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
82 @unnumberedsubsubsec Entering lyrics
84 @cindex lyrics, entering
85 @cindex entering lyrics
86 @cindex punctuation in lyrics
87 @cindex lyrics punctuation
88 @cindex spaces in lyrics
89 @cindex quotes in lyrics
92 @c TODO should we explain hyphens here
94 Lyrics are entered in a special input mode, which can be introduced
95 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
96 @code{\lyricsto}. In this special input mode, the input @code{d}
97 is not parsed as the pitch @notation{D}, but rather as a one-letter
98 syllable of text. In other words, syllables are entered like notes
99 but with pitches replaced by text.
104 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
107 There are two main methods for specifying the horizontal placement
108 of the syllables, either by specifying the duration of each syllable
109 explicitly, as in the example above, or by leaving the lyrics to be
110 aligned automatically to a melody or other voice of music, using
111 @code{\addlyrics} or @code{\lyricsto}. The former method is
112 described below in @ref{Manual syllable durations}. The latter
113 method is described in @ref{Automatic syllable durations}.
115 A word or syllable of lyrics begins with an alphabetic character
116 (plus some other characters, see below) and is terminated by any
117 white space or a digit. Later characters in the syllable can be any
118 character that is not a digit or white space.
120 Because any character that is not a digit or white space is regarded
121 as part of the syllable, a word is valid even if it ends with
122 @code{@}}, which often leads to the following mistake:
125 \lyricmode @{ lah lah lah@}
128 In this example, the @code{@}} is included in the final syllable, so the
129 opening brace is not balanced and the input file will probably not
130 compile. Instead, braces should always be surrounded with white space:
133 \lyricmode @{ lah lah lah @}
136 @cindex overrides in lyric mode
137 @funindex \override in \lyricmode
139 Similarly, in lyric mode, a period will be included in the
140 alphabetic sequence that it follows. As a consequence, spaces
141 must be inserted around the period in @code{\override} commands.
145 \override Score.LyricText #'font-shape = #'italic
152 \override Score . LyricText #'font-shape = #'italic
155 Punctuation, lyrics with accented characters, characters from
156 non-English languages, or special characters (such as the heart
157 symbol or slanted quotes), may simply be inserted directly
158 into the input file, providing it is saved with UTF-8 encoding.
159 For more information, see @ref{Text encoding}.
161 @lilypond[quote,verbatim]
162 \relative c'' { d8 c16 a bes8 f e' d c4 }
163 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
166 Normal quotes may be used in lyrics, but they have to be preceded
167 with a backslash character and the whole syllable has to be
168 enclosed between additional quotes. For example,
170 @lilypond[quote,verbatim]
171 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
172 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
175 The full definition of a word start in lyrics mode is somewhat more
176 complex. A word in lyrics mode is one that begins with an
177 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
178 @code{'}, the control characters @code{^A} through @code{^F},
179 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
180 character with an ASCII code over 127, or a two-character
181 combination of a backslash followed by one of @code{`}, @code{'},
182 @code{"}, or @code{^}.
184 @c " to balance double quotes for not-so-bright context-sensitive editors
191 @ref{Automatic syllable durations},
194 @ref{Manual syllable durations}.
197 @rinternals{LyricText}.
200 @node Aligning lyrics to a melody
201 @unnumberedsubsubsec Aligning lyrics to a melody
203 @cindex lyrics, aligning to a melody
204 @cindex @code{associatedVoice}
209 Lyrics are printed by interpreting them in the context called
210 @code{Lyrics}, see @ref{Contexts explained}.
213 \new Lyrics \lyricmode @{ @dots{} @}
216 Lyrics can be aligned with melodies in two main ways:
221 Lyrics can be aligned automatically, with the durations of the
222 syllables being taken from another voice of music or (in special
223 circumstances) an associated melody, using @code{\addlyrics},
224 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
225 For more details, see @ref{Automatic syllable durations}.
227 @lilypond[quote,ragged-right,verbatim]
231 \new Voice = "one" \relative c'' {
233 c4 b8. a16 g4. r8 a4 ( b ) c2
235 \new Voice = "two" \relative c' {
241 % takes durations and alignment from notes in "one"
242 \new Lyrics \lyricsto "one" {
243 Life is __ _ love, live __ life.
246 % takes durations and alignment from notes in "one" initially
247 % then switches to "two"
248 \new Lyrics \lyricsto "one" {
250 \set associatedVoice = "two" % must be set one syllable early
251 sins and sor -- rows grow.
256 The first stanza shows the normal way of entering lyrics.
258 The second stanza shows how the voice from which the lyric
259 durations are taken can be changed. This is useful if the words to
260 different stanzas fit the notes in different ways and all the
261 durations are available in Voice contexts. For more details, see
265 Lyrics can be aligned independently of the duration of any notes
266 if the durations of the syllables are specified explicitly,
267 and entered with @code{\lyricmode}.
269 @lilypond[quote,ragged-right,verbatim]
271 \new Voice = "one" \relative c'' {
273 c4 b8. a16 g4. f8 e4 d c2
276 % uses previous explicit duration of 2;
277 \new Lyrics \lyricmode {
281 % explicit durations, set to a different rhythm
282 \new Lyrics \lyricmode {
283 Life4 is love,2. live4 life.2
288 The first stanza is not aligned with the notes because the durations
289 were not specified, and the previous value of 2 is used for each
292 The second stanza shows how the words can be aligned quite
293 independently from the notes. This is useful if the words to
294 different stanzas fit the notes in different ways and the required
295 durations are not available in a music context. For more details
296 see @ref{Manual syllable durations}. This technique is also useful
297 when setting dialogue over music; for examples showing this, see
298 @ref{Dialogue over music}.
300 When entered in this way the words are left-aligned to the notes
301 by default, but may be center-aligned to the notes of a melody by
302 specifying an associated voice, if one exists. For details, see
303 @ref{Manual syllable durations}.
309 @rlearning{Aligning lyrics to a melody}.
314 @node Automatic syllable durations
315 @unnumberedsubsubsec Automatic syllable durations
317 @cindex syllable durations, automatic
318 @cindex lyrics and melodies
319 @cindex associatedVoice
323 Lyrics can be automatically aligned to the notes of a melody in
329 by specifying the named Voice context containing the melody with
333 by introducing the lyrics with @code{\addlyrics} and placing them
334 immediately after the Voice context containing the melody,
337 by setting the @code{associatedVoice} property, the alignment of
338 the lyrics may be switched to a different named Voice context at
343 In all three methods hyphens can be drawn between the syllables of
344 a word and extender lines can be drawn beyond the end of a word. For
345 details, see @ref{Extenders and hyphens}.
347 The @code{Voice} context containing the melody to which the lyrics
348 are being aligned must not have @qq{died}, or the lyrics after that
349 point will be lost. This can happen if there are periods when that
350 voice has nothing to do. For methods of keeping contexts alive, see
351 @ref{Keeping contexts alive}.
353 @subheading Using @code{\lyricsto}
358 Lyrics can be aligned under a melody automatically by specifying
359 the named Voice context containing the melody with
362 @lilypond[quote,verbatim,relative=2]
364 \new Voice = "melody" {
367 \new Lyrics \lyricsto "melody" {
374 This aligns the lyrics to the notes of the named @code{Voice}
375 context, which must already exist. Therefore normally the
376 @code{Voice} context is specified first, followed by the
377 @code{Lyrics} context. The lyrics themselves follow the
378 @code{\lyricsto} command. The @code{\lyricsto} command
379 invokes lyric mode automatically, so the @code{\lyricmode} keyword
380 may be omitted. By default, the lyrics are placed underneath the
381 notes. For other placements, see @ref{Placing lyrics vertically}.
383 @subheading Using @code{\addlyrics}
388 The @code{\addlyrics} command is just a convenient shortcut that
389 can sometimes be used instead of having to set up the lyrics
390 through a more complicated LilyPond structure.
394 \addlyrics @{ LYRICS @}
401 \new Voice = "blah" @{ MUSIC @}
402 \new Lyrics \lyricsto "blah" @{ LYRICS @}
407 @lilypond[verbatim,quote]
410 \relative c' { c2 e4 g2. }
411 \addlyrics { play the game }
415 More stanzas can be added by adding more
416 @code{\addlyrics} sections:
419 @lilypond[ragged-right,verbatim,fragment,quote]
421 \relative c' { c2 e4 g2. }
422 \addlyrics { play the game }
423 \addlyrics { speel het spel }
424 \addlyrics { joue le jeu }
427 The command @code{\addlyrics} cannot handle polyphonic settings.
428 For these cases one should use @code{\lyricsto}.
430 @subheading Using associatedVoice
432 The melody to which the lyrics are being aligned can be changed by
433 setting the @code{associatedVoice} property,
436 \set associatedVoice = #"lala"
441 The value of the property (here: @code{"lala"}) should be the name
442 of a @code{Voice} context. For technical reasons, the @code{\set}
443 command must be placed one syllable before the one to which the
444 change in voice is to apply.
446 Here is an example demonstrating its use:
448 @lilypond[quote,ragged-right,verbatim]
452 \new Voice = "one" \relative c'' {
454 c4 b8. a16 g4. r8 a4 ( b ) c2
456 \new Voice = "two" \relative c' {
461 % takes durations and alignment from notes in "one" initially
462 % then switches to "two"
463 \new Lyrics \lyricsto "one" {
465 \set associatedVoice = "two" % must be set one syllable early
466 sins and sor -- rows grow.
473 @ref{Extenders and hyphens},
474 @ref{Keeping contexts alive}.
476 @node Manual syllable durations
477 @unnumberedsubsubsec Manual syllable durations
479 In some complex vocal music, it may be desirable to place lyrics
480 completely independently of notes. In this case do not use
481 @code{\lyricsto} or @code{\addlyrics} and do not set
482 @code{associatedVoice}. Syllables are entered like notes --
483 but with pitches replaced by text -- and the duration of each
484 syllable is entered explicitly after the syllable.
486 By default, syllables will be left-aligned to the corresponding
487 musical moment. Hyphenated lines may be drawn between syllables
488 as usual, but extender lines cannot be drawn when there is no
491 Here are two examples:
493 @lilypond[relative=1,verbatim,quote]
495 \new Voice = "melody" {
499 \new Lyrics \lyricmode {
506 @lilypond[quote,verbatim,ragged-right]
528 This technique is useful when writing dialogue over music, see
529 @ref{Dialogue over music}.
531 To center-align syllables on the notes at the corresponding musical
532 moments, set @code{associatedVoice} to the name of the Voice context
533 containing those notes. When @code{associatedVoice} is set, both
534 double hyphens and double underscores can be used to draw
535 hyphenated lines and extenders under melismata correctly.
537 @lilypond[relative=1,verbatim,quote]
539 \new Voice = "melody" {
543 \new Lyrics \lyricmode {
544 \set associatedVoice = #"melody"
550 @c TODO see also feature request 707 - show how to do this with manual durations
554 @ref{Dialogue over music}.
561 @node Multiple syllables to one note
562 @unnumberedsubsubsec Multiple syllables to one note
565 @cindex spaces, in lyrics
566 @cindex quotes, in lyrics
567 @cindex ties, in lyrics
569 In order to assign more than one syllable to a single note with
570 spaces between the syllables, you can surround the phrase with
571 quotes or use a @code{_} character. Alternatively, you can use
572 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
573 tie is implemented with the Unicode character U+203F, so be
574 sure to have a font (like DejaVuLGC) installed that includes this
577 @lilypond[quote,ragged-right,fragment,verbatim]
579 \relative c' { c2 e4 g2 e4 }
580 \addlyrics { gran- de_a- mi- go }
581 \addlyrics { pu- "ro y ho-" nes- to }
582 \addlyrics { pu- ro~y~ho- nes- to }
588 @rinternals{LyricCombineMusic}.
591 @node Multiple notes to one syllable
592 @unnumberedsubsubsec Multiple notes to one syllable
596 @cindex phrasing, in lyrics
598 @funindex \melismaEnd
600 Sometimes, particularly in Medieval music, several notes are to be
601 sung on one syllable; such vocalises are called melismata, or
602 @rglos{melisma}s. The syllable to a melisma is usually
603 left-aligned with the first note of the melisma.
605 When a melisma occurs on a syllable other that the last one in a
606 word, that syllable is usually joined to the following one with a
607 hyphenated line. This is indicated by placing a double hyphen,
608 @code{--}, immediately after the syllable.
610 Alternatively, when a melisma occurs on the last or only syllable in
611 a word an extender line is usually drawn from the end of the syllable
612 to the last note of the melisma. This is indicated by placing a
613 double underscore, @code{__}, immediately after the word.
615 There are five ways in which melismata can be indicated:
620 Melismata are created automatically over notes which are tied
623 @lilypond[quote,relative=2,verbatim]
625 \new Voice = "melody" {
631 \new Lyrics \lyricsto "melody" {
638 Melismata can be created automatically from the music by placing
639 slurs over the notes of each melisma. This is the usual way of
642 @lilypond[quote,relative=2,verbatim]
644 \new Voice = "melody" {
649 \new Lyrics \lyricsto "melody" {
656 Notes are considered a melisma if they are manually beamed,
657 providing automatic beaming is switched off. See
658 @ref{Setting automatic beam behavior}.
660 @lilypond[quote,relative=2,verbatim]
662 \new Voice = "melody" {
668 \new Lyrics \lyricsto "melody" {
674 Clearly this is not suited to melismata over notes which are longer
678 An unslurred group of notes will be treated as a melisma if they
679 are bracketed between @code{\melisma} and @code{\melismaEnd}.
681 @lilypond[quote,relative=2,verbatim]
683 \new Voice = "melody" {
691 \new Lyrics \lyricsto "melody" {
697 Note that this method cannot be used to indicate two melismata if
698 the first one is immediately followed by another.
701 A melisma can be defined entirely in the lyrics by entering a
702 single underscore character, @code{_}, for every extra note that has
703 to be added to the melisma.
705 @lilypond[verbatim, quote, relative=2]
707 \new Voice = "melody" {
712 \new Lyrics \lyricsto "melody" {
713 Ki -- ri -- _ _ _ e __ _ _
720 It is possible to have ties, slurs and manual beams in the melody
721 without their indicating melismata. To do this, set
722 @code{melismaBusyProperties} and indicate the melismata with single
723 underscores in the lyrics, one underscore for each extra note:
725 @lilypond[relative=1,verbatim,quote]
727 \new Voice = "melody" {
729 \set melismaBusyProperties = #'()
734 \new Lyrics \lyricsto "melody" {
735 Ky -- _ _ _ _ ri -- _ _ e __ _
740 Other settings for @code{melismaBusyProperties} can be used to
741 include or exclude ties, slurs, and beams from the automatic
742 detection of melismata; see @code{melismaBusyProperties} in
743 @rinternals{Tunable context properties}.
757 @rlearning{Aligning lyrics to a melody}.
760 @ref{Aligning lyrics to a melody},
761 @ref{Automatic syllable durations},
762 @ref{Setting automatic beam behavior}.
765 @rinternals{Tunable context properties}.
769 Extender lines under melismata are not created automatically; they
770 must be inserted manually with a double underscore.
773 @unnumberedsubsubsec Skipping notes
775 Making a lyric line run slower than the melody can be achieved by
776 inserting @code{\skip}s into the lyrics. For every @code{\skip},
777 the text will be delayed by another note. The @code{\skip} command
778 must be followed by a valid duration, but this is ignored when
779 @code{\skip} is used in lyrics which derive their durations from the
780 notes in an associated melody through @code{\addlyrics} or
783 @lilypond[verbatim,ragged-right,quote]
784 \relative c' { c c g' }
792 @node Extenders and hyphens
793 @unnumberedsubsubsec Extenders and hyphens
798 @c TODO cf Multiple notes to one syllable; should this be merged in?
800 @c leave this as samp. -gp
801 In the last syllable of a word, melismata are sometimes indicated with
802 a long horizontal line starting in the melisma syllable, and ending in
803 the next one. Such a line is called an extender line, and it is
804 entered as @samp{ __ } (note the spaces before and after the two
805 underscore characters).
807 @warning{Melismata are indicated in the score with extender lines,
808 which are entered as one double underscore; but short melismata can
809 also be entered by skipping individual notes, which are entered as
810 single underscore characters; these do not make an extender line to be
815 @c leave this as samp. -gp
816 Centered hyphens are entered as @samp{ -- } between syllables of a
817 same word (note the spaces before and after the two hyphen
818 characters). The hyphen will be centered between the syllables, and
819 its length will be adjusted depending on the space between the
822 In tightly engraved music, hyphens can be removed. Whether this
823 happens can be controlled with the @code{minimum-distance} (minimum
824 distance between two syllables) and the @code{minimum-length}
825 (threshold below which hyphens are removed) properties of
831 @rinternals{LyricExtender},
832 @rinternals{LyricHyphen}.
835 @node Techniques specific to lyrics
836 @subsection Techniques specific to lyrics
838 @c TODO this whole section is to be reorganised
841 * Working with lyrics and variables::
842 * Placing lyrics vertically::
843 * Placing syllables horizontally::
844 * Lyrics and repeats::
850 @node Working with lyrics and variables
851 @unnumberedsubsubsec Working with lyrics and variables
853 @cindex lyrics, using variables
855 Variables containing lyrics can be created, but the lyrics must be
856 entered in lyric mode:
858 @lilypond[quote,verbatim]
859 musicOne = \relative c'' {
860 c4 b8. a16 g4. f8 e4 d c2
862 verseOne = \lyricmode {
863 Joy to the world, the Lord is come.
871 \new Lyrics \lyricsto "one" {
878 Durations do not need to be added if the variable is to be invoked
879 with @code{\addlyrics} or @code{\lyricsto}.
881 For different or more complex orderings, the best way is to define
882 the music and lyric variables first, then set up the hierarchy of
883 staves and lyrics, omitting the lyrics themselves, and then add the
884 lyrics using @code{\context} underneath. This ensures that the
885 voices referenced by @code{\lyricsto} have always been defined
886 earlier. For example:
888 @lilypond[quote,verbatim]
889 sopranoMusic = \relative c'' { c4 c c c }
890 contraltoMusic = \relative c'' { a4 a a a }
891 sopranoWords = \lyricmode { Sop -- ra -- no words }
892 contraltoWords = \lyricmode { Con -- tral -- to words }
897 \new Voice = "sopranos" {
901 \new Lyrics = "sopranos"
902 \new Lyrics = "contraltos"
904 \new Voice = "contraltos" {
908 \context Lyrics = "sopranos" {
909 \lyricsto "sopranos" {
913 \context Lyrics = "contraltos" {
914 \lyricsto "contraltos" {
925 @ref{Placing lyrics vertically}.
928 @rinternals{LyricCombineMusic},
932 @node Placing lyrics vertically
933 @unnumberedsubsubsec Placing lyrics vertically
935 @cindex placement of lyrics
936 @cindex lyrics, positioning
938 Depending on the type of music, lyrics may be positioned
939 above the staff, below the staff, or between staves. Placing
940 lyrics below the associated staff is the easiest, and can be
941 achieved by simply defining the Lyrics context below the Staff
944 @lilypond[quote,verbatim]
948 \new Voice = "melody" {
949 \relative c'' { c4 c c c }
961 Lyrics may be positioned above the staff using one of
962 two methods. The simplest is to use the same syntax as
963 above and explicitly specify the position of the lyrics:
965 @lilypond[quote,verbatim]
968 \new Staff = "staff" {
969 \new Voice = "melody" {
970 \relative c'' { c4 c c c }
973 \new Lyrics \with { alignAboveContext = "staff" } {
982 Alternatively, a two-step process may be used. First the Lyrics
983 context is declared (without any content) before the Staff and
984 Voice contexts, then the @code{\lyricsto} command is placed after
985 the Voice declaration it references by using @code{\context}, as
988 @lilypond[quote,verbatim]
991 \new Lyrics = "lyrics"
993 \new Voice = "melody" {
994 \relative c'' { c4 c c c }
997 \context Lyrics = "lyrics" {
1006 When there are two voices on separate staves the lyrics may be
1007 placed between the staves using either of these methods. Here
1008 is an example of the second method:
1010 @lilypond[quote,verbatim]
1014 \new Voice = "sopranos" {
1015 \relative c'' { c4 c c c }
1018 \new Lyrics = "sopranos"
1019 \new Lyrics = "contraltos"
1021 \new Voice = "contraltos" {
1022 \relative c'' { a4 a a a }
1025 \context Lyrics = "sopranos" {
1026 \lyricsto "sopranos" {
1027 Sop -- ra -- no words
1030 \context Lyrics = "contraltos" {
1031 \lyricsto "contraltos" {
1032 Con -- tral -- to words
1039 Other combinations of lyrics and staves may be generated by
1040 elaborating these examples, or by examining the
1041 @rlearning{Vocal ensembles} templates in the Learning Manual.
1045 @rlearning{Vocal ensembles}.
1048 @ref{Aligning contexts},
1049 @ref{Creating contexts}.
1051 @node Placing syllables horizontally
1052 @unnumberedsubsubsec Placing syllables horizontally
1054 @cindex Spacing lyrics
1055 @cindex Lyrics, increasing space between
1057 To increase the spacing between lyrics, set the @code{minimum-distance}
1058 property of @code{LyricSpace}.
1060 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1063 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1067 longtext longtext longtext longtext
1068 longtext longtext longtext longtext
1073 To make this change for all lyrics in the score, set the property in the
1074 @code{\layout} block.
1076 @lilypond[verbatim,quote,ragged-right]
1083 longtext longtext longtext longtext
1084 longtext longtext longtext longtext
1089 \override LyricSpace #'minimum-distance = #1.0
1096 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1097 {lyrics-alignment.ly}
1099 @c TODO: move to LSR -vv
1101 Checking to make sure that text scripts and lyrics are within the margins is
1102 a relatively large computational task. To speed up processing, LilyPond does
1103 not perform such calculations by default; to enable it, use
1106 \override Score.PaperColumn #'keep-inside-line = ##t
1109 To make lyrics avoid bar lines as well, use
1115 \consists "Bar_engraver"
1116 \consists "Separating_line_group_engraver"
1117 \override BarLine #'transparent = ##t
1122 @c TODO Create and add lsr example of lyricMelismaAlignment
1123 @c It's used like this to center-align all lyric syllables,
1124 @c even when notes are tied. -td
1129 \context { \Score lyricMelismaAlignment = #0 }
1134 @node Lyrics and repeats
1135 @unnumberedsubsubsec Lyrics and repeats
1137 @cindex repeats and lyrics
1138 @cindex lyrics, repeating
1140 @subheading Simple repeats
1142 Repeats in @emph{music} are fully described elsewhere; see
1143 @ref{Repeats}. This section explains how to add lyrics to repeated
1146 Lyrics to a section of music that is repeated should be surrounded
1147 by exactly the same repeat construct as the music, if the words are
1150 @lilypond[verbatim,quote]
1154 \new Voice = "melody" {
1157 \repeat volta 2 { b4 b b b }
1162 \lyricsto "melody" {
1163 Not re -- peat -- ed.
1164 \repeat volta 2 { Re -- peat -- ed twice. }
1171 The words will then be correctly expanded if the repeats are
1174 @lilypond[verbatim,quote]
1179 \new Voice = "melody" {
1182 \repeat volta 2 { b4 b b b }
1187 \lyricsto "melody" {
1188 Not re -- peat -- ed.
1189 \repeat volta 2 { Re -- peat -- ed twice. }
1197 If the repeated section is to be unfolded and has different words,
1198 simply enter all the words:
1200 @lilypond[verbatim,quote,ragged-right]
1204 \new Voice = "melody" {
1207 \repeat unfold 2 { b4 b b b }
1212 \lyricsto "melody" {
1213 Not re -- peat -- ed.
1214 The first time words.
1215 Sec -- ond time words.
1225 When the words to a repeated volta section are different, the words
1226 to each repeat must be entered in separate @code{Lyrics} contexts.
1227 Earlier unrepeated sections must be skipped in the second and
1228 subsequent repeats. The easiest way to skip several notes is to
1229 use @code{\repeat unfold} around the @code{\skip} command.
1231 Note: do not use an underscore, @code{_}, to skip notes in this
1232 particular case. As this syntax indicates a melisma, it will cause
1233 the preceding syllable to be left-aligned.
1235 @warning{The @code{@bs{}skip} command must be followed by a number,
1236 but this number is ignored in lyrics which derive their durations
1237 from the notes in an associated melody through @code{\addlyrics} or
1238 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1239 value, irrespective of the value of the following number.}
1241 @lilypond[verbatim,quote]
1245 \new Voice = "melody" {
1248 \repeat volta 2 { b4 b b b }
1253 \lyricsto "melody" {
1254 Not re -- peat -- ed.
1255 The first time words.
1259 \lyricsto "melody" {
1260 % skip 4 notes of any duration
1261 \repeat unfold 4 { \skip 1 }
1262 Sec -- ond time words.
1269 @cindex lyrics, repeating with a temporary voice
1271 An alternative way, which avoids skips and having to count notes,
1272 is to use a temporary voice for the repeated section. This may be
1273 preferable if the earlier sections are still subject to change. A
1274 temporary voice can be inserted anywhere in the main music stream
1275 in parallel with it, as shown below, but it may be necessary to
1276 keep the main voice alive in complex scores when using this
1277 technique; see @ref{Keeping contexts alive}.
1279 @lilypond[verbatim,quote,ragged-right]
1283 \new Voice = "singleVoice" {
1284 \relative c'' { a4 a a a }
1285 \new Voice = "repeatVoice" {
1286 \relative c'' \repeat volta 3 { b4 b b b }
1288 \relative c'' { c4 c c c }
1292 \lyricsto "singleVoice" {
1293 Not re -- peat -- ed.
1294 The end sec -- tion.
1296 \lyricsto "repeatVoice" {
1297 The first time words.
1301 \lyricsto "repeatVoice" {
1302 Sec -- ond time words.
1306 \lyricsto "repeatVoice" {
1307 The third time words.
1314 @c TODO lowering a common line of lyrics
1316 @subheading Repeats with alternative endings
1318 @cindex lyrics, repeats with alternative endings
1319 @cindex repeating lyrics with alternative endings
1320 @cindex alternative endings and lyrics
1322 If the words of the repeated section are the same, exactly the
1323 same structure can be used for both the lyrics and music.
1325 @lilypond[quote,verbatim]
1330 \new Voice = "melody" {
1333 \repeat volta 2 { b4 b }
1334 \alternative { { b b } { b c } }
1339 \lyricsto "melody" {
1340 Not re -- peat -- ed.
1341 \repeat volta 2 { Re -- peat -- }
1342 \alternative { { ed twice. } { ed twice. } }
1349 But when the repeated section has different words, a repeat
1350 construct cannot be used around the words and @code{\skip} commands
1351 have to be inserted manually as described in the previous section to
1352 skip over the notes in the alternative sections which do not apply.
1354 @lilypond[verbatim,quote,ragged-right]
1359 \new Voice = "melody" {
1361 \repeat volta 2 { b4 b }
1362 \alternative { { b b } { b c } }
1368 \lyricsto "melody" {
1369 The first time words.
1370 \repeat unfold 2 { \skip 1 }
1375 \lyricsto "melody" {
1377 \repeat unfold 2 { \skip 1 }
1385 @cindex lyrics and tied notes
1386 @funindex \repeatTie
1388 When a note is tied over into two or more alternative endings a
1389 tie is used to carry the note into the first alternative ending and
1390 a @code{\repeatTie} is used in the second and subsequent endings.
1391 This structure causes difficult alignment problems when lyrics are
1392 involved and increasing the length of the alternative sections so
1393 the tied notes are contained wholly within them may give a more
1396 The tie creates a melisma into the first alternative, but not into
1397 the second and subsequent alternatives, so to align the lyrics
1398 correctly it is necessary to disable the automatic creation of
1399 melismata over the volta section and insert manual skips.
1401 @lilypond[quote,verbatim]
1406 \new Voice = "melody" {
1408 \set melismaBusyProperties = #'()
1409 \repeat volta 2 { b4 b ~}
1410 \alternative { { b b } { b \repeatTie c } }
1411 \unset melismaBusyProperties
1417 \lyricsto "melody" {
1418 \repeat volta 2 { Here's a __ }
1430 Note that if @code{\unfoldRepeats} is used around a section
1431 containing @code{\repeatTie}, the @code{\repeatTie} should be
1432 removed to avoid both types of tie being printed.
1434 When the repeated section has different words a @code{\repeat}
1435 cannot be used around the lyrics and @code{\skip} commands need to
1436 be inserted manually, as before.
1438 @lilypond[quote,verbatim]
1443 \new Voice = "melody" {
1445 \repeat volta 2 { b4 b ~}
1446 \alternative { { b b } { b \repeatTie c } }
1452 \lyricsto "melody" {
1454 \repeat unfold 2 { \skip 1 }
1458 \lyricsto "melody" {
1460 \repeat unfold 2 { \skip 1 }
1468 If you wish to show extenders and hyphens into and out of
1469 alternative sections these must be inserted manually.
1471 @lilypond[quote,verbatim]
1476 \new Voice = "melody" {
1478 \repeat volta 2 { b4 b ~}
1479 \alternative { { b b } { b \repeatTie c } }
1485 \lyricsto "melody" {
1487 \repeat unfold 2 { \skip 1 }
1491 \lyricsto "melody" {
1504 @unnumberedsubsubsec Divisi lyrics
1506 @cindex divided lyrics
1507 @cindex lyrics, divided
1509 When just the words and rhythms of the two parts differ with the
1510 pitches remaining the same, temporarily turning off the automatic
1511 detection of melismata and indicating the melisma in the lyrics
1512 may be the appropriate method to use:
1514 @lilypond[quote,verbatim]
1517 \new Voice = "melody" {
1519 \set melismaBusyProperties = #'()
1523 \unset melismaBusyProperties
1527 \new Lyrics \lyricsto "melody" {
1528 They shall not o -- ver -- come
1530 \new Lyrics \lyricsto "melody" {
1537 When both music and words differ it may be better to display
1538 the differing music and lyrics by naming voice contexts and
1539 attaching lyrics to those specific contexts:
1541 @lilypond[verbatim,ragged-right,quote]
1544 \new Voice = "melody" {
1551 \new Voice = "splitpart" {
1561 \new Lyrics \lyricsto "melody" {
1562 They shall not o -- ver -- come
1564 \new Lyrics \lyricsto "splitpart" {
1576 * Adding stanza numbers::
1577 * Adding dynamics marks to stanzas::
1578 * Adding singers' names to stanzas::
1579 * Stanzas with different rhythms::
1580 * Printing stanzas at the end::
1581 * Printing stanzas at the end in multiple columns::
1585 @node Adding stanza numbers
1586 @unnumberedsubsubsec Adding stanza numbers
1588 @cindex stanza number
1590 Stanza numbers can be added by setting @code{stanza}, e.g.,
1592 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1594 \time 3/4 g2 e4 a2 f4 g2.
1596 \set stanza = #"1. "
1597 Hi, my name is Bert.
1599 \set stanza = #"2. "
1600 Oh, ché -- ri, je t'aime
1606 These numbers are put just before the start of the first syllable.
1608 @c TODO Create and add snippet to show how two lines of a
1609 @c stanza can be grouped together, along these lines:
1610 @c (might need improving a bit) -td
1613 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1617 \set stanza = \markup { "1. " \leftbrace }
1618 \lyricmode { Child, you're mine and I love you.
1619 Lend thine ear to what I say.
1625 % \set stanza = \markup { " "}
1626 \lyricmode { Child, I have no great -- er joy
1627 Than to have you walk in truth.
1633 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1634 c'8 c' c' c' c' c' c'4 }
1635 } \addlyrics { \stanzaOneOne }
1636 \addlyrics { \stanzaOneThree }
1640 @node Adding dynamics marks to stanzas
1641 @unnumberedsubsubsec Adding dynamics marks to stanzas
1643 Stanzas differing in loudness may be indicated by putting a
1644 dynamics mark before each stanza. In LilyPond, everything coming in
1645 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1646 are no different. For technical reasons, you have to set the stanza
1647 outside @code{\lyricmode}:
1649 @lilypond[quote,ragged-right,verbatim]
1651 \set stanza = \markup { \dynamic "ff" "1. " }
1658 \new Voice = "tune" {
1662 \new Lyrics \lyricsto "tune" \text
1666 @node Adding singers' names to stanzas
1667 @unnumberedsubsubsec Adding singers' names to stanzas
1670 @cindex name of singer
1672 Names of singers can also be added. They are printed at the start of
1673 the line, just like instrument names. They are created by setting
1674 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1676 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1678 \time 3/4 g2 e4 a2 f4 g2.
1680 \set vocalName = #"Bert "
1681 Hi, my name is Bert.
1683 \set vocalName = #"Ernie "
1684 Oh, ché -- ri, je t'aime
1688 @node Stanzas with different rhythms
1689 @unnumberedsubsubsec Stanzas with different rhythms
1691 Often, different stanzas of one song are put to one melody in slightly
1692 differing ways. Such variations can still be captured with
1695 @subsubheading Ignoring melismata
1697 One possibility is that the text has a melisma in one stanza, but
1698 multiple syllables in another. One solution is to make the faster
1699 voice ignore the melisma. This is done by setting
1700 @code{ignoreMelismata} in the Lyrics context.
1702 @lilypond[verbatim,ragged-right,quote]
1704 \relative c' \new Voice = "lahlah" {
1705 \set Staff.autoBeaming = ##f
1711 \new Lyrics \lyricsto "lahlah" {
1714 \new Lyrics \lyricsto "lahlah" {
1716 \set ignoreMelismata = ##t
1718 \unset ignoreMelismata
1725 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1726 not work if prefixed with @code{\once}. It is necessary to use
1727 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1730 @subsubheading Adding syllables to grace notes
1732 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1733 syllables when using @code{\lyricsto}, but this behavior can be
1736 @lilypond[verbatim,ragged-right,quote]
1738 f4 \appoggiatura a32 b4
1739 \grace { f16[ a16] } b2
1740 \afterGrace b2 { f16[ a16] }
1741 \appoggiatura a32 b4
1746 \set includeGraceNotes = ##t
1749 after -- grace case,
1750 \set ignoreMelismata = ##t
1757 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1758 set at latest one syllable before the one which is to be put under a
1759 grace note. For the case of a grace note at the very beginning of a
1760 piece of music, consider using a @code{\with} or @code{\context}
1763 @lilypond[verbatim,ragged-right,quote]
1765 \new Voice = melody \relative c' {
1766 \grace { c16[( d e f] }
1769 \new Lyrics \with { includeGraceNotes = ##t }
1776 @subsubheading Switching to an alternative melody
1778 More complex variations in text underlay are possible. It is possible
1779 to switch the melody for a line of lyrics during the text. This is
1780 done by setting the @code{associatedVoice} property. In the example
1782 @lilypond[ragged-right,quote]
1784 \relative c' \new Voice = "lahlah" {
1785 \set Staff.autoBeaming = ##f
1788 \new Voice = "alternative" {
1791 % show associations clearly.
1792 \override NoteColumn #'force-hshift = #-3
1803 \new Lyrics \lyricsto "lahlah" {
1804 Ju -- ras -- sic Park
1806 \new Lyrics \lyricsto "lahlah" {
1807 % Tricky: need to set associatedVoice
1808 % one syllable too soon!
1809 \set associatedVoice = alternative % applies to "ran"
1813 \set associatedVoice = lahlah % applies to "rus"
1819 the text for the first stanza is set to a melody called @q{lahlah},
1822 \new Lyrics \lyricsto "lahlah" @{
1823 Ju -- ras -- sic Park
1828 The second stanza initially is set to the @code{lahlah} context, but
1829 for the syllable @q{ran}, it switches to a different melody.
1830 This is achieved with
1832 \set associatedVoice = alternative
1836 Here, @code{alternative} is the name of the @code{Voice} context
1837 containing the triplet.
1839 @c TODO: make this easier to understand -vv
1840 This command must be one syllable too early, before @q{Ty} in this
1841 case. In other words, changing the associatedVoice happens one step
1842 later than expected. This is for technical reasons, and it is not a
1846 \new Lyrics \lyricsto "lahlah" @{
1847 \set associatedVoice = alternative % applies to "ran"
1851 \set associatedVoice = lahlah % applies to "rus"
1857 The underlay is switched back to the starting situation by assigning
1858 @code{lahlah} to @code{associatedVoice}.
1861 @node Printing stanzas at the end
1862 @unnumberedsubsubsec Printing stanzas at the end
1864 Sometimes it is appropriate to have one stanza set
1865 to the music, and the rest added in verse form at
1866 the end of the piece. This can be accomplished by adding
1867 the extra verses into a @code{\markup} section outside
1868 of the main score block. Notice that there are two
1869 different ways to force linebreaks when using
1872 @lilypond[ragged-right,verbatim,quote]
1873 melody = \relative c' {
1879 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1880 its fleece was white as snow.
1884 \new Voice = "one" { \melody }
1885 \new Lyrics \lyricsto "one" \text
1891 \line{ All the children laughed and played }
1892 \line{ To see a lamb at school. }
1899 Mary took it home again,
1901 It was against the rule."
1906 @node Printing stanzas at the end in multiple columns
1907 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1909 When a piece of music has many verses, they are often printed in
1910 multiple columns across the page. An outdented verse number often
1911 introduces each verse. The following example shows how to produce such
1914 @lilypond[ragged-right,quote,verbatim]
1915 melody = \relative c' {
1920 \set stanza = #"1." This is verse one.
1925 \new Voice = "one" { \melody }
1926 \new Lyrics \lyricsto "one" \text
1933 \hspace #0.1 % moves the column off the left margin;
1934 % can be removed if space on the page is tight
1938 "This is verse two."
1942 \hspace #0.1 % adds vertical spacing between verses
1945 "This is verse three."
1950 \hspace #0.1 % adds horizontal spacing between columns;
1951 % if they are still too close, add more " " pairs
1952 % until the result looks good
1956 "This is verse four."
1960 \hspace #0.1 % adds vertical spacing between verses
1963 "This is verse five."
1968 \hspace #0.1 % gives some extra space on the right margin;
1969 % can be removed if page space is tight
1976 Internals Reference:
1977 @rinternals{LyricText},
1978 @rinternals{StanzaNumber}.
1985 * References for songs::
1989 @node References for songs
1990 @unnumberedsubsubsec References for songs
1992 Songs are usually written on three staves with the melody for the
1993 singer on the top staff and two staves of piano accompaniment at
1994 the bottom. The lyrics of the first stanza are printed immediately
1995 underneath the top staff. If there are just a small number of
1996 further stanzas these can be printed immediately under the first
1997 one, but if there are more stanzas than can be easily accommodated
1998 there the second and subsequent stanzas are printed after the music
1999 as stand-alone text.
2001 All the notational elements needed to write songs are fully described
2007 For constructing the staff layout, see @ref{Displaying staves}.
2010 For writing piano music, see
2011 @ref{Keyboard and other multi-staff instruments}.
2014 For writing the lyrics to a melody line, see
2015 @ref{Common notation for vocal music}.
2018 For placing the lyrics, see @ref{Placing lyrics vertically}.
2021 For entering stanzas, see @ref{Stanzas}.
2024 Songs are frequently printed with the chording indicated by chord
2025 names above the staves. This is described in
2026 @ref{Displaying chords}.
2029 To print fret diagrams of the chords for guitar accompaniment or
2030 accompaniment by other fretted instruments, see @qq{Fret diagram
2031 markups} in @ref{Common notation for fretted strings}.
2040 @ref{Common notation for vocal music},
2041 @ref{Displaying chords},
2042 @ref{Displaying staves},
2043 @ref{Keyboard and other multi-staff instruments},
2044 @ref{Placing lyrics vertically},
2051 @unnumberedsubsubsec Lead sheets
2053 Lead sheets may be printed by combining vocal parts and @q{chord mode};
2054 this syntax is explained in @ref{Chord notation}.
2057 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2058 {simple-lead-sheet.ly}
2062 @ref{Chord notation}.
2073 This section discusses notation issues that relate most directly
2074 to choral music. This includes anthems, part songs, oratorio,
2078 * References for choral::
2079 * Score layouts for choral::
2083 @node References for choral
2084 @unnumberedsubsubsec References for choral
2086 Choral music is usually notated on two, three or four staves within
2087 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2088 beneath in a @code{PianoStaff} group, which is usually reduced in
2089 size for @emph{a capella} choral works. The notes for each vocal
2090 part are placed in a @code{Voice} context, with each staff
2091 being given either a single vocal part (i.e., one @code{Voice}) or
2092 a pair of vocal parts (i.e., two @code{Voice}s).
2094 Words are placed in @code{Lyrics} contexts, either underneath each
2095 corresponding music staff, or one above and one below the music
2096 staff if this contains the music for two parts.
2098 Several common topics in choral music are described fully elsewhere:
2103 An introduction to creating an SATB vocal score can be found in
2104 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2107 Several templates suitable for various styles of choral music can
2108 also be found in the Learning Manual, see
2109 @rlearning{Vocal ensembles}.
2112 For information about @code{ChoirStaff} and @code{PianoStaff} see
2113 @ref{Grouping staves}.
2116 Shape noteheads, as used in Sacred Harp and similar notation, are
2117 described in @ref{Shape note heads}.
2120 When two vocal parts share a staff the stems, ties, slurs, etc., of
2121 the higher part will be directed up and those of the lower part
2122 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2123 @ref{Single-staff polyphony}.
2134 @rlearning{Four-part SATB vocal score},
2135 @rlearning{Vocal ensembles}.
2138 @ref{Context layout order},
2139 @ref{Grouping staves},
2140 @ref{Shape note heads},
2141 @ref{Single-staff polyphony}.
2146 Internals Reference:
2147 @rinternals{ChoirStaff},
2148 @rinternals{Lyrics},
2149 @rinternals{PianoStaff}.
2151 @node Score layouts for choral
2152 @unnumberedsubsubsec Score layouts for choral
2154 Choral music containing four staves, with or without piano
2155 accompaniment, is usually laid out with two systems per page.
2156 Depending on the page size, achieving this may require changes
2157 to several default settings. The following settings should be
2163 The global staff size can be modified to change the overall size
2164 of the elements of the score. See @ref{Setting the staff size}.
2167 The distances between the systems, the staves and the lyrics can
2168 all be adjusted independently. See @ref{Vertical spacing}.
2171 The dimensions of the vertical layout variables can be displayed as
2172 an aid to adjusting the vertical spacing. This and other
2173 possibilities for fitting the music onto fewer pages are described
2174 in @ref{Fitting music onto fewer pages}.
2177 If the number of systems per page changes from one to two it is
2178 customary to indicate this with a system separator mark between
2179 the two systems. See @ref{Separating systems}.
2182 For details of other page formatting properties, see
2183 @ref{Page formatting}.
2188 Dynamic markings by default are placed below the staff, but in
2189 choral music they are usually placed above the staff in order to
2190 avoid the lyrics. The predefined command @code{\dynamicUp} does
2191 this for the dynamic markings in a single @code{Voice} context.
2192 If there are many @code{Voice} contexts this predefined command
2193 would have to be placed in every one. Alternatively its expanded
2194 form can be used to place all dynamic markings in the entire score
2195 above their respective staves, as shown here:
2197 @lilypond[verbatim,quote]
2202 \relative c'' { g4\f g g g }
2207 \relative c' { d4 d d\p d }
2214 \override DynamicText #'direction = #UP
2215 \override DynamicLineSpanner #'direction = #UP
2222 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2226 @ref{Changing spacing},
2227 @ref{Displaying spacing},
2228 @ref{Fitting music onto fewer pages},
2229 @ref{Page formatting},
2231 @ref{Separating systems},
2232 @ref{Setting the staff size},
2233 @ref{Using an extra voice for breaks},
2234 @ref{Vertical spacing}.
2236 Internals Reference:
2237 @rinternals{VerticalAxisGroup},
2238 @rinternals{StaffGrouper}.
2241 @node Divided voices
2242 @unnumberedsubsubsec Divided voices
2244 @cindex voices, divided
2246 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2247 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2251 @ref{Expressive marks as lines}.
2254 @node Opera and stage musicals
2255 @subsection Opera and stage musicals
2257 The music, lyrics and dialogue to opera and stage musicals are
2258 usually set out in one or more of the following forms:
2263 A @emph{Conductors' Score} containing the full orchestral and vocal
2264 parts, together with libretto cues if there are spoken passages.
2267 @emph{Orchestral Parts} containing the music for the individual
2268 instruments of the orchestra or band.
2271 A @emph{Vocal Score} containing all vocal parts with piano
2272 accompaniment. The accompaniment is usually an orchestral
2273 reduction, and if so the name of the original orchestral instrument
2274 is often indicated. Vocal scores sometimes includes stage
2275 directions and libretto cues.
2278 A @emph{Vocal Book} containing just the vocal parts
2279 (no accompaniment), sometimes combined with the libretto.
2282 A @emph{Libretto} containing the extended passages of spoken
2283 dialogue usually found in musicals, together with the words to the
2284 sung parts. Stage directions are usually included. LilyPond can
2285 be used to typeset libretti but as they contain no music
2286 alternative methods may be preferable.
2290 The sections in the LilyPond documentation which cover the topics
2291 needed to create scores in the styles commonly found in opera and
2292 musicals are indicated in the References below. This is followed
2293 by sections covering those techniques which are peculiar to
2294 typesetting opera and musical scores.
2297 * References for opera and stage musicals::
2301 * Dialogue over music::
2304 @node References for opera and stage musicals
2305 @unnumberedsubsubsec References for opera and stage musicals
2310 A conductors' score contains many grouped staves and lyrics. Ways
2311 of grouping staves is shown in @ref{Grouping staves}. To nest
2312 groups of staves see @ref{Nested staff groups}.
2315 The printing of empty staves in conductors' scores and vocal scores
2316 is often suppressed. To create such a @qq{Frenched score} see
2317 @ref{Hiding staves}.
2320 Writing orchestral parts is covered in @ref{Writing parts}.
2321 Other sections in the Specialist notation chapter may be relevant,
2322 depending on the orchestration used. Many instruments are
2323 transposing instruments, see @ref{Instrument transpositions}.
2326 If the number of systems per page changes from page to page it is
2327 customary to separate the systems with a system separator mark.
2328 See @ref{Separating systems}.
2331 For details of other page formatting properties, see
2332 @ref{Page formatting}.
2335 Dialogue cues and stage directions can be inserted with markup.
2336 See @ref{Text}. Extensive stage directions can be inserted with
2337 a section of stand-alone markup between two @code{\score} blocks.
2338 See @ref{Separate text}.
2344 @rglos{Frenched score},
2345 @rglos{Frenched staves},
2346 @rglos{transposing instrument}.
2349 @ref{Grouping staves},
2350 @ref{Hiding staves},
2351 @ref{Instrument transpositions},
2352 @ref{Nested staff groups},
2353 @ref{Page formatting},
2354 @ref{Separating systems},
2356 @ref{Writing parts},
2363 @node Character names
2364 @unnumberedsubsubsec Character names
2366 @cindex character names
2367 @cindex names, character
2369 Character names are usually shown to the left of the staff when the
2370 staff is dedicated to that character alone:
2372 @lilypond[quote,verbatim,ragged-right]
2376 \set Staff.vocalName = \markup \smallCaps Kaspar
2377 \set Staff.shortVocalName = \markup \smallCaps Kas.
2386 \set Staff.vocalName = \markup \smallCaps Melchior
2387 \set Staff.shortVocalName = \markup \smallCaps Mel
2398 When two or more characters share a staff the character's name is
2399 usually printed above the staff at the start of every section
2400 applying to that character. This can be done with markup. Often a
2401 specific font is used for this purpose.
2403 @lilypond[quote,verbatim,relative=1]
2405 c4^\markup \fontsize #1 \smallCaps Kaspar
2408 a4^\markup \fontsize #1 \smallCaps Melchior
2411 c4^\markup \fontsize #1 \smallCaps Kaspar
2415 Alternatively, if there are many character changes, it may be
2416 easier to set up @qq{instrument} definitions for each character at
2417 the top level so that @code{\instrumentSwitch} can be used to
2418 indicate each change.
2420 @lilypond[quote,verbatim]
2421 \addInstrumentDefinition #"kaspar"
2422 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2423 (shortInstrumentName . "Kas.")
2424 (clefGlyph . "clefs.G")
2425 (clefOctavation . -7)
2426 (middleCPosition . 1)
2428 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2429 (midiInstrument . "voice oohs"))
2431 \addInstrumentDefinition #"melchior"
2432 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2433 (shortInstrumentName . "Mel.")
2434 (clefGlyph . "clefs.F")
2435 (clefOctavation . 0)
2436 (middleCPosition . 6)
2438 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2439 (midiInstrument . "voice aahs"))
2442 \instrumentSwitch "kaspar"
2444 \instrumentSwitch "melchior"
2446 \instrumentSwitch "kaspar"
2453 @ref{Instrument names},
2454 @ref{Scheme functions},
2456 @ref{Text markup commands}.
2459 @rextend{Markup construction in Scheme}.
2462 @unnumberedsubsubsec Musical cues
2464 @cindex musical cues
2465 @cindex cues, musical
2467 Musical cues can be inserted in Vocal Scores, Vocal Books and
2468 Orchestral Parts to indicate what music in another part
2469 immediately precedes an entry. Also, cues are often inserted in the
2470 piano reduction in Vocal Scores to indicate what each orchestral
2471 instrument is playing. This aids the conductor when a full
2472 Conductors' Score is not available.
2474 The basic mechanism for inserting cues is fully explained in the
2475 main text, see @ref{Quoting other voices} and
2476 @ref{Formatting cue notes}. But when many cues have to be
2477 inserted, for example, as an aid to a conductor in a vocal score,
2478 the instrument name must be positioned carefully just before and
2479 close to the start of the cue notes. The following example shows
2482 @lilypond[quote,verbatim]
2483 flute = \relative c'' {
2486 \addQuote "flute" { \flute }
2488 pianoRH = \relative c'' {
2490 % position name of cue-ing instrument just before the cue notes,
2491 % and above the staff
2492 s1*0^\markup { \right-align { \tiny "Flute" } }
2493 \cueDuring "flute" #UP { g4 bes4 }
2495 pianoLH = \relative c { c4 <c' e> e, <g c> }
2510 If a transposing instrument is being quoted the instrument part should
2511 specify its key so the conversion of its cue notes will be done
2512 automatically. The example below shows this transposition for a
2513 B-flat clarinet. The notes in this example are low on the staff so
2514 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2515 down) and the instrument name is positioned below the staff. Note
2516 also that the piano right-hand voice is explicitly declared. This
2517 is because the cue notes in this example begin at the start of the
2518 first bar and this would otherwise cause the entire piano right-hand
2519 notes to be placed in a @code{CueVoice} context.
2521 @lilypond[quote,verbatim]
2522 clarinet = \relative c' {
2526 \addQuote "clarinet" { \clarinet }
2528 pianoRH = \relative c'' {
2530 % position name of cue-ing instrument below the staff
2531 s1*0_\markup { \right-align { \tiny "Clar." } }
2532 \cueDuring "clarinet" #DOWN { c4. g8 }
2535 pianoLH = \relative c { c4 <c' e> e, <g c> }
2554 From these two examples it is clear that inserting many cues in a
2555 Vocal Score would be tedious, and the notes of the piano part would
2556 become obscured. However, as the following snippet shows, it is
2557 possible to define a music function to reduce the amount of typing
2558 and to make the piano notes clearer.
2561 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2562 {adding-orchestral-cues-to-a-vocal-score.ly}
2569 @ref{Aligning objects},
2570 @ref{Direction and placement},
2571 @ref{Formatting cue notes},
2572 @ref{Quoting other voices},
2573 @ref{Using music functions}.
2578 Internals Reference:
2579 @rinternals{InstrumentSwitch},
2580 @rinternals{CueVoice}.
2583 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2584 and all cue notes are placed in that context. This means it is not
2585 possible to have two overlapping sequences of cue notes by this
2586 technique. Overlapping sequences could be entered by explicitly
2587 declaring separate @code{CueVoice} contexts and using
2588 @code{\quoteDuring} to extract and insert the cue notes.
2592 @unnumberedsubsubsec Spoken music
2595 @cindex Sprechgesang
2596 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2597 without pitch but still with rhythm; these are notated by cross
2598 note heads, as demonstrated in @ref{Special note heads}.
2600 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2601 @c add "showing the rhythm of a melody" snip
2602 @c add "one staff-line notation"
2603 @c add "improvisation" ref
2604 @c add "lyrics independents of notes" ref
2606 @node Dialogue over music
2607 @unnumberedsubsubsec Dialogue over music
2609 Dialogue over music is usually printed over the staves in an italic
2610 font, with the start of each phrase keyed in to a particular music
2613 For short interjections a simple markup suffices.
2615 @lilypond[quote,verbatim,relative=2]
2616 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2617 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2621 For longer phrases it may be necessary to expand the music to make
2622 the words fit neatly. There is no provision in LilyPond to do this
2623 fully automatically, and some manual intervention to layout the
2624 page will be necessary.
2626 For long phrases or for passages with a lot of closely packed
2627 dialogue, using a Lyrics context will give better results. The
2628 Lyrics context should not be associated with a music Voice; instead
2629 each section of dialogue should be given an explicit duration. If
2630 there is a gap in the dialogue, the final word should be separated
2631 from the rest and the duration split between them so that the
2632 underlying music spaces out smoothly.
2634 If the dialogue extends for more than one line it will be necessary
2635 to manually insert @code{\break}s and adjust the placing of the
2636 dialogue to avoid running into the right margin. The final word of
2637 the last measure on a line should also be separated out, as above.
2639 Here is an example illustating how this might be done.
2641 @c This should be a snippet, but it can't be as it needs to be
2642 @c manually adjusted to suit the imposed line length. -td
2644 @lilypond[quote,verbatim,ragged-right]
2645 music = \relative c'' {
2646 \repeat unfold 3 { a4 a a a }
2649 dialogue = \lyricmode {
2651 \fontsize #1 \upright \smallCaps Abe:
2652 "Say this over measures one and"
2656 "and this over measure"4*3
2663 \override LyricText #'font-shape = #'italic
2664 \override LyricText #'self-alignment-X = #LEFT
2668 \new Voice { \music }
2674 @c TODO show use of \column to produce dialogue on two lines
2678 @ref{Manual syllable durations},
2682 @rinternals{LyricText}.
2685 @node Chants psalms and hymns
2686 @subsection Chants psalms and hymns
2691 @cindex religious music
2693 The music and words for chants, psalms and hymns usually follow a
2694 well-established format in any particular church. Although the
2695 formats may differ from church to church the type-setting problems
2696 which arise are broadly similar, and are covered in this section.
2699 * References for chants and psalms::
2701 * Pointing a psalm::
2702 * Partial measures in hymn tunes::
2705 @node References for chants and psalms
2706 @unnumberedsubsubsec References for chants and psalms
2708 Typesetting Gregorian chant in various styles of ancient notation
2709 is described in @ref{Ancient notation}.
2713 @ref{Ancient notation}.
2719 @node Setting a chant
2720 @unnumberedsubsubsec Setting a chant
2722 Modern chant settings use modern notation with varying numbers of
2723 elements taken from ancient notation. Some of the elements and
2724 methods to consider are shown here.
2726 Chants often use quarter notes without stems to indicate the pitch,
2727 with the rhythm being taken from the spoken rhythm of the words.
2729 @lilypond[verbatim,quote]
2730 stemOff = { \override Staff.Stem #'transparent = ##t }
2739 Chants often omit the bar lines or use shortened or dotted bar
2740 lines to indicate pauses in the music. To omit all bar lines from
2741 all staves remove the bar line engraver completely:
2743 @lilypond[verbatim,quote]
2764 \remove Bar_engraver
2770 Bar lines can also be removed on a staff-by-staff basis:
2772 @lilypond[verbatim, quote]
2776 \with { \remove Bar_engraver } {
2794 To remove bar lines from just a section of music treat it as a
2795 cadenza. If the section is long you may need to insert dummy
2796 barlines with @code{\bar ""} to show where the line should break.
2798 @lilypond[verbatim,quote,relative=2]
2811 Rests or pauses in chants can be indicated by modified bar lines.
2813 @lilypond[verbatim, quote,relative=2]
2828 Alternatively, the notation used in Gregorian chant for pauses or
2829 rests is sometimes used even though the rest of the notation is
2830 modern. This uses a modified @code{\breathe} mark:
2832 @lilypond[verbatim,quote]
2834 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2835 \once \override BreathingSign #'Y-offset = #0
2839 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2840 \once \override BreathingSign #'Y-offset = #0
2844 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2845 \once \override BreathingSign #'Y-offset = #0
2849 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2850 \once \override BreathingSign #'Y-offset = #0
2868 \remove Bar_engraver
2874 Chants usually omit the time signature and often omit the clef too.
2876 @lilypond[verbatim,quote]
2888 \remove Bar_engraver
2889 \remove Time_signature_engraver
2890 \remove Clef_engraver
2896 Chants for psalms in the Anglican tradition are usually either
2897 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2898 of 7 bars. Each group of 7 bars is divided into two halves,
2899 corresponding to the two halves of each verse, usually separated by
2900 a double bar line. Only whole and half notes are used. The 1st bar
2901 in each half always contains a single chord of whole notes. This is
2902 the @qq{reciting note}. Chants are usually centered on the page.
2904 @lilypond[verbatim,quote]
2905 SopranoMusic = \relative g' {
2906 g1 | c2 b | a1 | \bar "||"
2907 a1 | d2 c | c b | c1 | \bar "||"
2910 AltoMusic = \relative c' {
2912 f1 | f2 e | d d | e1 |
2915 TenorMusic = \relative a {
2917 d1 | g,2 g | g g | g1 |
2920 BassMusic = \relative c {
2922 d1 | b2 c | g' g | c,1 |
2929 % Use markup to center the chant on the page
2938 \new Voice = "Soprano" <<
2942 \new Voice = "Alto" <<
2950 \new Voice = "Tenor" <<
2954 \new Voice = "Bass" <<
2964 \override SpacingSpanner
2965 #'base-shortest-duration = #(ly:make-moment 1 2)
2969 \remove "Time_signature_engraver"
2977 Some other approaches to setting such a chant are shown in the first
2978 of the following snippets.
2982 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2983 {chant-or-psalms-notation.ly}
2985 Canticles and other liturgical texts may be set more freely, and
2986 may use notational elements from ancient music. Often the words
2987 are shown underneath and aligned with the notes. If so, the notes
2988 are spaced in accordance with the syllables rather than the notes'
2991 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2992 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2996 @rlearning{Visibility and color of objects},
2997 @rlearning{Vocal ensembles}.
3000 @ref{Ancient notation},
3002 @ref{Modifying context plug-ins},
3003 @ref{Typesetting Gregorian chant},
3004 @ref{Unmetered music},
3005 @ref{Visibility of objects}.
3008 @node Pointing a psalm
3009 @unnumberedsubsubsec Pointing a psalm
3011 The words to an Anglican psalm are usually printed in separate
3012 verses centered underneath the chant.
3014 Single chants (with 7 bars) are repeated for every verse. Double
3015 chants (with 14 bars) are repeated for every pair of verses. Marks
3016 are inserted in the words to show how they should be fitted to the
3017 chant. Each verse is divided into two halves. A colon is usually
3018 used to indicate this division. This corresponds to the double bar
3019 line in the music. The words before the colon are sung to the first
3020 three bars of music; the words after the colon are sung to the last
3023 Single bar lines (or in some psalters an inverted comma or similar
3024 symbol) are inserted between words to indicate where the bar lines
3025 in the music fall. In markup mode a single bar line can be entered
3026 with the bar check symbol, @code{|}.
3028 @lilypond[verbatim,quote]
3033 \line { O come let us sing | unto the | Lord : let }
3034 \line { us heartily rejoice in the | strength of | our }
3035 \line { sal- | -vation. }
3042 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3043 For details, see @ref{Fonts}.
3045 @lilypond[verbatim,quote]
3047 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3053 \line { O come let us sing \tick unto the \tick Lord : let }
3055 us heartily rejoice in the \tick strength of \tick our
3057 \line { sal \tick vation. }
3064 Where there is one whole note in a bar all the words corresponding
3065 to that bar are recited on that one note in speech rhythm. Where
3066 there are two notes in a bar there will usually be only one or two
3067 corresponding syllables. If there are more that two syllables a
3068 dot is usually inserted to indicate where the change in note occurs.
3070 @lilypond[verbatim,quote]
3072 \raise #0.7 \musicglyph #"dots.dot"
3075 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3082 O come let us sing \tick unto \dot the \tick Lord : let
3085 us heartily rejoice in the \tick strength of \tick our
3087 \line { sal \tick vation. }
3094 In some psalters an asterisk is used to indicate a break in a
3095 recited section instead of a comma, and stressed or slightly
3096 lengthened syllables are indicated in bold text.
3098 @lilypond[verbatim,quote]
3100 \raise #0.7 \musicglyph #"dots.dot"
3103 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3109 \line { Today if ye will hear his voice * }
3111 \concat { \bold hard en }
3112 | not your | hearts : as in the pro-
3114 \line { vocation * and as in the \bold day of tempt- | }
3115 \line { -ation | in the | wilderness. }
3122 In other psalters an accent is placed over the syllable to indicate
3125 @lilypond[verbatim,quote]
3127 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3134 O come let us \concat {
3135 si \combine \tick ng
3137 | unto the | Lord : let
3140 us heartily \concat {
3141 rejo \combine \tick ice
3143 in the | strength of | our
3145 \line { sal- | -vation. }
3152 The use of markup to center text, and arrange lines in columns is
3153 described in @ref{Formatting text}.
3155 Most of these elements are shown in one or other of the two verses
3156 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3160 @rlearning{Vocal ensembles}.
3164 @ref{Formatting text}.
3167 @node Partial measures in hymn tunes
3168 @unnumberedsubsubsec Partial measures in hymn tunes
3170 Hymn tunes frequently start and end every line of music with
3171 partial measures so that each line of music corresponds exactly
3172 with a line of text. This requires a @code{\partial} command at
3173 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3174 commands at the end of each line.
3176 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3180 @node Ancient vocal music
3181 @subsection Ancient vocal music
3183 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3187 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3188 @c and "Transcription of Ancient music with incipit" snippet. -vv
3192 @ref{Ancient notation}.