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 Lyrics are entered in lyric mode. This section explains how this
87 @cindex spaces, in lyrics
88 @cindex quotes, in lyrics
90 @c TODO: this section is to be rewritten.
91 Since LilyPond input files are text, there is at least one
92 issue to consider when working with vocal music:
93 song texts must be interpreted as text, not notes. For example, the
94 input@tie{}@code{d} should be interpreted as a one letter syllable,
96 Therefore, a special lyric mode has to be used, either explicitly
97 or using some abbreviated methods.
99 Lyrics are entered in a special input mode, which can be introduced
100 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
101 @code{\lyricsto}. In this mode you can enter lyrics,
102 with punctuation and accents, and the input @code{d} is not parsed as
103 a pitch, but rather as a one letter syllable. Syllables are entered
104 like notes, but with pitches replaced by text. For example,
107 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
110 There are two main methods to specify the horizontal placement
111 of the syllables, either by specifying the duration of each syllable
112 explicitly, like in the example above, or by automatically aligning
113 the lyrics to a melody or other voice of music, using @code{\addlyrics}
116 @c For more details see @ref{The Lyrics context}.
118 A word or syllable of lyrics begins with an alphabetic character, and ends
120 any space or digit. The following characters can be any character
121 that is not a digit or white space.
123 Any character that is not a digit or white space will be regarded as
124 part of the syllable; one important consequence of this is that a word
125 can end with @code{@}}, which often leads to the following mistake:
128 \lyricmode @{ lah- lah@}
131 In this example, the @code{@}} is included in the final syllable, so the
132 opening brace is not balanced and the input file will probably not
136 @funindex \property in \lyricmode
139 Similarly, a period which follows an alphabetic sequence is included in
140 the resulting string. As a consequence, spaces must be inserted around
141 property commands: do @emph{not} write
144 \override Score.LyricText #'font-shape = #'italic
151 \override Score . LyricText #'font-shape = #'italic
154 To enter lyrics with characters from non-English languages, or with
155 accented and special characters (such as the heart symbol or slanted quotes),
156 simply insert the characters directly into the input file and save
157 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
159 @lilypond[quote,ragged-right,fragment,verbatim]
160 \relative c' { e4 f e d e f e2 }
161 \addlyrics { He said: “Let my peo ple go”. }
164 To use normal quotes in lyrics, add a backslash before the
167 @lilypond[quote,ragged-right,fragment,verbatim]
168 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
169 \addlyrics { "\"I" am so lone- "ly\"" said she }
172 The full definition of a word start in Lyrics mode is somewhat more
175 A word in Lyrics mode begins with: an alphabetic character, @code{_},
176 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
177 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
178 any 8-bit character with ASCII code over 127, or a two-character
179 combination of a backslash followed by one of @code{`}, @code{'},
180 @code{"}, or @code{^}.
182 @c " to balance double quotes for not-so-bright context-sensitive editors
184 To define variables containing lyrics, the function @code{lyricmode}
188 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
191 \new Voice = "one" \relative c'' @{
194 c4 b8. a16 g4. f8 e4 d c2
196 \addlyrics @{ \verseOne @}
207 @rinternals{LyricText},
208 @rinternals{LyricSpace}.
211 @node Aligning lyrics to a melody
212 @unnumberedsubsubsec Aligning lyrics to a melody
218 @c TODO: this stuff is to be rewritten. -vv
220 Aligning of text with melodies can be made automatically, but if you
221 specify the durations of the syllables it can also be made manually.
222 Lyrics aligning and typesetting are prepared with the help of skips,
223 hyphens and extender lines.
225 Lyrics are printed by interpreting them in the context called
226 @code{Lyrics}; see @rinternals{Lyrics}, for more.
229 \new Lyrics \lyricmode @dots{}
232 There are two main methods to specify the horizontal placement
237 by automatically aligning
238 the lyrics to a melody or other voice of music, using @code{\addlyrics}
242 or by specifying the duration of each syllable
243 explicitly, using @code{\lyricmode}
246 The @code{Voice} context containing the melody to which the lyrics
247 are being aligned must not have @qq{died}, or the lyrics after that
248 point will be lost. This can happen if there are periods when that
249 voice has nothing to do. For methods of keeping contexts alive, see
250 @ref{Keeping contexts alive}.
253 @node Automatic syllable durations
254 @unnumberedsubsubsec Automatic syllable durations
256 @cindex syllable durations, automatic
257 @cindex lyrics and melodies
259 The lyrics can be aligned under a given melody
260 automatically. This is achieved by combining the
261 melody and the lyrics with the @code{\lyricsto} expression
264 \new Lyrics \lyricsto @var{name} @dots{}
268 This aligns the lyrics to the
269 notes of the @code{Voice} context called @var{name}, which must
270 already exist. Therefore normally the @code{Voice} is specified first, and
271 then the lyrics are specified with @code{\lyricsto}. The command
272 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
273 @code{\lyricmode} keyword may be omitted.
275 The following example uses different commands for entering lyrics.
277 @lilypond[quote,fragment,ragged-right,verbatim]
279 \new Voice = "one" \relative c'' {
282 c4 b8. a16 g4. f8 e4 d c2
285 % not recommended: left-aligned syllables
286 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
288 % wrong: durations needed
289 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
292 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
296 The second stanza is not properly aligned because the durations
297 were not specified. A solution for that would be to use @code{\lyricsto}.
301 The @code{\addlyrics} command is actually just a convenient way
302 to write a more complicated LilyPond structure that sets up the
307 \addlyrics @{ LYRICS @}
314 \new Voice = "blah" @{ music @}
315 \new Lyrics \lyricsto "blah" @{ LYRICS @}
320 @lilypond[ragged-right,verbatim,fragment,quote]
322 \relative c' { c2 e4 g2. }
323 \addlyrics { play the game }
326 More stanzas can be added by adding more
327 @code{\addlyrics} sections
329 @lilypond[ragged-right,verbatim,fragment,quote]
331 \relative c' { c2 e4 g2. }
332 \addlyrics { play the game }
333 \addlyrics { speel het spel }
334 \addlyrics { joue le jeu }
337 The command @code{\addlyrics} cannot handle polyphony settings.
338 For these cases you should use @code{\lyricsto} and
339 @code{\lyricmode}, for details see @ref{Entering lyrics}.
341 @node Manual syllable durations
342 @unnumberedsubsubsec Manual syllable durations
344 Lyrics can also be entered without @code{\addlyrics} or
345 @code{\lyricsto}. In this case,
346 syllables are entered like notes -- but with pitches replaced by text -- and the
347 duration of each syllable must be entered explicitly. For example:
354 The alignment to a melody can be specified with the
355 @code{associatedVoice} property,
358 \set associatedVoice = #"lala"
362 The value of the property (here: @code{"lala"}) should be the name of
363 a @code{Voice} context. Without this setting, extender lines
364 will not be formatted properly.
366 Here is an example demonstrating manual lyric durations,
368 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
369 << \new Voice = "melody" {
373 \new Lyrics \lyricmode {
374 \set associatedVoice = #"melody"
382 @ref{Keeping contexts alive}.
389 @node Multiple syllables to one note
390 @unnumberedsubsubsec Multiple syllables to one note
393 @cindex spaces, in lyrics
394 @cindex quotes, in lyrics
395 @cindex ties, in lyrics
397 In order to assign more than one syllable to a single note with
398 spaces between the syllables, you can surround the phrase with
399 quotes or use a @code{_} character. Alternatively, you can use
400 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
401 tie is implemented with the Unicode character U+203F, so be
402 sure to have a font (like DejaVuLGC) installed that includes this
405 @lilypond[quote,ragged-right,fragment,verbatim]
407 \relative c' { c2 e4 g2 e4 }
408 \addlyrics { gran- de_a- mi- go }
409 \addlyrics { pu- "ro y ho-" nes- to }
410 \addlyrics { pu- ro~y~ho- nes- to }
416 @rinternals{LyricCombineMusic}.
419 @c Here come the section which used to be "Melismata"
420 @c the new title might be more self-explanatory
423 @node Multiple notes to one syllable
424 @unnumberedsubsubsec Multiple notes to one syllable
428 @cindex phrasing, in lyrics
430 Sometimes, particularly in Medieval music, several notes are to be sung on one
431 single syllable; such vocalises are called melismas, or melismata.
433 @c this method seems to be the simplest; therefore
434 @c it might be better to present it first - vv
436 You can define melismata entirely in the lyrics, by entering @code{_}
437 for every extra note that has to be added to the melisma.
439 @c TODO: clarify: __ is used to crate a lyric extender,
440 @c _ is used to add a note to a melisma, so both __ and _ are needed.
443 @c duplicated: TODO fix
444 Additionally, you can make an extender line to be typeset to indicate
445 the melisma in the score, writing a double underscore next to the
446 first syllable of the melisma. This example shows the three elements
447 that are used for this purpose (all of them surrounded by spaces):
448 double hyphens to separate syllables in a word, underscores to add
449 notes to a melisma, and a double underscore to put an extender line.
451 @c wrong: extender line only on last syllable of a word. Change example
452 @lilypond[relative=1,verbatim,fragment,quote]
453 { \set melismaBusyProperties = #'()
454 c d( e) f f( e) e e }
456 { Ky -- _ _ ri __ _ _ _ e }
459 In this case, you can also have ties and slurs in the melody if you
460 set @code{melismaBusyProperties}, as is done in the example above.
462 However, the @code{\lyricsto} command can also
463 detect melismata automatically: it only puts one
464 syllable under a tied or slurred group of notes. If you want to force
465 an unslurred group of notes to be a melisma, insert @code{\melisma}
466 after the first note of the group, and @code{\melismaEnd} after the
469 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
471 \new Voice = "lala" {
479 \new Lyrics \lyricsto "lala" {
485 In addition, notes are considered a melisma if they are manually
486 beamed, and automatic beaming (see @ref{Setting automatic beam
487 behavior}) is switched off.
489 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
491 \new Voice = "lala" {
497 \new Lyrics \lyricsto "lala" {
503 @c TODO: this now links to LM -vv
504 @c umm, yeah... so what? -gp
509 A complete example of a SATB score setup is in
510 @rlearning{Vocal ensembles}.
516 @funindex \melismaEnd
522 @c @lsr{vocal,lyric@/-combine.ly}.
527 Melismata are not detected automatically, and extender lines must be
531 @unnumberedsubsubsec Skipping notes
533 Making a lyric line run slower than the melody can be achieved by
534 inserting @code{\skip}s into the lyrics. For every @code{\skip},
535 the text will be delayed another note. The @code{\skip} command
536 must be followed by a valid duration, but this is ignored when
537 @code{\skip} is used in lyrics.
539 @lilypond[verbatim,ragged-right,quote]
540 \relative c' { c c g' }
548 @node Extenders and hyphens
549 @unnumberedsubsubsec Extenders and hyphens
554 @c leave this as samp. -gp
555 In the last syllable of a word, melismata are sometimes indicated with
556 a long horizontal line starting in the melisma syllable, and ending in
557 the next one. Such a line is called an extender line, and it is
558 entered as @samp{ __ } (note the spaces before and after the two
559 underscore characters).
561 @warning{Melismata are indicated in the score with extender lines,
562 which are entered as one double underscore; but short melismata can
563 also be entered by skipping individual notes, which are entered as
564 single underscore characters; these do not make an extender line to be
569 @c leave this as samp. -gp
570 Centered hyphens are entered as @samp{ -- } between syllables of a same word
571 (note the spaces before and after the two hyphen characters). The hyphen
572 will be centered between the syllables, and its length will be adjusted
573 depending on the space between the syllables.
575 In tightly engraved music, hyphens can be removed. Whether this
576 happens can be controlled with the @code{minimum-distance} (minimum
577 distance between two syllables) and the @code{minimum-length}
578 (threshold below which hyphens are removed).
583 @rinternals{LyricExtender},
584 @rinternals{LyricHyphen}.
587 @node Techniques specific to lyrics
588 @subsection Techniques specific to lyrics
590 @c TODO This whole section is to be reorganized. -vv
593 * Working with lyrics and variables::
594 * Lyrics and repeats::
596 * Lyrics independent of notes::
597 * Spacing out syllables::
598 * Placement of lyrics between staves::
603 @node Working with lyrics and variables
604 @unnumberedsubsubsec Working with lyrics and variables
606 @cindex lyrics, variables
608 To define variables containing lyrics, the function @code{\lyricmode}
609 must be used. You do not have to enter durations though, if you add
610 @code{\addlyrics} or @code{\lyricsto}
611 when invoking your variable.
614 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
617 \new Voice = "one" \relative c'' @{
620 c4 b8. a16 g4. f8 e4 d c2
622 \addlyrics @{ \verseOne @}
627 For different or more complex orderings, the best way is to set up the
628 hierarchy of staves and lyrics first, e.g.,
631 \new Voice = "soprano" @{ @emph{music} @}
632 \new Lyrics = "sopranoLyrics" @{ s1 @}
633 \new Lyrics = "tenorLyrics" @{ s1 @}
634 \new Voice = "tenor" @{ @emph{music} @}
639 and then combine the appropriate melodies and lyric lines
642 \context Lyrics = sopranoLyrics \lyricsto "soprano"
647 The final input would resemble
650 <<\new ChoirStaff << @emph{setup the music} >>
651 \lyricsto "soprano" @emph{etc}
652 \lyricsto "alto" @emph{etc}
659 http://code.google.com/p/lilypond/issues/detail?id=329
660 The problem cannot be reproduced.
661 The following has no sense, because the issue seems to be fixed.
662 A comment is in tracker waiting for response ---FV
665 Be careful when defining a variable with lyrics that creates a new
666 context, for example, using the deprecated @code{\lyrics} command. See
667 the next erroneous example:
670 words = \lyrics{ %warning: this creates a new context
674 \new Voice = "sop" { c1 }
675 \new Lyrics \lyricsto "sop" { \words }
676 \new Voice = "alt" { c2 c }
677 \new Lyrics \lyricsto "alt" { \words }
681 the problem is that \lyricsto will try to connect the "sop" melody with the context
682 created by "\new Lyrics".
684 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
691 @c TODO: document \new Staff << Voice \lyricsto >> bug
693 @rinternals{LyricCombineMusic},
697 @node Lyrics and repeats
698 @unnumberedsubsubsec Lyrics and repeats
700 @c TODO New section. Add text
705 @unnumberedsubsubsec Divisi lyrics
707 You can display alternate (or divisi) lyrics by naming voice
708 contexts and attaching lyrics to those specific contexts.
710 @lilypond[verbatim,ragged-right,quote]
712 \new Voice = "melody" {
717 \new Voice = "splitpart" { \voiceTwo c4 }
722 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
723 \new Lyrics \lyricsto "splitpart" { will }
728 You can use this trick to display different lyrics for a repeated
731 @lilypond[verbatim,ragged-right,quote]
733 \new Voice = "melody" \relative c' {
735 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
737 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
740 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
742 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
743 dodo rere mimi fafa solsol }
750 @node Lyrics independent of notes
751 @unnumberedsubsubsec Lyrics independent of notes
753 @cindex Devnull context
755 In some complex vocal music, it may be desirable to place
756 lyrics completely independently of notes. Music defined
757 inside @code{lyricrhythm} disappears into the
758 @code{Devnull} context, but the rhythms can still be used
761 @lilypond[quote,verbatim,ragged-right]
764 \tag #'music { c''2 }
765 \tag #'lyricrhythm { c''4. c''8 }
769 lyr = \lyricmode { I like my cat! }
772 \new Staff \keepWithTag #'music \voice
773 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
774 \new Lyrics \lyricsto "nowhere" \lyr
775 \new Staff { c'8 c' c' c' c' c' c' c'
776 c' c' c' c' c' c' c' c' }
780 This method is recommended only if the music in the @code{Devnull}
781 context does not contain melismata. Melismata are defined by the
782 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
783 makes the voice/lyrics links to get lost, and so does the info on
784 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
785 the implicit melismata get ignored.
787 @c Conclusion: do not use devnull for lyrics -FV
789 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
791 @node Spacing out syllables
792 @unnumberedsubsubsec Spacing out syllables
794 @cindex Spacing lyrics
795 @cindex Lyrics, increasing space between
797 To increase the spacing between lyrics, set the @code{minimum-distance}
798 property of @code{LyricSpace}.
800 @lilypond[relative,verbatim,fragment,quote,ragged-right]
803 \override Lyrics.LyricSpace #'minimum-distance = #1.0
807 longtext longtext longtext longtext
808 longtext longtext longtext longtext
813 To make this change for all lyrics in the score, set the property in the
816 @lilypond[verbatim,quote,ragged-right]
823 longtext longtext longtext longtext
824 longtext longtext longtext longtext
829 \override LyricSpace #'minimum-distance = #1.0
836 @c This snippet has been renamed to "lyrics-alignment.ly"
837 @c update as soon as lsr/is updated -vv
838 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
839 @c {lyrics-alignment.ly}
841 @c TODO: move to LSR -vv
844 Checking to make sure that text scripts and lyrics are within the margins is
845 a relatively large computational task. To speed up processing, LilyPond does
846 not perform such calculations by default; to enable it, use
849 \override Score.PaperColumn #'keep-inside-line = ##t
852 To make lyrics avoid bar lines as well, use
858 \consists "Bar_engraver"
859 \consists "Separating_line_group_engraver"
860 \override BarLine #'transparent = ##t
865 @c TODO Create and add lsr example of lyricMelismaAlignment
866 @c It's used like this to center-align all lyric syllables,
867 @c even when notes are tied. -td
872 \context { \Score lyricMelismaAlignment = #0 }
877 @node Placement of lyrics between staves
878 @unnumberedsubsubsec Placement of lyrics between staves
880 @c TODO Add text from -user
881 @c TODO Add new spacing properties, centering lyrics, etc
888 * Adding stanza numbers::
889 * Adding dynamics marks to stanzas::
890 * Adding singers' names to stanzas::
891 * Stanzas with different rhythms::
892 * Printing stanzas at the end::
893 * Printing stanzas at the end in multiple columns::
897 @node Adding stanza numbers
898 @unnumberedsubsubsec Adding stanza numbers
900 @cindex stanza number
902 Stanza numbers can be added by setting @code{stanza}, e.g.,
904 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
906 \time 3/4 g2 e4 a2 f4 g2.
912 Oh, ché -- ri, je t'aime
918 These numbers are put just before the start of the first syllable.
920 @c TODO Create and add snippet to show how two lines of a
921 @c stanza can be grouped together, along these lines:
922 @c (might need improving a bit) -td
925 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
929 \set stanza = \markup { "1. " \leftbrace }
930 \lyricmode { Child, you're mine and I love you.
931 Lend thine ear to what I say.
937 % \set stanza = \markup { " "}
938 \lyricmode { Child, I have no great -- er joy
939 Than to have you walk in truth.
945 \repeat volta 2 { c'8 c' c' c' c' c' c'4
946 c'8 c' c' c' c' c' c'4 }
947 } \addlyrics { \stanzaOneOne }
948 \addlyrics { \stanzaOneThree }
952 @node Adding dynamics marks to stanzas
953 @unnumberedsubsubsec Adding dynamics marks to stanzas
955 Stanzas differing in loudness may be indicated by putting a
956 dynamics mark before each stanza. In LilyPond, everything coming in
957 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
958 are no different. For technical reasons, you have to set the stanza
959 outside @code{\lyricmode}:
961 @lilypond[quote,ragged-right,verbatim]
963 \set stanza = \markup { \dynamic "ff" "1. " }
970 \new Voice = "tune" {
974 \new Lyrics \lyricsto "tune" \text
978 @node Adding singers' names to stanzas
979 @unnumberedsubsubsec Adding singers' names to stanzas
982 @cindex name of singer
984 Names of singers can also be added. They are printed at the start of
985 the line, just like instrument names. They are created by setting
986 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
988 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
990 \time 3/4 g2 e4 a2 f4 g2.
992 \set vocalName = #"Bert "
995 \set vocalName = #"Ernie "
996 Oh, ché -- ri, je t'aime
1000 @node Stanzas with different rhythms
1001 @unnumberedsubsubsec Stanzas with different rhythms
1003 Often, different stanzas of one song are put to one melody in slightly
1004 differing ways. Such variations can still be captured with
1007 @subsubheading Ignoring melismata
1009 One possibility is that the text has a melisma in one stanza, but
1010 multiple syllables in another one. One solution is to make the faster
1011 voice ignore the melisma. This is done by setting
1012 @code{ignoreMelismata} in the Lyrics context.
1014 @lilypond[verbatim,ragged-right,quote]
1016 \relative c' \new Voice = "lahlah" {
1017 \set Staff.autoBeaming = ##f
1023 \new Lyrics \lyricsto "lahlah" {
1026 \new Lyrics \lyricsto "lahlah" {
1028 \set ignoreMelismata = ##t
1030 \unset ignoreMelismata
1037 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1038 not work if prefixed with @code{\once}. It is necessary to use
1039 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1042 @subsubheading Adding syllables to grace notes
1044 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1045 syllables when using @code{\lyricsto}, but this behavior can be
1048 @lilypond[verbatim,ragged-right,quote]
1050 f4 \appoggiatura a32 b4
1051 \grace { f16[ a16] } b2
1052 \afterGrace b2 { f16[ a16] }
1053 \appoggiatura a32 b4
1058 \set includeGraceNotes = ##t
1061 after -- grace case,
1062 \set ignoreMelismata = ##t
1069 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1070 set at latest one syllable before the one which is to be put under a
1071 grace note. For the case of a grace note at the very beginning of a
1072 piece of music, consider using a @code{\with} or @code{\context}
1075 @lilypond[verbatim,ragged-right,quote]
1077 \new Voice = melody \relative c' {
1078 \grace { c16[( d e f] }
1081 \new Lyrics \with { includeGraceNotes = ##t }
1088 @subsubheading Switching to an alternative melody
1090 More complex variations in text underlay are possible. It is possible
1091 to switch the melody for a line of lyrics during the text. This is
1092 done by setting the @code{associatedVoice} property. In the example
1094 @lilypond[ragged-right,quote]
1096 \relative c' \new Voice = "lahlah" {
1097 \set Staff.autoBeaming = ##f
1100 \new Voice = "alternative" {
1103 % show associations clearly.
1104 \override NoteColumn #'force-hshift = #-3
1115 \new Lyrics \lyricsto "lahlah" {
1116 Ju -- ras -- sic Park
1118 \new Lyrics \lyricsto "lahlah" {
1119 % Tricky: need to set associatedVoice
1120 % one syllable too soon!
1121 \set associatedVoice = alternative % applies to "ran"
1125 \set associatedVoice = lahlah % applies to "rus"
1131 the text for the first stanza is set to a melody called @q{lahlah},
1134 \new Lyrics \lyricsto "lahlah" @{
1135 Ju -- ras -- sic Park
1140 The second stanza initially is set to the @code{lahlah} context, but
1141 for the syllable @q{ran}, it switches to a different melody.
1142 This is achieved with
1144 \set associatedVoice = alternative
1148 Here, @code{alternative} is the name of the @code{Voice} context
1149 containing the triplet.
1151 @c TODO: make this easier to understand -vv
1152 This command must be one syllable too early, before @q{Ty} in this
1153 case. In other words, changing the associatedVoice happens one step
1154 later than expected. This is for technical reasons, and it is not a
1158 \new Lyrics \lyricsto "lahlah" @{
1159 \set associatedVoice = alternative % applies to "ran"
1163 \set associatedVoice = lahlah % applies to "rus"
1169 The underlay is switched back to the starting situation by assigning
1170 @code{lahlah} to @code{associatedVoice}.
1173 @node Printing stanzas at the end
1174 @unnumberedsubsubsec Printing stanzas at the end
1176 Sometimes it is appropriate to have one stanza set
1177 to the music, and the rest added in verse form at
1178 the end of the piece. This can be accomplished by adding
1179 the extra verses into a @code{\markup} section outside
1180 of the main score block. Notice that there are two
1181 different ways to force linebreaks when using
1184 @lilypond[ragged-right,verbatim,quote]
1185 melody = \relative c' {
1191 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1192 its fleece was white as snow.
1196 \new Voice = "one" { \melody }
1197 \new Lyrics \lyricsto "one" \text
1203 \line{ All the children laughed and played }
1204 \line{ To see a lamb at school. }
1211 Mary took it home again,
1213 It was against the rule."
1218 @node Printing stanzas at the end in multiple columns
1219 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1221 When a piece of music has many verses, they are often printed in
1222 multiple columns across the page. An outdented verse number often
1223 introduces each verse. The following example shows how to produce such
1226 @lilypond[ragged-right,quote,verbatim]
1227 melody = \relative c' {
1232 \set stanza = #"1." This is verse one.
1237 \new Voice = "one" { \melody }
1238 \new Lyrics \lyricsto "one" \text
1245 \hspace #0.1 % moves the column off the left margin;
1246 % can be removed if space on the page is tight
1250 "This is verse two."
1254 \hspace #0.1 % adds vertical spacing between verses
1257 "This is verse three."
1262 \hspace #0.1 % adds horizontal spacing between columns;
1263 % if they are still too close, add more " " pairs
1264 % until the result looks good
1268 "This is verse four."
1272 \hspace #0.1 % adds vertical spacing between verses
1275 "This is verse five."
1280 \hspace #0.1 % gives some extra space on the right margin;
1281 % can be removed if page space is tight
1288 Internals Reference:
1289 @rinternals{LyricText},
1290 @rinternals{StanzaNumber}.
1297 * References for songs::
1301 @node References for songs
1302 @unnumberedsubsubsec References for songs
1304 @c TODO chords, setting simple songs (LM), stanzas
1308 @unnumberedsubsubsec Lead sheets
1310 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1311 this syntax is explained in @ref{Chord notation}.
1314 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1315 {simple-lead-sheet.ly}
1319 @ref{Chord notation}.
1330 This section discusses notation issues that relate most directly
1331 to choral music. This includes anthems, part songs, oratorio,
1335 * References for choral::
1336 * Score layouts for choral::
1340 @node References for choral
1341 @unnumberedsubsubsec References for choral
1343 Choral music is usually notated on two, three or four staves within
1344 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1345 beneath in a @code{PianoStaff} group, which is usually reduced in
1346 size for @emph{a capella} choral works. The notes for each vocal
1347 part are placed in a @code{Voice} context, with each staff
1348 being given either a single vocal part (i.e., one @code{Voice}) or
1349 a pair of vocal parts (i.e., two @code{Voice}s).
1351 Words are placed in @code{Lyrics} contexts, either underneath each
1352 corresponding music staff, or one above and one below the music
1353 staff if this contains the music for two parts.
1355 Several common topics in choral music are described fully elsewhere:
1360 An introduction to creating an SATB vocal score can be found in
1361 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1364 Several templates suitable for various styles of choral music can
1365 also be found in the Learning Manual, see
1366 @rlearning{Vocal ensembles}.
1369 For information about @code{ChoirStaff} and @code{PianoStaff} see
1370 @ref{Grouping staves}.
1373 Shape noteheads, as used in Sacred Harp and similar notation, are
1374 described in @ref{Shape note heads}.
1377 When two vocal parts share a staff the stems, ties, slurs, etc., of
1378 the higher part will be directed up and those of the lower part
1379 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1380 @ref{Single-staff polyphony}.
1391 @rlearning{Four-part SATB vocal score},
1392 @rlearning{Vocal ensembles}.
1395 @ref{Context layout order},
1396 @ref{Grouping staves},
1397 @ref{Shape note heads},
1398 @ref{Single-staff polyphony}.
1400 Internals Reference:
1401 @rinternals{ChoirStaff},
1402 @rinternals{Lyrics},
1403 @rinternals{PianoStaff}.
1405 @node Score layouts for choral
1406 @unnumberedsubsubsec Score layouts for choral
1408 Choral music containing four staves, with or without piano
1409 accompaniment, is usually laid out with two systems per page.
1410 Depending on the page size, achieving this may require changes
1411 to several default settings. The following settings should be
1417 The global staff size can be modified to change the overall size
1418 of the elements of the score. See @ref{Setting the staff size}.
1421 The distances between the systems, the staves and the lyrics can
1422 all be adjusted independently. See @ref{Vertical spacing}.
1425 The dimensions of the vertical layout variables can be displayed as
1426 an aid to adjusting the vertical spacing. This and other
1427 possibilities for fitting the music onto fewer pages are described
1428 in @ref{Fitting music onto fewer pages}.
1431 If the number of systems per page changes from one to two it is
1432 customary to indicate this with a system separator mark between
1433 the two systems. See @ref{Separating systems}.
1436 For details of other page formatting properties, see
1437 @ref{Page formatting}.
1442 Dynamic markings by default are placed below the staff, but in
1443 choral music they are usually placed above the staff in order to
1444 avoid the lyrics. The predefined command @code{\dynamicUp} does
1445 this for the dynamic markings in a single @code{Voice} context.
1446 If there are many @code{Voice} contexts this predefined command
1447 would have to be placed in every one. Alternatively its expanded
1448 form can be used to place all dynamic markings in the entire score
1449 above their respective staves, as shown here:
1451 @lilypond[verbatim,quote]
1456 \relative c'' { g4\f g g g }
1461 \relative c' { d4 d d\p d }
1468 \override DynamicText #'direction = #UP
1469 \override DynamicLineSpanner #'direction = #UP
1476 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
1480 @ref{Changing spacing},
1481 @ref{Displaying spacing},
1482 @ref{Fitting music onto fewer pages},
1483 @ref{Page formatting},
1485 See @ref{Separating systems},
1486 @ref{Setting the staff size},
1487 @ref{Using an extra voice for breaks},
1488 @ref{Vertical spacing}.
1490 Internals Reference:
1491 @rinternals{VerticalAxisGroup},
1492 @rinternals{StaffGrouper}.
1495 @node Divided voices
1496 @unnumberedsubsubsec Divided voices
1498 @cindex voices, divided
1500 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1501 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
1505 @ref{Expressive marks as lines}.
1508 @node Opera and stage musicals
1509 @subsection Opera and stage musicals
1511 The music, lyrics and dialogue to opera and stage musicals are
1512 usually set out in one or more of the following forms:
1517 A @emph{Conductors' Score} containing the full orchestral and vocal
1518 parts, together with libretto cues if there are spoken passages.
1521 @emph{Orchestral Parts} containing the music for the individual
1522 instruments of the orchestra or band.
1525 A @emph{Vocal Score} containing all vocal parts with piano
1526 accompaniment. The accompaniment is usually an orchestral
1527 reduction, and if so the name of the original orchestral instrument
1528 is often indicated. Vocal scores sometimes includes stage
1529 directions and libretto cues.
1532 A @emph{Vocal Book} containing just the vocal parts
1533 (no accompaniment), sometimes combined with the libretto.
1536 A @emph{Libretto} containing the extended passages of spoken
1537 dialogue usually found in musicals, together with the words to the
1538 sung parts. Stage directions are usually included. LilyPond can
1539 be used to typeset libretti but as they contain no music
1540 alternative methods may be preferable.
1544 The sections in the LilyPond documentation which cover the topics
1545 needed to create scores in the styles commonly found in opera and
1546 musicals are indicated in the References below. This is followed
1547 by sections covering those techniques which are peculiar to
1548 typesetting opera and musical scores.
1551 * References for opera and stage musicals::
1553 * Dialogue over music::
1556 @node References for opera and stage musicals
1557 @unnumberedsubsubsec References for opera and stage musicals
1562 A conductors' score contains many grouped staves and lyrics. Ways
1563 of grouping staves is shown in @ref{Grouping staves}. To nest
1564 groups of staves see @ref{Nested staff groups}.
1567 The printing of empty staves in conductors' scores and vocal scores
1568 is often suppressed. To create such a @qq{Frenched score} see
1569 @ref{Hiding staves}.
1572 Writing orchestral parts is covered in @ref{Writing parts}.
1573 Other sections in the Specialist notation chapter may be relevant,
1574 depending on the orchestration used. Many instruments are
1575 transposing instruments, see @ref{Instrument transpositions}.
1578 If the number of systems per page changes from page to page it is
1579 customary to separate the systems with a system separator mark.
1580 See @ref{Separating systems}.
1583 For details of other page formatting properties, see
1584 @ref{Page formatting}.
1587 Character names are usually shown to the left of the staff when the
1588 staff is dedicated to that character alone. The instrument name can
1589 be used for this purpose. See @ref{Instrument names}.
1592 When two or more characters share a staff the character's name is
1593 usually printed above the staff at the start of every section
1594 applying to that character. This can be done with markup. The use
1595 of markup is covered fully in @ref{Text}. Often a specific font is
1596 used for this purpose, see @ref{Selecting font and font size}.
1599 Musical cues can be inserted with the @code{\cueDuring} predefined
1600 command. For details of its use see @ref{Formatting cue notes}.
1603 Dialogue cues and stage directions can be inserted with markup.
1604 See @ref{Text}. Extensive stage directions can be inserted with
1605 a section of stand-alone markup between two @code{\score} blocks.
1606 See @ref{Separate text}.
1612 @code{\quoteDuring}.
1617 @rglos{Frenched score},
1618 @rglos{Frenched staves},
1619 @rglos{transposing instrument}.
1622 @ref{Grouping staves},
1623 @ref{Hiding staves},
1624 @ref{Instrument names},
1625 @ref{Instrument transpositions},
1626 @ref{Nested staff groups},
1627 @ref{Page formatting},
1628 @ref{Selecting font and font size},
1629 @ref{Separating systems},
1632 @ref{Writing parts},
1637 @unnumberedsubsubsec Spoken music
1640 @cindex Sprechgesang
1641 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
1642 without pitch but still with rhythm; these are notated by cross
1643 note heads, as demonstrated in @ref{Special note heads}.
1645 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
1646 @c add "showing the rhythm of a melody" snip
1647 @c add "one staff-line notation"
1648 @c add "improvisation" ref
1649 @c add "lyrics independents of notes" ref
1651 @node Dialogue over music
1652 @unnumberedsubsubsec Dialogue over music
1657 @node Chants psalms and hymns
1658 @subsection Chants psalms and hymns
1663 @cindex religious music
1665 The music and words for chants, psalms and hymns usually follow a
1666 well-established format in any particular church. Although the
1667 formats may differ from church to church the type-setting problems
1668 which arise are broadly similar, and are covered in this section.
1671 * References for chants and psalms::
1673 * Pointing a psalm::
1674 * Partial measures in hymn tunes::
1677 @node References for chants and psalms
1678 @unnumberedsubsubsec References for chants and psalms
1680 Typesetting Gregorian chant in various styles of ancient notation
1681 is described in @ref{Ancient notation}.
1685 @ref{Ancient notation}.
1688 @node Setting a chant
1689 @unnumberedsubsubsec Setting a chant
1691 Modern chant settings use modern notation with varying numbers of
1692 elements taken from ancient notation. Some of the elements and
1693 methods to consider are shown here.
1695 Chants often use quarter notes without stems to indicate the pitch,
1696 with the rhythm being taken from the spoken rhythm of the words.
1698 @lilypond[verbatim,quote]
1699 stemOff = { \override Staff.Stem #'transparent = ##t }
1708 Chants often omit the bar lines or use shortened or dotted bar
1709 lines to indicate pauses in the music. To omit all bar lines from
1710 all staves remove the bar line engraver completely:
1712 @lilypond[verbatim,quote]
1733 \remove Bar_engraver
1739 Bar lines can also be removed on a staff-by-staff basis:
1741 @lilypond[verbatim, quote]
1745 \with { \remove Bar_engraver } {
1763 To remove bar lines from just a section of music treat it as a
1764 cadenza. If the section is long you may need to insert dummy
1765 barlines with @code{\bar ""} to show where the line should break.
1767 @lilypond[verbatim,quote,relative=2]
1780 Rests or pauses in chants can be indicated by modified bar lines.
1782 @lilypond[verbatim, quote,relative=2]
1797 Alternatively, the notation used in Gregorian chant for pauses or
1798 rests is sometimes used even though the rest of the notation is
1799 modern. This uses a modified @code{\breathe} mark:
1801 @lilypond[verbatim,quote]
1803 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
1804 \once \override BreathingSign #'Y-offset = #0
1808 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
1809 \once \override BreathingSign #'Y-offset = #0
1813 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
1814 \once \override BreathingSign #'Y-offset = #0
1818 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
1819 \once \override BreathingSign #'Y-offset = #0
1837 \remove Bar_engraver
1843 Chants usually omit the time signature and often omit the clef too.
1845 @lilypond[verbatim,quote]
1857 \remove Bar_engraver
1858 \remove Time_signature_engraver
1859 \remove Clef_engraver
1865 Chants for psalms in the Anglican tradition are usually either
1866 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
1867 of 7 bars. Each group of 7 bars is divided into two halves,
1868 corresponding to the two halves of each verse, usually separated by
1869 a double bar line. Only whole and half notes are used. The 1st bar
1870 in each half always contains a single chord of whole notes. This is
1871 the @qq{reciting note}. Chants are usually centered on the page.
1873 @lilypond[verbatim,quote]
1874 SopranoMusic = \relative g' {
1875 g1 | c2 b | a1 | \bar "||"
1876 a1 | d2 c | c b | c1 | \bar "||"
1879 AltoMusic = \relative c' {
1881 f1 | f2 e | d d | e1 |
1884 TenorMusic = \relative a {
1886 d1 | g,2 g | g g | g1 |
1889 BassMusic = \relative c {
1891 d1 | b2 c | g' g | c,1 |
1898 % Use markup to center the chant on the page
1907 \new Voice = "Soprano" <<
1911 \new Voice = "Alto" <<
1919 \new Voice = "Tenor" <<
1923 \new Voice = "Bass" <<
1933 \override SpacingSpanner
1934 #'base-shortest-duration = #(ly:make-moment 1 2)
1938 \remove "Time_signature_engraver"
1946 Some other approaches to setting such a chant are shown in the first
1947 of the following snippets.
1951 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1952 {chant-or-psalms-notation.ly}
1954 Canticles and other liturgical texts may be set more freely, and
1955 may use notational elements from ancient music. Often the words
1956 are shown underneath and aligned with the notes. If so, the notes
1957 are spaced in accordance with the syllables rather than the notes'
1960 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1961 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
1965 @rlearning{Visibility and color of objects},
1966 @rlearning{Vocal ensembles}.
1969 @ref{Ancient notation},
1971 @ref{Modifying context plug-ins},
1972 @ref{Typesetting Gregorian chant},
1973 @ref{Unmetered music},
1974 @ref{Visibility of objects}.
1977 @node Pointing a psalm
1978 @unnumberedsubsubsec Pointing a psalm
1980 The words to an Anglican psalm are usually printed in separate
1981 verses centered underneath the chant.
1983 Single chants (with 7 bars) are repeated for every verse. Double
1984 chants (with 14 bars) are repeated for every pair of verses. Marks
1985 are inserted in the words to show how they should be fitted to the
1986 chant. Each verse is divided into two halves. A colon is usually
1987 used to indicate this division. This corresponds to the double bar
1988 line in the music. The words before the colon are sung to the first
1989 three bars of music; the words after the colon are sung to the last
1992 Single bar lines (or in some psalters an inverted comma or similar
1993 symbol) are inserted between words to indicate where the bar lines
1994 in the music fall. In markup mode a single bar line can be entered
1995 with the bar check symbol, @code{|}.
1997 @lilypond[verbatim,quote]
2002 \line { O come let us sing | unto the | Lord : let }
2003 \line { us heartily rejoice in the | strength of | our }
2004 \line { sal- | -vation. }
2011 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2012 For details, see @ref{Fonts}.
2014 @lilypond[verbatim,quote]
2016 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2022 \line { O come let us sing \tick unto the \tick Lord : let }
2024 us heartily rejoice in the \tick strength of \tick our
2026 \line { sal \tick vation. }
2033 Where there is one whole note in a bar all the words corresponding
2034 to that bar are recited on that one note in speech rhythm. Where
2035 there are two notes in a bar there will usually be only one or two
2036 corresponding syllables. If there are more that two syllables a
2037 dot is usually inserted to indicate where the change in note occurs.
2039 @lilypond[verbatim,quote]
2041 \raise #0.7 \musicglyph #"dots.dot"
2044 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2051 O come let us sing \tick unto \dot the \tick Lord : let
2054 us heartily rejoice in the \tick strength of \tick our
2056 \line { sal \tick vation. }
2063 In some psalters an asterisk is used to indicate a break in a
2064 recited section instead of a comma, and stressed or slightly
2065 lengthened syllables are indicated in bold text.
2067 @lilypond[verbatim,quote]
2069 \raise #0.7 \musicglyph #"dots.dot"
2072 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2078 \line { Today if ye will hear his voice * }
2080 \concat { \bold hard en }
2081 | not your | hearts : as in the pro-
2083 \line { vocation * and as in the \bold day of tempt- | }
2084 \line { -ation | in the | wilderness. }
2091 In other psalters an accent is placed over the syllable to indicate
2094 @lilypond[verbatim,quote]
2096 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2103 O come let us \concat {
2104 si \combine \tick ng
2106 | unto the | Lord : let
2109 us heartily \concat {
2110 rejo \combine \tick ice
2112 in the | strength of | our
2114 \line { sal- | -vation. }
2121 The use of markup to center text, and arrange lines in columns is
2122 described in @ref{Formatting text}.
2124 Most of these elements are shown in one or other of the two verses
2125 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
2129 @rlearning{Vocal ensembles}.
2133 @ref{Formatting text}.
2136 @node Partial measures in hymn tunes
2137 @unnumberedsubsubsec Partial measures in hymn tunes
2139 Hymn tunes frequently start and end every line of music with
2140 partial measures so that each line of music corresponds exactly
2141 with a line of text. This requires a @code{\partial} command at
2142 the start of the music and @code{\bar "|"} or @code{\bar "||"}
2143 commands at the end of each line.
2145 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2149 @node Ancient vocal music
2150 @subsection Ancient vocal music
2152 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
2156 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
2157 @c and "Transcription of Ancient music with incipit" snippet. -vv
2161 @ref{Ancient notation}.