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::
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 @code{\skip} command.
794 Note: do not use an underscore, @code{_}, to skip notes as this
795 indicates a melisma and will cause the preceding syllable to be
798 @warning{The @code{@bs{}skip} command must be followed by a number,
799 but this number is ignored in lyric mode. Each @code{@bs{}skip}
800 skips a single note of any value, irrespective of the value of the
803 @lilypond[verbatim,quote]
807 \new Voice = "melody" {
810 \repeat volta 2 { b4 b b b }
816 Not re -- peat -- ed.
817 The first time words.
822 % skip 4 notes of any duration
823 \repeat unfold 4 { \skip 1 }
824 Sec -- ond time words.
831 @cindex lyrics, repeating with a temporary voice
833 An alternative way, which avoids skips and having to count notes,
834 is to use a temporary voice for the repeated section. This may be
835 preferable if the earlier sections are still subject to change. A
836 temporary voice can be inserted anywhere in the main music stream
837 in parallel with it, as shown below, but it may be necessary to
838 keep the main voice alive in complex scores when using this
839 technique; see @ref{Keeping contexts alive}.
841 @lilypond[verbatim,quote,ragged-right]
845 \new Voice = "singleVoice" {
846 \relative c'' { a4 a a a }
847 \new Voice = "repeatVoice" {
848 \relative c'' \repeat volta 3 { b4 b b b }
850 \relative c'' { c4 c c c }
854 \lyricsto "singleVoice" {
855 Not re -- peat -- ed.
858 \lyricsto "repeatVoice" {
859 The first time words.
863 \lyricsto "repeatVoice" {
864 Sec -- ond time words.
868 \lyricsto "repeatVoice" {
869 The third time words.
876 @c TODO lowering a common line of lyrics
878 @subheading Repeats with alternative endings
880 @cindex lyrics, repeats with alternative endings
881 @cindex repeating lyrics with alternative endings
882 @cindex alternative endings and lyrics
884 If the words of the repeated section are the same, exactly the
885 same structure can be used for both the lyrics and music.
887 @lilypond[quote,verbatim]
892 \new Voice = "melody" {
895 \repeat volta 2 { b4 b }
896 \alternative { { b b } { b c } }
902 Not re -- peat -- ed.
903 \repeat volta 2 { Re -- peat -- }
904 \alternative { { ed twice. } { ed twice. } }
911 But when the repeated section has different words, a repeat
912 construct cannot be used around the words and @code{\skip} commands
913 have to be inserted manually as described in the previous section to
914 skip over the notes in the alternative sections which do not apply.
916 @lilypond[verbatim,quote,ragged-right]
921 \new Voice = "melody" {
923 \repeat volta 2 { b4 b }
924 \alternative { { b b } { b c } }
931 The first time words.
932 \repeat unfold 2 { \skip 1 }
939 \repeat unfold 2 { \skip 1 }
947 @cindex lyrics and tied notes
950 When a note is tied over into two or more alternative endings a
951 tie is used to carry the note into the first alternative ending and
952 a @code{\repeatTie} is used in the second and subsequent endings.
953 This structure causes difficult alignment problems when lyrics are
954 involved and increasing the length of the alternative sections so
955 the tied notes are contained wholly within them may give a more
958 The tie creates a melisma into the first alternative, but not into
959 the second and subsequent alternatives, so to align the lyrics
960 correctly it is necessary to disable the automatic creation of
961 melismata over the volta section and insert manual skips.
963 @lilypond[quote,verbatim]
968 \new Voice = "melody" {
970 \set melismaBusyProperties = #'()
971 \repeat volta 2 { b4 b ~}
972 \alternative { { b b } { b \repeatTie c } }
973 \unset melismaBusyProperties
980 \repeat volta 2 { Here's a __ }
992 Note that if @code{\unfoldRepeats} is used around a section
993 containing @code{\repeatTie}, the @code{\repeatTie} should be
994 removed to avoid both types of tie being printed.
996 When the repeated section has different words a @code{\repeat}
997 cannot be used around the lyrics and @code{\skip} commands need to
998 be inserted manually, as before.
1000 @lilypond[quote,verbatim]
1005 \new Voice = "melody" {
1007 \repeat volta 2 { b4 b ~}
1008 \alternative { { b b } { b \repeatTie c } }
1014 \lyricsto "melody" {
1016 \repeat unfold 2 { \skip 1 }
1020 \lyricsto "melody" {
1022 \repeat unfold 2 { \skip 1 }
1030 If you wish to show extenders and hyphens into and out of
1031 alternative sections these must be inserted manually.
1033 @lilypond[quote,verbatim]
1038 \new Voice = "melody" {
1040 \repeat volta 2 { b4 b ~}
1041 \alternative { { b b } { b \repeatTie c } }
1047 \lyricsto "melody" {
1049 \repeat unfold 2 { \skip 1 }
1053 \lyricsto "melody" {
1066 @unnumberedsubsubsec Divisi lyrics
1068 You can display alternate (or divisi) lyrics by naming voice
1069 contexts and attaching lyrics to those specific contexts.
1071 @lilypond[verbatim,ragged-right,quote]
1073 \new Voice = "melody" {
1078 \new Voice = "splitpart" { \voiceTwo c4 }
1083 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
1084 \new Lyrics \lyricsto "splitpart" { will }
1089 You can use this trick to display different lyrics for a repeated
1092 @lilypond[verbatim,ragged-right,quote]
1094 \new Voice = "melody" \relative c' {
1096 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
1098 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
1101 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
1103 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
1104 dodo rere mimi fafa solsol }
1111 @node Lyrics independent of notes
1112 @unnumberedsubsubsec Lyrics independent of notes
1114 @cindex Devnull context
1116 In some complex vocal music, it may be desirable to place
1117 lyrics completely independently of notes. Music defined
1118 inside @code{lyricrhythm} disappears into the
1119 @code{Devnull} context, but the rhythms can still be used
1120 to place the lyrics.
1122 @lilypond[quote,verbatim,ragged-right]
1125 \tag #'music { c''2 }
1126 \tag #'lyricrhythm { c''4. c''8 }
1130 lyr = \lyricmode { I like my cat! }
1133 \new Staff \keepWithTag #'music \voice
1134 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
1135 \new Lyrics \lyricsto "nowhere" \lyr
1136 \new Staff { c'8 c' c' c' c' c' c' c'
1137 c' c' c' c' c' c' c' c' }
1141 This method is recommended only if the music in the @code{Devnull}
1142 context does not contain melismata. Melismata are defined by the
1143 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
1144 makes the voice/lyrics links to get lost, and so does the info on
1145 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
1146 the implicit melismata get ignored.
1148 @c Conclusion: do not use devnull for lyrics -FV
1150 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
1152 @node Spacing out syllables
1153 @unnumberedsubsubsec Spacing out syllables
1155 @cindex Spacing lyrics
1156 @cindex Lyrics, increasing space between
1158 To increase the spacing between lyrics, set the @code{minimum-distance}
1159 property of @code{LyricSpace}.
1161 @lilypond[relative,verbatim,fragment,quote,ragged-right]
1164 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1168 longtext longtext longtext longtext
1169 longtext longtext longtext longtext
1174 To make this change for all lyrics in the score, set the property in the
1177 @lilypond[verbatim,quote,ragged-right]
1184 longtext longtext longtext longtext
1185 longtext longtext longtext longtext
1190 \override LyricSpace #'minimum-distance = #1.0
1197 @c This snippet has been renamed to "lyrics-alignment.ly"
1198 @c update as soon as lsr/is updated -vv
1199 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1200 @c {lyrics-alignment.ly}
1202 @c TODO: move to LSR -vv
1205 Checking to make sure that text scripts and lyrics are within the margins is
1206 a relatively large computational task. To speed up processing, LilyPond does
1207 not perform such calculations by default; to enable it, use
1210 \override Score.PaperColumn #'keep-inside-line = ##t
1213 To make lyrics avoid bar lines as well, use
1219 \consists "Bar_engraver"
1220 \consists "Separating_line_group_engraver"
1221 \override BarLine #'transparent = ##t
1226 @c TODO Create and add lsr example of lyricMelismaAlignment
1227 @c It's used like this to center-align all lyric syllables,
1228 @c even when notes are tied. -td
1233 \context { \Score lyricMelismaAlignment = #0 }
1238 @node Placement of lyrics
1239 @unnumberedsubsubsec Placement of lyrics
1241 @cindex placement of lyrics
1242 @cindex lyrics, positioning
1244 @c TODO Add text from -user
1246 Lyrics are positioned above the staff, below the staff, or between
1247 staves, depending on the type of music. To place lyrics below the
1248 associated staff simply define the Lyrics context below the Staff
1251 @lilypond[quote,verbatim]
1255 \new Voice = "melody" {
1256 \relative c'' { c4 c c c }
1260 \lyricsto "melody" {
1268 To position lyrics above the staff, place the declaration of the
1269 Lyrics context before the Staff and Voice contexts, but the
1270 @code{\lyricsto} command must come after the Voice declaration it
1271 references, like this:
1273 @lilypond[quote,verbatim]
1276 \new Lyrics = "lyrics"
1278 \new Voice = "melody" {
1279 \relative c'' { c4 c c c }
1282 \context Lyrics = "lyrics" {
1283 \lyricsto "melody" {
1291 Alternatively, the position of the lyrics may be specified
1294 @lilypond[quote,verbatim]
1297 \new Staff = "staff" {
1298 \new Voice = "melody" {
1299 \relative c'' { c4 c c c }
1302 \new Lyrics \with { alignAboveContext = "staff" } {
1303 \lyricsto "melody" {
1311 When there are two voices on separate staves the lyrics may be
1312 placed between the staves using either of these methods. Here
1313 is an example of the first method:
1315 @lilypond[quote,verbatim]
1319 \new Voice = "sopranos" {
1320 \relative c'' { c4 c c c }
1323 \new Lyrics = "sopranos"
1324 \new Lyrics = "contraltos"
1326 \new Voice = "contraltos" {
1327 \relative c'' { a4 a a a }
1330 \context Lyrics = "sopranos" {
1331 \lyricsto "sopranos" {
1332 Sop -- ra -- no words
1335 \context Lyrics = "contraltos" {
1336 \lyricsto "contraltos" {
1337 Con -- tral -- to words
1344 Other combinations of lyrics and staves may be generated by
1345 elaborating these examples, or by examining the SATB templates in
1346 the Learning Manual.
1350 @rlearning{Vocal ensembles}.
1353 @ref{Aligning contexts},
1354 @ref{Creating contexts}.
1360 * Adding stanza numbers::
1361 * Adding dynamics marks to stanzas::
1362 * Adding singers' names to stanzas::
1363 * Stanzas with different rhythms::
1364 * Printing stanzas at the end::
1365 * Printing stanzas at the end in multiple columns::
1369 @node Adding stanza numbers
1370 @unnumberedsubsubsec Adding stanza numbers
1372 @cindex stanza number
1374 Stanza numbers can be added by setting @code{stanza}, e.g.,
1376 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1378 \time 3/4 g2 e4 a2 f4 g2.
1380 \set stanza = #"1. "
1381 Hi, my name is Bert.
1383 \set stanza = #"2. "
1384 Oh, ché -- ri, je t'aime
1390 These numbers are put just before the start of the first syllable.
1392 @c TODO Create and add snippet to show how two lines of a
1393 @c stanza can be grouped together, along these lines:
1394 @c (might need improving a bit) -td
1397 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1401 \set stanza = \markup { "1. " \leftbrace }
1402 \lyricmode { Child, you're mine and I love you.
1403 Lend thine ear to what I say.
1409 % \set stanza = \markup { " "}
1410 \lyricmode { Child, I have no great -- er joy
1411 Than to have you walk in truth.
1417 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1418 c'8 c' c' c' c' c' c'4 }
1419 } \addlyrics { \stanzaOneOne }
1420 \addlyrics { \stanzaOneThree }
1424 @node Adding dynamics marks to stanzas
1425 @unnumberedsubsubsec Adding dynamics marks to stanzas
1427 Stanzas differing in loudness may be indicated by putting a
1428 dynamics mark before each stanza. In LilyPond, everything coming in
1429 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1430 are no different. For technical reasons, you have to set the stanza
1431 outside @code{\lyricmode}:
1433 @lilypond[quote,ragged-right,verbatim]
1435 \set stanza = \markup { \dynamic "ff" "1. " }
1442 \new Voice = "tune" {
1446 \new Lyrics \lyricsto "tune" \text
1450 @node Adding singers' names to stanzas
1451 @unnumberedsubsubsec Adding singers' names to stanzas
1454 @cindex name of singer
1456 Names of singers can also be added. They are printed at the start of
1457 the line, just like instrument names. They are created by setting
1458 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1460 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1462 \time 3/4 g2 e4 a2 f4 g2.
1464 \set vocalName = #"Bert "
1465 Hi, my name is Bert.
1467 \set vocalName = #"Ernie "
1468 Oh, ché -- ri, je t'aime
1472 @node Stanzas with different rhythms
1473 @unnumberedsubsubsec Stanzas with different rhythms
1475 Often, different stanzas of one song are put to one melody in slightly
1476 differing ways. Such variations can still be captured with
1479 @subsubheading Ignoring melismata
1481 One possibility is that the text has a melisma in one stanza, but
1482 multiple syllables in another one. One solution is to make the faster
1483 voice ignore the melisma. This is done by setting
1484 @code{ignoreMelismata} in the Lyrics context.
1486 @lilypond[verbatim,ragged-right,quote]
1488 \relative c' \new Voice = "lahlah" {
1489 \set Staff.autoBeaming = ##f
1495 \new Lyrics \lyricsto "lahlah" {
1498 \new Lyrics \lyricsto "lahlah" {
1500 \set ignoreMelismata = ##t
1502 \unset ignoreMelismata
1509 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1510 not work if prefixed with @code{\once}. It is necessary to use
1511 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1514 @subsubheading Adding syllables to grace notes
1516 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1517 syllables when using @code{\lyricsto}, but this behavior can be
1520 @lilypond[verbatim,ragged-right,quote]
1522 f4 \appoggiatura a32 b4
1523 \grace { f16[ a16] } b2
1524 \afterGrace b2 { f16[ a16] }
1525 \appoggiatura a32 b4
1530 \set includeGraceNotes = ##t
1533 after -- grace case,
1534 \set ignoreMelismata = ##t
1541 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1542 set at latest one syllable before the one which is to be put under a
1543 grace note. For the case of a grace note at the very beginning of a
1544 piece of music, consider using a @code{\with} or @code{\context}
1547 @lilypond[verbatim,ragged-right,quote]
1549 \new Voice = melody \relative c' {
1550 \grace { c16[( d e f] }
1553 \new Lyrics \with { includeGraceNotes = ##t }
1560 @subsubheading Switching to an alternative melody
1562 More complex variations in text underlay are possible. It is possible
1563 to switch the melody for a line of lyrics during the text. This is
1564 done by setting the @code{associatedVoice} property. In the example
1566 @lilypond[ragged-right,quote]
1568 \relative c' \new Voice = "lahlah" {
1569 \set Staff.autoBeaming = ##f
1572 \new Voice = "alternative" {
1575 % show associations clearly.
1576 \override NoteColumn #'force-hshift = #-3
1587 \new Lyrics \lyricsto "lahlah" {
1588 Ju -- ras -- sic Park
1590 \new Lyrics \lyricsto "lahlah" {
1591 % Tricky: need to set associatedVoice
1592 % one syllable too soon!
1593 \set associatedVoice = alternative % applies to "ran"
1597 \set associatedVoice = lahlah % applies to "rus"
1603 the text for the first stanza is set to a melody called @q{lahlah},
1606 \new Lyrics \lyricsto "lahlah" @{
1607 Ju -- ras -- sic Park
1612 The second stanza initially is set to the @code{lahlah} context, but
1613 for the syllable @q{ran}, it switches to a different melody.
1614 This is achieved with
1616 \set associatedVoice = alternative
1620 Here, @code{alternative} is the name of the @code{Voice} context
1621 containing the triplet.
1623 @c TODO: make this easier to understand -vv
1624 This command must be one syllable too early, before @q{Ty} in this
1625 case. In other words, changing the associatedVoice happens one step
1626 later than expected. This is for technical reasons, and it is not a
1630 \new Lyrics \lyricsto "lahlah" @{
1631 \set associatedVoice = alternative % applies to "ran"
1635 \set associatedVoice = lahlah % applies to "rus"
1641 The underlay is switched back to the starting situation by assigning
1642 @code{lahlah} to @code{associatedVoice}.
1645 @node Printing stanzas at the end
1646 @unnumberedsubsubsec Printing stanzas at the end
1648 Sometimes it is appropriate to have one stanza set
1649 to the music, and the rest added in verse form at
1650 the end of the piece. This can be accomplished by adding
1651 the extra verses into a @code{\markup} section outside
1652 of the main score block. Notice that there are two
1653 different ways to force linebreaks when using
1656 @lilypond[ragged-right,verbatim,quote]
1657 melody = \relative c' {
1663 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1664 its fleece was white as snow.
1668 \new Voice = "one" { \melody }
1669 \new Lyrics \lyricsto "one" \text
1675 \line{ All the children laughed and played }
1676 \line{ To see a lamb at school. }
1683 Mary took it home again,
1685 It was against the rule."
1690 @node Printing stanzas at the end in multiple columns
1691 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1693 When a piece of music has many verses, they are often printed in
1694 multiple columns across the page. An outdented verse number often
1695 introduces each verse. The following example shows how to produce such
1698 @lilypond[ragged-right,quote,verbatim]
1699 melody = \relative c' {
1704 \set stanza = #"1." This is verse one.
1709 \new Voice = "one" { \melody }
1710 \new Lyrics \lyricsto "one" \text
1717 \hspace #0.1 % moves the column off the left margin;
1718 % can be removed if space on the page is tight
1722 "This is verse two."
1726 \hspace #0.1 % adds vertical spacing between verses
1729 "This is verse three."
1734 \hspace #0.1 % adds horizontal spacing between columns;
1735 % if they are still too close, add more " " pairs
1736 % until the result looks good
1740 "This is verse four."
1744 \hspace #0.1 % adds vertical spacing between verses
1747 "This is verse five."
1752 \hspace #0.1 % gives some extra space on the right margin;
1753 % can be removed if page space is tight
1760 Internals Reference:
1761 @rinternals{LyricText},
1762 @rinternals{StanzaNumber}.
1769 * References for songs::
1773 @node References for songs
1774 @unnumberedsubsubsec References for songs
1776 @c TODO chords, setting simple songs (LM), stanzas
1780 @unnumberedsubsubsec Lead sheets
1782 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1783 this syntax is explained in @ref{Chord notation}.
1786 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1787 {simple-lead-sheet.ly}
1791 @ref{Chord notation}.
1802 This section discusses notation issues that relate most directly
1803 to choral music. This includes anthems, part songs, oratorio,
1807 * References for choral::
1808 * Score layouts for choral::
1812 @node References for choral
1813 @unnumberedsubsubsec References for choral
1815 Choral music is usually notated on two, three or four staves within
1816 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1817 beneath in a @code{PianoStaff} group, which is usually reduced in
1818 size for @emph{a capella} choral works. The notes for each vocal
1819 part are placed in a @code{Voice} context, with each staff
1820 being given either a single vocal part (i.e., one @code{Voice}) or
1821 a pair of vocal parts (i.e., two @code{Voice}s).
1823 Words are placed in @code{Lyrics} contexts, either underneath each
1824 corresponding music staff, or one above and one below the music
1825 staff if this contains the music for two parts.
1827 Several common topics in choral music are described fully elsewhere:
1832 An introduction to creating an SATB vocal score can be found in
1833 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1836 Several templates suitable for various styles of choral music can
1837 also be found in the Learning Manual, see
1838 @rlearning{Vocal ensembles}.
1841 For information about @code{ChoirStaff} and @code{PianoStaff} see
1842 @ref{Grouping staves}.
1845 Shape noteheads, as used in Sacred Harp and similar notation, are
1846 described in @ref{Shape note heads}.
1849 When two vocal parts share a staff the stems, ties, slurs, etc., of
1850 the higher part will be directed up and those of the lower part
1851 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1852 @ref{Single-staff polyphony}.
1863 @rlearning{Four-part SATB vocal score},
1864 @rlearning{Vocal ensembles}.
1867 @ref{Context layout order},
1868 @ref{Grouping staves},
1869 @ref{Shape note heads},
1870 @ref{Single-staff polyphony}.
1872 Internals Reference:
1873 @rinternals{ChoirStaff},
1874 @rinternals{Lyrics},
1875 @rinternals{PianoStaff}.
1877 @node Score layouts for choral
1878 @unnumberedsubsubsec Score layouts for choral
1880 Choral music containing four staves, with or without piano
1881 accompaniment, is usually laid out with two systems per page.
1882 Depending on the page size, achieving this may require changes
1883 to several default settings. The following settings should be
1889 The global staff size can be modified to change the overall size
1890 of the elements of the score. See @ref{Setting the staff size}.
1893 The distances between the systems, the staves and the lyrics can
1894 all be adjusted independently. See @ref{Vertical spacing}.
1897 The dimensions of the vertical layout variables can be displayed as
1898 an aid to adjusting the vertical spacing. This and other
1899 possibilities for fitting the music onto fewer pages are described
1900 in @ref{Fitting music onto fewer pages}.
1903 If the number of systems per page changes from one to two it is
1904 customary to indicate this with a system separator mark between
1905 the two systems. See @ref{Separating systems}.
1908 For details of other page formatting properties, see
1909 @ref{Page formatting}.
1914 Dynamic markings by default are placed below the staff, but in
1915 choral music they are usually placed above the staff in order to
1916 avoid the lyrics. The predefined command @code{\dynamicUp} does
1917 this for the dynamic markings in a single @code{Voice} context.
1918 If there are many @code{Voice} contexts this predefined command
1919 would have to be placed in every one. Alternatively its expanded
1920 form can be used to place all dynamic markings in the entire score
1921 above their respective staves, as shown here:
1923 @lilypond[verbatim,quote]
1928 \relative c'' { g4\f g g g }
1933 \relative c' { d4 d d\p d }
1940 \override DynamicText #'direction = #UP
1941 \override DynamicLineSpanner #'direction = #UP
1948 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
1952 @ref{Changing spacing},
1953 @ref{Displaying spacing},
1954 @ref{Fitting music onto fewer pages},
1955 @ref{Page formatting},
1957 See @ref{Separating systems},
1958 @ref{Setting the staff size},
1959 @ref{Using an extra voice for breaks},
1960 @ref{Vertical spacing}.
1962 Internals Reference:
1963 @rinternals{VerticalAxisGroup},
1964 @rinternals{StaffGrouper}.
1967 @node Divided voices
1968 @unnumberedsubsubsec Divided voices
1970 @cindex voices, divided
1972 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1973 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
1977 @ref{Expressive marks as lines}.
1980 @node Opera and stage musicals
1981 @subsection Opera and stage musicals
1983 The music, lyrics and dialogue to opera and stage musicals are
1984 usually set out in one or more of the following forms:
1989 A @emph{Conductors' Score} containing the full orchestral and vocal
1990 parts, together with libretto cues if there are spoken passages.
1993 @emph{Orchestral Parts} containing the music for the individual
1994 instruments of the orchestra or band.
1997 A @emph{Vocal Score} containing all vocal parts with piano
1998 accompaniment. The accompaniment is usually an orchestral
1999 reduction, and if so the name of the original orchestral instrument
2000 is often indicated. Vocal scores sometimes includes stage
2001 directions and libretto cues.
2004 A @emph{Vocal Book} containing just the vocal parts
2005 (no accompaniment), sometimes combined with the libretto.
2008 A @emph{Libretto} containing the extended passages of spoken
2009 dialogue usually found in musicals, together with the words to the
2010 sung parts. Stage directions are usually included. LilyPond can
2011 be used to typeset libretti but as they contain no music
2012 alternative methods may be preferable.
2016 The sections in the LilyPond documentation which cover the topics
2017 needed to create scores in the styles commonly found in opera and
2018 musicals are indicated in the References below. This is followed
2019 by sections covering those techniques which are peculiar to
2020 typesetting opera and musical scores.
2023 * References for opera and stage musicals::
2027 * Dialogue over music::
2030 @node References for opera and stage musicals
2031 @unnumberedsubsubsec References for opera and stage musicals
2036 A conductors' score contains many grouped staves and lyrics. Ways
2037 of grouping staves is shown in @ref{Grouping staves}. To nest
2038 groups of staves see @ref{Nested staff groups}.
2041 The printing of empty staves in conductors' scores and vocal scores
2042 is often suppressed. To create such a @qq{Frenched score} see
2043 @ref{Hiding staves}.
2046 Writing orchestral parts is covered in @ref{Writing parts}.
2047 Other sections in the Specialist notation chapter may be relevant,
2048 depending on the orchestration used. Many instruments are
2049 transposing instruments, see @ref{Instrument transpositions}.
2052 If the number of systems per page changes from page to page it is
2053 customary to separate the systems with a system separator mark.
2054 See @ref{Separating systems}.
2057 For details of other page formatting properties, see
2058 @ref{Page formatting}.
2061 Dialogue cues and stage directions can be inserted with markup.
2062 See @ref{Text}. Extensive stage directions can be inserted with
2063 a section of stand-alone markup between two @code{\score} blocks.
2064 See @ref{Separate text}.
2070 @rglos{Frenched score},
2071 @rglos{Frenched staves},
2072 @rglos{transposing instrument}.
2075 @ref{Grouping staves},
2076 @ref{Hiding staves},
2077 @ref{Instrument transpositions},
2078 @ref{Nested staff groups},
2079 @ref{Page formatting},
2080 @ref{Separating systems},
2082 @ref{Writing parts},
2086 @node Character names
2087 @unnumberedsubsubsec Character names
2089 @cindex character names
2090 @cindex names, character
2092 Character names are usually shown to the left of the staff when the
2093 staff is dedicated to that character alone. The instrument name can
2094 be used for this purpose.
2096 @lilypond[quote,verbatim,ragged-right]
2100 \set Staff.instrumentName = #"Kaspar"
2101 \set Staff.shortInstrumentName = #"Kas"
2110 \set Staff.instrumentName = #"Melchior"
2111 \set Staff.shortInstrumentName = #"Mel"
2122 When two or more characters share a staff the character's name is
2123 usually printed above the staff at the start of every section
2124 applying to that character. This can be done with markup. Often a
2125 specific font is used for this purpose.
2127 @lilypond[quote,verbatim,relative=1]
2129 c4^\markup \fontsize #1 \smallCaps Kaspar
2132 a4^\markup \fontsize #1 \smallCaps Melchior
2135 c4^\markup \fontsize #1 \smallCaps Kaspar
2139 Alternatively, if there are many character changes, it may be
2140 easier to set up @qq{instrument} definitions for each character at
2141 the top level so that @code{\instrumentSwitch} can be used to
2142 indicate each change.
2144 @lilypond[quote,verbatim]
2145 \addInstrumentDefinition #"kaspar"
2146 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2147 (shortInstrumentName . "Kas.")
2148 (clefGlyph . "clefs.G")
2149 (clefOctavation . -7)
2150 (middleCPosition . 1)
2152 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2153 (midiInstrument . "voice oohs"))
2155 \addInstrumentDefinition #"melchior"
2156 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2157 (shortInstrumentName . "Mel.")
2158 (clefGlyph . "clefs.F")
2159 (clefOctavation . 0)
2160 (middleCPosition . 6)
2162 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2163 (midiInstrument . "voice aahs"))
2166 \instrumentSwitch "kaspar"
2168 \instrumentSwitch "melchior"
2170 \instrumentSwitch "kaspar"
2177 @ref{Instrument names},
2178 @ref{Scheme functions},
2180 @ref{Text markup commands}.
2183 @rextend{Markup construction in Scheme}.
2186 @unnumberedsubsubsec Musical cues
2188 @cindex musical cues
2189 @cindex cues, musical
2191 Musical cues can be inserted in Vocal Scores, Vocal Books and
2192 Orchestral Parts to indicate what music in another part
2193 immediately precedes an entry. Also, cues are often inserted in the
2194 piano reduction in Vocal Scores to indicate what each orchestral
2195 instrument is playing. This aids the conductor when a full
2196 Conductors' Score is not available.
2198 The basic mechanism for inserting cues is fully explained in the
2199 main text, see @ref{Quoting other voices} and
2200 @ref{Formatting cue notes}. But when many cues have to be
2201 inserted, for example, as an aid to a conductor in a vocal score,
2202 the instrument name must be positioned carefully just before and
2203 close to the start of the cued notes. The following example shows
2204 how this is done. Note that the name of the grob for overriding
2205 the cued instrument name is @code{InstrumentSwitch}.
2207 @lilypond[quote,verbatim]
2208 flute = \relative c'' {
2211 \addQuote "flute" { \flute }
2213 pianoRH = \relative c'' {
2215 % position name of cued instrument just before the cued notes
2216 \once \override CueVoice.InstrumentSwitch
2217 #'self-alignment-X = #RIGHT
2218 % position name of cued instrument above the staff
2219 \once \override CueVoice.InstrumentSwitch #'direction = #UP
2220 \set CueVoice.instrumentCueName = "Flute"
2221 \cueDuring "flute" #UP { g4 bes4 }
2223 pianoLH = \relative c { c4 <c' e> e, <g c> }
2238 If a transposing instrument is being cued the instrument part should
2239 specify its key so the conversion of its cued notes will be done
2240 automatically. The example below shows this transposition for a
2241 B-flat clarinet. The notes in this example are low on the staff so
2242 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2243 down) and the instrument name is positioned below the staff. Note
2244 also that the piano right-hand voice is explicitly declared. This
2245 is because the cued notes in this example begin at the start of the
2246 first bar and this would otherwise cause the entire piano right-hand
2247 notes to be placed in a @code{CueVoice} context.
2249 @lilypond[quote,verbatim]
2250 clarinet = \relative c' {
2254 \addQuote "clarinet" { \clarinet }
2256 pianoRH = \relative c'' {
2258 % position name of cued instrument just before the cued notes
2259 \once \override CueVoice.InstrumentSwitch
2260 #'self-alignment-X = #RIGHT
2261 % position name of cued instrument below the staff
2262 \once \override CueVoice.InstrumentSwitch #'direction = #DOWN
2263 \set CueVoice.instrumentCueName = "Clar."
2264 \cueDuring "clarinet" #DOWN { c4. g8 }
2267 pianoLH = \relative c { c4 <c' e> e, <g c> }
2286 From these two examples it is clear that inserting many cues in a
2287 Vocal Score would be extremely tedious, and the notes of the piano
2288 part would be obscured by the many overrides. However, as the
2289 following snippet shows, it is possible to define a music function
2290 to reduce the amount of typing and to make the piano notes clearer.
2293 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2294 {adding-orchestral-cues-to-a-vocal-score.ly}
2301 @ref{Aligning objects},
2302 @ref{Direction and placement},
2303 @ref{Formatting cue notes},
2304 @ref{Quoting other voices},
2305 @ref{Using music functions}.
2310 Internals Reference:
2311 @rinternals{InstrumentSwitch},
2312 @rinternals{CueVoice}.
2315 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2316 and all cue notes are placed in that context. This means it is not
2317 possible to have two overlapping sequences of cued notes by this
2318 technique. Overlapping sequences could be entered by explicitly
2319 declaring separate @code{CueVoice} contexts and using
2320 @code{\quoteDuring} to extract and insert the cued notes.
2324 @unnumberedsubsubsec Spoken music
2327 @cindex Sprechgesang
2328 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2329 without pitch but still with rhythm; these are notated by cross
2330 note heads, as demonstrated in @ref{Special note heads}.
2332 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2333 @c add "showing the rhythm of a melody" snip
2334 @c add "one staff-line notation"
2335 @c add "improvisation" ref
2336 @c add "lyrics independents of notes" ref
2338 @node Dialogue over music
2339 @unnumberedsubsubsec Dialogue over music
2344 @node Chants psalms and hymns
2345 @subsection Chants psalms and hymns
2350 @cindex religious music
2352 The music and words for chants, psalms and hymns usually follow a
2353 well-established format in any particular church. Although the
2354 formats may differ from church to church the type-setting problems
2355 which arise are broadly similar, and are covered in this section.
2358 * References for chants and psalms::
2360 * Pointing a psalm::
2361 * Partial measures in hymn tunes::
2364 @node References for chants and psalms
2365 @unnumberedsubsubsec References for chants and psalms
2367 Typesetting Gregorian chant in various styles of ancient notation
2368 is described in @ref{Ancient notation}.
2372 @ref{Ancient notation}.
2375 @node Setting a chant
2376 @unnumberedsubsubsec Setting a chant
2378 Modern chant settings use modern notation with varying numbers of
2379 elements taken from ancient notation. Some of the elements and
2380 methods to consider are shown here.
2382 Chants often use quarter notes without stems to indicate the pitch,
2383 with the rhythm being taken from the spoken rhythm of the words.
2385 @lilypond[verbatim,quote]
2386 stemOff = { \override Staff.Stem #'transparent = ##t }
2395 Chants often omit the bar lines or use shortened or dotted bar
2396 lines to indicate pauses in the music. To omit all bar lines from
2397 all staves remove the bar line engraver completely:
2399 @lilypond[verbatim,quote]
2420 \remove Bar_engraver
2426 Bar lines can also be removed on a staff-by-staff basis:
2428 @lilypond[verbatim, quote]
2432 \with { \remove Bar_engraver } {
2450 To remove bar lines from just a section of music treat it as a
2451 cadenza. If the section is long you may need to insert dummy
2452 barlines with @code{\bar ""} to show where the line should break.
2454 @lilypond[verbatim,quote,relative=2]
2467 Rests or pauses in chants can be indicated by modified bar lines.
2469 @lilypond[verbatim, quote,relative=2]
2484 Alternatively, the notation used in Gregorian chant for pauses or
2485 rests is sometimes used even though the rest of the notation is
2486 modern. This uses a modified @code{\breathe} mark:
2488 @lilypond[verbatim,quote]
2490 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2491 \once \override BreathingSign #'Y-offset = #0
2495 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2496 \once \override BreathingSign #'Y-offset = #0
2500 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2501 \once \override BreathingSign #'Y-offset = #0
2505 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2506 \once \override BreathingSign #'Y-offset = #0
2524 \remove Bar_engraver
2530 Chants usually omit the time signature and often omit the clef too.
2532 @lilypond[verbatim,quote]
2544 \remove Bar_engraver
2545 \remove Time_signature_engraver
2546 \remove Clef_engraver
2552 Chants for psalms in the Anglican tradition are usually either
2553 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2554 of 7 bars. Each group of 7 bars is divided into two halves,
2555 corresponding to the two halves of each verse, usually separated by
2556 a double bar line. Only whole and half notes are used. The 1st bar
2557 in each half always contains a single chord of whole notes. This is
2558 the @qq{reciting note}. Chants are usually centered on the page.
2560 @lilypond[verbatim,quote]
2561 SopranoMusic = \relative g' {
2562 g1 | c2 b | a1 | \bar "||"
2563 a1 | d2 c | c b | c1 | \bar "||"
2566 AltoMusic = \relative c' {
2568 f1 | f2 e | d d | e1 |
2571 TenorMusic = \relative a {
2573 d1 | g,2 g | g g | g1 |
2576 BassMusic = \relative c {
2578 d1 | b2 c | g' g | c,1 |
2585 % Use markup to center the chant on the page
2594 \new Voice = "Soprano" <<
2598 \new Voice = "Alto" <<
2606 \new Voice = "Tenor" <<
2610 \new Voice = "Bass" <<
2620 \override SpacingSpanner
2621 #'base-shortest-duration = #(ly:make-moment 1 2)
2625 \remove "Time_signature_engraver"
2633 Some other approaches to setting such a chant are shown in the first
2634 of the following snippets.
2638 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2639 {chant-or-psalms-notation.ly}
2641 Canticles and other liturgical texts may be set more freely, and
2642 may use notational elements from ancient music. Often the words
2643 are shown underneath and aligned with the notes. If so, the notes
2644 are spaced in accordance with the syllables rather than the notes'
2647 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2648 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2652 @rlearning{Visibility and color of objects},
2653 @rlearning{Vocal ensembles}.
2656 @ref{Ancient notation},
2658 @ref{Modifying context plug-ins},
2659 @ref{Typesetting Gregorian chant},
2660 @ref{Unmetered music},
2661 @ref{Visibility of objects}.
2664 @node Pointing a psalm
2665 @unnumberedsubsubsec Pointing a psalm
2667 The words to an Anglican psalm are usually printed in separate
2668 verses centered underneath the chant.
2670 Single chants (with 7 bars) are repeated for every verse. Double
2671 chants (with 14 bars) are repeated for every pair of verses. Marks
2672 are inserted in the words to show how they should be fitted to the
2673 chant. Each verse is divided into two halves. A colon is usually
2674 used to indicate this division. This corresponds to the double bar
2675 line in the music. The words before the colon are sung to the first
2676 three bars of music; the words after the colon are sung to the last
2679 Single bar lines (or in some psalters an inverted comma or similar
2680 symbol) are inserted between words to indicate where the bar lines
2681 in the music fall. In markup mode a single bar line can be entered
2682 with the bar check symbol, @code{|}.
2684 @lilypond[verbatim,quote]
2689 \line { O come let us sing | unto the | Lord : let }
2690 \line { us heartily rejoice in the | strength of | our }
2691 \line { sal- | -vation. }
2698 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2699 For details, see @ref{Fonts}.
2701 @lilypond[verbatim,quote]
2703 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2709 \line { O come let us sing \tick unto the \tick Lord : let }
2711 us heartily rejoice in the \tick strength of \tick our
2713 \line { sal \tick vation. }
2720 Where there is one whole note in a bar all the words corresponding
2721 to that bar are recited on that one note in speech rhythm. Where
2722 there are two notes in a bar there will usually be only one or two
2723 corresponding syllables. If there are more that two syllables a
2724 dot is usually inserted to indicate where the change in note occurs.
2726 @lilypond[verbatim,quote]
2728 \raise #0.7 \musicglyph #"dots.dot"
2731 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2738 O come let us sing \tick unto \dot the \tick Lord : let
2741 us heartily rejoice in the \tick strength of \tick our
2743 \line { sal \tick vation. }
2750 In some psalters an asterisk is used to indicate a break in a
2751 recited section instead of a comma, and stressed or slightly
2752 lengthened syllables are indicated in bold text.
2754 @lilypond[verbatim,quote]
2756 \raise #0.7 \musicglyph #"dots.dot"
2759 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2765 \line { Today if ye will hear his voice * }
2767 \concat { \bold hard en }
2768 | not your | hearts : as in the pro-
2770 \line { vocation * and as in the \bold day of tempt- | }
2771 \line { -ation | in the | wilderness. }
2778 In other psalters an accent is placed over the syllable to indicate
2781 @lilypond[verbatim,quote]
2783 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2790 O come let us \concat {
2791 si \combine \tick ng
2793 | unto the | Lord : let
2796 us heartily \concat {
2797 rejo \combine \tick ice
2799 in the | strength of | our
2801 \line { sal- | -vation. }
2808 The use of markup to center text, and arrange lines in columns is
2809 described in @ref{Formatting text}.
2811 Most of these elements are shown in one or other of the two verses
2812 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
2816 @rlearning{Vocal ensembles}.
2820 @ref{Formatting text}.
2823 @node Partial measures in hymn tunes
2824 @unnumberedsubsubsec Partial measures in hymn tunes
2826 Hymn tunes frequently start and end every line of music with
2827 partial measures so that each line of music corresponds exactly
2828 with a line of text. This requires a @code{\partial} command at
2829 the start of the music and @code{\bar "|"} or @code{\bar "||"}
2830 commands at the end of each line.
2832 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2836 @node Ancient vocal music
2837 @subsection Ancient vocal music
2839 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
2843 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
2844 @c and "Transcription of Ancient music with incipit" snippet. -vv
2848 @ref{Ancient notation}.