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
154 To enter lyrics with characters from non-English languages, or with
155 accented and special characters (such as the heart symbol or slanted quotes),
156 simply insert the characters directly into the input file and save
157 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
159 @lilypond[quote,ragged-right,fragment,verbatim]
160 \relative c' { e4 f e d e f e2 }
161 \addlyrics { He said: “Let my peo ple go”. }
164 To use normal quotes in lyrics, add a backslash before the
167 @lilypond[quote,ragged-right,fragment,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
175 A word in Lyrics mode begins with: an alphabetic character, @code{_},
176 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
177 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
178 any 8-bit character with ASCII code over 127, or a two-character
179 combination of a backslash followed by one of @code{`}, @code{'},
180 @code{"}, or @code{^}.
182 @c " to balance double quotes for not-so-bright context-sensitive editors
184 To define variables containing lyrics, the function @code{lyricmode}
188 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
191 \new Voice = "one" \relative c'' @{
194 c4 b8. a16 g4. f8 e4 d c2
196 \addlyrics @{ \verseOne @}
207 @rinternals{LyricText},
208 @rinternals{LyricSpace}.
211 @node Aligning lyrics to a melody
212 @unnumberedsubsubsec Aligning lyrics to a melody
218 @c TODO: this stuff is to be rewritten. -vv
220 Aligning of text with melodies can be made automatically, but if you
221 specify the durations of the syllables it can also be made manually.
222 Lyrics aligning and typesetting are prepared with the help of skips,
223 hyphens and extender lines.
225 Lyrics are printed by interpreting them in the context called
226 @code{Lyrics}; see @rinternals{Lyrics}, for more.
229 \new Lyrics \lyricmode @dots{}
232 There are two main methods to specify the horizontal placement
237 by automatically aligning
238 the lyrics to a melody or other voice of music, using @code{\addlyrics}
242 or by specifying the duration of each syllable
243 explicitly, using @code{\lyricmode}
246 The @code{Voice} context containing the melody to which the lyrics
247 are being aligned must not have @qq{died}, or the lyrics after that
248 point will be lost. This can happen if there are periods when that
249 voice has nothing to do. For methods of keeping contexts alive, see
250 @ref{Keeping contexts alive}.
253 @node Automatic syllable durations
254 @unnumberedsubsubsec Automatic syllable durations
256 @cindex syllable durations, automatic
257 @cindex lyrics and melodies
259 The lyrics can be aligned under a given melody
260 automatically. This is achieved by combining the
261 melody and the lyrics with the @code{\lyricsto} expression
264 \new Lyrics \lyricsto @var{name} @dots{}
268 This aligns the lyrics to the
269 notes of the @code{Voice} context called @var{name}, which must
270 already exist. Therefore normally the @code{Voice} is specified first, and
271 then the lyrics are specified with @code{\lyricsto}. The command
272 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
273 @code{\lyricmode} keyword may be omitted.
275 The following example uses different commands for entering lyrics.
277 @lilypond[quote,fragment,ragged-right,verbatim]
279 \new Voice = "one" \relative c'' {
282 c4 b8. a16 g4. f8 e4 d c2
285 % not recommended: left-aligned syllables
286 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
288 % wrong: durations needed
289 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
292 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
296 The second stanza is not properly aligned because the durations
297 were not specified. A solution for that would be to use @code{\lyricsto}.
301 The @code{\addlyrics} command is actually just a convenient way
302 to write a more complicated LilyPond structure that sets up the
307 \addlyrics @{ LYRICS @}
314 \new Voice = "blah" @{ music @}
315 \new Lyrics \lyricsto "blah" @{ LYRICS @}
320 @lilypond[ragged-right,verbatim,fragment,quote]
322 \relative c' { c2 e4 g2. }
323 \addlyrics { play the game }
326 More stanzas can be added by adding more
327 @code{\addlyrics} sections
329 @lilypond[ragged-right,verbatim,fragment,quote]
331 \relative c' { c2 e4 g2. }
332 \addlyrics { play the game }
333 \addlyrics { speel het spel }
334 \addlyrics { joue le jeu }
337 The command @code{\addlyrics} cannot handle polyphony settings.
338 For these cases you should use @code{\lyricsto} and
339 @code{\lyricmode}, for details see @ref{Entering lyrics}.
341 @node Manual syllable durations
342 @unnumberedsubsubsec Manual syllable durations
344 Lyrics can also be entered without @code{\addlyrics} or
345 @code{\lyricsto}. In this case,
346 syllables are entered like notes -- but with pitches replaced by text -- and the
347 duration of each syllable must be entered explicitly. For example:
354 The alignment to a melody can be specified with the
355 @code{associatedVoice} property,
358 \set associatedVoice = #"lala"
362 The value of the property (here: @code{"lala"}) should be the name of
363 a @code{Voice} context. Without this setting, extender lines
364 will not be formatted properly.
366 Here is an example demonstrating manual lyric durations,
368 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
369 << \new Voice = "melody" {
373 \new Lyrics \lyricmode {
374 \set associatedVoice = #"melody"
382 @ref{Keeping contexts alive}.
389 @node Multiple syllables to one note
390 @unnumberedsubsubsec Multiple syllables to one note
393 @cindex spaces, in lyrics
394 @cindex quotes, in lyrics
395 @cindex ties, in lyrics
397 In order to assign more than one syllable to a single note with
398 spaces between the syllables, you can surround the phrase with
399 quotes or use a @code{_} character. Alternatively, you can use
400 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
401 tie is implemented with the Unicode character U+203F, so be
402 sure to have a font (like DejaVuLGC) installed that includes this
405 @lilypond[quote,ragged-right,fragment,verbatim]
407 \relative c' { c2 e4 g2 e4 }
408 \addlyrics { gran- de_a- mi- go }
409 \addlyrics { pu- "ro y ho-" nes- to }
410 \addlyrics { pu- ro~y~ho- nes- to }
416 @rinternals{LyricCombineMusic}.
419 @c Here come the section which used to be "Melismata"
420 @c the new title might be more self-explanatory
423 @node Multiple notes to one syllable
424 @unnumberedsubsubsec Multiple notes to one syllable
428 @cindex phrasing, in lyrics
430 Sometimes, particularly in Medieval music, several notes are to be sung on one
431 single syllable; such vocalises are called melismas, or melismata.
433 @c this method seems to be the simplest; therefore
434 @c it might be better to present it first - vv
436 You can define melismata entirely in the lyrics, by entering @code{_}
437 for every extra note that has to be added to the melisma.
439 @c TODO: clarify: __ is used to crate a lyric extender,
440 @c _ is used to add a note to a melisma, so both __ and _ are needed.
443 @c duplicated: TODO fix
444 Additionally, you can make an extender line to be typeset to indicate
445 the melisma in the score, writing a double underscore next to the
446 first syllable of the melisma. This example shows the three elements
447 that are used for this purpose (all of them surrounded by spaces):
448 double hyphens to separate syllables in a word, underscores to add
449 notes to a melisma, and a double underscore to put an extender line.
451 @c wrong: extender line only on last syllable of a word. Change example
452 @lilypond[relative=1,verbatim,fragment,quote]
453 { \set melismaBusyProperties = #'()
454 c d( e) f f( e) e e }
456 { Ky -- _ _ ri __ _ _ _ e }
459 In this case, you can also have ties and slurs in the melody if you
460 set @code{melismaBusyProperties}, as is done in the example above.
462 However, the @code{\lyricsto} command can also
463 detect melismata automatically: it only puts one
464 syllable under a tied or slurred group of notes. If you want to force
465 an unslurred group of notes to be a melisma, insert @code{\melisma}
466 after the first note of the group, and @code{\melismaEnd} after the
469 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
471 \new Voice = "lala" {
479 \new Lyrics \lyricsto "lala" {
485 In addition, notes are considered a melisma if they are manually
486 beamed, and automatic beaming (see @ref{Setting automatic beam
487 behavior}) is switched off.
489 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
491 \new Voice = "lala" {
497 \new Lyrics \lyricsto "lala" {
503 @c TODO: this now links to LM -vv
504 @c umm, yeah... so what? -gp
509 A complete example of a SATB score setup is in
510 @rlearning{Vocal ensembles}.
516 @funindex \melismaEnd
522 @c @lsr{vocal,lyric@/-combine.ly}.
527 Melismata are not detected automatically, and extender lines must be
531 @unnumberedsubsubsec Skipping notes
533 Making a lyric line run slower than the melody can be achieved by
534 inserting @code{\skip}s into the lyrics. For every @code{\skip},
535 the text will be delayed another note. The @code{\skip} command
536 must be followed by a valid duration, but this is ignored when
537 @code{\skip} is used in lyrics.
539 @lilypond[verbatim,ragged-right,quote]
540 \relative c' { c c g' }
548 @node Extenders and hyphens
549 @unnumberedsubsubsec Extenders and hyphens
554 @c leave this as samp. -gp
555 In the last syllable of a word, melismata are sometimes indicated with
556 a long horizontal line starting in the melisma syllable, and ending in
557 the next one. Such a line is called an extender line, and it is
558 entered as @samp{ __ } (note the spaces before and after the two
559 underscore characters).
561 @warning{Melismata are indicated in the score with extender lines,
562 which are entered as one double underscore; but short melismata can
563 also be entered by skipping individual notes, which are entered as
564 single underscore characters; these do not make an extender line to be
569 @c leave this as samp. -gp
570 Centered hyphens are entered as @samp{ -- } between syllables of a same word
571 (note the spaces before and after the two hyphen characters). The hyphen
572 will be centered between the syllables, and its length will be adjusted
573 depending on the space between the syllables.
575 In tightly engraved music, hyphens can be removed. Whether this
576 happens can be controlled with the @code{minimum-distance} (minimum
577 distance between two syllables) and the @code{minimum-length}
578 (threshold below which hyphens are removed).
583 @rinternals{LyricExtender},
584 @rinternals{LyricHyphen}.
587 @node Techniques specific to lyrics
588 @subsection Techniques specific to lyrics
590 @c TODO This whole section is to be reorganized. -vv
593 * Working with lyrics and variables::
594 * Lyrics and repeats::
596 * Lyrics independent of notes::
597 * Spacing out syllables::
598 * Placement of lyrics between staves::
603 @node Working with lyrics and variables
604 @unnumberedsubsubsec Working with lyrics and variables
606 @cindex lyrics, variables
608 To define variables containing lyrics, the function @code{\lyricmode}
609 must be used. You do not have to enter durations though, if you add
610 @code{\addlyrics} or @code{\lyricsto}
611 when invoking your variable.
614 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
617 \new Voice = "one" \relative c'' @{
620 c4 b8. a16 g4. f8 e4 d c2
622 \addlyrics @{ \verseOne @}
627 For different or more complex orderings, the best way is to set up the
628 hierarchy of staves and lyrics first, e.g.,
631 \new Voice = "soprano" @{ @emph{music} @}
632 \new Lyrics = "sopranoLyrics" @{ s1 @}
633 \new Lyrics = "tenorLyrics" @{ s1 @}
634 \new Voice = "tenor" @{ @emph{music} @}
639 and then combine the appropriate melodies and lyric lines
642 \context Lyrics = sopranoLyrics \lyricsto "soprano"
647 The final input would resemble
650 <<\new ChoirStaff << @emph{setup the music} >>
651 \lyricsto "soprano" @emph{etc}
652 \lyricsto "alto" @emph{etc}
659 http://code.google.com/p/lilypond/issues/detail?id=329
660 The problem cannot be reproduced.
661 The following has no sense, because the issue seems to be fixed.
662 A comment is in tracker waiting for response ---FV
665 Be careful when defining a variable with lyrics that creates a new
666 context, for example, using the deprecated @code{\lyrics} command. See
667 the next erroneous example:
670 words = \lyrics{ %warning: this creates a new context
674 \new Voice = "sop" { c1 }
675 \new Lyrics \lyricsto "sop" { \words }
676 \new Voice = "alt" { c2 c }
677 \new Lyrics \lyricsto "alt" { \words }
681 the problem is that \lyricsto will try to connect the "sop" melody with the context
682 created by "\new Lyrics".
684 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
691 @c TODO: document \new Staff << Voice \lyricsto >> bug
693 @rinternals{LyricCombineMusic},
697 @node Lyrics and repeats
698 @unnumberedsubsubsec Lyrics and repeats
700 @cindex repeats and lyrics
701 @cindex lyrics, repeating
703 @subheading Simple repeats
705 Repeats in @emph{music} are fully described elsewhere; see
706 @ref{Repeats}. This section explains how to add lyrics to repeated
709 Lyrics to a section of music that is repeated should be surrounded
710 by exactly the same repeat construct as the music, if the words are
713 @lilypond[verbatim,quote]
717 \new Voice = "melody" {
720 \repeat volta 2 { b4 b b b }
726 Not re -- peat -- ed.
727 \repeat volta 2 { Re -- peat -- ed twice. }
734 The words will then be correctly expanded if the repeats are
737 @lilypond[verbatim,quote]
742 \new Voice = "melody" {
745 \repeat volta 2 { b4 b b b }
751 Not re -- peat -- ed.
752 \repeat volta 2 { Re -- peat -- ed twice. }
760 If the repeated section has different words and is unfolded simply
763 @lilypond[verbatim,quote,ragged-right]
767 \new Voice = "melody" {
770 \repeat unfold 2 { b4 b b b }
776 Not re -- peat -- ed.
777 The first time words.
778 Sec -- ond time words.
788 When the words to a repeated volta section are different the words
789 to each repeat must be entered in separate @code{Lyrics} contexts.
790 Earlier unrepeated sections must be skipped in the second and
791 subsequent repeats. The easiest way to skip several notes is to
792 use @code{\repeat unfold} around the lyric skip symbol, @code{_}.
793 The @code{\skip} command can be used instead of @code{_} if desired.
795 @warning{The @code{@bs{}skip} command must be followed by a number,
796 but this number is ignored in lyric mode. Each @code{@bs{}skip}
797 skips a single note of any value, irrespective of the value of the
800 @lilypond[verbatim,quote]
804 \new Voice = "melody" {
807 \repeat volta 2 { b4 b b b }
813 Not re -- peat -- ed.
814 The first time words.
819 % skip 4 notes of any duration
820 \repeat unfold 4 { _ }
821 Sec -- ond time words.
828 @cindex lyrics, repeating with a temporary voice
830 An alternative way, which avoids skips and having to count notes,
831 is to use a temporary voice for the repeated section. This may be
832 preferable if the earlier sections are still subject to change. A
833 temporary voice can be inserted anywhere in the main music stream
834 in parallel with it, as shown below, but it may be necessary to
835 keep the main voice alive in complex scores when using this
836 technique; see @ref{Keeping contexts alive}.
838 @lilypond[verbatim,quote,ragged-right]
842 \new Voice = "singleVoice" {
843 \relative c'' { a4 a a a }
844 \new Voice = "repeatVoice" {
845 \relative c'' \repeat volta 3 { b4 b b b }
847 \relative c'' { c4 c c c }
851 \lyricsto "singleVoice" {
852 Not re -- peat -- ed.
855 \lyricsto "repeatVoice" {
856 The first time words.
860 \lyricsto "repeatVoice" {
861 Sec -- ond time words.
865 \lyricsto "repeatVoice" {
866 The third time words.
873 @c TODO lowering a common line of lyrics
875 @subheading Repeats with alternative endings
877 @cindex lyrics, repeats with alternative endings
878 @cindex repeating lyrics with alternative endings
879 @cindex alternative endings and lyrics
881 If the words of the repeated section are the same, exactly the
882 same structure can be used for both the lyrics and music.
884 @lilypond[quote,verbatim]
889 \new Voice = "melody" {
892 \repeat volta 2 { b4 b }
893 \alternative { { b b } { b c } }
899 Not re -- peat -- ed.
900 \repeat volta 2 { Re -- peat -- }
901 \alternative { { ed twice. } { ed twice. } }
908 But when the repeated section has different words, a repeat
909 construct cannot be used around the words and @code{\skip} commands
910 or lyric skips, @code{_}, have to be inserted manually as described
911 in the previous section to skip over the notes in the alternative
912 sections which do not apply.
914 @lilypond[verbatim,quote,ragged-right]
919 \new Voice = "melody" {
921 \repeat volta 2 { b4 b }
922 \alternative { { b b } { b c } }
929 The first time words.
935 Sec -- ond _ _ time words.
942 @cindex lyrics and tied notes
945 When a note is tied over into two or more alternative endings a
946 tie is used to carry the note into the first alternative ending and
947 a @code{\repeatTie} is used in the second and subsequent endings.
948 This structure causes difficult alignment problems when lyrics are
949 involved and increasing the length of the alternative sections so
950 the tied notes are contained wholly within them may give a more
953 The tie creates a melisma into the first alternative, but not into
954 the second and subsequent alternatives, so to align the lyrics
955 correctly it is necessary to disable the automatic creation of
956 melismata over the volta section and insert manual skips.
958 @lilypond[quote,verbatim]
963 \new Voice = "melody" {
965 \set melismaBusyProperties = #'()
966 \repeat volta 2 { b4 b ~}
967 \alternative { { b b } { b \repeatTie c } }
968 \unset melismaBusyProperties
975 \repeat volta 2 { Here's a __ }
987 Note that if @code{\unfoldRepeats} is used around a section
988 containing @code{\repeatTie}, the @code{\repeatTie} should be
989 removed to avoid both types of tie being printed.
991 When the repeated section has different words a @code{\repeat}
992 cannot be used around the lyrics and skips need to be inserted
995 @lilypond[quote,verbatim]
1000 \new Voice = "melody" {
1002 \repeat volta 2 { b4 b ~}
1003 \alternative { { b b } { b \repeatTie c } }
1009 \lyricsto "melody" {
1015 \lyricsto "melody" {
1023 If you wish to show extenders and hyphens into and out of
1024 alternative sections these must be inserted manually.
1026 @lilypond[quote,verbatim]
1031 \new Voice = "melody" {
1033 \repeat volta 2 { b4 b ~}
1034 \alternative { { b b } { b \repeatTie c } }
1040 \lyricsto "melody" {
1046 \lyricsto "melody" {
1047 Here's "a_" _ "_" sec-
1057 @unnumberedsubsubsec Divisi lyrics
1059 You can display alternate (or divisi) lyrics by naming voice
1060 contexts and attaching lyrics to those specific contexts.
1062 @lilypond[verbatim,ragged-right,quote]
1064 \new Voice = "melody" {
1069 \new Voice = "splitpart" { \voiceTwo c4 }
1074 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1075 \new Lyrics \lyricsto "splitpart" { will }
1080 You can use this trick to display different lyrics for a repeated
1083 @lilypond[verbatim,ragged-right,quote]
1085 \new Voice = "melody" \relative c' {
1087 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1089 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1092 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1094 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1095 dodo rere mimi fafa solsol }
1102 @node Lyrics independent of notes
1103 @unnumberedsubsubsec Lyrics independent of notes
1105 @cindex Devnull context
1107 In some complex vocal music, it may be desirable to place
1108 lyrics completely independently of notes. Music defined
1109 inside @code{lyricrhythm} disappears into the
1110 @code{Devnull} context, but the rhythms can still be used
1111 to place the lyrics.
1113 @lilypond[quote,verbatim,ragged-right]
1116 \tag #'music { c''2 }
1117 \tag #'lyricrhythm { c''4. c''8 }
1121 lyr = \lyricmode { I like my cat! }
1124 \new Staff \keepWithTag #'music \voice
1125 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1126 \new Lyrics \lyricsto "nowhere" \lyr
1127 \new Staff { c'8 c' c' c' c' c' c' c'
1128 c' c' c' c' c' c' c' c' }
1132 This method is recommended only if the music in the @code{Devnull}
1133 context does not contain melismata. Melismata are defined by the
1134 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
1135 makes the voice/lyrics links to get lost, and so does the info on
1136 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
1137 the implicit melismata get ignored.
1139 @c Conclusion: do not use devnull for lyrics -FV
1141 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
1143 @node Spacing out syllables
1144 @unnumberedsubsubsec Spacing out syllables
1146 @cindex Spacing lyrics
1147 @cindex Lyrics, increasing space between
1149 To increase the spacing between lyrics, set the @code{minimum-distance}
1150 property of @code{LyricSpace}.
1152 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1155 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1159 longtext longtext longtext longtext
1160 longtext longtext longtext longtext
1165 To make this change for all lyrics in the score, set the property in the
1168 @lilypond[verbatim,quote,ragged-right]
1175 longtext longtext longtext longtext
1176 longtext longtext longtext longtext
1181 \override LyricSpace #'minimum-distance = #1.0
1188 @c This snippet has been renamed to "lyrics-alignment.ly"
1189 @c update as soon as lsr/is updated -vv
1190 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1191 @c {lyrics-alignment.ly}
1193 @c TODO: move to LSR -vv
1196 Checking to make sure that text scripts and lyrics are within the margins is
1197 a relatively large computational task. To speed up processing, LilyPond does
1198 not perform such calculations by default; to enable it, use
1201 \override Score.PaperColumn #'keep-inside-line = ##t
1204 To make lyrics avoid bar lines as well, use
1210 \consists "Bar_engraver"
1211 \consists "Separating_line_group_engraver"
1212 \override BarLine #'transparent = ##t
1217 @c TODO Create and add lsr example of lyricMelismaAlignment
1218 @c It's used like this to center-align all lyric syllables,
1219 @c even when notes are tied. -td
1224 \context { \Score lyricMelismaAlignment = #0 }
1229 @node Placement of lyrics between staves
1230 @unnumberedsubsubsec Placement of lyrics between staves
1232 @c TODO Add text from -user
1233 @c TODO Add new spacing properties, centering lyrics, etc
1240 * Adding stanza numbers::
1241 * Adding dynamics marks to stanzas::
1242 * Adding singers' names to stanzas::
1243 * Stanzas with different rhythms::
1244 * Printing stanzas at the end::
1245 * Printing stanzas at the end in multiple columns::
1249 @node Adding stanza numbers
1250 @unnumberedsubsubsec Adding stanza numbers
1252 @cindex stanza number
1254 Stanza numbers can be added by setting @code{stanza}, e.g.,
1256 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1258 \time 3/4 g2 e4 a2 f4 g2.
1260 \set stanza = #"1. "
1261 Hi, my name is Bert.
1263 \set stanza = #"2. "
1264 Oh, ché -- ri, je t'aime
1270 These numbers are put just before the start of the first syllable.
1272 @c TODO Create and add snippet to show how two lines of a
1273 @c stanza can be grouped together, along these lines:
1274 @c (might need improving a bit) -td
1277 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1281 \set stanza = \markup { "1. " \leftbrace }
1282 \lyricmode { Child, you're mine and I love you.
1283 Lend thine ear to what I say.
1289 % \set stanza = \markup { " "}
1290 \lyricmode { Child, I have no great -- er joy
1291 Than to have you walk in truth.
1297 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1298 c'8 c' c' c' c' c' c'4 }
1299 } \addlyrics { \stanzaOneOne }
1300 \addlyrics { \stanzaOneThree }
1304 @node Adding dynamics marks to stanzas
1305 @unnumberedsubsubsec Adding dynamics marks to stanzas
1307 Stanzas differing in loudness may be indicated by putting a
1308 dynamics mark before each stanza. In LilyPond, everything coming in
1309 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1310 are no different. For technical reasons, you have to set the stanza
1311 outside @code{\lyricmode}:
1313 @lilypond[quote,ragged-right,verbatim]
1315 \set stanza = \markup { \dynamic "ff" "1. " }
1322 \new Voice = "tune" {
1326 \new Lyrics \lyricsto "tune" \text
1330 @node Adding singers' names to stanzas
1331 @unnumberedsubsubsec Adding singers' names to stanzas
1334 @cindex name of singer
1336 Names of singers can also be added. They are printed at the start of
1337 the line, just like instrument names. They are created by setting
1338 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1340 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1342 \time 3/4 g2 e4 a2 f4 g2.
1344 \set vocalName = #"Bert "
1345 Hi, my name is Bert.
1347 \set vocalName = #"Ernie "
1348 Oh, ché -- ri, je t'aime
1352 @node Stanzas with different rhythms
1353 @unnumberedsubsubsec Stanzas with different rhythms
1355 Often, different stanzas of one song are put to one melody in slightly
1356 differing ways. Such variations can still be captured with
1359 @subsubheading Ignoring melismata
1361 One possibility is that the text has a melisma in one stanza, but
1362 multiple syllables in another one. One solution is to make the faster
1363 voice ignore the melisma. This is done by setting
1364 @code{ignoreMelismata} in the Lyrics context.
1366 @lilypond[verbatim,ragged-right,quote]
1368 \relative c' \new Voice = "lahlah" {
1369 \set Staff.autoBeaming = ##f
1375 \new Lyrics \lyricsto "lahlah" {
1378 \new Lyrics \lyricsto "lahlah" {
1380 \set ignoreMelismata = ##t
1382 \unset ignoreMelismata
1389 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1390 not work if prefixed with @code{\once}. It is necessary to use
1391 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1394 @subsubheading Adding syllables to grace notes
1396 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1397 syllables when using @code{\lyricsto}, but this behavior can be
1400 @lilypond[verbatim,ragged-right,quote]
1402 f4 \appoggiatura a32 b4
1403 \grace { f16[ a16] } b2
1404 \afterGrace b2 { f16[ a16] }
1405 \appoggiatura a32 b4
1410 \set includeGraceNotes = ##t
1413 after -- grace case,
1414 \set ignoreMelismata = ##t
1421 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1422 set at latest one syllable before the one which is to be put under a
1423 grace note. For the case of a grace note at the very beginning of a
1424 piece of music, consider using a @code{\with} or @code{\context}
1427 @lilypond[verbatim,ragged-right,quote]
1429 \new Voice = melody \relative c' {
1430 \grace { c16[( d e f] }
1433 \new Lyrics \with { includeGraceNotes = ##t }
1440 @subsubheading Switching to an alternative melody
1442 More complex variations in text underlay are possible. It is possible
1443 to switch the melody for a line of lyrics during the text. This is
1444 done by setting the @code{associatedVoice} property. In the example
1446 @lilypond[ragged-right,quote]
1448 \relative c' \new Voice = "lahlah" {
1449 \set Staff.autoBeaming = ##f
1452 \new Voice = "alternative" {
1455 % show associations clearly.
1456 \override NoteColumn #'force-hshift = #-3
1467 \new Lyrics \lyricsto "lahlah" {
1468 Ju -- ras -- sic Park
1470 \new Lyrics \lyricsto "lahlah" {
1471 % Tricky: need to set associatedVoice
1472 % one syllable too soon!
1473 \set associatedVoice = alternative % applies to "ran"
1477 \set associatedVoice = lahlah % applies to "rus"
1483 the text for the first stanza is set to a melody called @q{lahlah},
1486 \new Lyrics \lyricsto "lahlah" @{
1487 Ju -- ras -- sic Park
1492 The second stanza initially is set to the @code{lahlah} context, but
1493 for the syllable @q{ran}, it switches to a different melody.
1494 This is achieved with
1496 \set associatedVoice = alternative
1500 Here, @code{alternative} is the name of the @code{Voice} context
1501 containing the triplet.
1503 @c TODO: make this easier to understand -vv
1504 This command must be one syllable too early, before @q{Ty} in this
1505 case. In other words, changing the associatedVoice happens one step
1506 later than expected. This is for technical reasons, and it is not a
1510 \new Lyrics \lyricsto "lahlah" @{
1511 \set associatedVoice = alternative % applies to "ran"
1515 \set associatedVoice = lahlah % applies to "rus"
1521 The underlay is switched back to the starting situation by assigning
1522 @code{lahlah} to @code{associatedVoice}.
1525 @node Printing stanzas at the end
1526 @unnumberedsubsubsec Printing stanzas at the end
1528 Sometimes it is appropriate to have one stanza set
1529 to the music, and the rest added in verse form at
1530 the end of the piece. This can be accomplished by adding
1531 the extra verses into a @code{\markup} section outside
1532 of the main score block. Notice that there are two
1533 different ways to force linebreaks when using
1536 @lilypond[ragged-right,verbatim,quote]
1537 melody = \relative c' {
1543 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1544 its fleece was white as snow.
1548 \new Voice = "one" { \melody }
1549 \new Lyrics \lyricsto "one" \text
1555 \line{ All the children laughed and played }
1556 \line{ To see a lamb at school. }
1563 Mary took it home again,
1565 It was against the rule."
1570 @node Printing stanzas at the end in multiple columns
1571 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1573 When a piece of music has many verses, they are often printed in
1574 multiple columns across the page. An outdented verse number often
1575 introduces each verse. The following example shows how to produce such
1578 @lilypond[ragged-right,quote,verbatim]
1579 melody = \relative c' {
1584 \set stanza = #"1." This is verse one.
1589 \new Voice = "one" { \melody }
1590 \new Lyrics \lyricsto "one" \text
1597 \hspace #0.1 % moves the column off the left margin;
1598 % can be removed if space on the page is tight
1602 "This is verse two."
1606 \hspace #0.1 % adds vertical spacing between verses
1609 "This is verse three."
1614 \hspace #0.1 % adds horizontal spacing between columns;
1615 % if they are still too close, add more " " pairs
1616 % until the result looks good
1620 "This is verse four."
1624 \hspace #0.1 % adds vertical spacing between verses
1627 "This is verse five."
1632 \hspace #0.1 % gives some extra space on the right margin;
1633 % can be removed if page space is tight
1640 Internals Reference:
1641 @rinternals{LyricText},
1642 @rinternals{StanzaNumber}.
1649 * References for songs::
1653 @node References for songs
1654 @unnumberedsubsubsec References for songs
1656 @c TODO chords, setting simple songs (LM), stanzas
1660 @unnumberedsubsubsec Lead sheets
1662 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1663 this syntax is explained in @ref{Chord notation}.
1666 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1667 {simple-lead-sheet.ly}
1671 @ref{Chord notation}.
1682 This section discusses notation issues that relate most directly
1683 to choral music. This includes anthems, part songs, oratorio,
1687 * References for choral::
1688 * Score layouts for choral::
1692 @node References for choral
1693 @unnumberedsubsubsec References for choral
1695 Choral music is usually notated on two, three or four staves within
1696 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1697 beneath in a @code{PianoStaff} group, which is usually reduced in
1698 size for @emph{a capella} choral works. The notes for each vocal
1699 part are placed in a @code{Voice} context, with each staff
1700 being given either a single vocal part (i.e., one @code{Voice}) or
1701 a pair of vocal parts (i.e., two @code{Voice}s).
1703 Words are placed in @code{Lyrics} contexts, either underneath each
1704 corresponding music staff, or one above and one below the music
1705 staff if this contains the music for two parts.
1707 Several common topics in choral music are described fully elsewhere:
1712 An introduction to creating an SATB vocal score can be found in
1713 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1716 Several templates suitable for various styles of choral music can
1717 also be found in the Learning Manual, see
1718 @rlearning{Vocal ensembles}.
1721 For information about @code{ChoirStaff} and @code{PianoStaff} see
1722 @ref{Grouping staves}.
1725 Shape noteheads, as used in Sacred Harp and similar notation, are
1726 described in @ref{Shape note heads}.
1729 When two vocal parts share a staff the stems, ties, slurs, etc., of
1730 the higher part will be directed up and those of the lower part
1731 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1732 @ref{Single-staff polyphony}.
1743 @rlearning{Four-part SATB vocal score},
1744 @rlearning{Vocal ensembles}.
1747 @ref{Context layout order},
1748 @ref{Grouping staves},
1749 @ref{Shape note heads},
1750 @ref{Single-staff polyphony}.
1752 Internals Reference:
1753 @rinternals{ChoirStaff},
1754 @rinternals{Lyrics},
1755 @rinternals{PianoStaff}.
1757 @node Score layouts for choral
1758 @unnumberedsubsubsec Score layouts for choral
1760 Choral music containing four staves, with or without piano
1761 accompaniment, is usually laid out with two systems per page.
1762 Depending on the page size, achieving this may require changes
1763 to several default settings. The following settings should be
1769 The global staff size can be modified to change the overall size
1770 of the elements of the score. See @ref{Setting the staff size}.
1773 The distances between the systems, the staves and the lyrics can
1774 all be adjusted independently. See @ref{Vertical spacing}.
1777 The dimensions of the vertical layout variables can be displayed as
1778 an aid to adjusting the vertical spacing. This and other
1779 possibilities for fitting the music onto fewer pages are described
1780 in @ref{Fitting music onto fewer pages}.
1783 If the number of systems per page changes from one to two it is
1784 customary to indicate this with a system separator mark between
1785 the two systems. See @ref{Separating systems}.
1788 For details of other page formatting properties, see
1789 @ref{Page formatting}.
1794 Dynamic markings by default are placed below the staff, but in
1795 choral music they are usually placed above the staff in order to
1796 avoid the lyrics. The predefined command @code{\dynamicUp} does
1797 this for the dynamic markings in a single @code{Voice} context.
1798 If there are many @code{Voice} contexts this predefined command
1799 would have to be placed in every one. Alternatively its expanded
1800 form can be used to place all dynamic markings in the entire score
1801 above their respective staves, as shown here:
1803 @lilypond[verbatim,quote]
1808 \relative c'' { g4\f g g g }
1813 \relative c' { d4 d d\p d }
1820 \override DynamicText #'direction = #UP
1821 \override DynamicLineSpanner #'direction = #UP
1828 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
1832 @ref{Changing spacing},
1833 @ref{Displaying spacing},
1834 @ref{Fitting music onto fewer pages},
1835 @ref{Page formatting},
1837 See @ref{Separating systems},
1838 @ref{Setting the staff size},
1839 @ref{Using an extra voice for breaks},
1840 @ref{Vertical spacing}.
1842 Internals Reference:
1843 @rinternals{VerticalAxisGroup},
1844 @rinternals{StaffGrouper}.
1847 @node Divided voices
1848 @unnumberedsubsubsec Divided voices
1850 @cindex voices, divided
1852 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1853 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
1857 @ref{Expressive marks as lines}.
1860 @node Opera and stage musicals
1861 @subsection Opera and stage musicals
1863 The music, lyrics and dialogue to opera and stage musicals are
1864 usually set out in one or more of the following forms:
1869 A @emph{Conductors' Score} containing the full orchestral and vocal
1870 parts, together with libretto cues if there are spoken passages.
1873 @emph{Orchestral Parts} containing the music for the individual
1874 instruments of the orchestra or band.
1877 A @emph{Vocal Score} containing all vocal parts with piano
1878 accompaniment. The accompaniment is usually an orchestral
1879 reduction, and if so the name of the original orchestral instrument
1880 is often indicated. Vocal scores sometimes includes stage
1881 directions and libretto cues.
1884 A @emph{Vocal Book} containing just the vocal parts
1885 (no accompaniment), sometimes combined with the libretto.
1888 A @emph{Libretto} containing the extended passages of spoken
1889 dialogue usually found in musicals, together with the words to the
1890 sung parts. Stage directions are usually included. LilyPond can
1891 be used to typeset libretti but as they contain no music
1892 alternative methods may be preferable.
1896 The sections in the LilyPond documentation which cover the topics
1897 needed to create scores in the styles commonly found in opera and
1898 musicals are indicated in the References below. This is followed
1899 by sections covering those techniques which are peculiar to
1900 typesetting opera and musical scores.
1903 * References for opera and stage musicals::
1907 * Dialogue over music::
1910 @node References for opera and stage musicals
1911 @unnumberedsubsubsec References for opera and stage musicals
1916 A conductors' score contains many grouped staves and lyrics. Ways
1917 of grouping staves is shown in @ref{Grouping staves}. To nest
1918 groups of staves see @ref{Nested staff groups}.
1921 The printing of empty staves in conductors' scores and vocal scores
1922 is often suppressed. To create such a @qq{Frenched score} see
1923 @ref{Hiding staves}.
1926 Writing orchestral parts is covered in @ref{Writing parts}.
1927 Other sections in the Specialist notation chapter may be relevant,
1928 depending on the orchestration used. Many instruments are
1929 transposing instruments, see @ref{Instrument transpositions}.
1932 If the number of systems per page changes from page to page it is
1933 customary to separate the systems with a system separator mark.
1934 See @ref{Separating systems}.
1937 For details of other page formatting properties, see
1938 @ref{Page formatting}.
1941 Dialogue cues and stage directions can be inserted with markup.
1942 See @ref{Text}. Extensive stage directions can be inserted with
1943 a section of stand-alone markup between two @code{\score} blocks.
1944 See @ref{Separate text}.
1950 @rglos{Frenched score},
1951 @rglos{Frenched staves},
1952 @rglos{transposing instrument}.
1955 @ref{Grouping staves},
1956 @ref{Hiding staves},
1957 @ref{Instrument transpositions},
1958 @ref{Nested staff groups},
1959 @ref{Page formatting},
1960 @ref{Separating systems},
1962 @ref{Writing parts},
1966 @node Character names
1967 @unnumberedsubsubsec Character names
1969 @cindex character names
1970 @cindex names, character
1972 Character names are usually shown to the left of the staff when the
1973 staff is dedicated to that character alone. The instrument name can
1974 be used for this purpose.
1976 @lilypond[quote,verbatim,ragged-right]
1980 \set Staff.instrumentName = #"Kaspar"
1981 \set Staff.shortInstrumentName = #"Kas"
1990 \set Staff.instrumentName = #"Melchior"
1991 \set Staff.shortInstrumentName = #"Mel"
2002 When two or more characters share a staff the character's name is
2003 usually printed above the staff at the start of every section
2004 applying to that character. This can be done with markup. Often a
2005 specific font is used for this purpose.
2007 @lilypond[quote,verbatim,relative=1]
2009 c4^\markup \fontsize #1 \smallCaps Kaspar
2012 a4^\markup \fontsize #1 \smallCaps Melchior
2015 c4^\markup \fontsize #1 \smallCaps Kaspar
2019 Alternatively, if there are many character changes, it may be
2020 easier to set up @qq{instrument} definitions for each character at
2021 the top level so that @code{\instrumentSwitch} can be used to
2022 indicate each change.
2024 @lilypond[quote,verbatim]
2025 \addInstrumentDefinition #"kaspar"
2026 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2027 (shortInstrumentName . "Kas.")
2028 (clefGlyph . "clefs.G")
2029 (clefOctavation . -7)
2030 (middleCPosition . 1)
2032 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2033 (midiInstrument . "voice oohs"))
2035 \addInstrumentDefinition #"melchior"
2036 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2037 (shortInstrumentName . "Mel.")
2038 (clefGlyph . "clefs.F")
2039 (clefOctavation . 0)
2040 (middleCPosition . 6)
2042 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2043 (midiInstrument . "voice aahs"))
2046 \instrumentSwitch "kaspar"
2048 \instrumentSwitch "melchior"
2050 \instrumentSwitch "kaspar"
2057 @ref{Instrument names},
2058 @ref{Scheme functions},
2060 @ref{Text markup commands}.
2063 @rextend{Markup construction in Scheme}.
2066 @unnumberedsubsubsec Musical cues
2068 @cindex musical cues
2069 @cindex cues, musical
2071 Musical cues can be inserted in Vocal Scores, Vocal Books and
2072 Orchestral Parts to indicate what music in another part
2073 immediately precedes an entry. Also, cues are often inserted in the
2074 piano reduction in Vocal Scores to indicate what each orchestral
2075 instrument is playing. This aids the conductor when a full
2076 Conductors' Score is not available.
2078 The basic mechanism for inserting cues is fully explained in the
2079 main text, see @ref{Quoting other voices} and
2080 @ref{Formatting cue notes}. But when many cues have to be
2081 inserted, for example, as an aid to a conductor in a vocal score,
2082 the instrument name must be positioned carefully just before and
2083 close to the start of the cued notes. The following example shows
2084 how this is done. Note that the name of the grob for overriding
2085 the cued instrument name is @code{InstrumentSwitch}.
2087 @lilypond[quote,verbatim]
2088 flute = \relative c'' {
2091 \addQuote "flute" { \flute }
2093 pianoRH = \relative c'' {
2095 % position name of cued instrument just before the cued notes
2096 \once \override CueVoice.InstrumentSwitch
2097 #'self-alignment-X = #RIGHT
2098 % position name of cued instrument above the staff
2099 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2100 \set CueVoice.instrumentCueName = "Flute"
2101 \cueDuring "flute" #UP { g4 bes4 }
2103 pianoLH = \relative c { c4 <c' e> e, <g c> }
2118 If a transposing instrument is being cued the instrument part should
2119 specify its key so the conversion of its cued notes will be done
2120 automatically. The example below shows this transposition for a
2121 B-flat clarinet. The notes in this example are low on the staff so
2122 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2123 down) and the instrument name is positioned below the staff. Note
2124 also that the piano right-hand voice is explicitly declared. This
2125 is because the cued notes in this example begin at the start of the
2126 first bar and this would otherwise cause the entire piano right-hand
2127 notes to be placed in a @code{CueVoice} context.
2129 @lilypond[quote,verbatim]
2130 clarinet = \relative c' {
2134 \addQuote "clarinet" { \clarinet }
2136 pianoRH = \relative c'' {
2138 % position name of cued instrument just before the cued notes
2139 \once \override CueVoice.InstrumentSwitch
2140 #'self-alignment-X = #RIGHT
2141 % position name of cued instrument below the staff
2142 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2143 \set CueVoice.instrumentCueName = "Clar."
2144 \cueDuring "clarinet" #DOWN { c4. g8 }
2147 pianoLH = \relative c { c4 <c' e> e, <g c> }
2166 From these two examples it is clear that inserting many cues in a
2167 Vocal Score would be extremely tedious, and the notes of the piano
2168 part would be obscured by the many overrides. However, as the
2169 following snippet shows, it is possible to define a music function
2170 to reduce the amount of typing and to make the piano notes clearer.
2173 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2174 {adding-orchestral-cues-to-a-vocal-score.ly}
2181 @ref{Aligning objects},
2182 @ref{Direction and placement},
2183 @ref{Formatting cue notes},
2184 @ref{Quoting other voices},
2185 @ref{Using music functions}.
2190 Internals Reference:
2191 @rinternals{InstrumentSwitch},
2192 @rinternals{CueVoice}.
2195 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2196 and all cue notes are placed in that context. This means it is not
2197 possible to have two overlapping sequences of cued notes by this
2198 technique. Overlapping sequences could be entered by explicitly
2199 declaring separate @code{CueVoice} contexts and using
2200 @code{\quoteDuring} to extract and insert the cued notes.
2204 @unnumberedsubsubsec Spoken music
2207 @cindex Sprechgesang
2208 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2209 without pitch but still with rhythm; these are notated by cross
2210 note heads, as demonstrated in @ref{Special note heads}.
2212 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2213 @c add "showing the rhythm of a melody" snip
2214 @c add "one staff-line notation"
2215 @c add "improvisation" ref
2216 @c add "lyrics independents of notes" ref
2218 @node Dialogue over music
2219 @unnumberedsubsubsec Dialogue over music
2224 @node Chants psalms and hymns
2225 @subsection Chants psalms and hymns
2230 @cindex religious music
2232 The music and words for chants, psalms and hymns usually follow a
2233 well-established format in any particular church. Although the
2234 formats may differ from church to church the type-setting problems
2235 which arise are broadly similar, and are covered in this section.
2238 * References for chants and psalms::
2240 * Pointing a psalm::
2241 * Partial measures in hymn tunes::
2244 @node References for chants and psalms
2245 @unnumberedsubsubsec References for chants and psalms
2247 Typesetting Gregorian chant in various styles of ancient notation
2248 is described in @ref{Ancient notation}.
2252 @ref{Ancient notation}.
2255 @node Setting a chant
2256 @unnumberedsubsubsec Setting a chant
2258 Modern chant settings use modern notation with varying numbers of
2259 elements taken from ancient notation. Some of the elements and
2260 methods to consider are shown here.
2262 Chants often use quarter notes without stems to indicate the pitch,
2263 with the rhythm being taken from the spoken rhythm of the words.
2265 @lilypond[verbatim,quote]
2266 stemOff = { \override Staff.Stem #'transparent = ##t }
2275 Chants often omit the bar lines or use shortened or dotted bar
2276 lines to indicate pauses in the music. To omit all bar lines from
2277 all staves remove the bar line engraver completely:
2279 @lilypond[verbatim,quote]
2300 \remove Bar_engraver
2306 Bar lines can also be removed on a staff-by-staff basis:
2308 @lilypond[verbatim, quote]
2312 \with { \remove Bar_engraver } {
2330 To remove bar lines from just a section of music treat it as a
2331 cadenza. If the section is long you may need to insert dummy
2332 barlines with @code{\bar ""} to show where the line should break.
2334 @lilypond[verbatim,quote,relative=2]
2347 Rests or pauses in chants can be indicated by modified bar lines.
2349 @lilypond[verbatim, quote,relative=2]
2364 Alternatively, the notation used in Gregorian chant for pauses or
2365 rests is sometimes used even though the rest of the notation is
2366 modern. This uses a modified @code{\breathe} mark:
2368 @lilypond[verbatim,quote]
2370 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2371 \once \override BreathingSign #'Y-offset = #0
2375 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2376 \once \override BreathingSign #'Y-offset = #0
2380 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2381 \once \override BreathingSign #'Y-offset = #0
2385 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2386 \once \override BreathingSign #'Y-offset = #0
2404 \remove Bar_engraver
2410 Chants usually omit the time signature and often omit the clef too.
2412 @lilypond[verbatim,quote]
2424 \remove Bar_engraver
2425 \remove Time_signature_engraver
2426 \remove Clef_engraver
2432 Chants for psalms in the Anglican tradition are usually either
2433 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2434 of 7 bars. Each group of 7 bars is divided into two halves,
2435 corresponding to the two halves of each verse, usually separated by
2436 a double bar line. Only whole and half notes are used. The 1st bar
2437 in each half always contains a single chord of whole notes. This is
2438 the @qq{reciting note}. Chants are usually centered on the page.
2440 @lilypond[verbatim,quote]
2441 SopranoMusic = \relative g' {
2442 g1 | c2 b | a1 | \bar "||"
2443 a1 | d2 c | c b | c1 | \bar "||"
2446 AltoMusic = \relative c' {
2448 f1 | f2 e | d d | e1 |
2451 TenorMusic = \relative a {
2453 d1 | g,2 g | g g | g1 |
2456 BassMusic = \relative c {
2458 d1 | b2 c | g' g | c,1 |
2465 % Use markup to center the chant on the page
2474 \new Voice = "Soprano" <<
2478 \new Voice = "Alto" <<
2486 \new Voice = "Tenor" <<
2490 \new Voice = "Bass" <<
2500 \override SpacingSpanner
2501 #'base-shortest-duration = #(ly:make-moment 1 2)
2505 \remove "Time_signature_engraver"
2513 Some other approaches to setting such a chant are shown in the first
2514 of the following snippets.
2518 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2519 {chant-or-psalms-notation.ly}
2521 Canticles and other liturgical texts may be set more freely, and
2522 may use notational elements from ancient music. Often the words
2523 are shown underneath and aligned with the notes. If so, the notes
2524 are spaced in accordance with the syllables rather than the notes'
2527 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2528 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2532 @rlearning{Visibility and color of objects},
2533 @rlearning{Vocal ensembles}.
2536 @ref{Ancient notation},
2538 @ref{Modifying context plug-ins},
2539 @ref{Typesetting Gregorian chant},
2540 @ref{Unmetered music},
2541 @ref{Visibility of objects}.
2544 @node Pointing a psalm
2545 @unnumberedsubsubsec Pointing a psalm
2547 The words to an Anglican psalm are usually printed in separate
2548 verses centered underneath the chant.
2550 Single chants (with 7 bars) are repeated for every verse. Double
2551 chants (with 14 bars) are repeated for every pair of verses. Marks
2552 are inserted in the words to show how they should be fitted to the
2553 chant. Each verse is divided into two halves. A colon is usually
2554 used to indicate this division. This corresponds to the double bar
2555 line in the music. The words before the colon are sung to the first
2556 three bars of music; the words after the colon are sung to the last
2559 Single bar lines (or in some psalters an inverted comma or similar
2560 symbol) are inserted between words to indicate where the bar lines
2561 in the music fall. In markup mode a single bar line can be entered
2562 with the bar check symbol, @code{|}.
2564 @lilypond[verbatim,quote]
2569 \line { O come let us sing | unto the | Lord : let }
2570 \line { us heartily rejoice in the | strength of | our }
2571 \line { sal- | -vation. }
2578 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2579 For details, see @ref{Fonts}.
2581 @lilypond[verbatim,quote]
2583 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2589 \line { O come let us sing \tick unto the \tick Lord : let }
2591 us heartily rejoice in the \tick strength of \tick our
2593 \line { sal \tick vation. }
2600 Where there is one whole note in a bar all the words corresponding
2601 to that bar are recited on that one note in speech rhythm. Where
2602 there are two notes in a bar there will usually be only one or two
2603 corresponding syllables. If there are more that two syllables a
2604 dot is usually inserted to indicate where the change in note occurs.
2606 @lilypond[verbatim,quote]
2608 \raise #0.7 \musicglyph #"dots.dot"
2611 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2618 O come let us sing \tick unto \dot the \tick Lord : let
2621 us heartily rejoice in the \tick strength of \tick our
2623 \line { sal \tick vation. }
2630 In some psalters an asterisk is used to indicate a break in a
2631 recited section instead of a comma, and stressed or slightly
2632 lengthened syllables are indicated in bold text.
2634 @lilypond[verbatim,quote]
2636 \raise #0.7 \musicglyph #"dots.dot"
2639 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2645 \line { Today if ye will hear his voice * }
2647 \concat { \bold hard en }
2648 | not your | hearts : as in the pro-
2650 \line { vocation * and as in the \bold day of tempt- | }
2651 \line { -ation | in the | wilderness. }
2658 In other psalters an accent is placed over the syllable to indicate
2661 @lilypond[verbatim,quote]
2663 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2670 O come let us \concat {
2671 si \combine \tick ng
2673 | unto the | Lord : let
2676 us heartily \concat {
2677 rejo \combine \tick ice
2679 in the | strength of | our
2681 \line { sal- | -vation. }
2688 The use of markup to center text, and arrange lines in columns is
2689 described in @ref{Formatting text}.
2691 Most of these elements are shown in one or other of the two verses
2692 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
2696 @rlearning{Vocal ensembles}.
2700 @ref{Formatting text}.
2703 @node Partial measures in hymn tunes
2704 @unnumberedsubsubsec Partial measures in hymn tunes
2706 Hymn tunes frequently start and end every line of music with
2707 partial measures so that each line of music corresponds exactly
2708 with a line of text. This requires a @code{\partial} command at
2709 the start of the music and @code{\bar "|"} or @code{\bar "||"}
2710 commands at the end of each line.
2712 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2716 @node Ancient vocal music
2717 @subsection Ancient vocal music
2719 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
2723 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
2724 @c and "Transcription of Ancient music with incipit" snippet. -vv
2728 @ref{Ancient notation}.