2792 @ref{Visibility of objects}.
2795 @node Pointing a psalm
2796 @unnumberedsubsubsec Pointing a psalm
2798 The words to an Anglican psalm are usually printed in separate
2799 verses centered underneath the chant.
2801 Single chants (with 7 bars) are repeated for every verse. Double
2802 chants (with 14 bars) are repeated for every pair of verses. Marks
2803 are inserted in the words to show how they should be fitted to the
2804 chant. Each verse is divided into two halves. A colon is usually
2805 used to indicate this division. This corresponds to the double bar
2806 line in the music. The words before the colon are sung to the first
2807 three bars of music; the words after the colon are sung to the last
2810 Single bar lines (or in some psalters an inverted comma or similar
2811 symbol) are inserted between words to indicate where the bar lines
2812 in the music fall. In markup mode a single bar line can be entered
2813 with the bar check symbol, @code{|}.
2815 @lilypond[verbatim,quote]
2820 \line { O come let us sing | unto the | Lord : let }
2821 \line { us heartily rejoice in the | strength of | our }
2822 \line { sal- | -vation. }
2829 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2830 For details, see @ref{Fonts}.
2832 @lilypond[verbatim,quote]
2834 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2840 \line { O come let us sing \tick unto the \tick Lord : let }
2842 us heartily rejoice in the \tick strength of \tick our
2844 \line { sal \tick vation. }
2851 Where there is one whole note in a bar all the words corresponding
2852 to that bar are recited on that one note in speech rhythm. Where
2853 there are two notes in a bar there will usually be only one or two
2854 corresponding syllables. If there are more that two syllables a
2855 dot is usually inserted to indicate where the change in note occurs.
2857 @lilypond[verbatim,quote]
2859 \raise #0.7 \musicglyph #"dots.dot"
2862 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2869 O come let us sing \tick unto \dot the \tick Lord : let
2872 us heartily rejoice in the \tick strength of \tick our
2874 \line { sal \tick vation. }
2881 In some psalters an asterisk is used to indicate a break in a
2882 recited section instead of a comma, and stressed or slightly
2883 lengthened syllables are indicated in bold text.
2885 @lilypond[verbatim,quote]
2887 \raise #0.7 \musicglyph #"dots.dot"
2890 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2896 \line { Today if ye will hear his voice * }
2898 \concat { \bold hard en }
2899 | not your | hearts : as in the pro-
2901 \line { vocation * and as in the \bold day of tempt- | }
2902 \line { -ation | in the | wilderness. }
2909 In other psalters an accent is placed over the syllable to indicate
2912 @lilypond[verbatim,quote]
2914 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2921 O come let us \concat {
2922 si \combine \tick ng
2924 | unto the | Lord : let
2927 us heartily \concat {
2928 rejo \combine \tick ice
2930 in the | strength of | our
2932 \line { sal- | -vation. }
2939 The use of markup to center text, and arrange lines in columns is
2940 described in @ref{Formatting text}.
2942 Most of these elements are shown in one or other of the two verses
2943 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
2947 @rlearning{Vocal ensembles}.
2951 @ref{Formatting text}.
2954 @node Partial measures in hymn tunes
2955 @unnumberedsubsubsec Partial measures in hymn tunes
2957 Hymn tunes frequently start and end every line of music with
2958 partial measures so that each line of music corresponds exactly
2959 with a line of text. This requires a @code{\partial} command at
2960 the start of the music and @code{\bar "|"} or @code{\bar "||"}
2961 commands at the end of each line.
2963 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2967 @node Ancient vocal music
2968 @subsection Ancient vocal music
2970 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
2974 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
2975 @c and "Transcription of Ancient music with incipit" snippet. -vv
2979 @ref{Ancient notation}.