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
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15 @lilypondfile[quote]{vocal-headword.ly}
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::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
96 @unnumberedsubsubsec Entering lyrics
98 @cindex lyrics, entering
99 @cindex entering lyrics
100 @cindex formatting in lyrics
101 @cindex lyrics, formatting
102 @cindex punctuation in lyrics
103 @cindex lyrics punctuation
104 @cindex spaces in lyrics
105 @cindex quotes in lyrics
108 @c TODO should we explain hyphens here
110 Lyrics are entered in a special input mode, which can be introduced
111 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
112 @code{\lyricsto}. In this special input mode, the input @code{d}
113 is not parsed as the pitch @notation{D}, but rather as a one-letter
114 syllable of text. In other words, syllables are entered like notes
115 but with pitches replaced by text.
120 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
123 There are two main methods for specifying the horizontal placement
124 of the syllables, either by specifying the duration of each syllable
125 explicitly, as in the example above, or by leaving the lyrics to be
126 aligned automatically to a melody or other voice of music, using
127 @code{\addlyrics} or @code{\lyricsto}. The former method is
128 described below in @ref{Manual syllable durations}. The latter
129 method is described in @ref{Automatic syllable durations}.
131 A word or syllable of lyrics begins with an alphabetic character
132 (plus some other characters, see below) and is terminated by any
133 white space or a digit. Later characters in the syllable can be any
134 character that is not a digit or white space.
136 Because any character that is not a digit or white space is regarded
137 as part of the syllable, a word is valid even if it ends with
138 @code{@}}, which often leads to the following mistake:
141 \lyricmode @{ lah lah lah@}
144 In this example, the @code{@}} is included in the final syllable, so the
145 opening brace is not balanced and the input file will probably not
146 compile. Instead, braces should always be surrounded with white space:
149 \lyricmode @{ lah lah lah @}
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{Special characters}.
158 @lilypond[quote,verbatim]
159 \relative c'' { d8 c16 a bes8 f e' d c4 }
160 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
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
183 Great control over the appearance of lyrics comes from using
184 @code{\markup} inside the lyrics themselves. For explanation of many
185 options, see @ref{Formatting text}.
189 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
190 {formatting-lyrics-syllables.ly}
198 @ref{Automatic syllable durations},
200 @ref{Formatting text},
202 @ref{Manual syllable durations},
203 @ref{Special characters}.
206 @rinternals{LyricText}.
212 @node Aligning lyrics to a melody
213 @unnumberedsubsubsec Aligning lyrics to a melody
215 @cindex lyrics, aligning to a melody
216 @cindex @code{associatedVoice}
221 Lyrics are printed by interpreting them in the context called
222 @code{Lyrics}, see @ref{Contexts explained}.
225 \new Lyrics \lyricmode @{ @dots{} @}
228 Lyrics can be aligned with melodies in two main ways:
233 Lyrics can be aligned automatically, with the durations of the
234 syllables being taken from another voice of music or (in special
235 circumstances) an associated melody, using @code{\addlyrics},
236 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
237 For more details, see @ref{Automatic syllable durations}.
239 @lilypond[quote,ragged-right,verbatim]
243 \new Voice = "one" \relative c'' {
245 c4 b8. a16 g4. r8 a4 ( b ) c2
247 \new Voice = "two" \relative c' {
253 % takes durations and alignment from notes in "one"
254 \new Lyrics \lyricsto "one" {
255 Life is __ _ love, live __ life.
258 % takes durations and alignment from notes in "one" initially
259 % then switches to "two"
260 \new Lyrics \lyricsto "one" {
262 \set associatedVoice = "two" % must be set one syllable early
263 sins and sor -- rows grow.
268 The first stanza shows the normal way of entering lyrics.
270 The second stanza shows how the voice from which the lyric
271 durations are taken can be changed. This is useful if the words to
272 different stanzas fit the notes in different ways and all the
273 durations are available in Voice contexts. For more details, see
277 Lyrics can be aligned independently of the duration of any notes
278 if the durations of the syllables are specified explicitly,
279 and entered with @code{\lyricmode}.
281 @lilypond[quote,ragged-right,verbatim]
283 \new Voice = "one" \relative c'' {
285 c4 b8. a16 g4. f8 e4 d c2
288 % uses previous explicit duration of 2;
289 \new Lyrics \lyricmode {
293 % explicit durations, set to a different rhythm
294 \new Lyrics \lyricmode {
295 Life4 is love,2. live4 life.2
300 The first stanza is not aligned with the notes because the durations
301 were not specified, and the previous value of 2 is used for each
304 The second stanza shows how the words can be aligned quite
305 independently from the notes. This is useful if the words to
306 different stanzas fit the notes in different ways and the required
307 durations are not available in a music context. For more details
308 see @ref{Manual syllable durations}. This technique is also useful
309 when setting dialogue over music; for examples showing this, see
310 @ref{Dialogue over music}.
312 When entered in this way the words are left-aligned to the notes
313 by default, but may be center-aligned to the notes of a melody by
314 specifying an associated voice, if one exists. For details, see
315 @ref{Manual syllable durations}.
321 @rlearning{Aligning lyrics to a melody}.
324 @ref{Contexts explained},
325 @ref{Automatic syllable durations},
327 @ref{Manual syllable durations},
328 @ref{Dialogue over music},
329 @ref{Manual syllable durations}.
335 @node Automatic syllable durations
336 @unnumberedsubsubsec Automatic syllable durations
338 @cindex syllable durations, automatic
339 @cindex lyrics and melodies
340 @cindex associatedVoice
344 Lyrics can be automatically aligned to the notes of a melody in
350 by specifying the named Voice context containing the melody with
354 by introducing the lyrics with @code{\addlyrics} and placing them
355 immediately after the Voice context containing the melody,
358 by setting the @code{associatedVoice} property, the alignment of
359 the lyrics may be switched to a different named Voice context at
364 In all three methods hyphens can be drawn between the syllables of
365 a word and extender lines can be drawn beyond the end of a word. For
366 details, see @ref{Extenders and hyphens}.
368 The @code{Voice} context containing the melody to which the lyrics
369 are being aligned must not have @qq{died}, or the lyrics after that
370 point will be lost. This can happen if there are periods when that
371 voice has nothing to do. For methods of keeping contexts alive, see
372 @ref{Keeping contexts alive}.
374 @subheading Using @code{\lyricsto}
379 Lyrics can be aligned under a melody automatically by specifying
380 the named Voice context containing the melody with
383 @lilypond[quote,verbatim,relative=2]
385 \new Voice = "melody" {
388 \new Lyrics \lyricsto "melody" {
395 This aligns the lyrics to the notes of the named @code{Voice}
396 context, which must already exist. Therefore normally the
397 @code{Voice} context is specified first, followed by the
398 @code{Lyrics} context. The lyrics themselves follow the
399 @code{\lyricsto} command. The @code{\lyricsto} command
400 invokes lyric mode automatically, so the @code{\lyricmode} keyword
401 may be omitted. By default, the lyrics are placed underneath the
402 notes. For other placements, see @ref{Placing lyrics vertically}.
404 @subheading Using @code{\addlyrics}
409 The @code{\addlyrics} command is just a convenient shortcut that
410 can sometimes be used instead of having to set up the lyrics
411 through a more complicated LilyPond structure.
415 \addlyrics @{ LYRICS @}
422 \new Voice = "blah" @{ MUSIC @}
423 \new Lyrics \lyricsto "blah" @{ LYRICS @}
428 @lilypond[verbatim,quote]
431 \relative c' { c2 e4 g2. }
432 \addlyrics { play the game }
436 More stanzas can be added by adding more
437 @code{\addlyrics} sections:
440 @lilypond[ragged-right,verbatim,quote]
443 \relative c' { c2 e4 g2. }
444 \addlyrics { play the game }
445 \addlyrics { speel het spel }
446 \addlyrics { joue le jeu }
450 The command @code{\addlyrics} cannot handle polyphonic settings.
451 Also, it cannot be used to associate lyrics to a @code{TabVoice}.
452 For these cases one should use @code{\lyricsto}.
454 @subheading Using associatedVoice
456 The melody to which the lyrics are being aligned can be changed by
457 setting the @code{associatedVoice} property,
460 \set associatedVoice = #"lala"
465 The value of the property (here: @code{"lala"}) should be the name
466 of a @code{Voice} context. For technical reasons, the @code{\set}
467 command must be placed one syllable before the one to which the
468 change in voice is to apply.
470 Here is an example demonstrating its use:
472 @lilypond[quote,ragged-right,verbatim]
476 \new Voice = "one" \relative c'' {
478 c4 b8. a16 g4. r8 a4 ( b ) c2
480 \new Voice = "two" \relative c' {
485 % takes durations and alignment from notes in "one" initially
486 % then switches to "two"
487 \new Lyrics \lyricsto "one" {
489 \set associatedVoice = "two" % must be set one syllable early
490 sins and sor -- rows grow.
497 @ref{Extenders and hyphens},
498 @ref{Keeping contexts alive},
499 @ref{Placing lyrics vertically}.
502 @node Manual syllable durations
503 @unnumberedsubsubsec Manual syllable durations
505 In some complex vocal music, it may be desirable to place lyrics
506 completely independently of notes. In this case do not use
507 @code{\lyricsto} or @code{\addlyrics} and do not set
508 @code{associatedVoice}. Syllables are entered like notes --
509 but with pitches replaced by text -- and the duration of each
510 syllable is entered explicitly after the syllable.
512 By default, syllables will be left-aligned to the corresponding
513 musical moment. Hyphenated lines may be drawn between syllables
514 as usual, but extender lines cannot be drawn when there is no
517 Here are two examples:
519 @lilypond[relative=1,verbatim,quote]
521 \new Voice = "melody" {
525 \new Lyrics \lyricmode {
532 @lilypond[quote,verbatim,ragged-right]
554 This technique is useful when writing dialogue over music, see
555 @ref{Dialogue over music}.
557 To center-align syllables on the notes at the corresponding musical
558 moments, set @code{associatedVoice} to the name of the Voice context
559 containing those notes. When @code{associatedVoice} is set, both
560 double hyphens and double underscores can be used to draw
561 hyphenated lines and extenders under melismata correctly.
563 @lilypond[relative=1,verbatim,quote]
565 \new Voice = "melody" {
569 \new Lyrics \lyricmode {
570 \set associatedVoice = #"melody"
576 @c TODO see also feature request 707 - show how to do this with manual durations
580 @ref{Dialogue over music}.
587 @node Multiple syllables to one note
588 @unnumberedsubsubsec Multiple syllables to one note
591 @cindex spaces, in lyrics
592 @cindex quotes, in lyrics
593 @cindex ties, in lyrics
595 In order to assign more than one syllable to a single note with
596 spaces between the syllables, you can surround the phrase with
597 quotes or use a @code{_} character. Alternatively, you can use
598 the tilde symbol (@code{~}) to get a lyric tie.
600 @lilypond[quote,ragged-right,verbatim,relative=2]
603 r8 b c fis, fis c' b e,
607 \override LyricHyphen.minimum-distance = #1.0 % Ensure hyphens are visible
608 Che_in ques -- ta_e_in quel -- l'al -- tr'on -- da
610 \addlyrics { "Che in" ques -- "ta e in" quel -- l'al -- tr'on -- da }
611 \addlyrics { Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da }
617 @rinternals{LyricCombineMusic}.
620 @node Multiple notes to one syllable
621 @unnumberedsubsubsec Multiple notes to one syllable
625 @cindex phrasing, in lyrics
627 @funindex \melismaEnd
629 Sometimes, particularly in Medieval and baroque music, several notes are
630 sung on one syllable; this is called melisma, see
631 @rglos{melisma}. The syllable to a melisma is usually
632 left-aligned with the first note of the melisma.
634 When a melisma occurs on a syllable other that the last one in a
635 word, that syllable is usually joined to the following one with a
636 hyphenated line. This is indicated by placing a double hyphen,
637 @w{@code{--}}, immediately after the syllable.
639 Alternatively, when a melisma occurs on the last or only syllable in
640 a word an extender line is usually drawn from the end of the syllable
641 to the last note of the melisma. This is indicated by placing a
642 double underscore, @code{__}, immediately after the word.
644 There are five ways in which melismata can be indicated:
649 Melismata are created automatically over notes which are tied
652 @lilypond[quote,relative=2,verbatim]
654 \new Voice = "melody" {
660 \new Lyrics \lyricsto "melody" {
667 Melismata can be created automatically from the music by placing
668 slurs over the notes of each melisma. This is the usual way of
671 @lilypond[quote,relative=2,verbatim]
673 \new Voice = "melody" {
678 \new Lyrics \lyricsto "melody" {
684 Note that phrasing slurs do not affect the creation of melismata.
687 Notes are considered a melisma if they are manually beamed,
688 providing automatic beaming is switched off. See
689 @ref{Setting automatic beam behavior}.
691 @lilypond[quote,relative=2,verbatim]
693 \new Voice = "melody" {
699 \new Lyrics \lyricsto "melody" {
705 Clearly this is not suited to melismata over notes which are longer
709 An unslurred group of notes will be treated as a melisma if they
710 are bracketed between @code{\melisma} and @code{\melismaEnd}.
712 @lilypond[quote,relative=2,verbatim]
714 \new Voice = "melody" {
722 \new Lyrics \lyricsto "melody" {
729 A melisma can be defined entirely in the lyrics by entering a
730 single underscore character, @code{_}, for every extra note that has
731 to be added to the melisma.
733 @lilypond[verbatim, quote, relative=2]
735 \new Voice = "melody" {
740 \new Lyrics \lyricsto "melody" {
741 Ky -- ri -- _ _ _ e __ _ _
748 It is possible to have ties, slurs and manual beams in the melody
749 without their indicating melismata. To do this, set
750 @code{melismaBusyProperties}:
752 @lilypond[relative=1,verbatim,quote]
754 \new Voice = "melody" {
756 \set melismaBusyProperties = #'()
760 \new Lyrics \lyricsto "melody" {
761 Ky -- ri -- e e -- le -- i -- son
766 Other settings for @code{melismaBusyProperties} can be used to
767 selectively include or exclude ties, slurs, and beams from the
768 automatic detection of melismata; see @code{melismaBusyProperties}
769 in @rinternals{Tunable context properties}.
771 Alternatively, if all melismata indications are to be ignored,
772 @code{ignoreMelismata} may be set true;
773 see @ref{Stanzas with different rhythms}.
775 If a melisma is required during a passage in which
776 @code{melismaBusyProperties} is active, it may be indicated by
777 placing a single underscore in the lyrics for each note which
778 should be included in the melisma:
780 @lilypond[relative=1,verbatim,quote]
782 \new Voice = "melody" {
784 \set melismaBusyProperties = #'()
788 \new Lyrics \lyricsto "melody" {
789 Ky -- ri -- _ e __ _ _ _
807 @rlearning{Aligning lyrics to a melody}.
810 @ref{Aligning lyrics to a melody},
811 @ref{Automatic syllable durations},
812 @ref{Setting automatic beam behavior},
813 @ref{Stanzas with different rhythms}.
816 @rinternals{Tunable context properties}.
819 Extender lines under melismata are not created automatically; they
820 must be inserted manually with a double underscore.
823 @node Extenders and hyphens
824 @unnumberedsubsubsec Extenders and hyphens
829 @c TODO cf Multiple notes to one syllable; should this be merged in?
831 @c leave this as samp. -gp
832 In the last syllable of a word, melismata are sometimes indicated with
833 a long horizontal line starting in the melisma syllable, and ending in
834 the next one. Such a line is called an extender line, and it is
835 entered as @samp{ __ } (note the spaces before and after the two
836 underscore characters).
838 @warning{Melismata are indicated in the score with extender lines,
839 which are entered as one double underscore; but short melismata can
840 also be entered by skipping individual notes, which are entered as
841 single underscore characters; these do not make an extender line to be
846 @c leave this as samp. -gp
847 Centered hyphens are entered as @samp{ -- } between syllables of a
848 same word (note the spaces before and after the two hyphen
849 characters). The hyphen will be centered between the syllables, and
850 its length will be adjusted depending on the space between the
853 In tightly engraved music, hyphens can be removed. Whether this
854 happens can be controlled with the @code{minimum-distance} (minimum
855 distance between two syllables) and the @code{minimum-length}
856 (threshold below which hyphens are removed) properties of
861 @rinternals{LyricExtender},
862 @rinternals{LyricHyphen}.
865 @node Techniques specific to lyrics
866 @subsection Techniques specific to lyrics
868 @c TODO this whole section is to be reorganised
871 * Working with lyrics and variables::
872 * Placing lyrics vertically::
873 * Placing syllables horizontally::
874 * Lyrics and repeats::
880 @node Working with lyrics and variables
881 @unnumberedsubsubsec Working with lyrics and variables
883 @cindex lyrics, using variables
885 Variables containing lyrics can be created, but the lyrics must be
886 entered in lyric mode:
888 @lilypond[quote,verbatim]
889 musicOne = \relative c'' {
890 c4 b8. a16 g4. f8 e4 d c2
892 verseOne = \lyricmode {
893 Joy to the world, the Lord is come.
901 \new Lyrics \lyricsto "one" {
908 Durations do not need to be added if the variable is to be invoked
909 with @code{\addlyrics} or @code{\lyricsto}.
911 For different or more complex orderings, the best way is to define
912 the music and lyric variables first, then set up the hierarchy of
913 staves and lyrics, omitting the lyrics themselves, and then add the
914 lyrics using @code{\context} underneath. This ensures that the
915 voices referenced by @code{\lyricsto} have always been defined
916 earlier. For example:
918 @lilypond[quote,verbatim]
919 sopranoMusic = \relative c'' { c4 c c c }
920 contraltoMusic = \relative c'' { a4 a a a }
921 sopranoWords = \lyricmode { Sop -- ra -- no words }
922 contraltoWords = \lyricmode { Con -- tral -- to words }
927 \new Voice = "sopranos" {
931 \new Lyrics = "sopranos"
932 \new Lyrics = "contraltos"
934 \new Voice = "contraltos" {
938 \context Lyrics = "sopranos" {
939 \lyricsto "sopranos" {
943 \context Lyrics = "contraltos" {
944 \lyricsto "contraltos" {
954 @ref{Placing lyrics vertically}.
957 @rinternals{LyricCombineMusic},
961 @node Placing lyrics vertically
962 @unnumberedsubsubsec Placing lyrics vertically
964 @cindex placement of lyrics
965 @cindex lyrics, positioning
967 Depending on the type of music, lyrics may be positioned
968 above the staff, below the staff, or between staves. Placing
969 lyrics below the associated staff is the easiest, and can be
970 achieved by simply defining the Lyrics context below the Staff
973 @lilypond[quote,verbatim]
977 \new Voice = "melody" {
978 \relative c'' { c4 c c c }
990 Lyrics may be positioned above the staff using one of
991 two methods. The simplest (and preferred) method
992 is to use the same syntax as above and explicitly
993 specify the position of the lyrics:
995 @lilypond[quote,verbatim]
998 \new Staff = "staff" {
999 \new Voice = "melody" {
1000 \relative c'' { c4 c c c }
1003 \new Lyrics \with { alignAboveContext = "staff" } {
1004 \lyricsto "melody" {
1012 Alternatively, a two-step process may be used. First the Lyrics
1013 context is declared (without any content) before the Staff and
1014 Voice contexts, then the @code{\lyricsto} command is placed after
1015 the Voice declaration it references by using @code{\context}, as
1018 @lilypond[quote,verbatim]
1021 \new Lyrics = "lyrics" \with {
1022 % lyrics above a staff should have this override
1023 \override VerticalAxisGroup.staff-affinity = #DOWN
1026 \new Voice = "melody" {
1027 \relative c'' { c4 c c c }
1030 \context Lyrics = "lyrics" {
1031 \lyricsto "melody" {
1039 When there are two voices on separate staves the lyrics may be
1040 placed between the staves using either of these methods. Here
1041 is an example of the second method:
1043 @lilypond[quote,verbatim]
1047 \new Voice = "sopranos" {
1048 \relative c'' { c4 c c c }
1051 \new Lyrics = "sopranos"
1052 \new Lyrics = "contraltos" \with {
1053 % lyrics above a staff should have this override
1054 \override VerticalAxisGroup.staff-affinity = #DOWN
1057 \new Voice = "contraltos" {
1058 \relative c'' { a4 a a a }
1061 \context Lyrics = "sopranos" {
1062 \lyricsto "sopranos" {
1063 Sop -- ra -- no words
1066 \context Lyrics = "contraltos" {
1067 \lyricsto "contraltos" {
1068 Con -- tral -- to words
1075 Other combinations of lyrics and staves may be generated by
1076 elaborating these examples, or by examining the templates in the
1077 Learning Manual, see @rlearning{Vocal ensembles templates}.
1080 @lilypondfile[verbatim,quote,texidoc,doctitle]
1081 {obtaining-2.12-lyrics-spacing-in-newer-versions.ly}
1085 @rlearning{Vocal ensembles templates}.
1088 @ref{Context layout order},
1089 @ref{Creating and referencing contexts}.
1092 @node Placing syllables horizontally
1093 @unnumberedsubsubsec Placing syllables horizontally
1095 @cindex Spacing lyrics
1096 @cindex Lyrics, increasing space between
1098 To increase the spacing between lyrics, set the
1099 @code{minimum-distance} property of @code{LyricSpace}.
1101 @lilypond[relative=1,verbatim,quote,ragged-right]
1104 \override Lyrics.LyricSpace.minimum-distance = #1.0
1108 longtext longtext longtext longtext
1109 longtext longtext longtext longtext
1114 To make this change for all lyrics in the score, set the property in the
1115 @code{\layout} block.
1117 @lilypond[verbatim,quote,ragged-right]
1124 longtext longtext longtext longtext
1125 longtext longtext longtext longtext
1130 \override LyricSpace.minimum-distance = #1.0
1137 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1138 {lyrics-alignment.ly}
1140 @c TODO: move to LSR -vv
1142 Checking to make sure that text scripts and lyrics are within the margins
1143 requires additional calculations. To speed up processing slightly, this
1144 feature can be disabled:
1147 \override Score.PaperColumn.keep-inside-line = ##f
1150 To make lyrics avoid bar lines as well, use
1156 \consists "Bar_engraver"
1157 \consists "Separating_line_group_engraver"
1158 \override BarLine.transparent = ##t
1163 @node Lyrics and repeats
1164 @unnumberedsubsubsec Lyrics and repeats
1166 @cindex repeats and lyrics
1167 @cindex lyrics, repeating
1169 @subheading Simple repeats
1171 Repeats in @emph{music} are fully described elsewhere; see
1172 @ref{Repeats}. This section explains how to add lyrics to repeated
1175 Lyrics to a section of music that is repeated should be surrounded
1176 by exactly the same repeat construct as the music, if the words are
1179 @lilypond[verbatim,quote]
1183 \new Voice = "melody" {
1186 \repeat volta 2 { b4 b b b }
1191 \lyricsto "melody" {
1192 Not re -- peat -- ed.
1193 \repeat volta 2 { Re -- peat -- ed twice. }
1200 The words will then be correctly expanded if the repeats are
1203 @lilypond[verbatim,quote]
1208 \new Voice = "melody" {
1211 \repeat volta 2 { b4 b b b }
1216 \lyricsto "melody" {
1217 Not re -- peat -- ed.
1218 \repeat volta 2 { Re -- peat -- ed twice. }
1226 If the repeated section is to be unfolded and has different words,
1227 simply enter all the words:
1229 @lilypond[verbatim,quote,ragged-right]
1233 \new Voice = "melody" {
1236 \repeat unfold 2 { b4 b b b }
1241 \lyricsto "melody" {
1242 Not re -- peat -- ed.
1243 The first time words.
1244 Sec -- ond time words.
1251 When the words to a repeated volta section are different, the words
1252 to each repeat must be entered in separate @code{Lyrics} contexts,
1253 correctly nested in parallel sections:
1255 @lilypond[verbatim,quote]
1259 \new Voice = "melody" {
1262 \repeat volta 2 { b4 b b b }
1266 \new Lyrics \lyricsto "melody" {
1267 Not re -- peat -- ed.
1269 { The first time words. }
1271 \set associatedVoice = "melody"
1272 Sec -- ond time words.
1280 More verses may be added in a similar way:
1282 @lilypond[verbatim,quote]
1286 \new Voice = "singleVoice" {
1289 \repeat volta 3 { b4 b b b }
1294 \new Lyrics \lyricsto "singleVoice" {
1295 Not re -- peat -- ed.
1297 { The first time words. }
1299 \set associatedVoice = "singleVoice"
1300 Sec -- ond time words.
1303 \set associatedVoice = "singleVoice"
1304 The third time words.
1307 The end sec -- tion.
1313 @cindex alignBelowContext
1314 @funindex alignBelowContext
1316 However, if this construct is embedded within a multi-staved
1317 context such as a @code{ChoirStaff} the lyrics of the second and
1318 third verses will appear beneath the bottom staff.
1320 To position them correctly use @code{alignBelowContext}:
1322 @lilypond[verbatim,quote]
1326 \new Voice = "melody" {
1329 \repeat volta 3 { b4 b b b }
1334 \new Lyrics = "firstVerse" \lyricsto "melody" {
1335 Not re -- peat -- ed.
1337 { The first time words. }
1338 \new Lyrics = "secondVerse"
1339 \with { alignBelowContext = #"firstVerse" } {
1340 \set associatedVoice = "melody"
1341 Sec -- ond time words.
1343 \new Lyrics = "thirdVerse"
1344 \with { alignBelowContext = #"secondVerse" } {
1345 \set associatedVoice = "melody"
1346 The third time words.
1349 The end sec -- tion.
1351 \new Voice = "harmony" {
1353 f4 f f f \repeat volta 2 { g8 g g4 g2 } a4 a8. a16 a2
1362 @c TODO positioning a common line of lyrics
1364 @subheading Repeats with alternative endings
1366 @cindex lyrics, repeats with alternative endings
1367 @cindex repeating lyrics with alternative endings
1368 @cindex alternative endings and lyrics
1370 If the words of the repeated section are the same, exactly the
1371 same structure can be used for both the lyrics and music.
1373 @lilypond[quote,verbatim]
1378 \new Voice = "melody" {
1381 \repeat volta 2 { b4 b }
1382 \alternative { { b b } { b c } }
1387 \lyricsto "melody" {
1388 Not re -- peat -- ed.
1389 \repeat volta 2 { Re -- peat -- }
1390 \alternative { { ed twice. } { ed twice. } }
1398 @cindex skipping notes in lyrics
1399 @cindex lyrics, skipping notes
1401 But when the repeated section has different words, a repeat
1402 construct cannot be used around the words and @code{\skip} commands
1403 have to be inserted manually to skip over the notes in the
1404 alternative sections which do not apply.
1406 Note: do not use an underscore, @code{_}, to skip notes -- an
1407 underscore indicates a melisma, causing the preceding syllable
1410 @warning{The @code{@bs{}skip} command must be followed by a number,
1411 but this number is ignored in lyrics which derive their durations
1412 from the notes in an associated melody through @code{\addlyrics} or
1413 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1414 value, irrespective of the value of the following number.}
1416 @lilypond[verbatim,quote,ragged-right]
1421 \new Voice = "melody" {
1423 \repeat volta 2 { b4 b }
1424 \alternative { { b b } { b c } }
1430 \lyricsto "melody" {
1431 The first time words.
1432 \repeat unfold 2 { \skip 1 }
1437 \lyricsto "melody" {
1439 \repeat unfold 2 { \skip 1 }
1447 @cindex lyrics and tied notes
1448 @funindex \repeatTie
1450 When a note is tied over into two or more alternative endings a
1451 tie is used to carry the note into the first alternative ending and
1452 a @code{\repeatTie} is used in the second and subsequent endings.
1453 This structure causes difficult alignment problems when lyrics are
1454 involved and increasing the length of the alternative sections so
1455 the tied notes are contained wholly within them may give a more
1458 The tie creates a melisma into the first alternative, but not into
1459 the second and subsequent alternatives, so to align the lyrics
1460 correctly it is necessary to disable the automatic creation of
1461 melismata over the volta section and insert manual skips.
1463 @lilypond[quote,verbatim]
1468 \new Voice = "melody" {
1470 \set melismaBusyProperties = #'()
1471 \repeat volta 2 { b4 b ~}
1472 \alternative { { b b } { b \repeatTie c } }
1473 \unset melismaBusyProperties
1479 \lyricsto "melody" {
1480 \repeat volta 2 { Here's a __ }
1492 Note that if @code{\unfoldRepeats} is used around a section
1493 containing @code{\repeatTie}, the @code{\repeatTie} should be
1494 removed to avoid both types of tie being printed.
1496 When the repeated section has different words a @code{\repeat}
1497 cannot be used around the lyrics and @code{\skip} commands need to
1498 be inserted manually, as before.
1500 @lilypond[quote,verbatim]
1505 \new Voice = "melody" {
1507 \repeat volta 2 { b4 b ~}
1508 \alternative { { b b } { b \repeatTie c } }
1514 \lyricsto "melody" {
1516 \repeat unfold 2 { \skip 1 }
1520 \lyricsto "melody" {
1522 \repeat unfold 2 { \skip 1 }
1530 If you wish to show extenders and hyphens into and out of
1531 alternative sections these must be inserted manually.
1533 @lilypond[quote,verbatim]
1538 \new Voice = "melody" {
1540 \repeat volta 2 { b4 b ~}
1541 \alternative { { b b } { b \repeatTie c } }
1547 \lyricsto "melody" {
1549 \repeat unfold 2 { \skip 1 }
1553 \lyricsto "melody" {
1565 @ref{Keeping contexts alive},
1570 @unnumberedsubsubsec Divisi lyrics
1572 @cindex divided lyrics
1573 @cindex lyrics, divided
1575 When just the words and rhythms of the two parts differ with the
1576 pitches remaining the same, temporarily turning off the automatic
1577 detection of melismata and indicating the melisma in the lyrics
1578 may be the appropriate method to use:
1580 @lilypond[quote,verbatim]
1583 \new Voice = "melody" {
1585 \set melismaBusyProperties = #'()
1589 \unset melismaBusyProperties
1593 \new Lyrics \lyricsto "melody" {
1594 They shall not o -- ver -- come
1596 \new Lyrics \lyricsto "melody" {
1603 When both music and words differ it may be better to display
1604 the differing music and lyrics by naming voice contexts and
1605 attaching lyrics to those specific contexts:
1607 @lilypond[verbatim,ragged-right,quote]
1610 \new Voice = "melody" {
1617 \new Voice = "splitpart" {
1627 \new Lyrics \lyricsto "melody" {
1628 They shall not o -- ver -- come
1630 \new Lyrics \lyricsto "splitpart" {
1637 It is common in choral music to have a voice part split for
1638 several measures. The @code{<< @{@dots{}@} \\ @{@dots{}@} >>}
1639 construct, where the two (or more) musical expressions are
1640 separated by double backslashes, might seem the proper way to
1641 set the split voices. This construct, however, will assign
1642 @strong{all} the expressions within it to @strong{NEW Voice
1643 contexts} which will result in @emph{no lyrics} being set for
1644 them since the lyrics will be set to the original voice context
1645 -- not, typically, what one wants. The temporary polyphonic
1646 passage is the proper construct to use, see section
1647 @emph{Temporary polyphonic passages} in @ref{Single-staff polyphony}.
1654 * Adding stanza numbers::
1655 * Adding dynamics marks to stanzas::
1656 * Adding singers' names to stanzas::
1657 * Stanzas with different rhythms::
1658 * Printing stanzas at the end::
1659 * Printing stanzas at the end in multiple columns::
1663 @node Adding stanza numbers
1664 @unnumberedsubsubsec Adding stanza numbers
1666 @cindex stanza number
1668 Stanza numbers can be added by setting @code{stanza}, e.g.,
1670 @lilypond[quote,ragged-right,verbatim,relative=2]
1672 \time 3/4 g2 e4 a2 f4 g2.
1674 \set stanza = #"1. "
1675 Hi, my name is Bert.
1677 \set stanza = #"2. "
1678 Oh, ché -- ri, je t'aime
1684 These numbers are put just before the start of the first syllable.
1686 @c TODO Create and add snippet to show how two lines of a
1687 @c stanza can be grouped together, along these lines:
1688 @c (might need improving a bit) -td
1691 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1695 \set stanza = \markup { "1. " \leftbrace }
1696 \lyricmode { Child, you're mine and I love you.
1697 Lend thine ear to what I say.
1703 % \set stanza = \markup { " "}
1704 \lyricmode { Child, I have no great -- er joy
1705 Than to have you walk in truth.
1711 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1712 c'8 c' c' c' c' c' c'4 }
1713 } \addlyrics { \stanzaOneOne }
1714 \addlyrics { \stanzaOneThree }
1718 @node Adding dynamics marks to stanzas
1719 @unnumberedsubsubsec Adding dynamics marks to stanzas
1721 Stanzas differing in loudness may be indicated by putting a
1722 dynamics mark before each stanza. In LilyPond, everything coming in
1723 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1724 marks are no different. For technical reasons, you have to set the
1725 stanza outside @code{\lyricmode}:
1727 @lilypond[quote,ragged-right,verbatim]
1729 \set stanza = \markup { \dynamic "ff" "1. " }
1736 \new Voice = "tune" {
1740 \new Lyrics \lyricsto "tune" \text
1744 @node Adding singers' names to stanzas
1745 @unnumberedsubsubsec Adding singers' names to stanzas
1748 @cindex name of singer
1750 Names of singers can also be added. They are printed at the start of
1751 the line, just like instrument names. They are created by setting
1752 @code{vocalName}. A short version may be entered as
1753 @code{shortVocalName}.
1755 @lilypond[ragged-right,quote,verbatim,relative=2]
1757 \time 3/4 g2 e4 a2 f4 g2.
1759 \set vocalName = #"Bert "
1760 Hi, my name is Bert.
1762 \set vocalName = #"Ernie "
1763 Oh, ché -- ri, je t'aime
1767 @node Stanzas with different rhythms
1768 @unnumberedsubsubsec Stanzas with different rhythms
1770 Often, different stanzas of one song are put to one melody in slightly
1771 differing ways. Such variations can still be captured with
1774 @subsubheading Ignoring melismata
1776 One possibility is that the text has a melisma in one stanza, but
1777 multiple syllables in another. One solution is to make the faster
1778 voice ignore the melisma. This is done by setting
1779 @code{ignoreMelismata} in the Lyrics context.
1781 @lilypond[verbatim,ragged-right,quote]
1783 \relative c' \new Voice = "lahlah" {
1784 \set Staff.autoBeaming = ##f
1790 \new Lyrics \lyricsto "lahlah" {
1793 \new Lyrics \lyricsto "lahlah" {
1795 \set ignoreMelismata = ##t
1797 \unset ignoreMelismata
1804 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1805 not work if prefixed with @code{\once}. It is necessary to use
1806 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1809 @subsubheading Adding syllables to grace notes
1811 @cindex grace notes and lyrics
1812 @cindex lyrics on grace notes
1814 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1815 syllables when using @code{\lyricsto}, but this behavior can be
1818 @lilypond[verbatim,ragged-right,quote]
1820 \new Voice = melody \relative c' {
1821 f4 \appoggiatura a32 b4
1822 \grace { f16[ a16] } b2
1823 \afterGrace b2 { f16[ a16] }
1824 \appoggiatura a32 b4
1830 \set includeGraceNotes = ##t
1833 after -- grace case,
1834 \set ignoreMelismata = ##t
1842 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1843 set at latest one syllable before the one which is to be put under a
1844 grace note. For the case of a grace note at the very beginning of a
1845 piece of music, consider using a @code{\with} or @code{\context}
1848 @lilypond[verbatim,ragged-right,quote]
1850 \new Voice = melody \relative c' {
1851 \grace { c16[( d e f] }
1854 \new Lyrics \with { includeGraceNotes = ##t }
1861 @subsubheading Switching to an alternative melody
1863 @cindex associatedVoice
1864 @cindex alternative melody, switching to
1866 More complex variations in setting lyrics to music are possible.
1867 The melody to which the lyrics are being set can be changed from
1868 within the lyrics by setting the @code{associatedVoice} property:
1870 @lilypond[verbatim,quote]
1872 \relative c' \new Voice = "lahlah" {
1873 \set Staff.autoBeaming = ##f
1876 \new Voice = "alternative" {
1879 % show associations clearly.
1880 \override NoteColumn.force-hshift = #-3
1891 \new Lyrics \lyricsto "lahlah" {
1892 Ju -- ras -- sic Park
1894 \new Lyrics \lyricsto "lahlah" {
1895 % Tricky: need to set associatedVoice
1896 % one syllable too soon!
1897 \set associatedVoice = "alternative" % applies to "ran"
1901 \set associatedVoice = "lahlah" % applies to "rus"
1907 The text for the first stanza is set to the melody called
1908 @q{lahlah} in the usual way, but the second stanza is set initally
1909 to the @code{lahlah} context and is then switched to the
1910 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1914 \set associatedVoice = "alternative" % applies to "ran"
1918 \set associatedVoice = "lahlah" % applies to "rus"
1923 Here, @code{alternative} is the name of the @code{Voice} context
1924 containing the triplet.
1926 Note the placement of the @code{\set associatedVoice} command --
1927 it appears to be one syllable too early, but this is correct.
1929 @warning{The @code{\set associatedVoice} command must be placed
1930 one syllable @emph{before} the one at which the switch to the new
1931 voice is to occur. In other words, changing the associated Voice
1932 happens one syllable later than expected. This is for technical
1933 reasons, and it is not a bug.}
1936 @node Printing stanzas at the end
1937 @unnumberedsubsubsec Printing stanzas at the end
1939 Sometimes it is appropriate to have one stanza set
1940 to the music, and the rest added in verse form at
1941 the end of the piece. This can be accomplished by adding
1942 the extra verses into a @code{\markup} section outside
1943 of the main score block. Notice that there are two
1944 different ways to force linebreaks when using
1947 @lilypond[ragged-right,verbatim,quote]
1948 melody = \relative c' {
1954 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1955 its fleece was white as snow.
1959 \new Voice = "one" { \melody }
1960 \new Lyrics \lyricsto "one" \text
1966 \line{ All the children laughed and played }
1967 \line{ To see a lamb at school. }
1974 Mary took it home again,
1976 It was against the rule."
1981 @node Printing stanzas at the end in multiple columns
1982 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1984 When a piece of music has many verses, they are often printed in
1985 multiple columns across the page. An outdented verse number often
1986 introduces each verse. The following example shows how to produce such
1989 @lilypond[ragged-right,quote,verbatim]
1990 melody = \relative c' {
1995 \set stanza = #"1." This is verse one.
2001 \new Voice = "one" { \melody }
2002 \new Lyrics \lyricsto "one" \text
2009 \hspace #0.1 % moves the column off the left margin;
2010 % can be removed if space on the page is tight
2014 "This is verse two."
2018 \combine \null \vspace #0.1 % adds vertical spacing between verses
2021 "This is verse three."
2026 \hspace #0.1 % adds horizontal spacing between columns;
2030 "This is verse four."
2034 \combine \null \vspace #0.1 % adds vertical spacing between verses
2037 "This is verse five."
2042 \hspace #0.1 % gives some extra space on the right margin;
2043 % can be removed if page space is tight
2050 Internals Reference:
2051 @rinternals{LyricText},
2052 @rinternals{StanzaNumber}.
2059 * References for songs::
2063 @node References for songs
2064 @unnumberedsubsubsec References for songs
2066 Songs are usually written on three staves with the melody for the
2067 singer on the top staff and two staves of piano accompaniment at
2068 the bottom. The lyrics of the first stanza are printed immediately
2069 underneath the top staff. If there are just a small number of
2070 further stanzas these can be printed immediately under the first
2071 one, but if there are more stanzas than can be easily accommodated
2072 there the second and subsequent stanzas are printed after the music
2073 as stand-alone text.
2075 All the notational elements needed to write songs are fully described
2081 For constructing the staff layout, see @ref{Displaying staves}.
2084 For writing piano music, see
2085 @ref{Keyboard and other multi-staff instruments}.
2088 For writing the lyrics to a melody line, see
2089 @ref{Common notation for vocal music}.
2092 For placing the lyrics, see @ref{Placing lyrics vertically}.
2095 For entering stanzas, see @ref{Stanzas}.
2098 Songs are frequently printed with the chording indicated by chord
2099 names above the staves. This is described in @ref{Displaying chords}.
2102 To print fret diagrams of the chords for guitar accompaniment or
2103 accompaniment by other fretted instruments, see @qq{Fret diagram
2104 markups} in @ref{Common notation for fretted strings}.
2113 @ref{Common notation for vocal music},
2114 @ref{Displaying chords},
2115 @ref{Displaying staves},
2116 @ref{Keyboard and other multi-staff instruments},
2117 @ref{Placing lyrics vertically},
2125 @unnumberedsubsubsec Lead sheets
2127 Lead sheets may be printed by combining vocal parts and
2128 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2131 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2132 {simple-lead-sheet.ly}
2136 @ref{Chord notation}.
2147 This section discusses notation issues that relate most directly
2148 to choral music. This includes anthems, part songs, oratorio,
2152 * References for choral::
2153 * Score layouts for choral::
2157 @node References for choral
2158 @unnumberedsubsubsec References for choral
2160 Choral music is usually notated on two, three or four staves within
2161 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2162 beneath in a @code{PianoStaff} group, which is usually reduced in
2163 size for rehearsal of @emph{a cappella} choral works. The notes for
2164 each vocal part are placed in a @code{Voice} context, with each staff
2165 being given either a single vocal part (i.e., one @code{Voice}) or
2166 a pair of vocal parts (i.e., two @code{Voice}s).
2168 Words are placed in @code{Lyrics} contexts, either underneath each
2169 corresponding music staff, or one above and one below the music
2170 staff if this contains the music for two parts.
2172 Several common topics in choral music are described fully elsewhere:
2177 An introduction to creating an SATB vocal score can be found in
2178 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2181 Several templates suitable for various styles of choral music can
2182 also be found in the Learning Manual, see
2183 @rlearning{Vocal ensembles templates}.
2186 For information about @code{ChoirStaff} and @code{PianoStaff} see
2187 @ref{Grouping staves}.
2190 Shape note heads, as used in Sacred Harp and similar notation, are
2191 described in @ref{Shape note heads}.
2194 When two vocal parts share a staff the stems, ties, slurs, etc., of
2195 the higher part will be directed up and those of the lower part
2196 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2197 @ref{Single-staff polyphony}.
2200 When a vocal part temporarily splits, you should use
2201 @emph{Temporary polyphonic passages}
2202 (see @ref{Single-staff polyphony}).
2213 @rlearning{Four-part SATB vocal score},
2214 @rlearning{Vocal ensembles templates}.
2217 @ref{Context layout order},
2218 @ref{Grouping staves},
2219 @ref{Shape note heads},
2220 @ref{Single-staff polyphony}.
2225 Internals Reference:
2226 @rinternals{ChoirStaff},
2227 @rinternals{Lyrics},
2228 @rinternals{PianoStaff}.
2231 @node Score layouts for choral
2232 @unnumberedsubsubsec Score layouts for choral
2234 Choral music containing four staves, with or without piano
2235 accompaniment, is usually laid out with two systems per page.
2236 Depending on the page size, achieving this may require changes
2237 to several default settings. The following settings should be
2243 The global staff size can be modified to change the overall size
2244 of the elements of the score. See @ref{Setting the staff size}.
2247 The distances between the systems, the staves and the lyrics can
2248 all be adjusted independently. See @ref{Vertical spacing}.
2251 The dimensions of the vertical layout variables can be displayed as
2252 an aid to adjusting the vertical spacing. This and other
2253 possibilities for fitting the music onto fewer pages are described
2254 in @ref{Fitting music onto fewer pages}.
2257 If the number of systems per page changes from one to two it is
2258 customary to indicate this with a system separator mark between
2259 the two systems. See @ref{Separating systems}.
2262 For details of other page formatting properties, see
2268 Dynamic markings by default are placed below the staff, but in
2269 choral music they are usually placed above the staff in order to
2270 avoid the lyrics. The predefined command @code{\dynamicUp} does
2271 this for the dynamic markings in a single @code{Voice} context.
2272 If there are many @code{Voice} contexts this predefined command
2273 would have to be placed in every one. Alternatively its expanded
2274 form can be used to place all dynamic markings in the entire score
2275 above their respective staves, as shown here:
2277 @lilypond[verbatim,quote]
2282 \relative c'' { g4\f g g g }
2287 \relative c' { d4 d d\p d }
2294 \override DynamicText.direction = #UP
2295 \override DynamicLineSpanner.direction = #UP
2302 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2306 @ref{Changing spacing},
2307 @ref{Displaying spacing},
2308 @ref{Fitting music onto fewer pages},
2311 @ref{Separating systems},
2312 @ref{Setting the staff size},
2313 @ref{Using an extra voice for breaks},
2314 @ref{Vertical spacing}.
2316 Internals Reference:
2317 @rinternals{VerticalAxisGroup},
2318 @rinternals{StaffGrouper}.
2321 @node Divided voices
2322 @unnumberedsubsubsec Divided voices
2324 @cindex voices, divided
2326 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2327 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2331 @ref{Expressive marks as lines}.
2334 @node Opera and stage musicals
2335 @subsection Opera and stage musicals
2337 The music, lyrics and dialogue to opera and stage musicals are
2338 usually set out in one or more of the following forms:
2343 A @emph{Conductors' Score} containing the full orchestral and vocal
2344 parts, together with libretto cues if there are spoken passages.
2347 @emph{Orchestral Parts} containing the music for the individual
2348 instruments of the orchestra or band.
2351 A @emph{Vocal Score} containing all vocal parts with piano
2352 accompaniment. The accompaniment is usually an orchestral
2353 reduction, and if so the name of the original orchestral instrument
2354 is often indicated. Vocal scores sometimes includes stage
2355 directions and libretto cues.
2358 A @emph{Vocal Book} containing just the vocal parts
2359 (no accompaniment), sometimes combined with the libretto.
2362 A @emph{Libretto} containing the extended passages of spoken
2363 dialogue usually found in musicals, together with the words to the
2364 sung parts. Stage directions are usually included. LilyPond can
2365 be used to typeset libretti but as they contain no music
2366 alternative methods may be preferable.
2370 The sections in the LilyPond documentation which cover the topics
2371 needed to create scores in the styles commonly found in opera and
2372 musicals are indicated in the References below. This is followed
2373 by sections covering those techniques which are peculiar to
2374 typesetting opera and musical scores.
2377 * References for opera and stage musicals::
2381 * Dialogue over music::
2384 @node References for opera and stage musicals
2385 @unnumberedsubsubsec References for opera and stage musicals
2390 A conductors' score contains many grouped staves and lyrics. Ways
2391 of grouping staves is shown in @ref{Grouping staves}. To nest
2392 groups of staves see @ref{Nested staff groups}.
2395 The printing of empty staves in conductors' scores and vocal scores
2396 is often suppressed. To create such a @qq{Frenched score} see
2397 @ref{Hiding staves}.
2400 Writing orchestral parts is covered in @ref{Writing parts}.
2401 Other sections in the Specialist notation chapter may be relevant,
2402 depending on the orchestration used. Many instruments are
2403 transposing instruments, see @ref{Instrument transpositions}.
2406 If the number of systems per page changes from page to page it is
2407 customary to separate the systems with a system separator mark.
2408 See @ref{Separating systems}.
2411 For details of other page formatting properties, see
2415 Dialogue cues, stage directions and footnotes can be inserted, see
2416 @ref{Creating footnotes} and @ref{Text}. Extensive stage directions
2417 can also be added with a section of stand-alone markups between two
2418 @code{\score} blocks, see @ref{Separate text}.
2424 @rglos{Frenched score},
2425 @rglos{Frenched staves},
2426 @rglos{transposing instrument}.
2429 @ref{Creating footnotes},
2430 @ref{Grouping staves},
2431 @ref{Hiding staves},
2432 @ref{Instrument transpositions},
2433 @ref{Nested staff groups},
2435 @ref{Separating systems},
2437 @ref{Writing parts},
2444 @node Character names
2445 @unnumberedsubsubsec Character names
2447 @cindex character names
2448 @cindex names, character
2450 Character names are usually shown to the left of the staff when the
2451 staff is dedicated to that character alone:
2453 @lilypond[quote,verbatim,ragged-right]
2457 \set Staff.vocalName = \markup \smallCaps Kaspar
2458 \set Staff.shortVocalName = \markup \smallCaps Kas.
2467 \set Staff.vocalName = \markup \smallCaps Melchior
2468 \set Staff.shortVocalName = \markup \smallCaps Mel
2479 When two or more characters share a staff the character's name is
2480 usually printed above the staff at the start of every section
2481 applying to that character. This can be done with markup. Often a
2482 specific font is used for this purpose.
2484 @lilypond[quote,verbatim,relative=1]
2486 c4^\markup \fontsize #1 \smallCaps Kaspar
2489 a4^\markup \fontsize #1 \smallCaps Melchior
2492 c4^\markup \fontsize #1 \smallCaps Kaspar
2496 Alternatively, if there are many character changes, it may be
2497 easier to set up @qq{instrument} definitions for each character at
2498 the top level so that @code{\instrumentSwitch} can be used to
2499 indicate each change.
2501 @lilypond[quote,verbatim]
2502 \addInstrumentDefinition #"kaspar"
2503 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2504 (shortInstrumentName . "Kas.")
2505 (clefGlyph . "clefs.G")
2506 (clefTransposition . -7)
2507 (middleCPosition . 1)
2509 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2510 (midiInstrument . "voice oohs"))
2512 \addInstrumentDefinition #"melchior"
2513 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2514 (shortInstrumentName . "Mel.")
2515 (clefGlyph . "clefs.F")
2516 (clefTransposition . 0)
2517 (middleCPosition . 6)
2519 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2520 (midiInstrument . "choir aahs"))
2523 \instrumentSwitch "kaspar"
2525 \instrumentSwitch "melchior"
2527 \instrumentSwitch "kaspar"
2534 @ref{Instrument names},
2535 @ref{Scheme functions},
2537 @ref{Text markup commands}.
2540 @rextend{Markup construction in Scheme}.
2544 @unnumberedsubsubsec Musical cues
2546 @cindex musical cues
2547 @cindex cues, musical
2549 Musical cues can be inserted in Vocal Scores, Vocal Books and
2550 Orchestral Parts to indicate what music in another part
2551 immediately precedes an entry. Also, cues are often inserted in the
2552 piano reduction in Vocal Scores to indicate what each orchestral
2553 instrument is playing. This aids the conductor when a full
2554 Conductors' Score is not available.
2556 The basic mechanism for inserting cues is fully explained in the
2557 main text, see @ref{Quoting other voices} and
2558 @ref{Formatting cue notes}. But when many cues have to be
2559 inserted, for example, as an aid to a conductor in a vocal score,
2560 the instrument name must be positioned carefully just before and
2561 close to the start of the cue notes. The following example shows
2564 @lilypond[quote,verbatim]
2565 flute = \relative c'' {
2568 \addQuote "flute" { \flute }
2570 pianoRH = \relative c'' {
2572 % position name of cue-ing instrument just before the cue notes,
2573 % and above the staff
2575 \override InstrumentSwitch.self-alignment-X = #RIGHT
2576 \set instrumentCueName = "Flute"
2578 \cueDuring "flute" #UP { g4 bes4 }
2580 pianoLH = \relative c { c4 <c' e> e, <g c> }
2595 If a transposing instrument is being quoted the instrument part should
2596 specify its key so the conversion of its cue notes will be done
2597 automatically. The example below shows this transposition for a
2598 B-flat clarinet. The notes in this example are low on the staff so
2599 @code{DOWN} is specified in @code{\cueDuring} (so the stems are
2600 down) and the instrument name is positioned below the staff. Note
2601 also that the piano right-hand voice is explicitly declared. This
2602 is because the cue notes in this example begin at the start of the
2603 first bar and this would otherwise cause the entire piano right-hand
2604 notes to be placed in a @code{CueVoice} context.
2606 @lilypond[quote,verbatim]
2607 clarinet = \relative c' {
2611 \addQuote "clarinet" { \clarinet }
2613 pianoRH = \relative c'' {
2615 % position name of cue-ing instrument below the staff
2617 \override InstrumentSwitch.self-alignment-X = #RIGHT
2618 \override InstrumentSwitch.direction = #DOWN
2619 \set instrumentCueName = "Clar."
2621 \cueDuring "clarinet" #DOWN { c4. g8 }
2624 pianoLH = \relative c { c4 <c' e> e, <g c> }
2643 From these two examples it is clear that inserting many cues in a
2644 Vocal Score would be tedious, and the notes of the piano part would
2645 become obscured. However, as the following snippet shows, it is
2646 possible to define a music function to reduce the amount of typing
2647 and to make the piano notes clearer.
2650 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2651 {adding-orchestral-cues-to-a-vocal-score.ly}
2658 @ref{Aligning objects},
2659 @ref{Direction and placement},
2660 @ref{Formatting cue notes},
2661 @ref{Quoting other voices},
2662 @ref{Using music functions}.
2667 Internals Reference:
2668 @rinternals{InstrumentSwitch},
2669 @rinternals{CueVoice}.
2672 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2673 and all cue notes are placed in that context. This means it is not
2674 possible to have two overlapping sequences of cue notes by this
2675 technique. Overlapping sequences could be entered by explicitly
2676 declaring separate @code{CueVoice} contexts and using
2677 @code{\quoteDuring} to extract and insert the cue notes.
2681 @unnumberedsubsubsec Spoken music
2684 @cindex Sprechgesang
2685 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2686 speak without pitch but still with rhythm; these are notated by cross
2687 note heads, as demonstrated in @ref{Special note heads}.
2689 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2690 @c add "showing the rhythm of a melody" snip
2691 @c add "one staff-line notation"
2692 @c add "improvisation" ref
2693 @c add "lyrics independents of notes" ref
2695 @node Dialogue over music
2696 @unnumberedsubsubsec Dialogue over music
2698 Dialogue over music is usually printed over the staves in an italic
2699 font, with the start of each phrase keyed in to a particular music
2702 For short interjections a simple markup suffices.
2704 @lilypond[quote,verbatim,relative=2]
2705 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2706 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2710 For longer phrases it may be necessary to expand the music to make
2711 the words fit neatly. There is no provision in LilyPond to do this
2712 fully automatically, and some manual intervention to layout the
2713 page will be necessary.
2715 For long phrases or for passages with a lot of closely packed
2716 dialogue, using a Lyrics context will give better results. The
2717 Lyrics context should not be associated with a music Voice; instead
2718 each section of dialogue should be given an explicit duration. If
2719 there is a gap in the dialogue, the final word should be separated
2720 from the rest and the duration split between them so that the
2721 underlying music spaces out smoothly.
2723 If the dialogue extends for more than one line it will be necessary
2724 to manually insert @code{\break}s and adjust the placing of the
2725 dialogue to avoid running into the right margin. The final word of
2726 the last measure on a line should also be separated out, as above.
2728 Here is an example illustrating how this might be done.
2730 @c This should be a snippet, but it can't be as it needs to be
2731 @c manually adjusted to suit the imposed line length. -td
2733 @lilypond[quote,verbatim,ragged-right]
2734 music = \relative c'' {
2735 \repeat unfold 3 { a4 a a a }
2738 dialogue = \lyricmode {
2740 \fontsize #1 \upright \smallCaps Abe:
2741 "Say this over measures one and"
2745 "and this over measure"4*3
2752 \override LyricText.font-shape = #'italic
2753 \override LyricText.self-alignment-X = #LEFT
2757 \new Voice { \music }
2763 @c TODO show use of \column to produce dialogue on two lines
2767 @ref{Manual syllable durations},
2771 @rinternals{LyricText}.
2774 @node Chants psalms and hymns
2775 @subsection Chants psalms and hymns
2780 @cindex religious music
2782 The music and words for chants, psalms and hymns usually follow a
2783 well-established format in any particular church. Although the
2784 formats may differ from church to church the type-setting problems
2785 which arise are broadly similar, and are covered in this section.
2788 * References for chants and psalms::
2790 * Pointing a psalm::
2791 * Partial measures in hymn tunes::
2794 @node References for chants and psalms
2795 @unnumberedsubsubsec References for chants and psalms
2797 Typesetting Gregorian chant in various styles of ancient notation
2798 is described in @ref{Ancient notation}.
2802 @ref{Ancient notation}.
2808 @node Setting a chant
2809 @unnumberedsubsubsec Setting a chant
2811 Modern chant settings use modern notation with varying numbers of
2812 elements taken from ancient notation. Some of the elements and
2813 methods to consider are shown here.
2815 Chants often use quarter notes without stems to indicate the pitch,
2816 with the rhythm being taken from the spoken rhythm of the words.
2818 @lilypond[verbatim,quote]
2819 stemOff = { \override Staff.Stem.transparent = ##t }
2828 Chants often omit the bar lines or use shortened or dotted bar
2829 lines to indicate pauses in the music. To omit all bar lines from
2830 all staves remove the bar line engraver completely:
2832 @lilypond[verbatim,quote]
2853 \remove "Bar_engraver"
2859 Bar lines can also be removed on a staff-by-staff basis:
2861 @lilypond[verbatim, quote]
2865 \with { \remove "Bar_engraver" } {
2883 To remove bar lines from just a section of music treat it as a
2884 cadenza. If the section is long you may need to insert dummy
2885 bar lines with @code{\bar ""} to show where the line should break.
2887 @lilypond[verbatim,quote,relative=2]
2900 Rests or pauses in chants can be indicated by modified bar lines.
2902 @lilypond[verbatim, quote,relative=2]
2917 Alternatively, the notation used in Gregorian chant for pauses or
2918 rests is sometimes used even though the rest of the notation is
2919 modern. This uses a modified @code{\breathe} mark:
2921 @lilypond[verbatim,quote]
2923 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-minima
2924 \once \override BreathingSign.Y-offset = #0
2928 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maior
2929 \once \override BreathingSign.Y-offset = #0
2933 \once \override BreathingSign.stencil = #ly:breathing-sign::divisio-maxima
2934 \once \override BreathingSign.Y-offset = #0
2938 \once \override BreathingSign.stencil = #ly:breathing-sign::finalis
2939 \once \override BreathingSign.Y-offset = #0
2957 \remove "Bar_engraver"
2963 Chants usually omit the time signature and often omit the clef too.
2965 @lilypond[verbatim,quote]
2977 \remove "Bar_engraver"
2978 \remove "Time_signature_engraver"
2979 \remove "Clef_engraver"
2985 Chants for psalms in the Anglican tradition are usually either
2986 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2987 of 7 bars. Each group of 7 bars is divided into two halves,
2988 corresponding to the two halves of each verse, usually separated by
2989 a double bar line. Only whole and half notes are used. The 1st bar
2990 in each half always contains a single chord of whole notes. This is
2991 the @qq{reciting note}. Chants are usually centered on the page.
2993 @lilypond[verbatim,quote]
2994 SopranoMusic = \relative g' {
2995 g1 | c2 b | a1 | \bar "||"
2996 a1 | d2 c | c b | c1 | \bar "||"
2999 AltoMusic = \relative c' {
3001 f1 | f2 e | d d | e1 |
3004 TenorMusic = \relative a {
3006 d1 | g,2 g | g g | g1 |
3009 BassMusic = \relative c {
3011 d1 | b2 c | g' g | c,1 |
3018 % Use markup to center the chant on the page
3027 \new Voice = "Soprano" <<
3031 \new Voice = "Alto" <<
3039 \new Voice = "Tenor" <<
3043 \new Voice = "Bass" <<
3053 \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/2)
3057 \remove "Time_signature_engraver"
3065 Some other approaches to setting such a chant are shown in the first
3066 of the following snippets.
3070 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3071 {chant-or-psalms-notation.ly}
3073 Canticles and other liturgical texts may be set more freely, and
3074 may use notational elements from ancient music. Often the words
3075 are shown underneath and aligned with the notes. If so, the notes
3076 are spaced in accordance with the syllables rather than the notes'
3079 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3080 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3084 @rlearning{Visibility and color of objects},
3085 @rlearning{Vocal ensembles templates}.
3088 @ref{Ancient notation},
3090 @ref{Modifying context plug-ins},
3091 @ref{Typesetting Gregorian chant},
3092 @ref{Unmetered music},
3093 @ref{Visibility of objects}.
3096 @node Pointing a psalm
3097 @unnumberedsubsubsec Pointing a psalm
3099 The words to an Anglican psalm are usually printed in separate
3100 verses centered underneath the chant.
3102 Single chants (with 7 bars) are repeated for every verse. Double
3103 chants (with 14 bars) are repeated for every pair of verses. Marks
3104 are inserted in the words to show how they should be fitted to the
3105 chant. Each verse is divided into two halves. A colon is usually
3106 used to indicate this division. This corresponds to the double bar
3107 line in the music. The words before the colon are sung to the first
3108 three bars of music; the words after the colon are sung to the last
3111 Single bar lines (or in some psalters an inverted comma or similar
3112 symbol) are inserted between words to indicate where the bar lines
3113 in the music fall. In markup mode a single bar line can be entered
3114 with the bar check symbol, @code{|}.
3116 @lilypond[verbatim,quote]
3121 \line { O come let us sing | unto the | Lord : let }
3122 \line { us heartily rejoice in the | strength of | our }
3123 \line { sal- | -vation. }
3130 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3131 For details, see @ref{Fonts}.
3133 @lilypond[verbatim,quote]
3135 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3141 \line { O come let us sing \tick unto the \tick Lord : let }
3143 us heartily rejoice in the \tick strength of \tick our
3145 \line { sal \tick vation. }
3152 Where there is one whole note in a bar all the words corresponding
3153 to that bar are recited on that one note in speech rhythm. Where
3154 there are two notes in a bar there will usually be only one or two
3155 corresponding syllables. If there are more that two syllables a
3156 dot is usually inserted to indicate where the change in note occurs.
3158 @lilypond[verbatim,quote]
3160 \raise #0.7 \musicglyph #"dots.dot"
3163 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3170 O come let us sing \tick unto \dot the \tick Lord : let
3173 us heartily rejoice in the \tick strength of \tick our
3175 \line { sal \tick vation. }
3182 In some psalters an asterisk is used to indicate a break in a
3183 recited section instead of a comma, and stressed or slightly
3184 lengthened syllables are indicated in bold text.
3186 @lilypond[verbatim,quote]
3188 \raise #0.7 \musicglyph #"dots.dot"
3191 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3197 \line { Today if ye will hear his voice * }
3199 \concat { \bold hard en }
3200 | not your | hearts : as in the pro-
3202 \line { vocation * and as in the \bold day of tempt- | }
3203 \line { -ation | in the | wilderness. }
3210 In other psalters an accent is placed over the syllable to indicate
3213 @lilypond[verbatim,quote]
3215 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3222 O come let us \concat {
3223 si \combine \tick ng
3225 | unto the | Lord : let
3228 us heartily \concat {
3229 rejo \combine \tick ice
3231 in the | strength of | our
3233 \line { sal- | -vation. }
3240 The use of markup to center text, and arrange lines in columns is
3241 described in @ref{Formatting text}.
3243 Most of these elements are shown in one or other of the two verses
3244 in the template, see @rlearning{Psalms}.
3249 @rlearning{Vocal ensembles templates}.
3253 @ref{Formatting text}.
3256 @node Partial measures in hymn tunes
3257 @unnumberedsubsubsec Partial measures in hymn tunes
3259 Hymn tunes frequently start and end every line of music with
3260 partial measures so that each line of music corresponds exactly
3261 with a line of text. This requires a @code{\partial} command at
3262 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3263 commands at the end of each line.
3265 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
3269 @node Ancient vocal music
3270 @subsection Ancient vocal music
3272 Ancient vocal music is supported, as explained in
3273 @ref{Ancient notation}.
3277 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3278 @c and "Transcription of Ancient music with incipit" snippet. -vv
3282 @ref{Ancient notation}.