1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @c TODO: inspirational headword
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 @cindex lyrics, entering
82 @cindex entering lyrics
83 @cindex punctuation in lyrics
84 @cindex lyrics punctuation
85 @cindex spaces in lyrics
86 @cindex quotes in lyrics
89 @c TODO should we explain hyphens here
91 Lyrics are entered in a special input mode, which can be introduced
92 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
93 @code{\lyricsto}. In this mode the input @code{d} is not parsed as
94 the pitch @notation{D}, but rather as a one-letter syllable of text.
95 In other words, syllables are entered like notes but with pitches
101 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
104 There are two main methods for specifying the horizontal placement
105 of the syllables, either by specifying the duration of each syllable
106 explicitly, as in the example above, or by leaving the lyrics to be
107 aligned automatically to a melody or other voice of music, using
108 @code{\addlyrics} or @code{\lyricsto}. The former method is
109 described below in @ref{Manual syllable durations}. The latter
110 method is described in @ref{Automatic syllable durations}.
112 A word or syllable of lyrics begins with an alphabetic character
113 (plus some other characters, see below) and is terminated by any
114 white space or a digit. Later characters in the syllable can be any
115 character that is not a digit or white space.
117 Because any character that is not a digit or white space is regarded
118 as part of the syllable, a word is valid even if it ends with
119 @code{@}}, which often leads to the following mistake:
122 \lyricmode @{ lah lah lah@}
125 In this example, the @code{@}} is included in the final syllable, so the
126 opening brace is not balanced and the input file will probably not
127 compile. Instead, braces should always be surrounded with white space:
130 \lyricmode @{ lah lah lah @}
133 @cindex overrides in lyric mode
134 @funindex \override in \lyricmode
136 Similarly, in lyric mode, a period will be included in the
137 alphabetic sequence that it follows. As a consequence, spaces
138 must be inserted around the period in @code{\override} commands.
142 \override Score.LyricText #'font-shape = #'italic
149 \override Score . LyricText #'font-shape = #'italic
152 Punctuation, lyrics with accented characters, characters from
153 non-English languages, or special characters (such as the heart
154 symbol or slanted quotes), may simply be inserted directly
155 into the input file, providing it is saved with UTF-8 encoding.
156 For more information, see @ref{Text encoding}.
158 @lilypond[quote,verbatim]
159 \relative c' { e4 f e d e f e2 }
160 \addlyrics { He said: “Let my peo -- ple go.” }
163 Normal quotes may be used in lyrics, but they have to be preceded
164 with a backslash character and the whole syllable has to be
165 enclosed between additional quotes. For example,
167 @lilypond[quote,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
173 complex. A word in lyrics mode is one that begins with an
174 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
175 @code{'}, the control characters @code{^A} through @code{^F},
176 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
177 character with an ASCII code over 127, or a two-character
178 combination of a backslash followed by one of @code{`}, @code{'},
179 @code{"}, or @code{^}.
181 @c " to balance double quotes for not-so-bright context-sensitive editors
188 @ref{Automatic syllable durations},
191 @ref{Manual syllable durations}.
194 @rinternals{LyricText}.
197 @node Aligning lyrics to a melody
198 @unnumberedsubsubsec Aligning lyrics to a melody
200 @cindex lyrics, aligning to a melody
205 Lyrics are printed by interpreting them in the context called
206 @code{Lyrics}, see @ref{Contexts explained}.
209 \new Lyrics \lyricmode @{ @dots{} @}
212 Lyrics can be aligned with melodies in two main ways:
217 They can be aligned automatically, with the durations of the
218 syllables being taken from an associated melody or other voice
219 of music, using @code{\addlyrics} or @code{\lyricsto}. See
220 @ref{Automatic syllable durations}.
223 They can be aligned independently of the duration of any notes
224 if the durations of the syllables are specified explicitly,
225 and entered with @code{\lyricmode}. See
226 @ref{Manual syllable durations}.
230 The following example compares different ways to align lyrics.
232 @lilypond[quote,ragged-right,verbatim]
234 \new Voice = "one" \relative c'' {
237 c4 b8. a16 g4. f8 e4 d c2
240 % uses default durations of 2;
241 \new Lyrics \lyricmode {
245 % explicit durations; left-aligned by default
246 \new Lyrics \lyricmode {
247 Joy4 to8. the16 world!4. the8 Lord4 is come.2
250 % takes durations and alignment from notes in "one"
251 \new Lyrics \lyricsto "one" {
252 No more let sins and sor -- rows grow.
257 The first stanza is not aligned with the notes because the durations
258 were not specified, and the default value of 2 is used for each
259 word. This can be useful for dialogue over music; for more, see
260 @ref{Dialogue over music}.
262 The second stanza with explicitly specified durations is
263 aligned to the notes because the durations are the same as the
264 corresponding notes. The words are left-aligned to the notes by
265 default. Useful if the words to different stanzas fit the notes in
268 The third stanza shows the normal way of entering lyrics.
272 @rlearning{Aligning lyrics to a melody}.
277 @node Automatic syllable durations
278 @unnumberedsubsubsec Automatic syllable durations
280 @cindex syllable durations, automatic
281 @cindex lyrics and melodies
283 Lyrics are aligned and typeset with the help of skips, hyphens and
286 The @code{Voice} context containing the melody to which the lyrics
287 are being aligned must not have @qq{died}, or the lyrics after that
288 point will be lost. This can happen if there are periods when that
289 voice has nothing to do. For methods of keeping contexts alive, see
290 @ref{Keeping contexts alive}.
292 The lyrics can be aligned under a given melody
293 automatically. This is achieved by combining the
294 melody and the lyrics with the @code{\lyricsto} expression
297 \new Lyrics \lyricsto @var{name} @{ @dots{} @}
301 This aligns the lyrics to the
302 notes of the @code{Voice} context called @var{name}, which must
303 already exist. Therefore normally the @code{Voice} is specified first, and
304 then the lyrics are specified with @code{\lyricsto}. The command
305 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
306 @code{\lyricmode} keyword may be omitted.
311 The @code{\addlyrics} command is actually just a convenient shortcut
312 that can sometimes be used instead of having to set up the lyrics
313 through a more complicated LilyPond structure.
317 \addlyrics @{ LYRICS @}
324 \new Voice = "blah" @{ music @}
325 \new Lyrics \lyricsto "blah" @{ LYRICS @}
330 @lilypond[ragged-right,verbatim,fragment,quote]
332 \relative c' { c2 e4 g2. }
333 \addlyrics { play the game }
336 More stanzas can be added by adding more
337 @code{\addlyrics} sections:
339 @lilypond[ragged-right,verbatim,fragment,quote]
341 \relative c' { c2 e4 g2. }
342 \addlyrics { play the game }
343 \addlyrics { speel het spel }
344 \addlyrics { joue le jeu }
347 The command @code{\addlyrics} cannot handle polyphony settings.
348 For these cases one should use @code{\lyricsto} and
349 @code{\lyricmode}, for details see @ref{Entering lyrics}.
351 @node Manual syllable durations
352 @unnumberedsubsubsec Manual syllable durations
354 Lyrics can also be entered without @code{\addlyrics} or
355 @code{\lyricsto}. In this case, syllables are entered like
356 notes -- but with pitches replaced by text -- and the duration
357 of each syllable must be entered explicitly. For example:
364 The alignment to a melody can be specified with the
365 @code{associatedVoice} property,
368 \set associatedVoice = #"lala"
373 @c TODO setting associated voice does more than format extender
374 @c lines. Document it properly. Does it have anything to do
375 @c with manual durations in lyrics?
377 The value of the property (here: @code{"lala"}) should be the name of
378 a @code{Voice} context. Without this setting, extender lines
379 will not be formatted properly.
381 Here is an example demonstrating manual lyric durations,
383 @lilypond[relative=1,verbatim,quote]
385 \new Voice = "melody" {
389 \new Lyrics \lyricmode {
390 \set associatedVoice = #"melody"
396 In some complex vocal music, it may be desirable to place lyrics
397 completely independently of notes. In this case do not use
398 @code{\lyricsto} or @code{\addlyrics} and do not set
399 @code{associatedVoice}:
401 @lilypond[quote,verbatim,ragged-right]
423 @c TODO see also feature request 707 - show how to do this with manual durations
427 @ref{Keeping contexts alive}.
434 @node Multiple syllables to one note
435 @unnumberedsubsubsec Multiple syllables to one note
438 @cindex spaces, in lyrics
439 @cindex quotes, in lyrics
440 @cindex ties, in lyrics
442 In order to assign more than one syllable to a single note with
443 spaces between the syllables, you can surround the phrase with
444 quotes or use a @code{_} character. Alternatively, you can use
445 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
446 tie is implemented with the Unicode character U+203F, so be
447 sure to have a font (like DejaVuLGC) installed that includes this
450 @lilypond[quote,ragged-right,fragment,verbatim]
452 \relative c' { c2 e4 g2 e4 }
453 \addlyrics { gran- de_a- mi- go }
454 \addlyrics { pu- "ro y ho-" nes- to }
455 \addlyrics { pu- ro~y~ho- nes- to }
461 @rinternals{LyricCombineMusic}.
464 @node Multiple notes to one syllable
465 @unnumberedsubsubsec Multiple notes to one syllable
469 @cindex phrasing, in lyrics
471 @funindex \melismaEnd
473 Sometimes, particularly in Medieval music, several notes are to be
474 sung on one syllable; such vocalises are called melismata, or
475 @rglos{melisma}s. The syllable to a melisma is usually
476 left-aligned with the first note of the melisma.
478 When a melisma occurs on a syllable other that the last one in a
479 word, that syllable is usually joined to the following one with a
480 hyphenated line. This is indicated by placing a double hyphen,
481 @code{--}, immediately after the syllable.
483 Alternatively, when a melisma occurs on the last or only syllable in
484 a word an extender line is usually drawn from the end of the syllable
485 to the last note of the melisma. This is indicated by placing a
486 double underscore, @code{__}, immediately after the word.
488 There are five ways in which melismata can be indicated:
493 Melismata are created automatically over notes which are tied
496 @lilypond[quote,relative=2,verbatim]
498 \new Voice = "melody" {
504 \new Lyrics \lyricsto "melody" {
511 Melismata can be created automatically from the music by placing
512 slurs over the notes of each melisma. This is the usual way of
515 @lilypond[quote,relative=2,verbatim]
517 \new Voice = "melody" {
522 \new Lyrics \lyricsto "melody" {
529 Notes are considered a melisma if they are manually beamed,
530 providing automatic beaming is switched off. See
531 @ref{Setting automatic beam behavior}.
533 @lilypond[quote,relative=2,verbatim]
535 \new Voice = "melody" {
541 \new Lyrics \lyricsto "melody" {
547 Clearly this is not suited to melisma over notes which are longer
551 An unslurred group of notes will be treated as a melisma if they
552 are bracketed between @code{\melisma} and @code{\melismaEnd}.
554 @lilypond[quote,relative=2,verbatim]
556 \new Voice = "melody" {
564 \new Lyrics \lyricsto "melody" {
570 Note that this method cannot be used to indicate two melismata if
571 the first one is immediately followed by another.
574 A melisma can be defined entirely in the lyrics by entering a
575 single underscore character, @code{_}, for every extra note that has
576 to be added to the melisma.
578 @lilypond[verbatim, quote, relative=2]
580 \new Voice = "melody" {
585 \new Lyrics \lyricsto "melody" {
586 Ki -- ri -- _ _ _ e __ _ _
593 It is possible to have ties, slurs and manual beams in the melody
594 without their indicating melismata. To do this, set
595 @code{melismaBusyProperties} and indicate the melismata with single
596 underscores in the lyrics, one underscore for each extra note:
598 @lilypond[relative=1,verbatim,quote]
600 \new Voice = "melody" {
602 \set melismaBusyProperties = #'()
607 \new Lyrics \lyricsto "melody" {
608 Ky -- _ _ _ _ ri -- _ _ e __ _
613 Other settings for @code{melismaBusyProperties} can be used to
614 include or exclude ties, slurs, and beams from the automatic
615 detection of melismata; see @code{melismaBusyProperties} in
616 @rinternals{Tunable context properties}.
630 @rlearning{Aligning lyrics to a melody}.
633 @ref{Aligning lyrics to a melody},
634 @ref{Automatic syllable durations},
635 @ref{Setting automatic beam behavior}.
638 @rinternals{Tunable context properties}.
642 Extender lines under melismata are not created automatically; they
643 must be inserted manually with a double underscore.
646 @unnumberedsubsubsec Skipping notes
648 Making a lyric line run slower than the melody can be achieved by
649 inserting @code{\skip}s into the lyrics. For every @code{\skip},
650 the text will be delayed by another note. The @code{\skip} command
651 must be followed by a valid duration, but this is ignored when
652 @code{\skip} is used in lyrics which derive their durations from the
653 notes in an associated melody through @code{\addlyrics} or
656 @lilypond[verbatim,ragged-right,quote]
657 \relative c' { c c g' }
665 @node Extenders and hyphens
666 @unnumberedsubsubsec Extenders and hyphens
671 @c leave this as samp. -gp
672 In the last syllable of a word, melismata are sometimes indicated with
673 a long horizontal line starting in the melisma syllable, and ending in
674 the next one. Such a line is called an extender line, and it is
675 entered as @samp{ __ } (note the spaces before and after the two
676 underscore characters).
678 @warning{Melismata are indicated in the score with extender lines,
679 which are entered as one double underscore; but short melismata can
680 also be entered by skipping individual notes, which are entered as
681 single underscore characters; these do not make an extender line to be
686 @c leave this as samp. -gp
687 Centered hyphens are entered as @samp{ -- } between syllables of a same word
688 (note the spaces before and after the two hyphen characters). The hyphen
689 will be centered between the syllables, and its length will be adjusted
690 depending on the space between the syllables.
692 In tightly engraved music, hyphens can be removed. Whether this
693 happens can be controlled with the @code{minimum-distance} (minimum
694 distance between two syllables) and the @code{minimum-length}
695 (threshold below which hyphens are removed).
700 @rinternals{LyricExtender},
701 @rinternals{LyricHyphen}.
704 @node Techniques specific to lyrics
705 @subsection Techniques specific to lyrics
707 @c TODO this whole section is to be reorganised
710 * Working with lyrics and variables::
711 * Placement of lyrics::
712 * Lyrics and repeats::
714 * Spacing out syllables::
719 @node Working with lyrics and variables
720 @unnumberedsubsubsec Working with lyrics and variables
722 @c TODO rewrite this section
724 @cindex lyrics, variables
726 To define variables containing lyrics, the function @code{\lyricmode}
727 must be used. Durations do not need to be added if the variable is
728 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
730 @lilypond[quote,verbatim]
731 verseOne = \lyricmode { Joy to the world, the Lord is come. }
734 \new Voice = "one" \relative c'' {
737 c4 b8. a16 g4. f8 e4 d c2
739 \addlyrics { \verseOne }
744 For different or more complex orderings, the best way is to set up the
745 hierarchy of staves and lyrics first, e.g.,
748 \new Voice = "soprano" @{ @emph{music} @}
749 \new Lyrics = "sopranoLyrics" @{ s1 @}
750 \new Lyrics = "tenorLyrics" @{ s1 @}
751 \new Voice = "tenor" @{ @emph{music} @}
756 and then combine the appropriate melodies and lyric lines:
759 \context Lyrics = sopranoLyrics \lyricsto "soprano"
764 The final input would resemble
767 <<\new ChoirStaff << @emph{setup the music} >>
768 \lyricsto "soprano" @emph{etc}
769 \lyricsto "alto" @emph{etc}
775 @c TODO: document \new Staff << Voice \lyricsto >> bug
777 @rinternals{LyricCombineMusic},
781 @node Placement of lyrics
782 @unnumberedsubsubsec Placement of lyrics
784 @cindex placement of lyrics
785 @cindex lyrics, positioning
787 Lyrics are positioned above the staff, below the staff, or between
788 staves, depending on the type of music. To place lyrics below the
789 associated staff simply define the Lyrics context below the Staff
792 @lilypond[quote,verbatim]
796 \new Voice = "melody" {
797 \relative c'' { c4 c c c }
809 To position lyrics above the staff, place the declaration of the
810 Lyrics context before the Staff and Voice contexts, but the
811 @code{\lyricsto} command must come after the Voice declaration it
812 references, like this:
814 @lilypond[quote,verbatim]
817 \new Lyrics = "lyrics"
819 \new Voice = "melody" {
820 \relative c'' { c4 c c c }
823 \context Lyrics = "lyrics" {
832 Alternatively, the position of the lyrics may be specified
835 @lilypond[quote,verbatim]
838 \new Staff = "staff" {
839 \new Voice = "melody" {
840 \relative c'' { c4 c c c }
843 \new Lyrics \with { alignAboveContext = "staff" } {
852 When there are two voices on separate staves the lyrics may be
853 placed between the staves using either of these methods. Here
854 is an example of the first method:
856 @lilypond[quote,verbatim]
860 \new Voice = "sopranos" {
861 \relative c'' { c4 c c c }
864 \new Lyrics = "sopranos"
865 \new Lyrics = "contraltos"
867 \new Voice = "contraltos" {
868 \relative c'' { a4 a a a }
871 \context Lyrics = "sopranos" {
872 \lyricsto "sopranos" {
873 Sop -- ra -- no words
876 \context Lyrics = "contraltos" {
877 \lyricsto "contraltos" {
878 Con -- tral -- to words
885 Other combinations of lyrics and staves may be generated by
886 elaborating these examples, or by examining the SATB templates in
891 @rlearning{Vocal ensembles}.
894 @ref{Aligning contexts},
895 @ref{Creating contexts}.
897 @node Lyrics and repeats
898 @unnumberedsubsubsec Lyrics and repeats
900 @cindex repeats and lyrics
901 @cindex lyrics, repeating
903 @subheading Simple repeats
905 Repeats in @emph{music} are fully described elsewhere; see
906 @ref{Repeats}. This section explains how to add lyrics to repeated
909 Lyrics to a section of music that is repeated should be surrounded
910 by exactly the same repeat construct as the music, if the words are
913 @lilypond[verbatim,quote]
917 \new Voice = "melody" {
920 \repeat volta 2 { b4 b b b }
926 Not re -- peat -- ed.
927 \repeat volta 2 { Re -- peat -- ed twice. }
934 The words will then be correctly expanded if the repeats are
937 @lilypond[verbatim,quote]
942 \new Voice = "melody" {
945 \repeat volta 2 { b4 b b b }
951 Not re -- peat -- ed.
952 \repeat volta 2 { Re -- peat -- ed twice. }
960 If the repeated section is to be unfolded and has different words,
961 simply enter all the words:
963 @lilypond[verbatim,quote,ragged-right]
967 \new Voice = "melody" {
970 \repeat unfold 2 { b4 b b b }
976 Not re -- peat -- ed.
977 The first time words.
978 Sec -- ond time words.
988 When the words to a repeated volta section are different, the words
989 to each repeat must be entered in separate @code{Lyrics} contexts.
990 Earlier unrepeated sections must be skipped in the second and
991 subsequent repeats. The easiest way to skip several notes is to
992 use @code{\repeat unfold} around the @code{\skip} command.
994 Note: do not use an underscore, @code{_}, to skip notes in this
995 particular case. As this syntax indicates a melisma, it will cause
996 the preceding syllable to be left-aligned.
998 @warning{The @code{@bs{}skip} command must be followed by a number,
999 but this number is ignored in lyrics which derive their durations
1000 from the notes in an associated melody through @code{\addlyrics} or
1001 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1002 value, irrespective of the value of the following number.}
1004 @lilypond[verbatim,quote]
1008 \new Voice = "melody" {
1011 \repeat volta 2 { b4 b b b }
1016 \lyricsto "melody" {
1017 Not re -- peat -- ed.
1018 The first time words.
1022 \lyricsto "melody" {
1023 % skip 4 notes of any duration
1024 \repeat unfold 4 { \skip 1 }
1025 Sec -- ond time words.
1032 @cindex lyrics, repeating with a temporary voice
1034 An alternative way, which avoids skips and having to count notes,
1035 is to use a temporary voice for the repeated section. This may be
1036 preferable if the earlier sections are still subject to change. A
1037 temporary voice can be inserted anywhere in the main music stream
1038 in parallel with it, as shown below, but it may be necessary to
1039 keep the main voice alive in complex scores when using this
1040 technique; see @ref{Keeping contexts alive}.
1042 @lilypond[verbatim,quote,ragged-right]
1046 \new Voice = "singleVoice" {
1047 \relative c'' { a4 a a a }
1048 \new Voice = "repeatVoice" {
1049 \relative c'' \repeat volta 3 { b4 b b b }
1051 \relative c'' { c4 c c c }
1055 \lyricsto "singleVoice" {
1056 Not re -- peat -- ed.
1057 The end sec -- tion.
1059 \lyricsto "repeatVoice" {
1060 The first time words.
1064 \lyricsto "repeatVoice" {
1065 Sec -- ond time words.
1069 \lyricsto "repeatVoice" {
1070 The third time words.
1077 @c TODO lowering a common line of lyrics
1079 @subheading Repeats with alternative endings
1081 @cindex lyrics, repeats with alternative endings
1082 @cindex repeating lyrics with alternative endings
1083 @cindex alternative endings and lyrics
1085 If the words of the repeated section are the same, exactly the
1086 same structure can be used for both the lyrics and music.
1088 @lilypond[quote,verbatim]
1093 \new Voice = "melody" {
1096 \repeat volta 2 { b4 b }
1097 \alternative { { b b } { b c } }
1102 \lyricsto "melody" {
1103 Not re -- peat -- ed.
1104 \repeat volta 2 { Re -- peat -- }
1105 \alternative { { ed twice. } { ed twice. } }
1112 But when the repeated section has different words, a repeat
1113 construct cannot be used around the words and @code{\skip} commands
1114 have to be inserted manually as described in the previous section to
1115 skip over the notes in the alternative sections which do not apply.
1117 @lilypond[verbatim,quote,ragged-right]
1122 \new Voice = "melody" {
1124 \repeat volta 2 { b4 b }
1125 \alternative { { b b } { b c } }
1131 \lyricsto "melody" {
1132 The first time words.
1133 \repeat unfold 2 { \skip 1 }
1138 \lyricsto "melody" {
1140 \repeat unfold 2 { \skip 1 }
1148 @cindex lyrics and tied notes
1149 @funindex \repeatTie
1151 When a note is tied over into two or more alternative endings a
1152 tie is used to carry the note into the first alternative ending and
1153 a @code{\repeatTie} is used in the second and subsequent endings.
1154 This structure causes difficult alignment problems when lyrics are
1155 involved and increasing the length of the alternative sections so
1156 the tied notes are contained wholly within them may give a more
1159 The tie creates a melisma into the first alternative, but not into
1160 the second and subsequent alternatives, so to align the lyrics
1161 correctly it is necessary to disable the automatic creation of
1162 melismata over the volta section and insert manual skips.
1164 @lilypond[quote,verbatim]
1169 \new Voice = "melody" {
1171 \set melismaBusyProperties = #'()
1172 \repeat volta 2 { b4 b ~}
1173 \alternative { { b b } { b \repeatTie c } }
1174 \unset melismaBusyProperties
1180 \lyricsto "melody" {
1181 \repeat volta 2 { Here's a __ }
1193 Note that if @code{\unfoldRepeats} is used around a section
1194 containing @code{\repeatTie}, the @code{\repeatTie} should be
1195 removed to avoid both types of tie being printed.
1197 When the repeated section has different words a @code{\repeat}
1198 cannot be used around the lyrics and @code{\skip} commands need to
1199 be inserted manually, as before.
1201 @lilypond[quote,verbatim]
1206 \new Voice = "melody" {
1208 \repeat volta 2 { b4 b ~}
1209 \alternative { { b b } { b \repeatTie c } }
1215 \lyricsto "melody" {
1217 \repeat unfold 2 { \skip 1 }
1221 \lyricsto "melody" {
1223 \repeat unfold 2 { \skip 1 }
1231 If you wish to show extenders and hyphens into and out of
1232 alternative sections these must be inserted manually.
1234 @lilypond[quote,verbatim]
1239 \new Voice = "melody" {
1241 \repeat volta 2 { b4 b ~}
1242 \alternative { { b b } { b \repeatTie c } }
1248 \lyricsto "melody" {
1250 \repeat unfold 2 { \skip 1 }
1254 \lyricsto "melody" {
1267 @unnumberedsubsubsec Divisi lyrics
1269 @cindex divided lyrics
1270 @cindex lyrics, divided
1272 When just the words and rhythms of the two parts differ with the
1273 pitches remaining the same, temporarily turning off the automatic
1274 detection of melismata and indicating the melisma in the lyrics
1275 may be the appropriate method to use:
1277 @lilypond[quote,verbatim]
1280 \new Voice = "melody" {
1282 \set melismaBusyProperties = #'()
1286 \unset melismaBusyProperties
1290 \new Lyrics \lyricsto "melody" {
1291 They shall not o -- ver -- come
1293 \new Lyrics \lyricsto "melody" {
1300 When both music and words differ it may be better to display
1301 the differing music and lyrics by naming voice contexts and
1302 attaching lyrics to those specific contexts:
1304 @lilypond[verbatim,ragged-right,quote]
1307 \new Voice = "melody" {
1314 \new Voice = "splitpart" {
1324 \new Lyrics \lyricsto "melody" {
1325 They shall not o -- ver -- come
1327 \new Lyrics \lyricsto "splitpart" {
1335 @node Spacing out syllables
1336 @unnumberedsubsubsec Spacing out syllables
1338 @cindex Spacing lyrics
1339 @cindex Lyrics, increasing space between
1341 To increase the spacing between lyrics, set the @code{minimum-distance}
1342 property of @code{LyricSpace}.
1344 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1347 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1351 longtext longtext longtext longtext
1352 longtext longtext longtext longtext
1357 To make this change for all lyrics in the score, set the property in the
1360 @lilypond[verbatim,quote,ragged-right]
1367 longtext longtext longtext longtext
1368 longtext longtext longtext longtext
1373 \override LyricSpace #'minimum-distance = #1.0
1380 @c This snippet has been renamed to "lyrics-alignment.ly"
1381 @c update as soon as lsr/is updated -vv
1382 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1383 @c {lyrics-alignment.ly}
1385 @c TODO: move to LSR -vv
1388 Checking to make sure that text scripts and lyrics are within the margins is
1389 a relatively large computational task. To speed up processing, LilyPond does
1390 not perform such calculations by default; to enable it, use
1393 \override Score.PaperColumn #'keep-inside-line = ##t
1396 To make lyrics avoid bar lines as well, use
1402 \consists "Bar_engraver"
1403 \consists "Separating_line_group_engraver"
1404 \override BarLine #'transparent = ##t
1409 @c TODO Create and add lsr example of lyricMelismaAlignment
1410 @c It's used like this to center-align all lyric syllables,
1411 @c even when notes are tied. -td
1416 \context { \Score lyricMelismaAlignment = #0 }
1425 * Adding stanza numbers::
1426 * Adding dynamics marks to stanzas::
1427 * Adding singers' names to stanzas::
1428 * Stanzas with different rhythms::
1429 * Printing stanzas at the end::
1430 * Printing stanzas at the end in multiple columns::
1434 @node Adding stanza numbers
1435 @unnumberedsubsubsec Adding stanza numbers
1437 @cindex stanza number
1439 Stanza numbers can be added by setting @code{stanza}, e.g.,
1441 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1443 \time 3/4 g2 e4 a2 f4 g2.
1445 \set stanza = #"1. "
1446 Hi, my name is Bert.
1448 \set stanza = #"2. "
1449 Oh, ché -- ri, je t'aime
1455 These numbers are put just before the start of the first syllable.
1457 @c TODO Create and add snippet to show how two lines of a
1458 @c stanza can be grouped together, along these lines:
1459 @c (might need improving a bit) -td
1462 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1466 \set stanza = \markup { "1. " \leftbrace }
1467 \lyricmode { Child, you're mine and I love you.
1468 Lend thine ear to what I say.
1474 % \set stanza = \markup { " "}
1475 \lyricmode { Child, I have no great -- er joy
1476 Than to have you walk in truth.
1482 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1483 c'8 c' c' c' c' c' c'4 }
1484 } \addlyrics { \stanzaOneOne }
1485 \addlyrics { \stanzaOneThree }
1489 @node Adding dynamics marks to stanzas
1490 @unnumberedsubsubsec Adding dynamics marks to stanzas
1492 Stanzas differing in loudness may be indicated by putting a
1493 dynamics mark before each stanza. In LilyPond, everything coming in
1494 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1495 are no different. For technical reasons, you have to set the stanza
1496 outside @code{\lyricmode}:
1498 @lilypond[quote,ragged-right,verbatim]
1500 \set stanza = \markup { \dynamic "ff" "1. " }
1507 \new Voice = "tune" {
1511 \new Lyrics \lyricsto "tune" \text
1515 @node Adding singers' names to stanzas
1516 @unnumberedsubsubsec Adding singers' names to stanzas
1519 @cindex name of singer
1521 Names of singers can also be added. They are printed at the start of
1522 the line, just like instrument names. They are created by setting
1523 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1525 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1527 \time 3/4 g2 e4 a2 f4 g2.
1529 \set vocalName = #"Bert "
1530 Hi, my name is Bert.
1532 \set vocalName = #"Ernie "
1533 Oh, ché -- ri, je t'aime
1537 @node Stanzas with different rhythms
1538 @unnumberedsubsubsec Stanzas with different rhythms
1540 Often, different stanzas of one song are put to one melody in slightly
1541 differing ways. Such variations can still be captured with
1544 @subsubheading Ignoring melismata
1546 One possibility is that the text has a melisma in one stanza, but
1547 multiple syllables in another one. One solution is to make the faster
1548 voice ignore the melisma. This is done by setting
1549 @code{ignoreMelismata} in the Lyrics context.
1551 @lilypond[verbatim,ragged-right,quote]
1553 \relative c' \new Voice = "lahlah" {
1554 \set Staff.autoBeaming = ##f
1560 \new Lyrics \lyricsto "lahlah" {
1563 \new Lyrics \lyricsto "lahlah" {
1565 \set ignoreMelismata = ##t
1567 \unset ignoreMelismata
1574 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1575 not work if prefixed with @code{\once}. It is necessary to use
1576 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1579 @subsubheading Adding syllables to grace notes
1581 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1582 syllables when using @code{\lyricsto}, but this behavior can be
1585 @lilypond[verbatim,ragged-right,quote]
1587 f4 \appoggiatura a32 b4
1588 \grace { f16[ a16] } b2
1589 \afterGrace b2 { f16[ a16] }
1590 \appoggiatura a32 b4
1595 \set includeGraceNotes = ##t
1598 after -- grace case,
1599 \set ignoreMelismata = ##t
1606 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1607 set at latest one syllable before the one which is to be put under a
1608 grace note. For the case of a grace note at the very beginning of a
1609 piece of music, consider using a @code{\with} or @code{\context}
1612 @lilypond[verbatim,ragged-right,quote]
1614 \new Voice = melody \relative c' {
1615 \grace { c16[( d e f] }
1618 \new Lyrics \with { includeGraceNotes = ##t }
1625 @subsubheading Switching to an alternative melody
1627 More complex variations in text underlay are possible. It is possible
1628 to switch the melody for a line of lyrics during the text. This is
1629 done by setting the @code{associatedVoice} property. In the example
1631 @lilypond[ragged-right,quote]
1633 \relative c' \new Voice = "lahlah" {
1634 \set Staff.autoBeaming = ##f
1637 \new Voice = "alternative" {
1640 % show associations clearly.
1641 \override NoteColumn #'force-hshift = #-3
1652 \new Lyrics \lyricsto "lahlah" {
1653 Ju -- ras -- sic Park
1655 \new Lyrics \lyricsto "lahlah" {
1656 % Tricky: need to set associatedVoice
1657 % one syllable too soon!
1658 \set associatedVoice = alternative % applies to "ran"
1662 \set associatedVoice = lahlah % applies to "rus"
1668 the text for the first stanza is set to a melody called @q{lahlah},
1671 \new Lyrics \lyricsto "lahlah" @{
1672 Ju -- ras -- sic Park
1677 The second stanza initially is set to the @code{lahlah} context, but
1678 for the syllable @q{ran}, it switches to a different melody.
1679 This is achieved with
1681 \set associatedVoice = alternative
1685 Here, @code{alternative} is the name of the @code{Voice} context
1686 containing the triplet.
1688 @c TODO: make this easier to understand -vv
1689 This command must be one syllable too early, before @q{Ty} in this
1690 case. In other words, changing the associatedVoice happens one step
1691 later than expected. This is for technical reasons, and it is not a
1695 \new Lyrics \lyricsto "lahlah" @{
1696 \set associatedVoice = alternative % applies to "ran"
1700 \set associatedVoice = lahlah % applies to "rus"
1706 The underlay is switched back to the starting situation by assigning
1707 @code{lahlah} to @code{associatedVoice}.
1710 @node Printing stanzas at the end
1711 @unnumberedsubsubsec Printing stanzas at the end
1713 Sometimes it is appropriate to have one stanza set
1714 to the music, and the rest added in verse form at
1715 the end of the piece. This can be accomplished by adding
1716 the extra verses into a @code{\markup} section outside
1717 of the main score block. Notice that there are two
1718 different ways to force linebreaks when using
1721 @lilypond[ragged-right,verbatim,quote]
1722 melody = \relative c' {
1728 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1729 its fleece was white as snow.
1733 \new Voice = "one" { \melody }
1734 \new Lyrics \lyricsto "one" \text
1740 \line{ All the children laughed and played }
1741 \line{ To see a lamb at school. }
1748 Mary took it home again,
1750 It was against the rule."
1755 @node Printing stanzas at the end in multiple columns
1756 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1758 When a piece of music has many verses, they are often printed in
1759 multiple columns across the page. An outdented verse number often
1760 introduces each verse. The following example shows how to produce such
1763 @lilypond[ragged-right,quote,verbatim]
1764 melody = \relative c' {
1769 \set stanza = #"1." This is verse one.
1774 \new Voice = "one" { \melody }
1775 \new Lyrics \lyricsto "one" \text
1782 \hspace #0.1 % moves the column off the left margin;
1783 % can be removed if space on the page is tight
1787 "This is verse two."
1791 \hspace #0.1 % adds vertical spacing between verses
1794 "This is verse three."
1799 \hspace #0.1 % adds horizontal spacing between columns;
1800 % if they are still too close, add more " " pairs
1801 % until the result looks good
1805 "This is verse four."
1809 \hspace #0.1 % adds vertical spacing between verses
1812 "This is verse five."
1817 \hspace #0.1 % gives some extra space on the right margin;
1818 % can be removed if page space is tight
1825 Internals Reference:
1826 @rinternals{LyricText},
1827 @rinternals{StanzaNumber}.
1834 * References for songs::
1838 @node References for songs
1839 @unnumberedsubsubsec References for songs
1841 Songs are usually written on three staves with the melody for the
1842 singer on the top staff and two staves of piano accompaniment at
1843 the bottom. The lyrics of the first stanza are printed immediately
1844 underneath the top staff. If there are just a small number of
1845 further stanzas these can be printed immediately under the first
1846 one, but if there are more stanzas than can be easily accommodated
1847 there the second and subsequent stanzas are printed after the music
1848 as stand-alone text.
1850 All the notational elements needed to write songs are fully described
1856 For constructing the staff layout, see @ref{Displaying staves}.
1859 For writing piano music, see
1860 @ref{Keyboard and other multi-staff instruments}.
1863 For writing the lyrics to a melody line, see
1864 @ref{Common notation for vocal music}.
1867 For placing the lyrics, see @ref{Placement of lyrics}.
1870 For entering stanzas, see @ref{Stanzas}.
1873 Songs are frequently printed with the chording indicated by chord
1874 names above the staves. This is described in
1875 @ref{Displaying chords}.
1878 To print fret diagrams of the chords for guitar accompaniment or
1879 accompaniment by other fretted instruments, see @qq{Fret diagram
1880 markups} in @ref{Common notation for fretted strings}.
1889 @ref{Common notation for vocal music},
1890 @ref{Displaying chords},
1891 @ref{Displaying staves},
1892 @ref{Keyboard and other multi-staff instruments},
1893 @ref{Placement of lyrics},
1897 @unnumberedsubsubsec Lead sheets
1899 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1900 this syntax is explained in @ref{Chord notation}.
1903 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1904 {simple-lead-sheet.ly}
1908 @ref{Chord notation}.
1919 This section discusses notation issues that relate most directly
1920 to choral music. This includes anthems, part songs, oratorio,
1924 * References for choral::
1925 * Score layouts for choral::
1929 @node References for choral
1930 @unnumberedsubsubsec References for choral
1932 Choral music is usually notated on two, three or four staves within
1933 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1934 beneath in a @code{PianoStaff} group, which is usually reduced in
1935 size for @emph{a capella} choral works. The notes for each vocal
1936 part are placed in a @code{Voice} context, with each staff
1937 being given either a single vocal part (i.e., one @code{Voice}) or
1938 a pair of vocal parts (i.e., two @code{Voice}s).
1940 Words are placed in @code{Lyrics} contexts, either underneath each
1941 corresponding music staff, or one above and one below the music
1942 staff if this contains the music for two parts.
1944 Several common topics in choral music are described fully elsewhere:
1949 An introduction to creating an SATB vocal score can be found in
1950 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1953 Several templates suitable for various styles of choral music can
1954 also be found in the Learning Manual, see
1955 @rlearning{Vocal ensembles}.
1958 For information about @code{ChoirStaff} and @code{PianoStaff} see
1959 @ref{Grouping staves}.
1962 Shape noteheads, as used in Sacred Harp and similar notation, are
1963 described in @ref{Shape note heads}.
1966 When two vocal parts share a staff the stems, ties, slurs, etc., of
1967 the higher part will be directed up and those of the lower part
1968 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1969 @ref{Single-staff polyphony}.
1980 @rlearning{Four-part SATB vocal score},
1981 @rlearning{Vocal ensembles}.
1984 @ref{Context layout order},
1985 @ref{Grouping staves},
1986 @ref{Shape note heads},
1987 @ref{Single-staff polyphony}.
1989 Internals Reference:
1990 @rinternals{ChoirStaff},
1991 @rinternals{Lyrics},
1992 @rinternals{PianoStaff}.
1994 @node Score layouts for choral
1995 @unnumberedsubsubsec Score layouts for choral
1997 Choral music containing four staves, with or without piano
1998 accompaniment, is usually laid out with two systems per page.
1999 Depending on the page size, achieving this may require changes
2000 to several default settings. The following settings should be
2006 The global staff size can be modified to change the overall size
2007 of the elements of the score. See @ref{Setting the staff size}.
2010 The distances between the systems, the staves and the lyrics can
2011 all be adjusted independently. See @ref{Vertical spacing}.
2014 The dimensions of the vertical layout variables can be displayed as
2015 an aid to adjusting the vertical spacing. This and other
2016 possibilities for fitting the music onto fewer pages are described
2017 in @ref{Fitting music onto fewer pages}.
2020 If the number of systems per page changes from one to two it is
2021 customary to indicate this with a system separator mark between
2022 the two systems. See @ref{Separating systems}.
2025 For details of other page formatting properties, see
2026 @ref{Page formatting}.
2031 Dynamic markings by default are placed below the staff, but in
2032 choral music they are usually placed above the staff in order to
2033 avoid the lyrics. The predefined command @code{\dynamicUp} does
2034 this for the dynamic markings in a single @code{Voice} context.
2035 If there are many @code{Voice} contexts this predefined command
2036 would have to be placed in every one. Alternatively its expanded
2037 form can be used to place all dynamic markings in the entire score
2038 above their respective staves, as shown here:
2040 @lilypond[verbatim,quote]
2045 \relative c'' { g4\f g g g }
2050 \relative c' { d4 d d\p d }
2057 \override DynamicText #'direction = #UP
2058 \override DynamicLineSpanner #'direction = #UP
2065 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2069 @ref{Changing spacing},
2070 @ref{Displaying spacing},
2071 @ref{Fitting music onto fewer pages},
2072 @ref{Page formatting},
2074 @ref{Separating systems},
2075 @ref{Setting the staff size},
2076 @ref{Using an extra voice for breaks},
2077 @ref{Vertical spacing}.
2079 Internals Reference:
2080 @rinternals{VerticalAxisGroup},
2081 @rinternals{StaffGrouper}.
2084 @node Divided voices
2085 @unnumberedsubsubsec Divided voices
2087 @cindex voices, divided
2089 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2090 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2094 @ref{Expressive marks as lines}.
2097 @node Opera and stage musicals
2098 @subsection Opera and stage musicals
2100 The music, lyrics and dialogue to opera and stage musicals are
2101 usually set out in one or more of the following forms:
2106 A @emph{Conductors' Score} containing the full orchestral and vocal
2107 parts, together with libretto cues if there are spoken passages.
2110 @emph{Orchestral Parts} containing the music for the individual
2111 instruments of the orchestra or band.
2114 A @emph{Vocal Score} containing all vocal parts with piano
2115 accompaniment. The accompaniment is usually an orchestral
2116 reduction, and if so the name of the original orchestral instrument
2117 is often indicated. Vocal scores sometimes includes stage
2118 directions and libretto cues.
2121 A @emph{Vocal Book} containing just the vocal parts
2122 (no accompaniment), sometimes combined with the libretto.
2125 A @emph{Libretto} containing the extended passages of spoken
2126 dialogue usually found in musicals, together with the words to the
2127 sung parts. Stage directions are usually included. LilyPond can
2128 be used to typeset libretti but as they contain no music
2129 alternative methods may be preferable.
2133 The sections in the LilyPond documentation which cover the topics
2134 needed to create scores in the styles commonly found in opera and
2135 musicals are indicated in the References below. This is followed
2136 by sections covering those techniques which are peculiar to
2137 typesetting opera and musical scores.
2140 * References for opera and stage musicals::
2144 * Dialogue over music::
2147 @node References for opera and stage musicals
2148 @unnumberedsubsubsec References for opera and stage musicals
2153 A conductors' score contains many grouped staves and lyrics. Ways
2154 of grouping staves is shown in @ref{Grouping staves}. To nest
2155 groups of staves see @ref{Nested staff groups}.
2158 The printing of empty staves in conductors' scores and vocal scores
2159 is often suppressed. To create such a @qq{Frenched score} see
2160 @ref{Hiding staves}.
2163 Writing orchestral parts is covered in @ref{Writing parts}.
2164 Other sections in the Specialist notation chapter may be relevant,
2165 depending on the orchestration used. Many instruments are
2166 transposing instruments, see @ref{Instrument transpositions}.
2169 If the number of systems per page changes from page to page it is
2170 customary to separate the systems with a system separator mark.
2171 See @ref{Separating systems}.
2174 For details of other page formatting properties, see
2175 @ref{Page formatting}.
2178 Dialogue cues and stage directions can be inserted with markup.
2179 See @ref{Text}. Extensive stage directions can be inserted with
2180 a section of stand-alone markup between two @code{\score} blocks.
2181 See @ref{Separate text}.
2187 @rglos{Frenched score},
2188 @rglos{Frenched staves},
2189 @rglos{transposing instrument}.
2192 @ref{Grouping staves},
2193 @ref{Hiding staves},
2194 @ref{Instrument transpositions},
2195 @ref{Nested staff groups},
2196 @ref{Page formatting},
2197 @ref{Separating systems},
2199 @ref{Writing parts},
2203 @node Character names
2204 @unnumberedsubsubsec Character names
2206 @cindex character names
2207 @cindex names, character
2209 Character names are usually shown to the left of the staff when the
2210 staff is dedicated to that character alone. The instrument name can
2211 be used for this purpose.
2213 @lilypond[quote,verbatim,ragged-right]
2217 \set Staff.instrumentName = #"Kaspar"
2218 \set Staff.shortInstrumentName = #"Kas"
2227 \set Staff.instrumentName = #"Melchior"
2228 \set Staff.shortInstrumentName = #"Mel"
2239 When two or more characters share a staff the character's name is
2240 usually printed above the staff at the start of every section
2241 applying to that character. This can be done with markup. Often a
2242 specific font is used for this purpose.
2244 @lilypond[quote,verbatim,relative=1]
2246 c4^\markup \fontsize #1 \smallCaps Kaspar
2249 a4^\markup \fontsize #1 \smallCaps Melchior
2252 c4^\markup \fontsize #1 \smallCaps Kaspar
2256 Alternatively, if there are many character changes, it may be
2257 easier to set up @qq{instrument} definitions for each character at
2258 the top level so that @code{\instrumentSwitch} can be used to
2259 indicate each change.
2261 @lilypond[quote,verbatim]
2262 \addInstrumentDefinition #"kaspar"
2263 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2264 (shortInstrumentName . "Kas.")
2265 (clefGlyph . "clefs.G")
2266 (clefOctavation . -7)
2267 (middleCPosition . 1)
2269 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2270 (midiInstrument . "voice oohs"))
2272 \addInstrumentDefinition #"melchior"
2273 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2274 (shortInstrumentName . "Mel.")
2275 (clefGlyph . "clefs.F")
2276 (clefOctavation . 0)
2277 (middleCPosition . 6)
2279 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2280 (midiInstrument . "voice aahs"))
2283 \instrumentSwitch "kaspar"
2285 \instrumentSwitch "melchior"
2287 \instrumentSwitch "kaspar"
2294 @ref{Instrument names},
2295 @ref{Scheme functions},
2297 @ref{Text markup commands}.
2300 @rextend{Markup construction in Scheme}.
2303 @unnumberedsubsubsec Musical cues
2305 @cindex musical cues
2306 @cindex cues, musical
2308 Musical cues can be inserted in Vocal Scores, Vocal Books and
2309 Orchestral Parts to indicate what music in another part
2310 immediately precedes an entry. Also, cues are often inserted in the
2311 piano reduction in Vocal Scores to indicate what each orchestral
2312 instrument is playing. This aids the conductor when a full
2313 Conductors' Score is not available.
2315 The basic mechanism for inserting cues is fully explained in the
2316 main text, see @ref{Quoting other voices} and
2317 @ref{Formatting cue notes}. But when many cues have to be
2318 inserted, for example, as an aid to a conductor in a vocal score,
2319 the instrument name must be positioned carefully just before and
2320 close to the start of the cued notes. The following example shows
2321 how this is done. Note that the name of the grob for overriding
2322 the cued instrument name is @code{InstrumentSwitch}.
2324 @lilypond[quote,verbatim]
2325 flute = \relative c'' {
2328 \addQuote "flute" { \flute }
2330 pianoRH = \relative c'' {
2332 % position name of cued instrument just before the cued notes
2333 \once \override CueVoice.InstrumentSwitch
2334 #'self-alignment-X = #RIGHT
2335 % position name of cued instrument above the staff
2336 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2337 \set CueVoice.instrumentCueName = "Flute"
2338 \cueDuring "flute" #UP { g4 bes4 }
2340 pianoLH = \relative c { c4 <c' e> e, <g c> }
2355 If a transposing instrument is being cued the instrument part should
2356 specify its key so the conversion of its cued notes will be done
2357 automatically. The example below shows this transposition for a
2358 B-flat clarinet. The notes in this example are low on the staff so
2359 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2360 down) and the instrument name is positioned below the staff. Note
2361 also that the piano right-hand voice is explicitly declared. This
2362 is because the cued notes in this example begin at the start of the
2363 first bar and this would otherwise cause the entire piano right-hand
2364 notes to be placed in a @code{CueVoice} context.
2366 @lilypond[quote,verbatim]
2367 clarinet = \relative c' {
2371 \addQuote "clarinet" { \clarinet }
2373 pianoRH = \relative c'' {
2375 % position name of cued instrument just before the cued notes
2376 \once \override CueVoice.InstrumentSwitch
2377 #'self-alignment-X = #RIGHT
2378 % position name of cued instrument below the staff
2379 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2380 \set CueVoice.instrumentCueName = "Clar."
2381 \cueDuring "clarinet" #DOWN { c4. g8 }
2384 pianoLH = \relative c { c4 <c' e> e, <g c> }
2403 From these two examples it is clear that inserting many cues in a
2404 Vocal Score would be extremely tedious, and the notes of the piano
2405 part would be obscured by the many overrides. However, as the
2406 following snippet shows, it is possible to define a music function
2407 to reduce the amount of typing and to make the piano notes clearer.
2410 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2411 {adding-orchestral-cues-to-a-vocal-score.ly}
2418 @ref{Aligning objects},
2419 @ref{Direction and placement},
2420 @ref{Formatting cue notes},
2421 @ref{Quoting other voices},
2422 @ref{Using music functions}.
2427 Internals Reference:
2428 @rinternals{InstrumentSwitch},
2429 @rinternals{CueVoice}.
2432 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2433 and all cue notes are placed in that context. This means it is not
2434 possible to have two overlapping sequences of cued notes by this
2435 technique. Overlapping sequences could be entered by explicitly
2436 declaring separate @code{CueVoice} contexts and using
2437 @code{\quoteDuring} to extract and insert the cued notes.
2441 @unnumberedsubsubsec Spoken music
2444 @cindex Sprechgesang
2445 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2446 without pitch but still with rhythm; these are notated by cross
2447 note heads, as demonstrated in @ref{Special note heads}.
2449 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2450 @c add "showing the rhythm of a melody" snip
2451 @c add "one staff-line notation"
2452 @c add "improvisation" ref
2453 @c add "lyrics independents of notes" ref
2455 @node Dialogue over music
2456 @unnumberedsubsubsec Dialogue over music
2458 Dialogue over music is usually printed over the staves in an italic
2459 font, with the start of each phrase keyed in to a particular music
2462 For short interjections a simple markup suffices.
2464 @lilypond[quote,verbatim,relative=2]
2465 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2466 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2470 For longer phrases it may be necessary to expand the music to make
2471 the words fit neatly. There is no provision in LilyPond to do this
2472 fully automatically, and some manual intervention to layout the
2473 page will be necessary.
2475 For long phrases or for passages with a lot of closely packed
2476 dialogue, using a Lyrics context will give better results. The
2477 Lyrics context should not be associated with a music Voice; instead
2478 each section of dialogue should be given an explicit duration. If
2479 there is a gap in the dialogue, the final word should be separated
2480 from the rest and the duration split between them so that the
2481 underlying music spaces out smoothly.
2483 If the dialogue extends for more than one line it will be necessary
2484 to manually insert @code{\break}s and adjust the placing of the
2485 dialogue to avoid running into the right margin. The final word of
2486 the last measure on a line should also be separated out, as above.
2488 Here is an example illustating how this might be done.
2490 @c This should be a snippet, but it can't be as it needs to be
2491 @c manually adjusted to suit the imposed line length. -td
2493 @lilypond[quote,verbatim,ragged-right]
2494 music = \relative c'' {
2495 \repeat unfold 3 { a4 a a a }
2498 dialogue = \lyricmode {
2500 \fontsize #1 \upright \smallCaps Abe:
2501 "Say this over measures one and"
2505 "and this over measure"4*3
2512 \override LyricText #'font-shape = #'italic
2513 \override LyricText #'self-alignment-X = #LEFT
2517 \new Voice { \music }
2523 @c TODO show use of \column to produce dialogue on two lines
2527 @ref{Manual syllable durations},
2531 @rinternals{LyricText}.
2534 @node Chants psalms and hymns
2535 @subsection Chants psalms and hymns
2540 @cindex religious music
2542 The music and words for chants, psalms and hymns usually follow a
2543 well-established format in any particular church. Although the
2544 formats may differ from church to church the type-setting problems
2545 which arise are broadly similar, and are covered in this section.
2548 * References for chants and psalms::
2550 * Pointing a psalm::
2551 * Partial measures in hymn tunes::
2554 @node References for chants and psalms
2555 @unnumberedsubsubsec References for chants and psalms
2557 Typesetting Gregorian chant in various styles of ancient notation
2558 is described in @ref{Ancient notation}.
2562 @ref{Ancient notation}.
2565 @node Setting a chant
2566 @unnumberedsubsubsec Setting a chant
2568 Modern chant settings use modern notation with varying numbers of
2569 elements taken from ancient notation. Some of the elements and
2570 methods to consider are shown here.
2572 Chants often use quarter notes without stems to indicate the pitch,
2573 with the rhythm being taken from the spoken rhythm of the words.
2575 @lilypond[verbatim,quote]
2576 stemOff = { \override Staff.Stem #'transparent = ##t }
2585 Chants often omit the bar lines or use shortened or dotted bar
2586 lines to indicate pauses in the music. To omit all bar lines from
2587 all staves remove the bar line engraver completely:
2589 @lilypond[verbatim,quote]
2610 \remove Bar_engraver
2616 Bar lines can also be removed on a staff-by-staff basis:
2618 @lilypond[verbatim, quote]
2622 \with { \remove Bar_engraver } {
2640 To remove bar lines from just a section of music treat it as a
2641 cadenza. If the section is long you may need to insert dummy
2642 barlines with @code{\bar ""} to show where the line should break.
2644 @lilypond[verbatim,quote,relative=2]
2657 Rests or pauses in chants can be indicated by modified bar lines.
2659 @lilypond[verbatim, quote,relative=2]
2674 Alternatively, the notation used in Gregorian chant for pauses or
2675 rests is sometimes used even though the rest of the notation is
2676 modern. This uses a modified @code{\breathe} mark:
2678 @lilypond[verbatim,quote]
2680 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2681 \once \override BreathingSign #'Y-offset = #0
2685 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2686 \once \override BreathingSign #'Y-offset = #0
2690 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2691 \once \override BreathingSign #'Y-offset = #0
2695 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2696 \once \override BreathingSign #'Y-offset = #0
2714 \remove Bar_engraver
2720 Chants usually omit the time signature and often omit the clef too.
2722 @lilypond[verbatim,quote]
2734 \remove Bar_engraver
2735 \remove Time_signature_engraver
2736 \remove Clef_engraver
2742 Chants for psalms in the Anglican tradition are usually either
2743 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2744 of 7 bars. Each group of 7 bars is divided into two halves,
2745 corresponding to the two halves of each verse, usually separated by
2746 a double bar line. Only whole and half notes are used. The 1st bar
2747 in each half always contains a single chord of whole notes. This is
2748 the @qq{reciting note}. Chants are usually centered on the page.
2750 @lilypond[verbatim,quote]
2751 SopranoMusic = \relative g' {
2752 g1 | c2 b | a1 | \bar "||"
2753 a1 | d2 c | c b | c1 | \bar "||"
2756 AltoMusic = \relative c' {
2758 f1 | f2 e | d d | e1 |
2761 TenorMusic = \relative a {
2763 d1 | g,2 g | g g | g1 |
2766 BassMusic = \relative c {
2768 d1 | b2 c | g' g | c,1 |
2775 % Use markup to center the chant on the page
2784 \new Voice = "Soprano" <<
2788 \new Voice = "Alto" <<
2796 \new Voice = "Tenor" <<
2800 \new Voice = "Bass" <<
2810 \override SpacingSpanner
2811 #'base-shortest-duration = #(ly:make-moment 1 2)
2815 \remove "Time_signature_engraver"
2823 Some other approaches to setting such a chant are shown in the first
2824 of the following snippets.
2828 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2829 {chant-or-psalms-notation.ly}
2831 Canticles and other liturgical texts may be set more freely, and
2832 may use notational elements from ancient music. Often the words
2833 are shown underneath and aligned with the notes. If so, the notes
2834 are spaced in accordance with the syllables rather than the notes'
2837 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2838 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2842 @rlearning{Visibility and color of objects},
2843 @rlearning{Vocal ensembles}.
2846 @ref{Ancient notation},
2848 @ref{Modifying context plug-ins},
2849 @ref{Typesetting Gregorian chant},
2850 @ref{Unmetered music},
2851 @ref{Visibility of objects}.
2854 @node Pointing a psalm
2855 @unnumberedsubsubsec Pointing a psalm
2857 The words to an Anglican psalm are usually printed in separate
2858 verses centered underneath the chant.
2860 Single chants (with 7 bars) are repeated for every verse. Double
2861 chants (with 14 bars) are repeated for every pair of verses. Marks
2862 are inserted in the words to show how they should be fitted to the
2863 chant. Each verse is divided into two halves. A colon is usually
2864 used to indicate this division. This corresponds to the double bar
2865 line in the music. The words before the colon are sung to the first
2866 three bars of music; the words after the colon are sung to the last
2869 Single bar lines (or in some psalters an inverted comma or similar
2870 symbol) are inserted between words to indicate where the bar lines
2871 in the music fall. In markup mode a single bar line can be entered
2872 with the bar check symbol, @code{|}.
2874 @lilypond[verbatim,quote]
2879 \line { O come let us sing | unto the | Lord : let }
2880 \line { us heartily rejoice in the | strength of | our }
2881 \line { sal- | -vation. }
2888 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2889 For details, see @ref{Fonts}.
2891 @lilypond[verbatim,quote]
2893 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2899 \line { O come let us sing \tick unto the \tick Lord : let }
2901 us heartily rejoice in the \tick strength of \tick our
2903 \line { sal \tick vation. }
2910 Where there is one whole note in a bar all the words corresponding
2911 to that bar are recited on that one note in speech rhythm. Where
2912 there are two notes in a bar there will usually be only one or two
2913 corresponding syllables. If there are more that two syllables a
2914 dot is usually inserted to indicate where the change in note occurs.
2916 @lilypond[verbatim,quote]
2918 \raise #0.7 \musicglyph #"dots.dot"
2921 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2928 O come let us sing \tick unto \dot the \tick Lord : let
2931 us heartily rejoice in the \tick strength of \tick our
2933 \line { sal \tick vation. }
2940 In some psalters an asterisk is used to indicate a break in a
2941 recited section instead of a comma, and stressed or slightly
2942 lengthened syllables are indicated in bold text.
2944 @lilypond[verbatim,quote]
2946 \raise #0.7 \musicglyph #"dots.dot"
2949 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2955 \line { Today if ye will hear his voice * }
2957 \concat { \bold hard en }
2958 | not your | hearts : as in the pro-
2960 \line { vocation * and as in the \bold day of tempt- | }
2961 \line { -ation | in the | wilderness. }
2968 In other psalters an accent is placed over the syllable to indicate
2971 @lilypond[verbatim,quote]
2973 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2980 O come let us \concat {
2981 si \combine \tick ng
2983 | unto the | Lord : let
2986 us heartily \concat {
2987 rejo \combine \tick ice
2989 in the | strength of | our
2991 \line { sal- | -vation. }
2998 The use of markup to center text, and arrange lines in columns is
2999 described in @ref{Formatting text}.
3001 Most of these elements are shown in one or other of the two verses
3002 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3006 @rlearning{Vocal ensembles}.
3010 @ref{Formatting text}.
3013 @node Partial measures in hymn tunes
3014 @unnumberedsubsubsec Partial measures in hymn tunes
3016 Hymn tunes frequently start and end every line of music with
3017 partial measures so that each line of music corresponds exactly
3018 with a line of text. This requires a @code{\partial} command at
3019 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3020 commands at the end of each line.
3022 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3026 @node Ancient vocal music
3027 @subsection Ancient vocal music
3029 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3033 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3034 @c and "Transcription of Ancient music with incipit" snippet. -vv
3038 @ref{Ancient notation}.