1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @c TODO: inspirational headword
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 Lyrics are entered in lyric mode. This section explains how this
87 @cindex spaces, in lyrics
88 @cindex quotes, in lyrics
90 @c TODO: this section is to be rewritten.
91 Since LilyPond input files are text, there is at least one
92 issue to consider when working with vocal music:
93 song texts must be interpreted as text, not notes. For example, the
94 input@tie{}@code{d} should be interpreted as a one letter syllable,
96 Therefore, a special lyric mode has to be used, either explicitly
97 or using some abbreviated methods.
99 Lyrics are entered in a special input mode, which can be introduced
100 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
101 @code{\lyricsto}. In this mode you can enter lyrics,
102 with punctuation and accents, and the input @code{d} is not parsed as
103 a pitch, but rather as a one letter syllable. Syllables are entered
104 like notes, but with pitches replaced by text. For example,
107 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
110 There are two main methods to specify the horizontal placement
111 of the syllables, either by specifying the duration of each syllable
112 explicitly, like in the example above, or by automatically aligning
113 the lyrics to a melody or other voice of music, using @code{\addlyrics}
116 @c For more details see @ref{The Lyrics context}.
118 A word or syllable of lyrics begins with an alphabetic character, and ends
120 any space or digit. The following characters can be any character
121 that is not a digit or white space.
123 Any character that is not a digit or white space will be regarded as
124 part of the syllable; one important consequence of this is that a word
125 can end with @code{@}}, which often leads to the following mistake:
128 \lyricmode @{ lah- lah@}
131 In this example, the @code{@}} is included in the final syllable, so the
132 opening brace is not balanced and the input file will probably not
136 @funindex \property in \lyricmode
139 Similarly, a period which follows an alphabetic sequence is included in
140 the resulting string. As a consequence, spaces must be inserted around
141 property commands: do @emph{not} write
144 \override Score.LyricText #'font-shape = #'italic
151 \override Score . LyricText #'font-shape = #'italic
155 @cindex spaces, in lyrics
156 @cindex quotes, in lyrics
157 @cindex ties, in lyrics
159 In order to assign more than one syllable to a single note, you can
160 surround them with quotes or use a @code{_} character, to get spaces
161 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
163 @lilypond[quote,ragged-right,fragment,verbatim]
165 \relative c' { c2 e4 g2 e4 }
166 \addlyrics { gran- de_a- mi- go }
167 \addlyrics { pu- "ro y ho-" nes- to }
168 \addlyrics { pu- ro~y~ho- nes- to }
172 The lyric tie is implemented with the Unicode character
173 @code{U+203F}; therefore a font that includes this glyph
174 (such as DejaVuLGC) has to be used. More explanations about
175 text and non-text fonts can be found in @ref{Fonts}.
178 To enter lyrics with characters from non-English languages, or with
179 accented and special characters (such as the heart symbol or slanted quotes),
180 simply insert the characters directly into the input file and save
181 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
183 @lilypond[quote,ragged-right,fragment,verbatim]
184 \relative c' { e4 f e d e f e2 }
185 \addlyrics { He said: “Let my peo ple go”. }
188 To use normal quotes in lyrics, add a backslash before the
191 @lilypond[quote,ragged-right,fragment,verbatim]
192 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
193 \addlyrics { "\"I" am so lone- "ly\"" said she }
196 The full definition of a word start in Lyrics mode is somewhat more
199 A word in Lyrics mode begins with: an alphabetic character, @code{_},
200 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
201 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
202 any 8-bit character with ASCII code over 127, or a two-character
203 combination of a backslash followed by one of @code{`}, @code{'},
204 @code{"}, or @code{^}.
206 @c " to balance double quotes for not-so-bright context-sensitive editors
208 To define variables containing lyrics, the function @code{lyricmode}
212 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
215 \new Voice = "one" \relative c'' @{
218 c4 b8. a16 g4. f8 e4 d c2
220 \addlyrics @{ \verseOne @}
231 @rinternals{LyricText},
232 @rinternals{LyricSpace}.
235 @node Aligning lyrics to a melody
236 @unnumberedsubsubsec Aligning lyrics to a melody
242 @c TODO: this stuff is to be rewritten. -vv
244 Aligning of text with melodies can be made automatically, but if you
245 specify the durations of the syllables it can also be made manually.
246 Lyrics aligning and typesetting are prepared with the help of skips,
247 hyphens and extender lines.
249 Lyrics are printed by interpreting them in the context called
250 @code{Lyrics}; see @rinternals{Lyrics}, for more.
253 \new Lyrics \lyricmode @dots{}
256 There are two main methods to specify the horizontal placement
261 by automatically aligning
262 the lyrics to a melody or other voice of music, using @code{\addlyrics}
266 or by specifying the duration of each syllable
267 explicitly, using @code{\lyricmode}
270 The @code{Voice} context containing the melody to which the lyrics
271 are being aligned must not have @qq{died}, or the lyrics after that
272 point will be lost. This can happen if there are periods when that
273 voice has nothing to do. For methods of keeping contexts alive, see
274 @ref{Keeping contexts alive}.
277 @node Automatic syllable durations
278 @unnumberedsubsubsec Automatic syllable durations
280 @cindex syllable durations, automatic
281 @cindex lyrics and melodies
283 The lyrics can be aligned under a given melody
284 automatically. This is achieved by combining the
285 melody and the lyrics with the @code{\lyricsto} expression
288 \new Lyrics \lyricsto @var{name} @dots{}
292 This aligns the lyrics to the
293 notes of the @code{Voice} context called @var{name}, which must
294 already exist. Therefore normally the @code{Voice} is specified first, and
295 then the lyrics are specified with @code{\lyricsto}. The command
296 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
297 @code{\lyricmode} keyword may be omitted.
299 The following example uses different commands for entering lyrics.
301 @lilypond[quote,fragment,ragged-right,verbatim]
303 \new Voice = "one" \relative c'' {
306 c4 b8. a16 g4. f8 e4 d c2
309 % not recommended: left-aligned syllables
310 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
312 % wrong: durations needed
313 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
316 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
320 The second stanza is not properly aligned because the durations
321 were not specified. A solution for that would be to use @code{\lyricsto}.
325 The @code{\addlyrics} command is actually just a convenient way
326 to write a more complicated LilyPond structure that sets up the
331 \addlyrics @{ LYRICS @}
338 \new Voice = "blah" @{ music @}
339 \new Lyrics \lyricsto "blah" @{ LYRICS @}
344 @lilypond[ragged-right,verbatim,fragment,quote]
346 \relative c' { c2 e4 g2. }
347 \addlyrics { play the game }
350 More stanzas can be added by adding more
351 @code{\addlyrics} sections
353 @lilypond[ragged-right,verbatim,fragment,quote]
355 \relative c' { c2 e4 g2. }
356 \addlyrics { play the game }
357 \addlyrics { speel het spel }
358 \addlyrics { joue le jeu }
361 The command @code{\addlyrics} cannot handle polyphony settings.
362 For these cases you should use @code{\lyricsto} and
363 @code{\lyricmode}, for details see @ref{Entering lyrics}.
365 @node Manual syllable durations
366 @unnumberedsubsubsec Manual syllable durations
368 Lyrics can also be entered without @code{\addlyrics} or
369 @code{\lyricsto}. In this case,
370 syllables are entered like notes -- but with pitches replaced by text -- and the
371 duration of each syllable must be entered explicitly. For example:
378 The alignment to a melody can be specified with the
379 @code{associatedVoice} property,
382 \set associatedVoice = #"lala"
386 The value of the property (here: @code{"lala"}) should be the name of
387 a @code{Voice} context. Without this setting, extender lines
388 will not be formatted properly.
390 Here is an example demonstrating manual lyric durations,
392 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
393 << \new Voice = "melody" {
397 \new Lyrics \lyricmode {
398 \set associatedVoice = #"melody"
406 @ref{Keeping contexts alive}.
413 @node Multiple syllables to one note
414 @unnumberedsubsubsec Multiple syllables to one note
418 @cindex ties, in lyrics
420 In order to assign more than one syllable to a single note, you can
421 surround them with quotes or use a @code{_} character, to get spaces
422 between syllables, or use tilde symbol (@code{~}) to get a lyric
423 tie.@footnote{The lyric ties is implemented with the Unicode character
425 sure to have a font (like DejaVuLGC) installed that includes this
428 @lilypond[quote,ragged-right,fragment,verbatim]
430 \relative c' { c2 e4 g2 e4 }
431 \addlyrics { gran- de_a- mi- go }
432 \addlyrics { pu- "ro y ho-" nes- to }
433 \addlyrics { pu- ro~y~ho- nes- to }
439 @rinternals{LyricCombineMusic}.
442 @c Here come the section which used to be "Melismata"
443 @c the new title might be more self-explanatory
446 @node Multiple notes to one syllable
447 @unnumberedsubsubsec Multiple notes to one syllable
451 @cindex phrasing, in lyrics
453 Sometimes, particularly in Medieval music, several notes are to be sung on one
454 single syllable; such vocalises are called melismas, or melismata.
456 @c this method seems to be the simplest; therefore
457 @c it might be better to present it first - vv
459 You can define melismata entirely in the lyrics, by entering @code{_}
460 for every extra note that has to be added to the melisma.
462 @c TODO: clarify: __ is used to crate a lyric extender,
463 @c _ is used to add a note to a melisma, so both __ and _ are needed.
466 @c duplicated: TODO fix
467 Additionally, you can make an extender line to be typeset to indicate
468 the melisma in the score, writing a double underscore next to the
469 first syllable of the melisma. This example shows the three elements
470 that are used for this purpose (all of them surrounded by spaces):
471 double hyphens to separate syllables in a word, underscores to add
472 notes to a melisma, and a double underscore to put an extender line.
474 @c wrong: extender line only on last syllable of a word. Change example
475 @lilypond[relative=1,verbatim,fragment,quote]
476 { \set melismaBusyProperties = #'()
477 c d( e) f f( e) e e }
479 { Ky -- _ _ ri __ _ _ _ e }
482 In this case, you can also have ties and slurs in the melody if you
483 set @code{melismaBusyProperties}, as is done in the example above.
485 However, the @code{\lyricsto} command can also
486 detect melismata automatically: it only puts one
487 syllable under a tied or slurred group of notes. If you want to force
488 an unslurred group of notes to be a melisma, insert @code{\melisma}
489 after the first note of the group, and @code{\melismaEnd} after the
492 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
494 \new Voice = "lala" {
502 \new Lyrics \lyricsto "lala" {
508 In addition, notes are considered a melisma if they are manually
509 beamed, and automatic beaming (see @ref{Setting automatic beam
510 behavior}) is switched off.
512 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
514 \new Voice = "lala" {
520 \new Lyrics \lyricsto "lala" {
526 @c TODO: this now links to LM -vv
527 @c umm, yeah... so what? -gp
532 A complete example of a SATB score setup is in
533 @rlearning{Vocal ensembles}.
539 @funindex \melismaEnd
545 @c @lsr{vocal,lyric@/-combine.ly}.
550 Melismata are not detected automatically, and extender lines must be
554 @unnumberedsubsubsec Skipping notes
556 Making a lyric line run slower than the melody can be achieved by
557 inserting @code{\skip}s into the lyrics. For every @code{\skip},
558 the text will be delayed another note. The @code{\skip} command
559 must be followed by a valid duration, but this is ignored when
560 @code{\skip} is used in lyrics.
562 @lilypond[verbatim,ragged-right,quote]
563 \relative c' { c c g' }
571 @node Extenders and hyphens
572 @unnumberedsubsubsec Extenders and hyphens
577 @c leave this as samp. -gp
578 In the last syllable of a word, melismata are sometimes indicated with
579 a long horizontal line starting in the melisma syllable, and ending in
580 the next one. Such a line is called an extender line, and it is
581 entered as @samp{ __ } (note the spaces before and after the two
582 underscore characters).
584 @warning{Melismata are indicated in the score with extender lines,
585 which are entered as one double underscore; but short melismata can
586 also be entered by skipping individual notes, which are entered as
587 single underscore characters; these do not make an extender line to be
592 @c leave this as samp. -gp
593 Centered hyphens are entered as @samp{ -- } between syllables of a same word
594 (note the spaces before and after the two hyphen characters). The hyphen
595 will be centered between the syllables, and its length will be adjusted
596 depending on the space between the syllables.
598 In tightly engraved music, hyphens can be removed. Whether this
599 happens can be controlled with the @code{minimum-distance} (minimum
600 distance between two syllables) and the @code{minimum-length}
601 (threshold below which hyphens are removed).
606 @rinternals{LyricExtender},
607 @rinternals{LyricHyphen}.
610 @node Techniques specific to lyrics
611 @subsection Techniques specific to lyrics
613 @c TODO This whole section is to be reorganized. -vv
616 * Working with lyrics and variables::
617 * Lyrics and repeats::
619 * Lyrics independent of notes::
620 * Spacing out syllables::
621 * Placement of lyrics between staves::
626 @node Working with lyrics and variables
627 @unnumberedsubsubsec Working with lyrics and variables
629 @cindex lyrics, variables
631 To define variables containing lyrics, the function @code{\lyricmode}
632 must be used. You do not have to enter durations though, if you add
633 @code{\addlyrics} or @code{\lyricsto}
634 when invoking your variable.
637 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
640 \new Voice = "one" \relative c'' @{
643 c4 b8. a16 g4. f8 e4 d c2
645 \addlyrics @{ \verseOne @}
650 For different or more complex orderings, the best way is to set up the
651 hierarchy of staves and lyrics first, e.g.,
654 \new Voice = "soprano" @{ @emph{music} @}
655 \new Lyrics = "sopranoLyrics" @{ s1 @}
656 \new Lyrics = "tenorLyrics" @{ s1 @}
657 \new Voice = "tenor" @{ @emph{music} @}
662 and then combine the appropriate melodies and lyric lines
665 \context Lyrics = sopranoLyrics \lyricsto "soprano"
670 The final input would resemble
673 <<\new ChoirStaff << @emph{setup the music} >>
674 \lyricsto "soprano" @emph{etc}
675 \lyricsto "alto" @emph{etc}
682 http://code.google.com/p/lilypond/issues/detail?id=329
683 The problem cannot be reproduced.
684 The following has no sense, because the issue seems to be fixed.
685 A comment is in tracker waiting for response ---FV
688 Be careful when defining a variable with lyrics that creates a new
689 context, for example, using the deprecated @code{\lyrics} command. See
690 the next erroneous example:
693 words = \lyrics{ %warning: this creates a new context
697 \new Voice = "sop" { c1 }
698 \new Lyrics \lyricsto "sop" { \words }
699 \new Voice = "alt" { c2 c }
700 \new Lyrics \lyricsto "alt" { \words }
704 the problem is that \lyricsto will try to connect the "sop" melody with the context
705 created by "\new Lyrics".
707 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
714 @c TODO: document \new Staff << Voice \lyricsto >> bug
716 @rinternals{LyricCombineMusic},
720 @node Lyrics and repeats
721 @unnumberedsubsubsec Lyrics and repeats
723 @c TODO New section. Add text
728 @unnumberedsubsubsec Divisi lyrics
730 You can display alternate (or divisi) lyrics by naming voice
731 contexts and attaching lyrics to those specific contexts.
733 @lilypond[verbatim,ragged-right,quote]
735 \new Voice = "melody" {
740 \new Voice = "splitpart" { \voiceTwo c4 }
745 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
746 \new Lyrics \lyricsto "splitpart" { will }
751 You can use this trick to display different lyrics for a repeated
754 @lilypond[verbatim,ragged-right,quote]
756 \new Voice = "melody" \relative c' {
758 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
760 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
763 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
765 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
766 dodo rere mimi fafa solsol }
773 @node Lyrics independent of notes
774 @unnumberedsubsubsec Lyrics independent of notes
776 @cindex Devnull context
778 In some complex vocal music, it may be desirable to place
779 lyrics completely independently of notes. Music defined
780 inside @code{lyricrhythm} disappears into the
781 @code{Devnull} context, but the rhythms can still be used
784 @lilypond[quote,verbatim,ragged-right]
787 \tag #'music { c''2 }
788 \tag #'lyricrhythm { c''4. c''8 }
792 lyr = \lyricmode { I like my cat! }
795 \new Staff \keepWithTag #'music \voice
796 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
797 \new Lyrics \lyricsto "nowhere" \lyr
798 \new Staff { c'8 c' c' c' c' c' c' c'
799 c' c' c' c' c' c' c' c' }
803 This method is recommended only if the music in the @code{Devnull}
804 context does not contain melismata. Melismata are defined by the
805 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
806 makes the voice/lyrics links to get lost, and so does the info on
807 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
808 the implicit melismata get ignored.
810 @c Conclusion: do not use devnull for lyrics -FV
812 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
814 @node Spacing out syllables
815 @unnumberedsubsubsec Spacing out syllables
817 @cindex Spacing lyrics
818 @cindex Lyrics, increasing space between
820 To increase the spacing between lyrics, set the @code{minimum-distance}
821 property of @code{LyricSpace}.
823 @lilypond[relative,verbatim,fragment,quote,ragged-right]
826 \override Lyrics.LyricSpace #'minimum-distance = #1.0
830 longtext longtext longtext longtext
831 longtext longtext longtext longtext
836 To make this change for all lyrics in the score, set the property in the
839 @lilypond[verbatim,quote,ragged-right]
846 longtext longtext longtext longtext
847 longtext longtext longtext longtext
852 \override LyricSpace #'minimum-distance = #1.0
859 @c This snippet has been renamed to "lyrics-alignment.ly"
860 @c update as soon as lsr/is updated -vv
861 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
862 @c {lyrics-alignment.ly}
864 @c TODO: move to LSR -vv
867 Checking to make sure that text scripts and lyrics are within the margins is
868 a relatively large computational task. To speed up processing, LilyPond does
869 not perform such calculations by default; to enable it, use
872 \override Score.PaperColumn #'keep-inside-line = ##t
875 To make lyrics avoid bar lines as well, use
881 \consists "Bar_engraver"
882 \consists "Separating_line_group_engraver"
883 \override BarLine #'transparent = ##t
888 @c TODO Create and add lsr example of lyricMelismaAlignment
889 @c It's used like this to center-align all lyric syllables,
890 @c even when notes are tied. -td
895 \context { \Score lyricMelismaAlignment = #0 }
900 @node Placement of lyrics between staves
901 @unnumberedsubsubsec Placement of lyrics between staves
903 @c TODO Add text from -user
904 @c TODO Add new spacing properties, centering lyrics, etc
911 * Adding stanza numbers::
912 * Adding dynamics marks to stanzas::
913 * Adding singers' names to stanzas::
914 * Stanzas with different rhythms::
915 * Printing stanzas at the end::
916 * Printing stanzas at the end in multiple columns::
920 @node Adding stanza numbers
921 @unnumberedsubsubsec Adding stanza numbers
923 @cindex stanza number
925 Stanza numbers can be added by setting @code{stanza}, e.g.,
927 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
929 \time 3/4 g2 e4 a2 f4 g2.
935 Oh, ché -- ri, je t'aime
941 These numbers are put just before the start of the first syllable.
943 @c TODO Create and add snippet to show how two lines of a
944 @c stanza can be grouped together, along these lines:
945 @c (might need improving a bit) -td
948 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
952 \set stanza = \markup { "1. " \leftbrace }
953 \lyricmode { Child, you're mine and I love you.
954 Lend thine ear to what I say.
960 % \set stanza = \markup { " "}
961 \lyricmode { Child, I have no great -- er joy
962 Than to have you walk in truth.
968 \repeat volta 2 { c'8 c' c' c' c' c' c'4
969 c'8 c' c' c' c' c' c'4 }
970 } \addlyrics { \stanzaOneOne }
971 \addlyrics { \stanzaOneThree }
975 @node Adding dynamics marks to stanzas
976 @unnumberedsubsubsec Adding dynamics marks to stanzas
978 Stanzas differing in loudness may be indicated by putting a
979 dynamics mark before each stanza. In LilyPond, everything coming in
980 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
981 are no different. For technical reasons, you have to set the stanza
982 outside @code{\lyricmode}:
984 @lilypond[quote,ragged-right,verbatim]
986 \set stanza = \markup { \dynamic "ff" "1. " }
993 \new Voice = "tune" {
997 \new Lyrics \lyricsto "tune" \text
1001 @node Adding singers' names to stanzas
1002 @unnumberedsubsubsec Adding singers' names to stanzas
1005 @cindex name of singer
1007 Names of singers can also be added. They are printed at the start of
1008 the line, just like instrument names. They are created by setting
1009 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1011 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1013 \time 3/4 g2 e4 a2 f4 g2.
1015 \set vocalName = #"Bert "
1016 Hi, my name is Bert.
1018 \set vocalName = #"Ernie "
1019 Oh, ché -- ri, je t'aime
1023 @node Stanzas with different rhythms
1024 @unnumberedsubsubsec Stanzas with different rhythms
1026 Often, different stanzas of one song are put to one melody in slightly
1027 differing ways. Such variations can still be captured with
1030 @subsubheading Ignoring melismata
1032 One possibility is that the text has a melisma in one stanza, but
1033 multiple syllables in another one. One solution is to make the faster
1034 voice ignore the melisma. This is done by setting
1035 @code{ignoreMelismata} in the Lyrics context.
1037 @lilypond[verbatim,ragged-right,quote]
1039 \relative c' \new Voice = "lahlah" {
1040 \set Staff.autoBeaming = ##f
1046 \new Lyrics \lyricsto "lahlah" {
1049 \new Lyrics \lyricsto "lahlah" {
1051 \set ignoreMelismata = ##t
1053 \unset ignoreMelismata
1060 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1061 not work if prefixed with @code{\once}. It is necessary to use
1062 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1065 @subsubheading Adding syllables to grace notes
1067 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1068 syllables when using @code{\lyricsto}, but this behavior can be
1071 @lilypond[verbatim,ragged-right,quote]
1073 f4 \appoggiatura a32 b4
1074 \grace { f16[ a16] } b2
1075 \afterGrace b2 { f16[ a16] }
1076 \appoggiatura a32 b4
1081 \set includeGraceNotes = ##t
1084 after -- grace case,
1085 \set ignoreMelismata = ##t
1092 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1093 set at latest one syllable before the one which is to be put under a
1094 grace note. For the case of a grace note at the very beginning of a
1095 piece of music, consider using a @code{\with} or @code{\context}
1098 @lilypond[verbatim,ragged-right,quote]
1100 \new Voice = melody \relative c' {
1101 \grace { c16[( d e f] }
1104 \new Lyrics \with { includeGraceNotes = ##t }
1111 @subsubheading Switching to an alternative melody
1113 More complex variations in text underlay are possible. It is possible
1114 to switch the melody for a line of lyrics during the text. This is
1115 done by setting the @code{associatedVoice} property. In the example
1117 @lilypond[ragged-right,quote]
1119 \relative c' \new Voice = "lahlah" {
1120 \set Staff.autoBeaming = ##f
1123 \new Voice = "alternative" {
1126 % show associations clearly.
1127 \override NoteColumn #'force-hshift = #-3
1138 \new Lyrics \lyricsto "lahlah" {
1139 Ju -- ras -- sic Park
1141 \new Lyrics \lyricsto "lahlah" {
1142 % Tricky: need to set associatedVoice
1143 % one syllable too soon!
1144 \set associatedVoice = alternative % applies to "ran"
1148 \set associatedVoice = lahlah % applies to "rus"
1154 the text for the first stanza is set to a melody called @q{lahlah},
1157 \new Lyrics \lyricsto "lahlah" @{
1158 Ju -- ras -- sic Park
1163 The second stanza initially is set to the @code{lahlah} context, but
1164 for the syllable @q{ran}, it switches to a different melody.
1165 This is achieved with
1167 \set associatedVoice = alternative
1171 Here, @code{alternative} is the name of the @code{Voice} context
1172 containing the triplet.
1174 @c TODO: make this easier to understand -vv
1175 This command must be one syllable too early, before @q{Ty} in this
1176 case. In other words, changing the associatedVoice happens one step
1177 later than expected. This is for technical reasons, and it is not a
1181 \new Lyrics \lyricsto "lahlah" @{
1182 \set associatedVoice = alternative % applies to "ran"
1186 \set associatedVoice = lahlah % applies to "rus"
1192 The underlay is switched back to the starting situation by assigning
1193 @code{lahlah} to @code{associatedVoice}.
1196 @node Printing stanzas at the end
1197 @unnumberedsubsubsec Printing stanzas at the end
1199 Sometimes it is appropriate to have one stanza set
1200 to the music, and the rest added in verse form at
1201 the end of the piece. This can be accomplished by adding
1202 the extra verses into a @code{\markup} section outside
1203 of the main score block. Notice that there are two
1204 different ways to force linebreaks when using
1207 @lilypond[ragged-right,verbatim,quote]
1208 melody = \relative c' {
1214 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1215 its fleece was white as snow.
1219 \new Voice = "one" { \melody }
1220 \new Lyrics \lyricsto "one" \text
1226 \line{ All the children laughed and played }
1227 \line{ To see a lamb at school. }
1234 Mary took it home again,
1236 It was against the rule."
1241 @node Printing stanzas at the end in multiple columns
1242 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1244 When a piece of music has many verses, they are often printed in
1245 multiple columns across the page. An outdented verse number often
1246 introduces each verse. The following example shows how to produce such
1249 @lilypond[ragged-right,quote,verbatim]
1250 melody = \relative c' {
1255 \set stanza = #"1." This is verse one.
1260 \new Voice = "one" { \melody }
1261 \new Lyrics \lyricsto "one" \text
1268 \hspace #0.1 % moves the column off the left margin;
1269 % can be removed if space on the page is tight
1273 "This is verse two."
1277 \hspace #0.1 % adds vertical spacing between verses
1280 "This is verse three."
1285 \hspace #0.1 % adds horizontal spacing between columns;
1286 % if they are still too close, add more " " pairs
1287 % until the result looks good
1291 "This is verse four."
1295 \hspace #0.1 % adds vertical spacing between verses
1298 "This is verse five."
1303 \hspace #0.1 % gives some extra space on the right margin;
1304 % can be removed if page space is tight
1311 Internals Reference:
1312 @rinternals{LyricText},
1313 @rinternals{StanzaNumber}.
1320 * References for songs::
1324 @node References for songs
1325 @unnumberedsubsubsec References for songs
1327 @c TODO chords, setting simple songs (LM), stanzas
1331 @unnumberedsubsubsec Lead sheets
1333 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1334 this syntax is explained in @ref{Chord notation}.
1337 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1338 {simple-lead-sheet.ly}
1342 @ref{Chord notation}.
1353 This section discusses notation issues that relate most directly
1354 to choral music. This includes anthems, part songs, oratorio,
1358 * References for choral::
1359 * Score layouts for choral::
1363 @node References for choral
1364 @unnumberedsubsubsec References for choral
1366 Choral music is usually notated on two, three or four staves within
1367 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1368 beneath in a @code{PianoStaff} group, which is usually reduced in
1369 size for @emph{a capella} choral works. The notes for each vocal
1370 part are placed in a @code{Voice} context, with each staff
1371 being given either a single vocal part (i.e., one @code{Voice}) or
1372 a pair of vocal parts (i.e., two @code{Voice}s).
1374 Words are placed in @code{Lyrics} contexts, either underneath each
1375 corresponding music staff, or one above and one below the music
1376 staff if this contains the music for two parts.
1378 Several common topics in choral music are described fully elsewhere:
1383 An introduction to creating an SATB vocal score can be found in
1384 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1387 Several templates suitable for various styles of choral music can
1388 also be found in the Learning Manual, see
1389 @rlearning{Vocal ensembles}.
1392 For information about @code{ChoirStaff} and @code{PianoStaff} see
1393 @ref{Grouping staves}.
1396 Shape noteheads, as used in Sacred Harp and similar notation, are
1397 described in @ref{Shape note heads}.
1400 When two vocal parts share a staff the stems, ties, slurs, etc., of
1401 the higher part will be directed up and those of the lower part
1402 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1403 @ref{Single-staff polyphony}.
1413 @rlearning{Four-part SATB vocal score},
1414 @rlearning{Vocal ensembles}.
1417 @ref{Context layout order},
1418 @ref{Grouping staves},
1419 @ref{Shape note heads},
1420 @ref{Single-staff polyphony}.
1422 Internals Reference:
1423 @rinternals{ChoirStaff},
1424 @rinternals{Lyrics},
1425 @rinternals{PianoStaff}.
1427 @node Score layouts for choral
1428 @unnumberedsubsubsec Score layouts for choral
1430 Choral music containing four staves, with or without piano
1431 accompaniment, is usually laid out with two systems per page.
1432 Depending on the page size, achieving this may require changes
1433 to several default settings. The following settings should be
1439 The global staff size can be modified to change the overall size
1440 of the elements of the score. See @ref{Setting the staff size}.
1443 The distances between the systems, the staves and the lyrics can
1444 all be adjusted independently. See @ref{Vertical spacing}.
1447 The dimensions of the vertical layout variables can be displayed as
1448 an aid to adjusting the vertical spacing. This and other
1449 possibilities for fitting the music onto fewer pages are described
1450 in @ref{Fitting music onto fewer pages}.
1454 @c TODO change the following to a ref when system-separator-markup
1455 @c is well-documented elsewhere
1457 If the number of systems per page changes from one to two it is
1458 customary to indicate this with a system separator mark between
1459 the two systems. By default the system separator is blank. In
1460 this example the @code{system-separator-markup} in the @code{\paper}
1463 @lilypond[verbatim,quote]
1464 #(set-default-paper-size "a6" 'landscape)
1470 \repeat unfold 8 { c4 }
1472 \repeat unfold 8 { c4 }
1477 \repeat unfold 8 { g4 }
1479 \repeat unfold 8 { g4 }
1486 system-separator-markup = \slashSeparator
1492 For details of other page formatting properties, see
1493 @ref{Page formatting}.
1495 Dynamic markings by default are placed below the staff, but in
1496 choral music they are usually placed above the staff in order to
1497 avoid the lyrics. The predefined command @code{\dynamicUp} does
1498 this for the dynamic markings in a single @code{Voice} context.
1499 If there are many @code{Voice} contexts this predefined command
1500 would have to be placed in every one. Alternatively its expanded
1501 form can be used to place all dynamic markings in the entire score
1502 above their respective staves, as shown here:
1504 @lilypond[verbatim,quote]
1509 \relative c'' { g4\f g g g }
1514 \relative c' { d4 d d\p d }
1521 \override DynamicText #'direction = #UP
1522 \override DynamicLineSpanner #'direction = #UP
1529 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
1533 @ref{Changing spacing},
1534 @ref{Displaying spacing},
1535 @ref{Fitting music onto fewer pages},
1536 @ref{Page formatting},
1538 @ref{Setting the staff size},
1539 @ref{Using an extra voice for breaks},
1540 @ref{Vertical spacing}.
1542 Internals Reference:
1543 @rinternals{VerticalAxisGroup},
1544 @rinternals{StaffGrouper}.
1547 @node Divided voices
1548 @unnumberedsubsubsec Divided voices
1550 @cindex voices, divided
1552 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1553 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
1560 @node Opera and stage musicals
1561 @subsection Opera and stage musicals
1563 The music, lyrics and dialogue to opera and stage musicals are
1564 usually set out in one or more of the following forms:
1569 A @emph{Conductors' Score} containing the full orchestral and vocal
1570 parts, together with libretto cues if there are spoken passages.
1573 @emph{Orchestral Parts} containing the music for the individual
1574 instruments of the orchestra or band.
1577 A @emph{Vocal Score} containing all vocal parts with piano
1578 accompaniment. The accompaniment is usually an orchestral
1579 reduction, and if so the name of the original orchestral instrument
1580 is often indicated. Vocal scores sometimes includes stage
1581 directions and libretto cues.
1584 A @emph{Vocal Book} containing just the vocal parts
1585 (no accompaniment), sometimes combined with the libretto.
1588 A @emph{Libretto} containing the extended passages of spoken
1589 dialogue usually found in musicals, together with the words to the
1590 sung parts. Stage directions are usually included. LilyPond can
1591 be used to typeset libretti but as they contain no music
1592 alternative methods may be preferable.
1596 The sections in the LilyPond documentation which cover the topics
1597 needed to create scores in the styles commonly found in opera and
1598 musicals are indicated in the References below. This is followed
1599 by sections covering those techniques which are peculiar to
1600 typesetting opera and musical scores.
1603 * References for opera and stage musicals::
1605 * Dialogue over music::
1608 @node References for opera and stage musicals
1609 @unnumberedsubsubsec References for opera and stage musicals
1614 A conductors' score contains many grouped staves and lyrics. Ways
1615 of grouping staves is shown in @ref{Grouping staves}. To nest
1616 groups of staves see @ref{Nested staff groups}.
1619 The printing of empty staves in conductors' scores and vocal scores
1620 is often suppressed. To create such a @qq{Frenched score} see
1621 @ref{Hiding staves}.
1624 Writing orchestral parts is covered in @ref{Writing parts}.
1625 Other sections in the Specialist notation chapter may be relevant,
1626 depending on the orchestration used. Many instruments are
1627 transposing instruments, see @ref{Instrument transpositions}.
1630 Character names are usually shown to the left of the staff when the
1631 staff is dedicated to that character alone. The instrument name can
1632 be used for this purpose. See @ref{Instrument names}.
1635 When two or more characters share a staff the character's name is
1636 usually printed above the staff at the start of every section
1637 applying to that character. This can be done with markup. The use
1638 of markup is covered fully in @ref{Text}. Often a specific font is
1639 used for this purpose, see @ref{Selecting font and font size}.
1642 Musical cues can be inserted with the @code{\cueDuring} predefined
1643 command. For details of its use see @ref{Formatting cue notes}.
1646 Dialogue cues and stage directions can be inserted with markup.
1647 See @ref{Text}. Extensive stage directions can be inserted with
1648 a section of stand-alone markup between two @code{\score} blocks.
1649 See @ref{Separate text}.
1655 @code{\quoteDuring}.
1660 @rglos{Frenched score},
1661 @rglos{Frenched staves},
1662 @rglos{transposing instrument}.
1665 @ref{Grouping staves},
1666 @ref{Hiding staves},
1667 @ref{Instrument names},
1668 @ref{Instrument transpositions},
1669 @ref{Nested staff groups},
1670 @ref{Selecting font and font size},
1673 @ref{Writing parts},
1678 @unnumberedsubsubsec Spoken music
1681 @cindex Sprechgesang
1682 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
1683 without pitch but still with rhythm; these are notated by cross
1684 note heads, as demonstrated in @ref{Special note heads}.
1686 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
1687 @c add "showing the rhythm of a melody" snip
1688 @c add "one staff-line notation"
1689 @c add "improvisation" ref
1690 @c add "lyrics independents of notes" ref
1692 @node Dialogue over music
1693 @unnumberedsubsubsec Dialogue over music
1698 @node Chants psalms and hymns
1699 @subsection Chants psalms and hymns
1704 @cindex religious music
1706 The music and words for chants, psalms and hymns usually follow a
1707 well-established format in any particular church. Although the
1708 formats may differ from church to church the type-setting problems
1709 which arise are broadly similar, and are covered in this section.
1712 * References for chants and psalms::
1714 * Pointing a psalm::
1715 * Partial measures in hymn tunes::
1718 @node References for chants and psalms
1719 @unnumberedsubsubsec References for chants and psalms
1721 Typesetting Gregorian chant in various styles of ancient notation
1722 is described in @ref{Ancient notation}.
1724 Modern chant settings use modern notation with varying numbers of
1725 elements taken from ancient notation. Some of the elements and
1726 methods to consider are these:
1731 Chants often use quarter notes without stems to indicate the pitch,
1732 with the rhythm being taken from the spoken rhythm of the words. To
1733 remove the stem set the @code{transparent} property of the
1734 @code{Stem} grob to @code{#t}. See
1735 @rlearning{Visibility and color of objects} and
1736 @ref{Visibility of objects}. An alternative is set the
1737 @code{length} property to @code{0}.
1740 Chants usually omit the bar lines or use shortened or dotted bar
1741 lines to indicate pauses in the music. To omit bar lines
1742 completely use @code{\cadenzaOn} or remove the @code{Bar_engraver}.
1743 See @ref{Unmetered music} and @ref{Modifying context plug-ins}.
1746 To use modified bar lines see the @emph{Bar lines} section in
1747 @ref{Bars}. Alternatively, the correct Gregorian chant notation
1748 for pauses or rests in the music are described in @emph{Divisiones}
1749 in @ref{Typesetting Gregorian chant}.
1752 Chants usually omit the time signature and often omit the clef too.
1753 To omit these remove the @code{Time_signature_engraver} and
1754 @code{Clef_engraver} from the @code{Staff} context respectively.
1755 For details, see @ref{Modifying context plug-ins}.
1761 @rlearning{Visibility and color of objects}.
1764 @ref{Ancient notation},
1765 @ref{Visibility of objects},
1767 @ref{Unmetered music},
1768 @ref{Modifying context plug-ins},
1769 @ref{Typesetting Gregorian chant}.
1771 @node Setting a chant
1772 @unnumberedsubsubsec Setting a chant
1774 Chants in the Anglican tradition are usually either single, with 7
1775 bars of music, or double, with two lots of 7 bars. Each group of 7
1776 bars is divided into two halves, corresponding to the two halves of
1777 each verse, usually separated by a double bar line. Only whole and
1778 half notes are used. The 1st bar in each half always contains a
1779 single chord of whole notes. This is the @qq{reciting note}.
1781 Some approaches to setting a chant are shown in the following
1786 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1787 {chant-or-psalms-notation.ly}
1789 Canticles and other liturgical texts may be set more freely, and
1790 may use notational elements from ancient music. Often the words
1791 are shown underneath and aligned with the notes.
1793 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1794 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
1798 @ref{Typesetting Gregorian chant}.
1801 @node Pointing a psalm
1802 @unnumberedsubsubsec Pointing a psalm
1804 The words to a Anglican psalm are usually printed in separate
1805 verses underneath the chant. See the Anglican psalm template in
1806 the Learning Manual to see how to use mark-up to center the chant
1807 and place the verses centered underneath. Marks are inserted
1808 in the words to show how they should be fitted to the chant.
1809 Single chants (with 7 bars) are repeated for every verse. Double
1810 chants (with 14 bars) are repeated for every pair of verses.
1812 Each verse is divided into two halves. An asterisk or a colon
1813 is frequently used to indicate this division. This corresponds
1814 to the double bar line in the music. The words before the colon
1815 are sung to the first 3 bars of music; the words after the colon
1816 are sung to the last four bars.
1818 Single bar lines (or in some psalters an inverted comma or similar
1819 symbol) are inserted between words to indicate where the bar lines
1820 in the music fall. In markup mode a single bar line can be entered
1821 with the bar check symbol, @code{|}. Other symbols may require
1822 glyphs from the @code{fetaMusic} fonts. For details, see
1825 Where there is one whole note in a bar all the words corresponding
1826 to that bar are recited on that one note in speech rhythm. Where
1827 there are two notes in a bar there will usually be only one or two
1828 corresponding syllables. If there are more that two syllables a
1829 dot is usually inserted to indicate where the change in note occurs.
1831 In some psalters an asterisk is used to indicate a break in a
1832 recited section instead of a comma, and stressed or slightly
1833 lengthened syllables are indicated in bold text. Others use an
1834 accent over the syllable to indicate stress.
1836 The use of markup to center text, and arrange lines in columns is
1837 described in @ref{Formatting text}.
1839 Most of these elements are shown in one or other of the two verses
1840 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
1844 @rlearning{Vocal ensembles}.
1848 @ref{Formatting text}.
1851 @node Partial measures in hymn tunes
1852 @unnumberedsubsubsec Partial measures in hymn tunes
1854 Hymn tunes frequently start and end every line of music with
1855 partial measures so that each line of music corresponds exactly
1856 with a line of text. This requires a @code{\partial} command at
1857 the start of the music and @code{\bar "|"} or @code{\bar "||"}
1858 commands at the end of each line.
1860 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1864 @node Ancient vocal music
1865 @subsection Ancient vocal music
1867 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
1871 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
1872 @c and "Transcription of Ancient music with incipit" snippet. -vv
1876 @ref{Ancient notation}.