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 be used instead of having to set up the lyrics through a more
313 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"
372 The value of the property (here: @code{"lala"}) should be the name of
373 a @code{Voice} context. Without this setting, extender lines
374 will not be formatted properly.
376 Here is an example demonstrating manual lyric durations,
378 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
379 << \new Voice = "melody" {
383 \new Lyrics \lyricmode {
384 \set associatedVoice = #"melody"
392 @ref{Keeping contexts alive}.
399 @node Multiple syllables to one note
400 @unnumberedsubsubsec Multiple syllables to one note
403 @cindex spaces, in lyrics
404 @cindex quotes, in lyrics
405 @cindex ties, in lyrics
407 In order to assign more than one syllable to a single note with
408 spaces between the syllables, you can surround the phrase with
409 quotes or use a @code{_} character. Alternatively, you can use
410 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
411 tie is implemented with the Unicode character U+203F, so be
412 sure to have a font (like DejaVuLGC) installed that includes this
415 @lilypond[quote,ragged-right,fragment,verbatim]
417 \relative c' { c2 e4 g2 e4 }
418 \addlyrics { gran- de_a- mi- go }
419 \addlyrics { pu- "ro y ho-" nes- to }
420 \addlyrics { pu- ro~y~ho- nes- to }
426 @rinternals{LyricCombineMusic}.
429 @node Multiple notes to one syllable
430 @unnumberedsubsubsec Multiple notes to one syllable
434 @cindex phrasing, in lyrics
436 @funindex \melismaEnd
438 Sometimes, particularly in Medieval music, several notes are to be
439 sung on one syllable; such vocalises are called @rglos{melisma}s, or
440 melismata. The syllable to a melisma is usually left-aligned with
441 the first note of the melisma.
443 When a melisma occurs on a syllable other that the last one in a
444 word, that syllable is usually joined to the following one with a
445 hyphenated line. This is indicated by placing a double hyphen,
446 @code{--}, immediately after the syllable.
448 Alternatively, when a melisma occurs on the last or only syllable in
449 a word an extender line is usually drawn from the end of the syllable
450 to the last note of the melisma. This is indicated by placing a
451 double underscore, @code{__}, immediately after the word.
453 There are five ways in which melismata can be indicated:
458 Melismata are created automatically over notes which are tied
461 @lilypond[quote,relative=2,verbatim]
463 \new Voice = "melody" {
469 \new Lyrics \lyricsto "melody" {
476 Melismata can be created automatically from the music by placing
477 slurs over the notes of each melisma. This is the usual way of
480 @lilypond[quote,relative=2,verbatim]
482 \new Voice = "melody" {
487 \new Lyrics \lyricsto "melody" {
494 Notes are considered a melisma if they are manually beamed,
495 providing automatic beaming is switched off. See
496 @ref{Setting automatic beam behavior}.
498 @lilypond[quote,relative=2,verbatim]
500 \new Voice = "melody" {
506 \new Lyrics \lyricsto "melody" {
512 Clearly this is not suited to melisma over notes which are longer
516 An unslurred group of notes will be treated as a melisma if they
517 are bracketed between @code{\melisma} and @code{\melismaEnd}.
519 @lilypond[quote,relative=2,verbatim]
521 \new Voice = "melody" {
529 \new Lyrics \lyricsto "melody" {
535 Note that this method cannot be used to indicate two melismata if
536 the first one is immediately followed by another.
539 A melisma can be defined entirely in the lyrics by entering a
540 single underscore character, @code{_}, for every extra note that has
541 to be added to the melisma.
543 @lilypond[verbatim, quote, relative=2]
545 \new Voice = "melody" {
550 \new Lyrics \lyricsto "melody" {
551 Ki -- ri -- _ _ _ e __ _ _
558 It is possible to have ties, slurs and manual beams in the melody
559 without their indicating melismata. To do this, set
560 @code{melismaBusyProperties} and indicate the melismata with single
561 underscores in the lyrics, one underscore for each extra note:
563 @lilypond[relative=1,verbatim,quote]
565 \new Voice = "melody" {
567 \set melismaBusyProperties = #'()
572 \new Lyrics \lyricsto "melody" {
573 Ky -- _ _ _ _ ri -- _ _ e __ _
578 Other settings for @code{melismaBusyProperties} can be used to
579 include or exclude ties, slurs, and beams from the automatic
580 detection of melismata; see @code{melismaBusyProperties} in
581 @rinternals{Tunable context properties}.
595 @rlearning{Aligning lyrics to a melody}.
598 @ref{Aligning lyrics to a melody},
599 @ref{Automatic syllable durations},
600 @ref{Setting automatic beam behavior}.
603 @rinternals{Tunable context properties}.
607 Extender lines under melismata are not created automatically; they
608 must be inserted manually with a double underscore.
611 @unnumberedsubsubsec Skipping notes
613 Making a lyric line run slower than the melody can be achieved by
614 inserting @code{\skip}s into the lyrics. For every @code{\skip},
615 the text will be delayed by another note. The @code{\skip} command
616 must be followed by a valid duration, but this is ignored when
617 @code{\skip} is used in lyrics which derive their durations from the
618 notes in an associated melody through @code{\addlyrics} or
621 @lilypond[verbatim,ragged-right,quote]
622 \relative c' { c c g' }
630 @node Extenders and hyphens
631 @unnumberedsubsubsec Extenders and hyphens
636 @c leave this as samp. -gp
637 In the last syllable of a word, melismata are sometimes indicated with
638 a long horizontal line starting in the melisma syllable, and ending in
639 the next one. Such a line is called an extender line, and it is
640 entered as @samp{ __ } (note the spaces before and after the two
641 underscore characters).
643 @warning{Melismata are indicated in the score with extender lines,
644 which are entered as one double underscore; but short melismata can
645 also be entered by skipping individual notes, which are entered as
646 single underscore characters; these do not make an extender line to be
651 @c leave this as samp. -gp
652 Centered hyphens are entered as @samp{ -- } between syllables of a same word
653 (note the spaces before and after the two hyphen characters). The hyphen
654 will be centered between the syllables, and its length will be adjusted
655 depending on the space between the syllables.
657 In tightly engraved music, hyphens can be removed. Whether this
658 happens can be controlled with the @code{minimum-distance} (minimum
659 distance between two syllables) and the @code{minimum-length}
660 (threshold below which hyphens are removed).
665 @rinternals{LyricExtender},
666 @rinternals{LyricHyphen}.
669 @node Techniques specific to lyrics
670 @subsection Techniques specific to lyrics
673 * Working with lyrics and variables::
674 * Lyrics and repeats::
676 * Lyrics independent of notes::
677 * Spacing out syllables::
678 * Placement of lyrics::
683 @node Working with lyrics and variables
684 @unnumberedsubsubsec Working with lyrics and variables
686 @c TODO rewrite this section
688 @cindex lyrics, variables
690 To define variables containing lyrics, the function @code{\lyricmode}
691 must be used. Durations do not need to be added if the variable is
692 to be invoked with @code{\addlyrics} or @code{\lyricsto}.
694 @lilypond[quote,verbatim]
695 verseOne = \lyricmode { Joy to the world, the Lord is come. }
698 \new Voice = "one" \relative c'' {
701 c4 b8. a16 g4. f8 e4 d c2
703 \addlyrics { \verseOne }
708 For different or more complex orderings, the best way is to set up the
709 hierarchy of staves and lyrics first, e.g.,
712 \new Voice = "soprano" @{ @emph{music} @}
713 \new Lyrics = "sopranoLyrics" @{ s1 @}
714 \new Lyrics = "tenorLyrics" @{ s1 @}
715 \new Voice = "tenor" @{ @emph{music} @}
720 and then combine the appropriate melodies and lyric lines:
723 \context Lyrics = sopranoLyrics \lyricsto "soprano"
728 The final input would resemble
731 <<\new ChoirStaff << @emph{setup the music} >>
732 \lyricsto "soprano" @emph{etc}
733 \lyricsto "alto" @emph{etc}
739 @c TODO: document \new Staff << Voice \lyricsto >> bug
741 @rinternals{LyricCombineMusic},
745 @node Lyrics and repeats
746 @unnumberedsubsubsec Lyrics and repeats
748 @cindex repeats and lyrics
749 @cindex lyrics, repeating
751 @subheading Simple repeats
753 Repeats in @emph{music} are fully described elsewhere; see
754 @ref{Repeats}. This section explains how to add lyrics to repeated
757 Lyrics to a section of music that is repeated should be surrounded
758 by exactly the same repeat construct as the music, if the words are
761 @lilypond[verbatim,quote]
765 \new Voice = "melody" {
768 \repeat volta 2 { b4 b b b }
774 Not re -- peat -- ed.
775 \repeat volta 2 { Re -- peat -- ed twice. }
782 The words will then be correctly expanded if the repeats are
785 @lilypond[verbatim,quote]
790 \new Voice = "melody" {
793 \repeat volta 2 { b4 b b b }
799 Not re -- peat -- ed.
800 \repeat volta 2 { Re -- peat -- ed twice. }
808 If the repeated section is unfolded with different words, simply
811 @lilypond[verbatim,quote,ragged-right]
815 \new Voice = "melody" {
818 \repeat unfold 2 { b4 b b b }
824 Not re -- peat -- ed.
825 The first time words.
826 Sec -- ond time words.
836 When the words to a repeated volta section are different, the words
837 to each repeat must be entered in separate @code{Lyrics} context.
838 Earlier unrepeated sections must be skipped in the second and
839 subsequent repeats. The easiest way to skip several notes is to
840 use @code{\repeat unfold} around the @code{\skip} command.
842 Note: do not use an underscore, @code{_}, to skip notes in this
843 particular case. As this syntax indicates a melisma, it will cause
844 the preceding syllable to be left-aligned.
846 @warning{The @code{@bs{}skip} command must be followed by a number,
847 but this number is ignored in lyrics which derive their durations
848 from the notes in an associated melody through @code{\addlyrics} or
849 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
850 value, irrespective of the value of the following number.}
852 @lilypond[verbatim,quote]
856 \new Voice = "melody" {
859 \repeat volta 2 { b4 b b b }
865 Not re -- peat -- ed.
866 The first time words.
871 % skip 4 notes of any duration
872 \repeat unfold 4 { \skip 1 }
873 Sec -- ond time words.
880 @cindex lyrics, repeating with a temporary voice
882 An alternative way, which avoids skips and having to count notes,
883 is to use a temporary voice for the repeated section. This may be
884 preferable if the earlier sections are still subject to change. A
885 temporary voice can be inserted anywhere in the main music stream
886 in parallel with it, as shown below, but it may be necessary to
887 keep the main voice alive in complex scores when using this
888 technique; see @ref{Keeping contexts alive}.
890 @lilypond[verbatim,quote,ragged-right]
894 \new Voice = "singleVoice" {
895 \relative c'' { a4 a a a }
896 \new Voice = "repeatVoice" {
897 \relative c'' \repeat volta 3 { b4 b b b }
899 \relative c'' { c4 c c c }
903 \lyricsto "singleVoice" {
904 Not re -- peat -- ed.
907 \lyricsto "repeatVoice" {
908 The first time words.
912 \lyricsto "repeatVoice" {
913 Sec -- ond time words.
917 \lyricsto "repeatVoice" {
918 The third time words.
925 @c TODO lowering a common line of lyrics
927 @subheading Repeats with alternative endings
929 @cindex lyrics, repeats with alternative endings
930 @cindex repeating lyrics with alternative endings
931 @cindex alternative endings and lyrics
933 If the words of the repeated section are the same, exactly the
934 same structure can be used for both the lyrics and music.
936 @lilypond[quote,verbatim]
941 \new Voice = "melody" {
944 \repeat volta 2 { b4 b }
945 \alternative { { b b } { b c } }
951 Not re -- peat -- ed.
952 \repeat volta 2 { Re -- peat -- }
953 \alternative { { ed twice. } { ed twice. } }
960 But when the repeated section has different words, a repeat
961 construct cannot be used around the words and @code{\skip} commands
962 have to be inserted manually as described in the previous section to
963 skip over the notes in the alternative sections which do not apply.
965 @lilypond[verbatim,quote,ragged-right]
970 \new Voice = "melody" {
972 \repeat volta 2 { b4 b }
973 \alternative { { b b } { b c } }
980 The first time words.
981 \repeat unfold 2 { \skip 1 }
988 \repeat unfold 2 { \skip 1 }
996 @cindex lyrics and tied notes
999 When a note is tied over into two or more alternative endings a
1000 tie is used to carry the note into the first alternative ending and
1001 a @code{\repeatTie} is used in the second and subsequent endings.
1002 This structure causes difficult alignment problems when lyrics are
1003 involved and increasing the length of the alternative sections so
1004 the tied notes are contained wholly within them may give a more
1007 The tie creates a melisma into the first alternative, but not into
1008 the second and subsequent alternatives, so to align the lyrics
1009 correctly it is necessary to disable the automatic creation of
1010 melismata over the volta section and insert manual skips.
1012 @lilypond[quote,verbatim]
1017 \new Voice = "melody" {
1019 \set melismaBusyProperties = #'()
1020 \repeat volta 2 { b4 b ~}
1021 \alternative { { b b } { b \repeatTie c } }
1022 \unset melismaBusyProperties
1028 \lyricsto "melody" {
1029 \repeat volta 2 { Here's a __ }
1041 Note that if @code{\unfoldRepeats} is used around a section
1042 containing @code{\repeatTie}, the @code{\repeatTie} should be
1043 removed to avoid both types of tie being printed.
1045 When the repeated section has different words a @code{\repeat}
1046 cannot be used around the lyrics and @code{\skip} commands need to
1047 be inserted manually, as before.
1049 @lilypond[quote,verbatim]
1054 \new Voice = "melody" {
1056 \repeat volta 2 { b4 b ~}
1057 \alternative { { b b } { b \repeatTie c } }
1063 \lyricsto "melody" {
1065 \repeat unfold 2 { \skip 1 }
1069 \lyricsto "melody" {
1071 \repeat unfold 2 { \skip 1 }
1079 If you wish to show extenders and hyphens into and out of
1080 alternative sections these must be inserted manually.
1082 @lilypond[quote,verbatim]
1087 \new Voice = "melody" {
1089 \repeat volta 2 { b4 b ~}
1090 \alternative { { b b } { b \repeatTie c } }
1096 \lyricsto "melody" {
1098 \repeat unfold 2 { \skip 1 }
1102 \lyricsto "melody" {
1115 @unnumberedsubsubsec Divisi lyrics
1117 @cindex divided lyrics
1118 @cindex lyrics, divided
1120 When just the words and rhythms of the two parts differ with the
1121 pitches remaining the same, temporarily turning off the automatic
1122 detection of melismata and indicating the melisma in the lyrics
1123 may be the appropriate method to use:
1125 @lilypond[quote,verbatim]
1128 \new Voice = "melody" {
1130 \set melismaBusyProperties = #'()
1134 \unset melismaBusyProperties
1138 \new Lyrics \lyricsto "melody" {
1139 They shall not o -- ver -- come
1141 \new Lyrics \lyricsto "melody" {
1148 When both music and words differ it may be better to display
1149 the differing music and lyrics by naming voice contexts and
1150 attaching lyrics to those specific contexts:
1152 @lilypond[verbatim,ragged-right,quote]
1155 \new Voice = "melody" {
1162 \new Voice = "splitpart" {
1172 \new Lyrics \lyricsto "melody" {
1173 They shall not o -- ver -- come
1175 \new Lyrics \lyricsto "splitpart" {
1183 @node Lyrics independent of notes
1184 @unnumberedsubsubsec Lyrics independent of notes
1186 @c TODO remove this section? Don't use DevNull
1187 @c should be all in Manual Syllable durations
1189 @cindex Devnull context
1191 In some complex vocal music, it may be desirable to place
1192 lyrics completely independently of notes. Music defined
1193 inside @code{lyricrhythm} disappears into the
1194 @code{Devnull} context, but the rhythms can still be used
1195 to place the lyrics.
1197 @lilypond[quote,verbatim,ragged-right]
1200 \tag #'music { c''2 }
1201 \tag #'lyricrhythm { c''4. c''8 }
1205 lyr = \lyricmode { I like my cat! }
1208 \new Staff \keepWithTag #'music \voice
1209 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1210 \new Lyrics \lyricsto "nowhere" \lyr
1211 \new Staff { c'8 c' c' c' c' c' c' c'
1212 c' c' c' c' c' c' c' c' }
1216 This method is recommended only if the music in the @code{Devnull}
1217 context does not contain melismata. Melismata are defined by the
1218 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
1219 makes the voice/lyrics links to get lost, and so does the info on
1220 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
1221 the implicit melismata get ignored.
1223 @c Conclusion: do not use devnull for lyrics -FV
1225 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
1227 @node Spacing out syllables
1228 @unnumberedsubsubsec Spacing out syllables
1230 @c TODO move to second item
1232 @cindex Spacing lyrics
1233 @cindex Lyrics, increasing space between
1235 To increase the spacing between lyrics, set the @code{minimum-distance}
1236 property of @code{LyricSpace}.
1238 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1241 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1245 longtext longtext longtext longtext
1246 longtext longtext longtext longtext
1251 To make this change for all lyrics in the score, set the property in the
1254 @lilypond[verbatim,quote,ragged-right]
1261 longtext longtext longtext longtext
1262 longtext longtext longtext longtext
1267 \override LyricSpace #'minimum-distance = #1.0
1274 @c This snippet has been renamed to "lyrics-alignment.ly"
1275 @c update as soon as lsr/is updated -vv
1276 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1277 @c {lyrics-alignment.ly}
1279 @c TODO: move to LSR -vv
1282 Checking to make sure that text scripts and lyrics are within the margins is
1283 a relatively large computational task. To speed up processing, LilyPond does
1284 not perform such calculations by default; to enable it, use
1287 \override Score.PaperColumn #'keep-inside-line = ##t
1290 To make lyrics avoid bar lines as well, use
1296 \consists "Bar_engraver"
1297 \consists "Separating_line_group_engraver"
1298 \override BarLine #'transparent = ##t
1303 @c TODO Create and add lsr example of lyricMelismaAlignment
1304 @c It's used like this to center-align all lyric syllables,
1305 @c even when notes are tied. -td
1310 \context { \Score lyricMelismaAlignment = #0 }
1315 @node Placement of lyrics
1316 @unnumberedsubsubsec Placement of lyrics
1318 @cindex placement of lyrics
1319 @cindex lyrics, positioning
1321 @c TODO Add text from -user
1323 Lyrics are positioned above the staff, below the staff, or between
1324 staves, depending on the type of music. To place lyrics below the
1325 associated staff simply define the Lyrics context below the Staff
1328 @lilypond[quote,verbatim]
1332 \new Voice = "melody" {
1333 \relative c'' { c4 c c c }
1337 \lyricsto "melody" {
1345 To position lyrics above the staff, place the declaration of the
1346 Lyrics context before the Staff and Voice contexts, but the
1347 @code{\lyricsto} command must come after the Voice declaration it
1348 references, like this:
1350 @lilypond[quote,verbatim]
1353 \new Lyrics = "lyrics"
1355 \new Voice = "melody" {
1356 \relative c'' { c4 c c c }
1359 \context Lyrics = "lyrics" {
1360 \lyricsto "melody" {
1368 Alternatively, the position of the lyrics may be specified
1371 @lilypond[quote,verbatim]
1374 \new Staff = "staff" {
1375 \new Voice = "melody" {
1376 \relative c'' { c4 c c c }
1379 \new Lyrics \with { alignAboveContext = "staff" } {
1380 \lyricsto "melody" {
1388 When there are two voices on separate staves the lyrics may be
1389 placed between the staves using either of these methods. Here
1390 is an example of the first method:
1392 @lilypond[quote,verbatim]
1396 \new Voice = "sopranos" {
1397 \relative c'' { c4 c c c }
1400 \new Lyrics = "sopranos"
1401 \new Lyrics = "contraltos"
1403 \new Voice = "contraltos" {
1404 \relative c'' { a4 a a a }
1407 \context Lyrics = "sopranos" {
1408 \lyricsto "sopranos" {
1409 Sop -- ra -- no words
1412 \context Lyrics = "contraltos" {
1413 \lyricsto "contraltos" {
1414 Con -- tral -- to words
1421 Other combinations of lyrics and staves may be generated by
1422 elaborating these examples, or by examining the SATB templates in
1423 the Learning Manual.
1427 @rlearning{Vocal ensembles}.
1430 @ref{Aligning contexts},
1431 @ref{Creating contexts}.
1437 * Adding stanza numbers::
1438 * Adding dynamics marks to stanzas::
1439 * Adding singers' names to stanzas::
1440 * Stanzas with different rhythms::
1441 * Printing stanzas at the end::
1442 * Printing stanzas at the end in multiple columns::
1446 @node Adding stanza numbers
1447 @unnumberedsubsubsec Adding stanza numbers
1449 @cindex stanza number
1451 Stanza numbers can be added by setting @code{stanza}, e.g.,
1453 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1455 \time 3/4 g2 e4 a2 f4 g2.
1457 \set stanza = #"1. "
1458 Hi, my name is Bert.
1460 \set stanza = #"2. "
1461 Oh, ché -- ri, je t'aime
1467 These numbers are put just before the start of the first syllable.
1469 @c TODO Create and add snippet to show how two lines of a
1470 @c stanza can be grouped together, along these lines:
1471 @c (might need improving a bit) -td
1474 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1478 \set stanza = \markup { "1. " \leftbrace }
1479 \lyricmode { Child, you're mine and I love you.
1480 Lend thine ear to what I say.
1486 % \set stanza = \markup { " "}
1487 \lyricmode { Child, I have no great -- er joy
1488 Than to have you walk in truth.
1494 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1495 c'8 c' c' c' c' c' c'4 }
1496 } \addlyrics { \stanzaOneOne }
1497 \addlyrics { \stanzaOneThree }
1501 @node Adding dynamics marks to stanzas
1502 @unnumberedsubsubsec Adding dynamics marks to stanzas
1504 Stanzas differing in loudness may be indicated by putting a
1505 dynamics mark before each stanza. In LilyPond, everything coming in
1506 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1507 are no different. For technical reasons, you have to set the stanza
1508 outside @code{\lyricmode}:
1510 @lilypond[quote,ragged-right,verbatim]
1512 \set stanza = \markup { \dynamic "ff" "1. " }
1519 \new Voice = "tune" {
1523 \new Lyrics \lyricsto "tune" \text
1527 @node Adding singers' names to stanzas
1528 @unnumberedsubsubsec Adding singers' names to stanzas
1531 @cindex name of singer
1533 Names of singers can also be added. They are printed at the start of
1534 the line, just like instrument names. They are created by setting
1535 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1537 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1539 \time 3/4 g2 e4 a2 f4 g2.
1541 \set vocalName = #"Bert "
1542 Hi, my name is Bert.
1544 \set vocalName = #"Ernie "
1545 Oh, ché -- ri, je t'aime
1549 @node Stanzas with different rhythms
1550 @unnumberedsubsubsec Stanzas with different rhythms
1552 Often, different stanzas of one song are put to one melody in slightly
1553 differing ways. Such variations can still be captured with
1556 @subsubheading Ignoring melismata
1558 One possibility is that the text has a melisma in one stanza, but
1559 multiple syllables in another one. One solution is to make the faster
1560 voice ignore the melisma. This is done by setting
1561 @code{ignoreMelismata} in the Lyrics context.
1563 @lilypond[verbatim,ragged-right,quote]
1565 \relative c' \new Voice = "lahlah" {
1566 \set Staff.autoBeaming = ##f
1572 \new Lyrics \lyricsto "lahlah" {
1575 \new Lyrics \lyricsto "lahlah" {
1577 \set ignoreMelismata = ##t
1579 \unset ignoreMelismata
1586 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1587 not work if prefixed with @code{\once}. It is necessary to use
1588 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1591 @subsubheading Adding syllables to grace notes
1593 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1594 syllables when using @code{\lyricsto}, but this behavior can be
1597 @lilypond[verbatim,ragged-right,quote]
1599 f4 \appoggiatura a32 b4
1600 \grace { f16[ a16] } b2
1601 \afterGrace b2 { f16[ a16] }
1602 \appoggiatura a32 b4
1607 \set includeGraceNotes = ##t
1610 after -- grace case,
1611 \set ignoreMelismata = ##t
1618 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1619 set at latest one syllable before the one which is to be put under a
1620 grace note. For the case of a grace note at the very beginning of a
1621 piece of music, consider using a @code{\with} or @code{\context}
1624 @lilypond[verbatim,ragged-right,quote]
1626 \new Voice = melody \relative c' {
1627 \grace { c16[( d e f] }
1630 \new Lyrics \with { includeGraceNotes = ##t }
1637 @subsubheading Switching to an alternative melody
1639 More complex variations in text underlay are possible. It is possible
1640 to switch the melody for a line of lyrics during the text. This is
1641 done by setting the @code{associatedVoice} property. In the example
1643 @lilypond[ragged-right,quote]
1645 \relative c' \new Voice = "lahlah" {
1646 \set Staff.autoBeaming = ##f
1649 \new Voice = "alternative" {
1652 % show associations clearly.
1653 \override NoteColumn #'force-hshift = #-3
1664 \new Lyrics \lyricsto "lahlah" {
1665 Ju -- ras -- sic Park
1667 \new Lyrics \lyricsto "lahlah" {
1668 % Tricky: need to set associatedVoice
1669 % one syllable too soon!
1670 \set associatedVoice = alternative % applies to "ran"
1674 \set associatedVoice = lahlah % applies to "rus"
1680 the text for the first stanza is set to a melody called @q{lahlah},
1683 \new Lyrics \lyricsto "lahlah" @{
1684 Ju -- ras -- sic Park
1689 The second stanza initially is set to the @code{lahlah} context, but
1690 for the syllable @q{ran}, it switches to a different melody.
1691 This is achieved with
1693 \set associatedVoice = alternative
1697 Here, @code{alternative} is the name of the @code{Voice} context
1698 containing the triplet.
1700 @c TODO: make this easier to understand -vv
1701 This command must be one syllable too early, before @q{Ty} in this
1702 case. In other words, changing the associatedVoice happens one step
1703 later than expected. This is for technical reasons, and it is not a
1707 \new Lyrics \lyricsto "lahlah" @{
1708 \set associatedVoice = alternative % applies to "ran"
1712 \set associatedVoice = lahlah % applies to "rus"
1718 The underlay is switched back to the starting situation by assigning
1719 @code{lahlah} to @code{associatedVoice}.
1722 @node Printing stanzas at the end
1723 @unnumberedsubsubsec Printing stanzas at the end
1725 Sometimes it is appropriate to have one stanza set
1726 to the music, and the rest added in verse form at
1727 the end of the piece. This can be accomplished by adding
1728 the extra verses into a @code{\markup} section outside
1729 of the main score block. Notice that there are two
1730 different ways to force linebreaks when using
1733 @lilypond[ragged-right,verbatim,quote]
1734 melody = \relative c' {
1740 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1741 its fleece was white as snow.
1745 \new Voice = "one" { \melody }
1746 \new Lyrics \lyricsto "one" \text
1752 \line{ All the children laughed and played }
1753 \line{ To see a lamb at school. }
1760 Mary took it home again,
1762 It was against the rule."
1767 @node Printing stanzas at the end in multiple columns
1768 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1770 When a piece of music has many verses, they are often printed in
1771 multiple columns across the page. An outdented verse number often
1772 introduces each verse. The following example shows how to produce such
1775 @lilypond[ragged-right,quote,verbatim]
1776 melody = \relative c' {
1781 \set stanza = #"1." This is verse one.
1786 \new Voice = "one" { \melody }
1787 \new Lyrics \lyricsto "one" \text
1794 \hspace #0.1 % moves the column off the left margin;
1795 % can be removed if space on the page is tight
1799 "This is verse two."
1803 \hspace #0.1 % adds vertical spacing between verses
1806 "This is verse three."
1811 \hspace #0.1 % adds horizontal spacing between columns;
1812 % if they are still too close, add more " " pairs
1813 % until the result looks good
1817 "This is verse four."
1821 \hspace #0.1 % adds vertical spacing between verses
1824 "This is verse five."
1829 \hspace #0.1 % gives some extra space on the right margin;
1830 % can be removed if page space is tight
1837 Internals Reference:
1838 @rinternals{LyricText},
1839 @rinternals{StanzaNumber}.
1846 * References for songs::
1850 @node References for songs
1851 @unnumberedsubsubsec References for songs
1853 Songs are usually written on three staves with the melody for the
1854 singer on the top staff and two staves of piano accompaniment at
1855 the bottom. The lyrics of the first stanza are printed immediately
1856 underneath the top staff. If there are just a small number of
1857 further stanzas these can be printed immediately under the first
1858 one, but if there are more stanzas than can be easily accommodated
1859 there the second and subsequent stanzas are printed after the music
1860 as stand-alone text.
1862 All the notational elements needed to write songs are fully described
1868 For constructing the staff layout, see @ref{Displaying staves}.
1871 For writing piano music, see
1872 @ref{Keyboard and other multi-staff instruments}.
1875 For writing the lyrics to a melody line, see
1876 @ref{Common notation for vocal music}.
1879 For placing the lyrics, see @ref{Placement of lyrics}.
1882 For entering stanzas, see @ref{Stanzas}.
1885 Songs are frequently printed with the chording indicated by chord
1886 names above the staves. This is described in
1887 @ref{Displaying chords}.
1890 To print fret diagrams of the chords for guitar accompaniment or
1891 accompaniment by other fretted instruments, see @qq{Fret diagram
1892 markups} in @ref{Common notation for fretted strings}.
1901 @ref{Common notation for vocal music},
1902 @ref{Displaying chords},
1903 @ref{Displaying staves},
1904 @ref{Keyboard and other multi-staff instruments},
1905 @ref{Placement of lyrics},
1909 @unnumberedsubsubsec Lead sheets
1911 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1912 this syntax is explained in @ref{Chord notation}.
1915 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1916 {simple-lead-sheet.ly}
1920 @ref{Chord notation}.
1931 This section discusses notation issues that relate most directly
1932 to choral music. This includes anthems, part songs, oratorio,
1936 * References for choral::
1937 * Score layouts for choral::
1941 @node References for choral
1942 @unnumberedsubsubsec References for choral
1944 Choral music is usually notated on two, three or four staves within
1945 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1946 beneath in a @code{PianoStaff} group, which is usually reduced in
1947 size for @emph{a capella} choral works. The notes for each vocal
1948 part are placed in a @code{Voice} context, with each staff
1949 being given either a single vocal part (i.e., one @code{Voice}) or
1950 a pair of vocal parts (i.e., two @code{Voice}s).
1952 Words are placed in @code{Lyrics} contexts, either underneath each
1953 corresponding music staff, or one above and one below the music
1954 staff if this contains the music for two parts.
1956 Several common topics in choral music are described fully elsewhere:
1961 An introduction to creating an SATB vocal score can be found in
1962 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1965 Several templates suitable for various styles of choral music can
1966 also be found in the Learning Manual, see
1967 @rlearning{Vocal ensembles}.
1970 For information about @code{ChoirStaff} and @code{PianoStaff} see
1971 @ref{Grouping staves}.
1974 Shape noteheads, as used in Sacred Harp and similar notation, are
1975 described in @ref{Shape note heads}.
1978 When two vocal parts share a staff the stems, ties, slurs, etc., of
1979 the higher part will be directed up and those of the lower part
1980 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1981 @ref{Single-staff polyphony}.
1992 @rlearning{Four-part SATB vocal score},
1993 @rlearning{Vocal ensembles}.
1996 @ref{Context layout order},
1997 @ref{Grouping staves},
1998 @ref{Shape note heads},
1999 @ref{Single-staff polyphony}.
2001 Internals Reference:
2002 @rinternals{ChoirStaff},
2003 @rinternals{Lyrics},
2004 @rinternals{PianoStaff}.
2006 @node Score layouts for choral
2007 @unnumberedsubsubsec Score layouts for choral
2009 Choral music containing four staves, with or without piano
2010 accompaniment, is usually laid out with two systems per page.
2011 Depending on the page size, achieving this may require changes
2012 to several default settings. The following settings should be
2018 The global staff size can be modified to change the overall size
2019 of the elements of the score. See @ref{Setting the staff size}.
2022 The distances between the systems, the staves and the lyrics can
2023 all be adjusted independently. See @ref{Vertical spacing}.
2026 The dimensions of the vertical layout variables can be displayed as
2027 an aid to adjusting the vertical spacing. This and other
2028 possibilities for fitting the music onto fewer pages are described
2029 in @ref{Fitting music onto fewer pages}.
2032 If the number of systems per page changes from one to two it is
2033 customary to indicate this with a system separator mark between
2034 the two systems. See @ref{Separating systems}.
2037 For details of other page formatting properties, see
2038 @ref{Page formatting}.
2043 Dynamic markings by default are placed below the staff, but in
2044 choral music they are usually placed above the staff in order to
2045 avoid the lyrics. The predefined command @code{\dynamicUp} does
2046 this for the dynamic markings in a single @code{Voice} context.
2047 If there are many @code{Voice} contexts this predefined command
2048 would have to be placed in every one. Alternatively its expanded
2049 form can be used to place all dynamic markings in the entire score
2050 above their respective staves, as shown here:
2052 @lilypond[verbatim,quote]
2057 \relative c'' { g4\f g g g }
2062 \relative c' { d4 d d\p d }
2069 \override DynamicText #'direction = #UP
2070 \override DynamicLineSpanner #'direction = #UP
2077 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2081 @ref{Changing spacing},
2082 @ref{Displaying spacing},
2083 @ref{Fitting music onto fewer pages},
2084 @ref{Page formatting},
2086 @ref{Separating systems},
2087 @ref{Setting the staff size},
2088 @ref{Using an extra voice for breaks},
2089 @ref{Vertical spacing}.
2091 Internals Reference:
2092 @rinternals{VerticalAxisGroup},
2093 @rinternals{StaffGrouper}.
2096 @node Divided voices
2097 @unnumberedsubsubsec Divided voices
2099 @cindex voices, divided
2101 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2102 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2106 @ref{Expressive marks as lines}.
2109 @node Opera and stage musicals
2110 @subsection Opera and stage musicals
2112 The music, lyrics and dialogue to opera and stage musicals are
2113 usually set out in one or more of the following forms:
2118 A @emph{Conductors' Score} containing the full orchestral and vocal
2119 parts, together with libretto cues if there are spoken passages.
2122 @emph{Orchestral Parts} containing the music for the individual
2123 instruments of the orchestra or band.
2126 A @emph{Vocal Score} containing all vocal parts with piano
2127 accompaniment. The accompaniment is usually an orchestral
2128 reduction, and if so the name of the original orchestral instrument
2129 is often indicated. Vocal scores sometimes includes stage
2130 directions and libretto cues.
2133 A @emph{Vocal Book} containing just the vocal parts
2134 (no accompaniment), sometimes combined with the libretto.
2137 A @emph{Libretto} containing the extended passages of spoken
2138 dialogue usually found in musicals, together with the words to the
2139 sung parts. Stage directions are usually included. LilyPond can
2140 be used to typeset libretti but as they contain no music
2141 alternative methods may be preferable.
2145 The sections in the LilyPond documentation which cover the topics
2146 needed to create scores in the styles commonly found in opera and
2147 musicals are indicated in the References below. This is followed
2148 by sections covering those techniques which are peculiar to
2149 typesetting opera and musical scores.
2152 * References for opera and stage musicals::
2156 * Dialogue over music::
2159 @node References for opera and stage musicals
2160 @unnumberedsubsubsec References for opera and stage musicals
2165 A conductors' score contains many grouped staves and lyrics. Ways
2166 of grouping staves is shown in @ref{Grouping staves}. To nest
2167 groups of staves see @ref{Nested staff groups}.
2170 The printing of empty staves in conductors' scores and vocal scores
2171 is often suppressed. To create such a @qq{Frenched score} see
2172 @ref{Hiding staves}.
2175 Writing orchestral parts is covered in @ref{Writing parts}.
2176 Other sections in the Specialist notation chapter may be relevant,
2177 depending on the orchestration used. Many instruments are
2178 transposing instruments, see @ref{Instrument transpositions}.
2181 If the number of systems per page changes from page to page it is
2182 customary to separate the systems with a system separator mark.
2183 See @ref{Separating systems}.
2186 For details of other page formatting properties, see
2187 @ref{Page formatting}.
2190 Dialogue cues and stage directions can be inserted with markup.
2191 See @ref{Text}. Extensive stage directions can be inserted with
2192 a section of stand-alone markup between two @code{\score} blocks.
2193 See @ref{Separate text}.
2199 @rglos{Frenched score},
2200 @rglos{Frenched staves},
2201 @rglos{transposing instrument}.
2204 @ref{Grouping staves},
2205 @ref{Hiding staves},
2206 @ref{Instrument transpositions},
2207 @ref{Nested staff groups},
2208 @ref{Page formatting},
2209 @ref{Separating systems},
2211 @ref{Writing parts},
2215 @node Character names
2216 @unnumberedsubsubsec Character names
2218 @cindex character names
2219 @cindex names, character
2221 Character names are usually shown to the left of the staff when the
2222 staff is dedicated to that character alone. The instrument name can
2223 be used for this purpose.
2225 @lilypond[quote,verbatim,ragged-right]
2229 \set Staff.instrumentName = #"Kaspar"
2230 \set Staff.shortInstrumentName = #"Kas"
2239 \set Staff.instrumentName = #"Melchior"
2240 \set Staff.shortInstrumentName = #"Mel"
2251 When two or more characters share a staff the character's name is
2252 usually printed above the staff at the start of every section
2253 applying to that character. This can be done with markup. Often a
2254 specific font is used for this purpose.
2256 @lilypond[quote,verbatim,relative=1]
2258 c4^\markup \fontsize #1 \smallCaps Kaspar
2261 a4^\markup \fontsize #1 \smallCaps Melchior
2264 c4^\markup \fontsize #1 \smallCaps Kaspar
2268 Alternatively, if there are many character changes, it may be
2269 easier to set up @qq{instrument} definitions for each character at
2270 the top level so that @code{\instrumentSwitch} can be used to
2271 indicate each change.
2273 @lilypond[quote,verbatim]
2274 \addInstrumentDefinition #"kaspar"
2275 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2276 (shortInstrumentName . "Kas.")
2277 (clefGlyph . "clefs.G")
2278 (clefOctavation . -7)
2279 (middleCPosition . 1)
2281 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2282 (midiInstrument . "voice oohs"))
2284 \addInstrumentDefinition #"melchior"
2285 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2286 (shortInstrumentName . "Mel.")
2287 (clefGlyph . "clefs.F")
2288 (clefOctavation . 0)
2289 (middleCPosition . 6)
2291 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2292 (midiInstrument . "voice aahs"))
2295 \instrumentSwitch "kaspar"
2297 \instrumentSwitch "melchior"
2299 \instrumentSwitch "kaspar"
2306 @ref{Instrument names},
2307 @ref{Scheme functions},
2309 @ref{Text markup commands}.
2312 @rextend{Markup construction in Scheme}.
2315 @unnumberedsubsubsec Musical cues
2317 @cindex musical cues
2318 @cindex cues, musical
2320 Musical cues can be inserted in Vocal Scores, Vocal Books and
2321 Orchestral Parts to indicate what music in another part
2322 immediately precedes an entry. Also, cues are often inserted in the
2323 piano reduction in Vocal Scores to indicate what each orchestral
2324 instrument is playing. This aids the conductor when a full
2325 Conductors' Score is not available.
2327 The basic mechanism for inserting cues is fully explained in the
2328 main text, see @ref{Quoting other voices} and
2329 @ref{Formatting cue notes}. But when many cues have to be
2330 inserted, for example, as an aid to a conductor in a vocal score,
2331 the instrument name must be positioned carefully just before and
2332 close to the start of the cued notes. The following example shows
2333 how this is done. Note that the name of the grob for overriding
2334 the cued instrument name is @code{InstrumentSwitch}.
2336 @lilypond[quote,verbatim]
2337 flute = \relative c'' {
2340 \addQuote "flute" { \flute }
2342 pianoRH = \relative c'' {
2344 % position name of cued instrument just before the cued notes
2345 \once \override CueVoice.InstrumentSwitch
2346 #'self-alignment-X = #RIGHT
2347 % position name of cued instrument above the staff
2348 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2349 \set CueVoice.instrumentCueName = "Flute"
2350 \cueDuring "flute" #UP { g4 bes4 }
2352 pianoLH = \relative c { c4 <c' e> e, <g c> }
2367 If a transposing instrument is being cued the instrument part should
2368 specify its key so the conversion of its cued notes will be done
2369 automatically. The example below shows this transposition for a
2370 B-flat clarinet. The notes in this example are low on the staff so
2371 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2372 down) and the instrument name is positioned below the staff. Note
2373 also that the piano right-hand voice is explicitly declared. This
2374 is because the cued notes in this example begin at the start of the
2375 first bar and this would otherwise cause the entire piano right-hand
2376 notes to be placed in a @code{CueVoice} context.
2378 @lilypond[quote,verbatim]
2379 clarinet = \relative c' {
2383 \addQuote "clarinet" { \clarinet }
2385 pianoRH = \relative c'' {
2387 % position name of cued instrument just before the cued notes
2388 \once \override CueVoice.InstrumentSwitch
2389 #'self-alignment-X = #RIGHT
2390 % position name of cued instrument below the staff
2391 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2392 \set CueVoice.instrumentCueName = "Clar."
2393 \cueDuring "clarinet" #DOWN { c4. g8 }
2396 pianoLH = \relative c { c4 <c' e> e, <g c> }
2415 From these two examples it is clear that inserting many cues in a
2416 Vocal Score would be extremely tedious, and the notes of the piano
2417 part would be obscured by the many overrides. However, as the
2418 following snippet shows, it is possible to define a music function
2419 to reduce the amount of typing and to make the piano notes clearer.
2422 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2423 {adding-orchestral-cues-to-a-vocal-score.ly}
2430 @ref{Aligning objects},
2431 @ref{Direction and placement},
2432 @ref{Formatting cue notes},
2433 @ref{Quoting other voices},
2434 @ref{Using music functions}.
2439 Internals Reference:
2440 @rinternals{InstrumentSwitch},
2441 @rinternals{CueVoice}.
2444 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2445 and all cue notes are placed in that context. This means it is not
2446 possible to have two overlapping sequences of cued notes by this
2447 technique. Overlapping sequences could be entered by explicitly
2448 declaring separate @code{CueVoice} contexts and using
2449 @code{\quoteDuring} to extract and insert the cued notes.
2453 @unnumberedsubsubsec Spoken music
2456 @cindex Sprechgesang
2457 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2458 without pitch but still with rhythm; these are notated by cross
2459 note heads, as demonstrated in @ref{Special note heads}.
2461 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2462 @c add "showing the rhythm of a melody" snip
2463 @c add "one staff-line notation"
2464 @c add "improvisation" ref
2465 @c add "lyrics independents of notes" ref
2467 @node Dialogue over music
2468 @unnumberedsubsubsec Dialogue over music
2470 Dialogue over music is usually printed over the staves in an italic
2471 font, with the start of each phrase keyed in to a particular music
2474 For short interjections a simple markup suffices.
2476 @lilypond[quote,verbatim,relative=2]
2477 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2478 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2482 For longer phrases it may be necessary to expand the music to make
2483 the words fit neatly. There is no provision in LilyPond to do this
2484 fully automatically, and some manual intervention to layout the
2485 page will be necessary.
2487 For long phrases or for passages with a lot of closely packed
2488 dialogue, using a Lyrics context will give better results. The
2489 Lyrics context should not be associated with a music Voice; instead
2490 each section of dialogue should be given an explicit duration. If
2491 there is a gap in the dialogue, the final word should be separated
2492 from the rest and the duration split between them so that the
2493 underlying music spaces out smoothly.
2495 If the dialogue extends for more than one line it will be necessary
2496 to manually insert @code{\break}s and adjust the placing of the
2497 dialogue to avoid running into the right margin. The final word of
2498 the last measure on a line should also be separated out, as above.
2500 Here is an example illustating how this might be done.
2502 @c This should be a snippet, but it can't be as it needs to be
2503 @c manually adjusted to suit the imposed line length. -td
2505 @lilypond[quote,verbatim,ragged-right]
2506 music = \relative c'' {
2507 \repeat unfold 3 { a4 a a a }
2510 dialogue = \lyricmode {
2512 \fontsize #1 \upright \smallCaps Abe:
2513 "Say this over measures one and"
2517 "and this over measure"4*3
2524 \override LyricText #'font-shape = #'italic
2525 \override LyricText #'self-alignment-X = #LEFT
2529 \new Voice { \music }
2535 @c TODO show use of \column to produce dialogue on two lines
2539 @ref{Manual syllable durations},
2543 @rinternals{LyricText}.
2546 @node Chants psalms and hymns
2547 @subsection Chants psalms and hymns
2552 @cindex religious music
2554 The music and words for chants, psalms and hymns usually follow a
2555 well-established format in any particular church. Although the
2556 formats may differ from church to church the type-setting problems
2557 which arise are broadly similar, and are covered in this section.
2560 * References for chants and psalms::
2562 * Pointing a psalm::
2563 * Partial measures in hymn tunes::
2566 @node References for chants and psalms
2567 @unnumberedsubsubsec References for chants and psalms
2569 Typesetting Gregorian chant in various styles of ancient notation
2570 is described in @ref{Ancient notation}.
2574 @ref{Ancient notation}.
2577 @node Setting a chant
2578 @unnumberedsubsubsec Setting a chant
2580 Modern chant settings use modern notation with varying numbers of
2581 elements taken from ancient notation. Some of the elements and
2582 methods to consider are shown here.
2584 Chants often use quarter notes without stems to indicate the pitch,
2585 with the rhythm being taken from the spoken rhythm of the words.
2587 @lilypond[verbatim,quote]
2588 stemOff = { \override Staff.Stem #'transparent = ##t }
2597 Chants often omit the bar lines or use shortened or dotted bar
2598 lines to indicate pauses in the music. To omit all bar lines from
2599 all staves remove the bar line engraver completely:
2601 @lilypond[verbatim,quote]
2622 \remove Bar_engraver
2628 Bar lines can also be removed on a staff-by-staff basis:
2630 @lilypond[verbatim, quote]
2634 \with { \remove Bar_engraver } {
2652 To remove bar lines from just a section of music treat it as a
2653 cadenza. If the section is long you may need to insert dummy
2654 barlines with @code{\bar ""} to show where the line should break.
2656 @lilypond[verbatim,quote,relative=2]
2669 Rests or pauses in chants can be indicated by modified bar lines.
2671 @lilypond[verbatim, quote,relative=2]
2686 Alternatively, the notation used in Gregorian chant for pauses or
2687 rests is sometimes used even though the rest of the notation is
2688 modern. This uses a modified @code{\breathe} mark:
2690 @lilypond[verbatim,quote]
2692 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2693 \once \override BreathingSign #'Y-offset = #0
2697 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2698 \once \override BreathingSign #'Y-offset = #0
2702 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2703 \once \override BreathingSign #'Y-offset = #0
2707 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2708 \once \override BreathingSign #'Y-offset = #0
2726 \remove Bar_engraver
2732 Chants usually omit the time signature and often omit the clef too.
2734 @lilypond[verbatim,quote]
2746 \remove Bar_engraver
2747 \remove Time_signature_engraver
2748 \remove Clef_engraver
2754 Chants for psalms in the Anglican tradition are usually either
2755 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2756 of 7 bars. Each group of 7 bars is divided into two halves,
2757 corresponding to the two halves of each verse, usually separated by
2758 a double bar line. Only whole and half notes are used. The 1st bar
2759 in each half always contains a single chord of whole notes. This is
2760 the @qq{reciting note}. Chants are usually centered on the page.
2762 @lilypond[verbatim,quote]
2763 SopranoMusic = \relative g' {
2764 g1 | c2 b | a1 | \bar "||"
2765 a1 | d2 c | c b | c1 | \bar "||"
2768 AltoMusic = \relative c' {
2770 f1 | f2 e | d d | e1 |
2773 TenorMusic = \relative a {
2775 d1 | g,2 g | g g | g1 |
2778 BassMusic = \relative c {
2780 d1 | b2 c | g' g | c,1 |
2787 % Use markup to center the chant on the page
2796 \new Voice = "Soprano" <<
2800 \new Voice = "Alto" <<
2808 \new Voice = "Tenor" <<
2812 \new Voice = "Bass" <<
2822 \override SpacingSpanner
2823 #'base-shortest-duration = #(ly:make-moment 1 2)
2827 \remove "Time_signature_engraver"
2835 Some other approaches to setting such a chant are shown in the first
2836 of the following snippets.
2840 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2841 {chant-or-psalms-notation.ly}
2843 Canticles and other liturgical texts may be set more freely, and
2844 may use notational elements from ancient music. Often the words
2845 are shown underneath and aligned with the notes. If so, the notes
2846 are spaced in accordance with the syllables rather than the notes'
2849 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2850 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2854 @rlearning{Visibility and color of objects},
2855 @rlearning{Vocal ensembles}.
2858 @ref{Ancient notation},
2860 @ref{Modifying context plug-ins},
2861 @ref{Typesetting Gregorian chant},
2862 @ref{Unmetered music},
2863 @ref{Visibility of objects}.
2866 @node Pointing a psalm
2867 @unnumberedsubsubsec Pointing a psalm
2869 The words to an Anglican psalm are usually printed in separate
2870 verses centered underneath the chant.
2872 Single chants (with 7 bars) are repeated for every verse. Double
2873 chants (with 14 bars) are repeated for every pair of verses. Marks
2874 are inserted in the words to show how they should be fitted to the
2875 chant. Each verse is divided into two halves. A colon is usually
2876 used to indicate this division. This corresponds to the double bar
2877 line in the music. The words before the colon are sung to the first
2878 three bars of music; the words after the colon are sung to the last
2881 Single bar lines (or in some psalters an inverted comma or similar
2882 symbol) are inserted between words to indicate where the bar lines
2883 in the music fall. In markup mode a single bar line can be entered
2884 with the bar check symbol, @code{|}.
2886 @lilypond[verbatim,quote]
2891 \line { O come let us sing | unto the | Lord : let }
2892 \line { us heartily rejoice in the | strength of | our }
2893 \line { sal- | -vation. }
2900 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2901 For details, see @ref{Fonts}.
2903 @lilypond[verbatim,quote]
2905 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2911 \line { O come let us sing \tick unto the \tick Lord : let }
2913 us heartily rejoice in the \tick strength of \tick our
2915 \line { sal \tick vation. }
2922 Where there is one whole note in a bar all the words corresponding
2923 to that bar are recited on that one note in speech rhythm. Where
2924 there are two notes in a bar there will usually be only one or two
2925 corresponding syllables. If there are more that two syllables a
2926 dot is usually inserted to indicate where the change in note occurs.
2928 @lilypond[verbatim,quote]
2930 \raise #0.7 \musicglyph #"dots.dot"
2933 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2940 O come let us sing \tick unto \dot the \tick Lord : let
2943 us heartily rejoice in the \tick strength of \tick our
2945 \line { sal \tick vation. }
2952 In some psalters an asterisk is used to indicate a break in a
2953 recited section instead of a comma, and stressed or slightly
2954 lengthened syllables are indicated in bold text.
2956 @lilypond[verbatim,quote]
2958 \raise #0.7 \musicglyph #"dots.dot"
2961 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2967 \line { Today if ye will hear his voice * }
2969 \concat { \bold hard en }
2970 | not your | hearts : as in the pro-
2972 \line { vocation * and as in the \bold day of tempt- | }
2973 \line { -ation | in the | wilderness. }
2980 In other psalters an accent is placed over the syllable to indicate
2983 @lilypond[verbatim,quote]
2985 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2992 O come let us \concat {
2993 si \combine \tick ng
2995 | unto the | Lord : let
2998 us heartily \concat {
2999 rejo \combine \tick ice
3001 in the | strength of | our
3003 \line { sal- | -vation. }
3010 The use of markup to center text, and arrange lines in columns is
3011 described in @ref{Formatting text}.
3013 Most of these elements are shown in one or other of the two verses
3014 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3018 @rlearning{Vocal ensembles}.
3022 @ref{Formatting text}.
3025 @node Partial measures in hymn tunes
3026 @unnumberedsubsubsec Partial measures in hymn tunes
3028 Hymn tunes frequently start and end every line of music with
3029 partial measures so that each line of music corresponds exactly
3030 with a line of text. This requires a @code{\partial} command at
3031 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3032 commands at the end of each line.
3034 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3038 @node Ancient vocal music
3039 @subsection Ancient vocal music
3041 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3045 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3046 @c and "Transcription of Ancient music with incipit" snippet. -vv
3050 @ref{Ancient notation}.