1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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15 @lilypondfile[quote]{vocal-headword.ly}
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
46 * Extenders and hyphens::
50 @node References for vocal music
51 @unnumberedsubsubsec References for vocal music
53 This section indicates where to find details of notation issues
54 that may arise in any type of vocal music.
59 Most styles of vocal music use written text as lyrics. An
60 introduction to this notation is to be found in
61 @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode,
65 either for lyrics or for other text elements (characters' names,
66 etc.) This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves,
70 as explained in @ref{Ambitus}.
73 Dynamic markings by default are placed below the staff, but in
74 choral music they are usually placed above the staff in order to
75 avoid the lyrics, as explained in @ref{Score layouts for choral}.
84 @rlearning{Setting simple songs}.
87 @ref{Text markup introduction},
89 @ref{Score layouts for choral}.
95 @unnumberedsubsubsec Entering lyrics
97 @cindex lyrics, entering
98 @cindex entering lyrics
99 @cindex punctuation in lyrics
100 @cindex lyrics punctuation
101 @cindex spaces in lyrics
102 @cindex quotes in lyrics
105 @c TODO should we explain hyphens here
107 Lyrics are entered in a special input mode, which can be introduced
108 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
109 @code{\lyricsto}. In this special input mode, the input @code{d}
110 is not parsed as the pitch @notation{D}, but rather as a one-letter
111 syllable of text. In other words, syllables are entered like notes
112 but with pitches replaced by text.
117 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
120 There are two main methods for specifying the horizontal placement
121 of the syllables, either by specifying the duration of each syllable
122 explicitly, as in the example above, or by leaving the lyrics to be
123 aligned automatically to a melody or other voice of music, using
124 @code{\addlyrics} or @code{\lyricsto}. The former method is
125 described below in @ref{Manual syllable durations}. The latter
126 method is described in @ref{Automatic syllable durations}.
128 A word or syllable of lyrics begins with an alphabetic character
129 (plus some other characters, see below) and is terminated by any
130 white space or a digit. Later characters in the syllable can be any
131 character that is not a digit or white space.
133 Because any character that is not a digit or white space is regarded
134 as part of the syllable, a word is valid even if it ends with
135 @code{@}}, which often leads to the following mistake:
138 \lyricmode @{ lah lah lah@}
141 In this example, the @code{@}} is included in the final syllable, so the
142 opening brace is not balanced and the input file will probably not
143 compile. Instead, braces should always be surrounded with white space:
146 \lyricmode @{ lah lah lah @}
149 @cindex overrides in lyric mode
150 @funindex \override in \lyricmode
152 Similarly, in lyric mode, a period will be included in the
153 alphabetic sequence that it follows. As a consequence, spaces
154 must be inserted around the period in @code{\override} commands.
158 \override Score.LyricText #'font-shape = #'italic
165 \override Score . LyricText #'font-shape = #'italic
168 Punctuation, lyrics with accented characters, characters from
169 non-English languages, or special characters (such as the heart
170 symbol or slanted quotes), may simply be inserted directly
171 into the input file, providing it is saved with UTF-8 encoding.
172 For more information, see @ref{Text encoding}.
174 @lilypond[quote,verbatim]
175 \relative c'' { d8 c16 a bes8 f e' d c4 }
176 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
179 Normal quotes may be used in lyrics, but they have to be preceded
180 with a backslash character and the whole syllable has to be
181 enclosed between additional quotes. For example,
183 @lilypond[quote,verbatim]
184 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
185 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
188 The full definition of a word start in lyrics mode is somewhat more
189 complex. A word in lyrics mode is one that begins with an
190 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
191 @code{'}, the control characters @code{^A} through @code{^F},
192 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
193 character with an ASCII code over 127, or a two-character
194 combination of a backslash followed by one of @code{`}, @code{'},
195 @code{"}, or @code{^}.
197 @c " to balance double quotes for not-so-bright context-sensitive editors
204 @ref{Automatic syllable durations},
207 @ref{Manual syllable durations},
211 @rinternals{LyricText}.
214 @node Aligning lyrics to a melody
215 @unnumberedsubsubsec Aligning lyrics to a melody
217 @cindex lyrics, aligning to a melody
218 @cindex @code{associatedVoice}
223 Lyrics are printed by interpreting them in the context called
224 @code{Lyrics}, see @ref{Contexts explained}.
227 \new Lyrics \lyricmode @{ @dots{} @}
230 Lyrics can be aligned with melodies in two main ways:
235 Lyrics can be aligned automatically, with the durations of the
236 syllables being taken from another voice of music or (in special
237 circumstances) an associated melody, using @code{\addlyrics},
238 @code{\lyricsto}, or by setting the @code{associatedVoice} property.
239 For more details, see @ref{Automatic syllable durations}.
241 @lilypond[quote,ragged-right,verbatim]
245 \new Voice = "one" \relative c'' {
247 c4 b8. a16 g4. r8 a4 ( b ) c2
249 \new Voice = "two" \relative c' {
255 % takes durations and alignment from notes in "one"
256 \new Lyrics \lyricsto "one" {
257 Life is __ _ love, live __ life.
260 % takes durations and alignment from notes in "one" initially
261 % then switches to "two"
262 \new Lyrics \lyricsto "one" {
264 \set associatedVoice = "two" % must be set one syllable early
265 sins and sor -- rows grow.
270 The first stanza shows the normal way of entering lyrics.
272 The second stanza shows how the voice from which the lyric
273 durations are taken can be changed. This is useful if the words to
274 different stanzas fit the notes in different ways and all the
275 durations are available in Voice contexts. For more details, see
279 Lyrics can be aligned independently of the duration of any notes
280 if the durations of the syllables are specified explicitly,
281 and entered with @code{\lyricmode}.
283 @lilypond[quote,ragged-right,verbatim]
285 \new Voice = "one" \relative c'' {
287 c4 b8. a16 g4. f8 e4 d c2
290 % uses previous explicit duration of 2;
291 \new Lyrics \lyricmode {
295 % explicit durations, set to a different rhythm
296 \new Lyrics \lyricmode {
297 Life4 is love,2. live4 life.2
302 The first stanza is not aligned with the notes because the durations
303 were not specified, and the previous value of 2 is used for each
306 The second stanza shows how the words can be aligned quite
307 independently from the notes. This is useful if the words to
308 different stanzas fit the notes in different ways and the required
309 durations are not available in a music context. For more details
310 see @ref{Manual syllable durations}. This technique is also useful
311 when setting dialogue over music; for examples showing this, see
312 @ref{Dialogue over music}.
314 When entered in this way the words are left-aligned to the notes
315 by default, but may be center-aligned to the notes of a melody by
316 specifying an associated voice, if one exists. For details, see
317 @ref{Manual syllable durations}.
323 @rlearning{Aligning lyrics to a melody}.
326 @ref{Contexts explained},
327 @ref{Automatic syllable durations}.
329 @ref{Manual syllable durations},
330 @ref{Dialogue over music},
331 @ref{Manual syllable durations}.
336 @node Automatic syllable durations
337 @unnumberedsubsubsec Automatic syllable durations
339 @cindex syllable durations, automatic
340 @cindex lyrics and melodies
341 @cindex associatedVoice
345 Lyrics can be automatically aligned to the notes of a melody in
351 by specifying the named Voice context containing the melody with
355 by introducing the lyrics with @code{\addlyrics} and placing them
356 immediately after the Voice context containing the melody,
359 by setting the @code{associatedVoice} property, the alignment of
360 the lyrics may be switched to a different named Voice context at
365 In all three methods hyphens can be drawn between the syllables of
366 a word and extender lines can be drawn beyond the end of a word. For
367 details, see @ref{Extenders and hyphens}.
369 The @code{Voice} context containing the melody to which the lyrics
370 are being aligned must not have @qq{died}, or the lyrics after that
371 point will be lost. This can happen if there are periods when that
372 voice has nothing to do. For methods of keeping contexts alive, see
373 @ref{Keeping contexts alive}.
375 @subheading Using @code{\lyricsto}
380 Lyrics can be aligned under a melody automatically by specifying
381 the named Voice context containing the melody with
384 @lilypond[quote,verbatim,relative=2]
386 \new Voice = "melody" {
389 \new Lyrics \lyricsto "melody" {
396 This aligns the lyrics to the notes of the named @code{Voice}
397 context, which must already exist. Therefore normally the
398 @code{Voice} context is specified first, followed by the
399 @code{Lyrics} context. The lyrics themselves follow the
400 @code{\lyricsto} command. The @code{\lyricsto} command
401 invokes lyric mode automatically, so the @code{\lyricmode} keyword
402 may be omitted. By default, the lyrics are placed underneath the
403 notes. For other placements, see @ref{Placing lyrics vertically}.
405 @subheading Using @code{\addlyrics}
410 The @code{\addlyrics} command is just a convenient shortcut that
411 can sometimes be used instead of having to set up the lyrics
412 through a more complicated LilyPond structure.
416 \addlyrics @{ LYRICS @}
423 \new Voice = "blah" @{ MUSIC @}
424 \new Lyrics \lyricsto "blah" @{ LYRICS @}
429 @lilypond[verbatim,quote]
432 \relative c' { c2 e4 g2. }
433 \addlyrics { play the game }
437 More stanzas can be added by adding more
438 @code{\addlyrics} sections:
441 @lilypond[ragged-right,verbatim,quote]
444 \relative c' { c2 e4 g2. }
445 \addlyrics { play the game }
446 \addlyrics { speel het spel }
447 \addlyrics { joue le jeu }
451 The command @code{\addlyrics} cannot handle polyphonic settings.
452 For these cases one should use @code{\lyricsto}.
454 @subheading Using associatedVoice
456 The melody to which the lyrics are being aligned can be changed by
457 setting the @code{associatedVoice} property,
460 \set associatedVoice = #"lala"
465 The value of the property (here: @code{"lala"}) should be the name
466 of a @code{Voice} context. For technical reasons, the @code{\set}
467 command must be placed one syllable before the one to which the
468 change in voice is to apply.
470 Here is an example demonstrating its use:
472 @lilypond[quote,ragged-right,verbatim]
476 \new Voice = "one" \relative c'' {
478 c4 b8. a16 g4. r8 a4 ( b ) c2
480 \new Voice = "two" \relative c' {
485 % takes durations and alignment from notes in "one" initially
486 % then switches to "two"
487 \new Lyrics \lyricsto "one" {
489 \set associatedVoice = "two" % must be set one syllable early
490 sins and sor -- rows grow.
497 @ref{Extenders and hyphens},
498 @ref{Keeping contexts alive},
499 @ref{Placing lyrics vertically}.
501 @node Manual syllable durations
502 @unnumberedsubsubsec Manual syllable durations
504 In some complex vocal music, it may be desirable to place lyrics
505 completely independently of notes. In this case do not use
506 @code{\lyricsto} or @code{\addlyrics} and do not set
507 @code{associatedVoice}. Syllables are entered like notes --
508 but with pitches replaced by text -- and the duration of each
509 syllable is entered explicitly after the syllable.
511 By default, syllables will be left-aligned to the corresponding
512 musical moment. Hyphenated lines may be drawn between syllables
513 as usual, but extender lines cannot be drawn when there is no
516 Here are two examples:
518 @lilypond[relative=1,verbatim,quote]
520 \new Voice = "melody" {
524 \new Lyrics \lyricmode {
531 @lilypond[quote,verbatim,ragged-right]
553 This technique is useful when writing dialogue over music, see
554 @ref{Dialogue over music}.
556 To center-align syllables on the notes at the corresponding musical
557 moments, set @code{associatedVoice} to the name of the Voice context
558 containing those notes. When @code{associatedVoice} is set, both
559 double hyphens and double underscores can be used to draw
560 hyphenated lines and extenders under melismata correctly.
562 @lilypond[relative=1,verbatim,quote]
564 \new Voice = "melody" {
568 \new Lyrics \lyricmode {
569 \set associatedVoice = #"melody"
575 @c TODO see also feature request 707 - show how to do this with manual durations
579 @ref{Dialogue over music}.
586 @node Multiple syllables to one note
587 @unnumberedsubsubsec Multiple syllables to one note
590 @cindex spaces, in lyrics
591 @cindex quotes, in lyrics
592 @cindex ties, in lyrics
594 In order to assign more than one syllable to a single note with
595 spaces between the syllables, you can surround the phrase with
596 quotes or use a @code{_} character. Alternatively, you can use
597 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
598 tie is implemented with the Unicode character U+203F, so be
599 sure to have a font (like DejaVuLGC) installed that includes this
602 @lilypond[quote,ragged-right,verbatim]
605 \relative c' { c2 e4 g2 e4 }
606 \addlyrics { gran- de_a- mi- go }
607 \addlyrics { pu- "ro y ho-" nes- to }
608 \addlyrics { pu- ro~y~ho- nes- to }
615 @rinternals{LyricCombineMusic}.
618 @node Multiple notes to one syllable
619 @unnumberedsubsubsec Multiple notes to one syllable
623 @cindex phrasing, in lyrics
625 @funindex \melismaEnd
627 Sometimes, particularly in Medieval music, several notes are to be
628 sung on one syllable; such vocalises are called melismata, or
629 @rglos{melisma}s. The syllable to a melisma is usually
630 left-aligned with the first note of the melisma.
632 When a melisma occurs on a syllable other that the last one in a
633 word, that syllable is usually joined to the following one with a
634 hyphenated line. This is indicated by placing a double hyphen,
635 @code{--}, immediately after the syllable.
637 Alternatively, when a melisma occurs on the last or only syllable in
638 a word an extender line is usually drawn from the end of the syllable
639 to the last note of the melisma. This is indicated by placing a
640 double underscore, @code{__}, immediately after the word.
642 There are five ways in which melismata can be indicated:
647 Melismata are created automatically over notes which are tied
650 @lilypond[quote,relative=2,verbatim]
652 \new Voice = "melody" {
658 \new Lyrics \lyricsto "melody" {
665 Melismata can be created automatically from the music by placing
666 slurs over the notes of each melisma. This is the usual way of
669 @lilypond[quote,relative=2,verbatim]
671 \new Voice = "melody" {
676 \new Lyrics \lyricsto "melody" {
683 Notes are considered a melisma if they are manually beamed,
684 providing automatic beaming is switched off. See
685 @ref{Setting automatic beam behavior}.
687 @lilypond[quote,relative=2,verbatim]
689 \new Voice = "melody" {
695 \new Lyrics \lyricsto "melody" {
701 Clearly this is not suited to melismata over notes which are longer
705 An unslurred group of notes will be treated as a melisma if they
706 are bracketed between @code{\melisma} and @code{\melismaEnd}.
708 @lilypond[quote,relative=2,verbatim]
710 \new Voice = "melody" {
718 \new Lyrics \lyricsto "melody" {
724 Note that this method cannot be used to indicate two melismata if
725 the first one is immediately followed by another.
728 A melisma can be defined entirely in the lyrics by entering a
729 single underscore character, @code{_}, for every extra note that has
730 to be added to the melisma.
732 @lilypond[verbatim, quote, relative=2]
734 \new Voice = "melody" {
739 \new Lyrics \lyricsto "melody" {
740 Ky -- ri -- _ _ _ e __ _ _
747 It is possible to have ties, slurs and manual beams in the melody
748 without their indicating melismata. To do this, set
749 @code{melismaBusyProperties}:
751 @lilypond[relative=1,verbatim,quote]
753 \new Voice = "melody" {
755 \set melismaBusyProperties = #'()
759 \new Lyrics \lyricsto "melody" {
760 Ky -- ri -- e e -- le -- i -- son
765 Other settings for @code{melismaBusyProperties} can be used to
766 selectively include or exclude ties, slurs, and beams from the
767 automatic detection of melismata; see @code{melismaBusyProperties}
768 in @rinternals{Tunable context properties}.
770 Alternatively, if all melismata indications are to be ignored,
771 @code{ignoreMelismata} may be set true;
772 see @ref{Stanzas with different rhythms}.
774 If a melisma is required during a passage in which
775 @code{melismaBusyProperties} is active, it may be indicated by
776 placing a single underscore in the lyrics for each note which
777 should be included in the melisma:
779 @lilypond[relative=1,verbatim,quote]
781 \new Voice = "melody" {
783 \set melismaBusyProperties = #'()
787 \new Lyrics \lyricsto "melody" {
788 Ky -- ri -- _ e __ _ _ _
806 @rlearning{Aligning lyrics to a melody}.
809 @ref{Aligning lyrics to a melody},
810 @ref{Automatic syllable durations},
811 @ref{Setting automatic beam behavior},
812 @ref{Stanzas with different rhythms}.
815 @rinternals{Tunable context properties}.
819 Extender lines under melismata are not created automatically; they
820 must be inserted manually with a double underscore.
823 @node Extenders and hyphens
824 @unnumberedsubsubsec Extenders and hyphens
829 @c TODO cf Multiple notes to one syllable; should this be merged in?
831 @c leave this as samp. -gp
832 In the last syllable of a word, melismata are sometimes indicated with
833 a long horizontal line starting in the melisma syllable, and ending in
834 the next one. Such a line is called an extender line, and it is
835 entered as @samp{ __ } (note the spaces before and after the two
836 underscore characters).
838 @warning{Melismata are indicated in the score with extender lines,
839 which are entered as one double underscore; but short melismata can
840 also be entered by skipping individual notes, which are entered as
841 single underscore characters; these do not make an extender line to be
846 @c leave this as samp. -gp
847 Centered hyphens are entered as @samp{ -- } between syllables of a
848 same word (note the spaces before and after the two hyphen
849 characters). The hyphen will be centered between the syllables, and
850 its length will be adjusted depending on the space between the
853 In tightly engraved music, hyphens can be removed. Whether this
854 happens can be controlled with the @code{minimum-distance} (minimum
855 distance between two syllables) and the @code{minimum-length}
856 (threshold below which hyphens are removed) properties of
862 @rinternals{LyricExtender},
863 @rinternals{LyricHyphen}.
866 @node Techniques specific to lyrics
867 @subsection Techniques specific to lyrics
869 @c TODO this whole section is to be reorganised
872 * Working with lyrics and variables::
873 * Placing lyrics vertically::
874 * Placing syllables horizontally::
875 * Lyrics and repeats::
881 @node Working with lyrics and variables
882 @unnumberedsubsubsec Working with lyrics and variables
884 @cindex lyrics, using variables
886 Variables containing lyrics can be created, but the lyrics must be
887 entered in lyric mode:
889 @lilypond[quote,verbatim]
890 musicOne = \relative c'' {
891 c4 b8. a16 g4. f8 e4 d c2
893 verseOne = \lyricmode {
894 Joy to the world, the Lord is come.
902 \new Lyrics \lyricsto "one" {
909 Durations do not need to be added if the variable is to be invoked
910 with @code{\addlyrics} or @code{\lyricsto}.
912 For different or more complex orderings, the best way is to define
913 the music and lyric variables first, then set up the hierarchy of
914 staves and lyrics, omitting the lyrics themselves, and then add the
915 lyrics using @code{\context} underneath. This ensures that the
916 voices referenced by @code{\lyricsto} have always been defined
917 earlier. For example:
919 @lilypond[quote,verbatim]
920 sopranoMusic = \relative c'' { c4 c c c }
921 contraltoMusic = \relative c'' { a4 a a a }
922 sopranoWords = \lyricmode { Sop -- ra -- no words }
923 contraltoWords = \lyricmode { Con -- tral -- to words }
928 \new Voice = "sopranos" {
932 \new Lyrics = "sopranos"
933 \new Lyrics = "contraltos"
935 \new Voice = "contraltos" {
939 \context Lyrics = "sopranos" {
940 \lyricsto "sopranos" {
944 \context Lyrics = "contraltos" {
945 \lyricsto "contraltos" {
956 @ref{Placing lyrics vertically}.
959 @rinternals{LyricCombineMusic},
963 @node Placing lyrics vertically
964 @unnumberedsubsubsec Placing lyrics vertically
966 @cindex placement of lyrics
967 @cindex lyrics, positioning
969 Depending on the type of music, lyrics may be positioned
970 above the staff, below the staff, or between staves. Placing
971 lyrics below the associated staff is the easiest, and can be
972 achieved by simply defining the Lyrics context below the Staff
975 @lilypond[quote,verbatim]
979 \new Voice = "melody" {
980 \relative c'' { c4 c c c }
992 Lyrics may be positioned above the staff using one of
993 two methods. The simplest (and preferred) method
994 is to use the same syntax as above and explicitly
995 specify the position of the lyrics:
997 @lilypond[quote,verbatim]
1000 \new Staff = "staff" {
1001 \new Voice = "melody" {
1002 \relative c'' { c4 c c c }
1005 \new Lyrics \with { alignAboveContext = "staff" } {
1006 \lyricsto "melody" {
1014 Alternatively, a two-step process may be used. First the Lyrics
1015 context is declared (without any content) before the Staff and
1016 Voice contexts, then the @code{\lyricsto} command is placed after
1017 the Voice declaration it references by using @code{\context}, as
1020 @lilypond[quote,verbatim]
1023 \new Lyrics = "lyrics" \with {
1024 % lyrics above a staff should have this override
1025 \override VerticalAxisGroup #'staff-affinity = #DOWN
1028 \new Voice = "melody" {
1029 \relative c'' { c4 c c c }
1032 \context Lyrics = "lyrics" {
1033 \lyricsto "melody" {
1041 When there are two voices on separate staves the lyrics may be
1042 placed between the staves using either of these methods. Here
1043 is an example of the second method:
1045 @lilypond[quote,verbatim]
1049 \new Voice = "sopranos" {
1050 \relative c'' { c4 c c c }
1053 \new Lyrics = "sopranos"
1054 \new Lyrics = "contraltos" \with {
1055 % lyrics above a staff should have this override
1056 \override VerticalAxisGroup #'staff-affinity = #DOWN
1059 \new Voice = "contraltos" {
1060 \relative c'' { a4 a a a }
1063 \context Lyrics = "sopranos" {
1064 \lyricsto "sopranos" {
1065 Sop -- ra -- no words
1068 \context Lyrics = "contraltos" {
1069 \lyricsto "contraltos" {
1070 Con -- tral -- to words
1077 Other combinations of lyrics and staves may be generated by
1078 elaborating these examples, or by examining the
1079 @rlearning{Vocal ensembles} templates in the Learning Manual.
1082 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1083 {lyrics-old-spacing-settings.ly}
1087 @rlearning{Vocal ensembles}.
1090 @ref{Aligning contexts},
1091 @ref{Creating contexts}.
1093 @node Placing syllables horizontally
1094 @unnumberedsubsubsec Placing syllables horizontally
1096 @cindex Spacing lyrics
1097 @cindex Lyrics, increasing space between
1099 To increase the spacing between lyrics, set the
1100 @code{minimum-distance} property of @code{LyricSpace}.
1102 @lilypond[relative=1,verbatim,quote,ragged-right]
1105 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1109 longtext longtext longtext longtext
1110 longtext longtext longtext longtext
1115 To make this change for all lyrics in the score, set the property in the
1116 @code{\layout} block.
1118 @lilypond[verbatim,quote,ragged-right]
1125 longtext longtext longtext longtext
1126 longtext longtext longtext longtext
1131 \override LyricSpace #'minimum-distance = #1.0
1138 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1139 {lyrics-alignment.ly}
1141 @c TODO: move to LSR -vv
1143 Checking to make sure that text scripts and lyrics are within the
1144 margins is a relatively large computational task. To speed up processing,
1145 LilyPond does not perform such calculations by default; to enable it, use
1148 \override Score.PaperColumn #'keep-inside-line = ##t
1151 To make lyrics avoid bar lines as well, use
1157 \consists "Bar_engraver"
1158 \consists "Separating_line_group_engraver"
1159 \override BarLine #'transparent = ##t
1164 @c TODO Create and add lsr example of lyricMelismaAlignment
1165 @c It's used like this to center-align all lyric syllables,
1166 @c even when notes are tied. -td
1171 \context { \Score lyricMelismaAlignment = #0 }
1176 @node Lyrics and repeats
1177 @unnumberedsubsubsec Lyrics and repeats
1179 @cindex repeats and lyrics
1180 @cindex lyrics, repeating
1182 @subheading Simple repeats
1184 Repeats in @emph{music} are fully described elsewhere; see
1185 @ref{Repeats}. This section explains how to add lyrics to repeated
1188 Lyrics to a section of music that is repeated should be surrounded
1189 by exactly the same repeat construct as the music, if the words are
1192 @lilypond[verbatim,quote]
1196 \new Voice = "melody" {
1199 \repeat volta 2 { b4 b b b }
1204 \lyricsto "melody" {
1205 Not re -- peat -- ed.
1206 \repeat volta 2 { Re -- peat -- ed twice. }
1213 The words will then be correctly expanded if the repeats are
1216 @lilypond[verbatim,quote]
1221 \new Voice = "melody" {
1224 \repeat volta 2 { b4 b b b }
1229 \lyricsto "melody" {
1230 Not re -- peat -- ed.
1231 \repeat volta 2 { Re -- peat -- ed twice. }
1239 If the repeated section is to be unfolded and has different words,
1240 simply enter all the words:
1242 @lilypond[verbatim,quote,ragged-right]
1246 \new Voice = "melody" {
1249 \repeat unfold 2 { b4 b b b }
1254 \lyricsto "melody" {
1255 Not re -- peat -- ed.
1256 The first time words.
1257 Sec -- ond time words.
1264 When the words to a repeated volta section are different, the words
1265 to each repeat must be entered in separate @code{Lyrics} contexts,
1266 correctly nested in parallel sections:
1268 @lilypond[verbatim,quote]
1272 \new Voice = "melody" {
1275 \repeat volta 2 { b4 b b b }
1279 \new Lyrics \lyricsto "melody" {
1280 Not re -- peat -- ed.
1282 { The first time words. }
1284 \set associatedVoice = "melody"
1285 Sec -- ond time words.
1293 More verses may be added in a similar way:
1295 @lilypond[verbatim,quote]
1299 \new Voice = "singleVoice" {
1302 \repeat volta 3 { b4 b b b }
1307 \new Lyrics \lyricsto "singleVoice" {
1308 Not re -- peat -- ed.
1310 { The first time words. }
1312 \set associatedVoice = "singleVoice"
1313 Sec -- ond time words.
1316 \set associatedVoice = "singleVoice"
1317 The third time words.
1320 The end sec -- tion.
1327 @c TODO positioning a common line of lyrics
1329 @subheading Repeats with alternative endings
1331 @cindex lyrics, repeats with alternative endings
1332 @cindex repeating lyrics with alternative endings
1333 @cindex alternative endings and lyrics
1335 If the words of the repeated section are the same, exactly the
1336 same structure can be used for both the lyrics and music.
1338 @lilypond[quote,verbatim]
1343 \new Voice = "melody" {
1346 \repeat volta 2 { b4 b }
1347 \alternative { { b b } { b c } }
1352 \lyricsto "melody" {
1353 Not re -- peat -- ed.
1354 \repeat volta 2 { Re -- peat -- }
1355 \alternative { { ed twice. } { ed twice. } }
1363 @cindex skipping notes in lyrics
1364 @cindex lyrics, skipping notes
1366 But when the repeated section has different words, a repeat
1367 construct cannot be used around the words and @code{\skip} commands
1368 have to be inserted manually to skip over the notes in the
1369 alternative sections which do not apply.
1371 Note: do not use an underscore, @code{_}, to skip notes -- an
1372 underscore indicates a melisma, causing the preceding syllable
1375 @warning{The @code{@bs{}skip} command must be followed by a number,
1376 but this number is ignored in lyrics which derive their durations
1377 from the notes in an associated melody through @code{\addlyrics} or
1378 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1379 value, irrespective of the value of the following number.}
1381 @lilypond[verbatim,quote,ragged-right]
1386 \new Voice = "melody" {
1388 \repeat volta 2 { b4 b }
1389 \alternative { { b b } { b c } }
1395 \lyricsto "melody" {
1396 The first time words.
1397 \repeat unfold 2 { \skip 1 }
1402 \lyricsto "melody" {
1404 \repeat unfold 2 { \skip 1 }
1412 @cindex lyrics and tied notes
1413 @funindex \repeatTie
1415 When a note is tied over into two or more alternative endings a
1416 tie is used to carry the note into the first alternative ending and
1417 a @code{\repeatTie} is used in the second and subsequent endings.
1418 This structure causes difficult alignment problems when lyrics are
1419 involved and increasing the length of the alternative sections so
1420 the tied notes are contained wholly within them may give a more
1423 The tie creates a melisma into the first alternative, but not into
1424 the second and subsequent alternatives, so to align the lyrics
1425 correctly it is necessary to disable the automatic creation of
1426 melismata over the volta section and insert manual skips.
1428 @lilypond[quote,verbatim]
1433 \new Voice = "melody" {
1435 \set melismaBusyProperties = #'()
1436 \repeat volta 2 { b4 b ~}
1437 \alternative { { b b } { b \repeatTie c } }
1438 \unset melismaBusyProperties
1444 \lyricsto "melody" {
1445 \repeat volta 2 { Here's a __ }
1457 Note that if @code{\unfoldRepeats} is used around a section
1458 containing @code{\repeatTie}, the @code{\repeatTie} should be
1459 removed to avoid both types of tie being printed.
1461 When the repeated section has different words a @code{\repeat}
1462 cannot be used around the lyrics and @code{\skip} commands need to
1463 be inserted manually, as before.
1465 @lilypond[quote,verbatim]
1470 \new Voice = "melody" {
1472 \repeat volta 2 { b4 b ~}
1473 \alternative { { b b } { b \repeatTie c } }
1479 \lyricsto "melody" {
1481 \repeat unfold 2 { \skip 1 }
1485 \lyricsto "melody" {
1487 \repeat unfold 2 { \skip 1 }
1495 If you wish to show extenders and hyphens into and out of
1496 alternative sections these must be inserted manually.
1498 @lilypond[quote,verbatim]
1503 \new Voice = "melody" {
1505 \repeat volta 2 { b4 b ~}
1506 \alternative { { b b } { b \repeatTie c } }
1512 \lyricsto "melody" {
1514 \repeat unfold 2 { \skip 1 }
1518 \lyricsto "melody" {
1530 @ref{Keeping contexts alive},
1535 @unnumberedsubsubsec Divisi lyrics
1537 @cindex divided lyrics
1538 @cindex lyrics, divided
1540 When just the words and rhythms of the two parts differ with the
1541 pitches remaining the same, temporarily turning off the automatic
1542 detection of melismata and indicating the melisma in the lyrics
1543 may be the appropriate method to use:
1545 @lilypond[quote,verbatim]
1548 \new Voice = "melody" {
1550 \set melismaBusyProperties = #'()
1554 \unset melismaBusyProperties
1558 \new Lyrics \lyricsto "melody" {
1559 They shall not o -- ver -- come
1561 \new Lyrics \lyricsto "melody" {
1568 When both music and words differ it may be better to display
1569 the differing music and lyrics by naming voice contexts and
1570 attaching lyrics to those specific contexts:
1572 @lilypond[verbatim,ragged-right,quote]
1575 \new Voice = "melody" {
1582 \new Voice = "splitpart" {
1592 \new Lyrics \lyricsto "melody" {
1593 They shall not o -- ver -- come
1595 \new Lyrics \lyricsto "splitpart" {
1607 * Adding stanza numbers::
1608 * Adding dynamics marks to stanzas::
1609 * Adding singers' names to stanzas::
1610 * Stanzas with different rhythms::
1611 * Printing stanzas at the end::
1612 * Printing stanzas at the end in multiple columns::
1616 @node Adding stanza numbers
1617 @unnumberedsubsubsec Adding stanza numbers
1619 @cindex stanza number
1621 Stanza numbers can be added by setting @code{stanza}, e.g.,
1623 @lilypond[quote,ragged-right,verbatim,relative=2]
1625 \time 3/4 g2 e4 a2 f4 g2.
1627 \set stanza = #"1. "
1628 Hi, my name is Bert.
1630 \set stanza = #"2. "
1631 Oh, ché -- ri, je t'aime
1637 These numbers are put just before the start of the first syllable.
1639 @c TODO Create and add snippet to show how two lines of a
1640 @c stanza can be grouped together, along these lines:
1641 @c (might need improving a bit) -td
1644 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1648 \set stanza = \markup { "1. " \leftbrace }
1649 \lyricmode { Child, you're mine and I love you.
1650 Lend thine ear to what I say.
1656 % \set stanza = \markup { " "}
1657 \lyricmode { Child, I have no great -- er joy
1658 Than to have you walk in truth.
1664 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1665 c'8 c' c' c' c' c' c'4 }
1666 } \addlyrics { \stanzaOneOne }
1667 \addlyrics { \stanzaOneThree }
1671 @node Adding dynamics marks to stanzas
1672 @unnumberedsubsubsec Adding dynamics marks to stanzas
1674 Stanzas differing in loudness may be indicated by putting a
1675 dynamics mark before each stanza. In LilyPond, everything coming in
1676 front of a stanza goes into the @code{StanzaNumber} object; dynamics
1677 marks are no different. For technical reasons, you have to set the
1678 stanza outside @code{\lyricmode}:
1680 @lilypond[quote,ragged-right,verbatim]
1682 \set stanza = \markup { \dynamic "ff" "1. " }
1689 \new Voice = "tune" {
1693 \new Lyrics \lyricsto "tune" \text
1697 @node Adding singers' names to stanzas
1698 @unnumberedsubsubsec Adding singers' names to stanzas
1701 @cindex name of singer
1703 Names of singers can also be added. They are printed at the start of
1704 the line, just like instrument names. They are created by setting
1705 @code{vocalName}. A short version may be entered as
1706 @code{shortVocalName}.
1708 @lilypond[ragged-right,quote,verbatim,relative=2]
1710 \time 3/4 g2 e4 a2 f4 g2.
1712 \set vocalName = #"Bert "
1713 Hi, my name is Bert.
1715 \set vocalName = #"Ernie "
1716 Oh, ché -- ri, je t'aime
1720 @node Stanzas with different rhythms
1721 @unnumberedsubsubsec Stanzas with different rhythms
1723 Often, different stanzas of one song are put to one melody in slightly
1724 differing ways. Such variations can still be captured with
1727 @subsubheading Ignoring melismata
1729 One possibility is that the text has a melisma in one stanza, but
1730 multiple syllables in another. One solution is to make the faster
1731 voice ignore the melisma. This is done by setting
1732 @code{ignoreMelismata} in the Lyrics context.
1734 @lilypond[verbatim,ragged-right,quote]
1736 \relative c' \new Voice = "lahlah" {
1737 \set Staff.autoBeaming = ##f
1743 \new Lyrics \lyricsto "lahlah" {
1746 \new Lyrics \lyricsto "lahlah" {
1748 \set ignoreMelismata = ##t
1750 \unset ignoreMelismata
1757 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1758 not work if prefixed with @code{\once}. It is necessary to use
1759 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1762 @subsubheading Adding syllables to grace notes
1764 @cindex grace notes and lyrics
1765 @cindex lyrics on grace notes
1767 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1768 syllables when using @code{\lyricsto}, but this behavior can be
1771 @lilypond[verbatim,ragged-right,quote]
1773 \new Voice = melody \relative c' {
1774 f4 \appoggiatura a32 b4
1775 \grace { f16[ a16] } b2
1776 \afterGrace b2 { f16[ a16] }
1777 \appoggiatura a32 b4
1783 \set includeGraceNotes = ##t
1786 after -- grace case,
1787 \set ignoreMelismata = ##t
1795 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1796 set at latest one syllable before the one which is to be put under a
1797 grace note. For the case of a grace note at the very beginning of a
1798 piece of music, consider using a @code{\with} or @code{\context}
1801 @lilypond[verbatim,ragged-right,quote]
1803 \new Voice = melody \relative c' {
1804 \grace { c16[( d e f] }
1807 \new Lyrics \with { includeGraceNotes = ##t }
1814 @subsubheading Switching to an alternative melody
1816 @cindex associatedVoice
1817 @cindex alternative melody, switching to
1819 More complex variations in setting lyrics to music are possible.
1820 The melody to which the lyrics are being set can be changed from
1821 within the lyrics by setting the @code{associatedVoice} property:
1823 @lilypond[verbatim,quote]
1825 \relative c' \new Voice = "lahlah" {
1826 \set Staff.autoBeaming = ##f
1829 \new Voice = "alternative" {
1832 % show associations clearly.
1833 \override NoteColumn #'force-hshift = #-3
1844 \new Lyrics \lyricsto "lahlah" {
1845 Ju -- ras -- sic Park
1847 \new Lyrics \lyricsto "lahlah" {
1848 % Tricky: need to set associatedVoice
1849 % one syllable too soon!
1850 \set associatedVoice = "alternative" % applies to "ran"
1854 \set associatedVoice = "lahlah" % applies to "rus"
1860 The text for the first stanza is set to the melody called
1861 @q{lahlah} in the usual way, but the second stanza is set initally
1862 to the @code{lahlah} context and is then switched to the
1863 @code{alternative} melody for the syllables @q{ran} to @q{sau} by
1867 \set associatedVoice = "alternative" % applies to "ran"
1871 \set associatedVoice = "lahlah" % applies to "rus"
1876 Here, @code{alternative} is the name of the @code{Voice} context
1877 containing the triplet.
1879 Note the placement of the @code{\set associatedVoice} command --
1880 it appears to be one syllable too early, but this is correct.
1882 @warning{The @code{\set associatedVoice} command must be placed
1883 one syllable @emph{before} the one at which the switch to the new
1884 voice is to occur. In other words, changing the associated Voice
1885 happens one syllable later than expected. This is for technical
1886 reasons, and it is not a bug.}
1889 @node Printing stanzas at the end
1890 @unnumberedsubsubsec Printing stanzas at the end
1892 Sometimes it is appropriate to have one stanza set
1893 to the music, and the rest added in verse form at
1894 the end of the piece. This can be accomplished by adding
1895 the extra verses into a @code{\markup} section outside
1896 of the main score block. Notice that there are two
1897 different ways to force linebreaks when using
1900 @lilypond[ragged-right,verbatim,quote]
1901 melody = \relative c' {
1907 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1908 its fleece was white as snow.
1912 \new Voice = "one" { \melody }
1913 \new Lyrics \lyricsto "one" \text
1919 \line{ All the children laughed and played }
1920 \line{ To see a lamb at school. }
1927 Mary took it home again,
1929 It was against the rule."
1934 @node Printing stanzas at the end in multiple columns
1935 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1937 When a piece of music has many verses, they are often printed in
1938 multiple columns across the page. An outdented verse number often
1939 introduces each verse. The following example shows how to produce such
1942 @lilypond[ragged-right,quote,verbatim]
1943 melody = \relative c' {
1948 \set stanza = #"1." This is verse one.
1954 \new Voice = "one" { \melody }
1955 \new Lyrics \lyricsto "one" \text
1962 \hspace #0.1 % moves the column off the left margin;
1963 % can be removed if space on the page is tight
1967 "This is verse two."
1971 \hspace #0.1 % adds vertical spacing between verses
1974 "This is verse three."
1979 \hspace #0.1 % adds horizontal spacing between columns;
1980 % if they are still too close, add more " " pairs
1981 % until the result looks good
1985 "This is verse four."
1989 \hspace #0.1 % adds vertical spacing between verses
1992 "This is verse five."
1997 \hspace #0.1 % gives some extra space on the right margin;
1998 % can be removed if page space is tight
2005 Internals Reference:
2006 @rinternals{LyricText},
2007 @rinternals{StanzaNumber}.
2014 * References for songs::
2018 @node References for songs
2019 @unnumberedsubsubsec References for songs
2021 Songs are usually written on three staves with the melody for the
2022 singer on the top staff and two staves of piano accompaniment at
2023 the bottom. The lyrics of the first stanza are printed immediately
2024 underneath the top staff. If there are just a small number of
2025 further stanzas these can be printed immediately under the first
2026 one, but if there are more stanzas than can be easily accommodated
2027 there the second and subsequent stanzas are printed after the music
2028 as stand-alone text.
2030 All the notational elements needed to write songs are fully described
2036 For constructing the staff layout, see @ref{Displaying staves}.
2039 For writing piano music, see
2040 @ref{Keyboard and other multi-staff instruments}.
2043 For writing the lyrics to a melody line, see
2044 @ref{Common notation for vocal music}.
2047 For placing the lyrics, see @ref{Placing lyrics vertically}.
2050 For entering stanzas, see @ref{Stanzas}.
2053 Songs are frequently printed with the chording indicated by chord
2054 names above the staves. This is described in @ref{Displaying chords}.
2057 To print fret diagrams of the chords for guitar accompaniment or
2058 accompaniment by other fretted instruments, see @qq{Fret diagram
2059 markups} in @ref{Common notation for fretted strings}.
2068 @ref{Common notation for vocal music},
2069 @ref{Displaying chords},
2070 @ref{Displaying staves},
2071 @ref{Keyboard and other multi-staff instruments},
2072 @ref{Placing lyrics vertically},
2079 @unnumberedsubsubsec Lead sheets
2081 Lead sheets may be printed by combining vocal parts and
2082 @q{chord mode}; this syntax is explained in @ref{Chord notation}.
2085 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2086 {simple-lead-sheet.ly}
2090 @ref{Chord notation}.
2101 This section discusses notation issues that relate most directly
2102 to choral music. This includes anthems, part songs, oratorio,
2106 * References for choral::
2107 * Score layouts for choral::
2111 @node References for choral
2112 @unnumberedsubsubsec References for choral
2114 Choral music is usually notated on two, three or four staves within
2115 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2116 beneath in a @code{PianoStaff} group, which is usually reduced in
2117 size for @emph{a capella} choral works. The notes for each vocal
2118 part are placed in a @code{Voice} context, with each staff
2119 being given either a single vocal part (i.e., one @code{Voice}) or
2120 a pair of vocal parts (i.e., two @code{Voice}s).
2122 Words are placed in @code{Lyrics} contexts, either underneath each
2123 corresponding music staff, or one above and one below the music
2124 staff if this contains the music for two parts.
2126 Several common topics in choral music are described fully elsewhere:
2131 An introduction to creating an SATB vocal score can be found in
2132 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2135 Several templates suitable for various styles of choral music can
2136 also be found in the Learning Manual, see
2137 @rlearning{Vocal ensembles}.
2140 For information about @code{ChoirStaff} and @code{PianoStaff} see
2141 @ref{Grouping staves}.
2144 Shape note heads, as used in Sacred Harp and similar notation, are
2145 described in @ref{Shape note heads}.
2148 When two vocal parts share a staff the stems, ties, slurs, etc., of
2149 the higher part will be directed up and those of the lower part
2150 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2151 @ref{Single-staff polyphony}.
2162 @rlearning{Four-part SATB vocal score},
2163 @rlearning{Vocal ensembles}.
2166 @ref{Context layout order},
2167 @ref{Grouping staves},
2168 @ref{Shape note heads},
2169 @ref{Single-staff polyphony}.
2174 Internals Reference:
2175 @rinternals{ChoirStaff},
2176 @rinternals{Lyrics},
2177 @rinternals{PianoStaff}.
2179 @node Score layouts for choral
2180 @unnumberedsubsubsec Score layouts for choral
2182 Choral music containing four staves, with or without piano
2183 accompaniment, is usually laid out with two systems per page.
2184 Depending on the page size, achieving this may require changes
2185 to several default settings. The following settings should be
2191 The global staff size can be modified to change the overall size
2192 of the elements of the score. See @ref{Setting the staff size}.
2195 The distances between the systems, the staves and the lyrics can
2196 all be adjusted independently. See @ref{Vertical spacing}.
2199 The dimensions of the vertical layout variables can be displayed as
2200 an aid to adjusting the vertical spacing. This and other
2201 possibilities for fitting the music onto fewer pages are described
2202 in @ref{Fitting music onto fewer pages}.
2205 If the number of systems per page changes from one to two it is
2206 customary to indicate this with a system separator mark between
2207 the two systems. See @ref{Separating systems}.
2210 For details of other page formatting properties, see
2216 Dynamic markings by default are placed below the staff, but in
2217 choral music they are usually placed above the staff in order to
2218 avoid the lyrics. The predefined command @code{\dynamicUp} does
2219 this for the dynamic markings in a single @code{Voice} context.
2220 If there are many @code{Voice} contexts this predefined command
2221 would have to be placed in every one. Alternatively its expanded
2222 form can be used to place all dynamic markings in the entire score
2223 above their respective staves, as shown here:
2225 @lilypond[verbatim,quote]
2230 \relative c'' { g4\f g g g }
2235 \relative c' { d4 d d\p d }
2242 \override DynamicText #'direction = #UP
2243 \override DynamicLineSpanner #'direction = #UP
2250 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2254 @ref{Changing spacing},
2255 @ref{Displaying spacing},
2256 @ref{Fitting music onto fewer pages},
2259 @ref{Separating systems},
2260 @ref{Setting the staff size},
2261 @ref{Using an extra voice for breaks},
2262 @ref{Vertical spacing}.
2264 Internals Reference:
2265 @rinternals{VerticalAxisGroup},
2266 @rinternals{StaffGrouper}.
2269 @node Divided voices
2270 @unnumberedsubsubsec Divided voices
2272 @cindex voices, divided
2274 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2275 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2279 @ref{Expressive marks as lines}.
2282 @node Opera and stage musicals
2283 @subsection Opera and stage musicals
2285 The music, lyrics and dialogue to opera and stage musicals are
2286 usually set out in one or more of the following forms:
2291 A @emph{Conductors' Score} containing the full orchestral and vocal
2292 parts, together with libretto cues if there are spoken passages.
2295 @emph{Orchestral Parts} containing the music for the individual
2296 instruments of the orchestra or band.
2299 A @emph{Vocal Score} containing all vocal parts with piano
2300 accompaniment. The accompaniment is usually an orchestral
2301 reduction, and if so the name of the original orchestral instrument
2302 is often indicated. Vocal scores sometimes includes stage
2303 directions and libretto cues.
2306 A @emph{Vocal Book} containing just the vocal parts
2307 (no accompaniment), sometimes combined with the libretto.
2310 A @emph{Libretto} containing the extended passages of spoken
2311 dialogue usually found in musicals, together with the words to the
2312 sung parts. Stage directions are usually included. LilyPond can
2313 be used to typeset libretti but as they contain no music
2314 alternative methods may be preferable.
2318 The sections in the LilyPond documentation which cover the topics
2319 needed to create scores in the styles commonly found in opera and
2320 musicals are indicated in the References below. This is followed
2321 by sections covering those techniques which are peculiar to
2322 typesetting opera and musical scores.
2325 * References for opera and stage musicals::
2329 * Dialogue over music::
2332 @node References for opera and stage musicals
2333 @unnumberedsubsubsec References for opera and stage musicals
2338 A conductors' score contains many grouped staves and lyrics. Ways
2339 of grouping staves is shown in @ref{Grouping staves}. To nest
2340 groups of staves see @ref{Nested staff groups}.
2343 The printing of empty staves in conductors' scores and vocal scores
2344 is often suppressed. To create such a @qq{Frenched score} see
2345 @ref{Hiding staves}.
2348 Writing orchestral parts is covered in @ref{Writing parts}.
2349 Other sections in the Specialist notation chapter may be relevant,
2350 depending on the orchestration used. Many instruments are
2351 transposing instruments, see @ref{Instrument transpositions}.
2354 If the number of systems per page changes from page to page it is
2355 customary to separate the systems with a system separator mark.
2356 See @ref{Separating systems}.
2359 For details of other page formatting properties, see
2363 Dialogue cues and stage directions can be inserted with markup.
2364 See @ref{Text}. Extensive stage directions can be inserted with
2365 a section of stand-alone markup between two @code{\score} blocks.
2366 See @ref{Separate text}.
2372 @rglos{Frenched score},
2373 @rglos{Frenched staves},
2374 @rglos{transposing instrument}.
2377 @ref{Grouping staves},
2378 @ref{Hiding staves},
2379 @ref{Instrument transpositions},
2380 @ref{Nested staff groups},
2382 @ref{Separating systems},
2384 @ref{Writing parts},
2391 @node Character names
2392 @unnumberedsubsubsec Character names
2394 @cindex character names
2395 @cindex names, character
2397 Character names are usually shown to the left of the staff when the
2398 staff is dedicated to that character alone:
2400 @lilypond[quote,verbatim,ragged-right]
2404 \set Staff.vocalName = \markup \smallCaps Kaspar
2405 \set Staff.shortVocalName = \markup \smallCaps Kas.
2414 \set Staff.vocalName = \markup \smallCaps Melchior
2415 \set Staff.shortVocalName = \markup \smallCaps Mel
2426 When two or more characters share a staff the character's name is
2427 usually printed above the staff at the start of every section
2428 applying to that character. This can be done with markup. Often a
2429 specific font is used for this purpose.
2431 @lilypond[quote,verbatim,relative=1]
2433 c4^\markup \fontsize #1 \smallCaps Kaspar
2436 a4^\markup \fontsize #1 \smallCaps Melchior
2439 c4^\markup \fontsize #1 \smallCaps Kaspar
2443 Alternatively, if there are many character changes, it may be
2444 easier to set up @qq{instrument} definitions for each character at
2445 the top level so that @code{\instrumentSwitch} can be used to
2446 indicate each change.
2448 @lilypond[quote,verbatim]
2449 \addInstrumentDefinition #"kaspar"
2450 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2451 (shortInstrumentName . "Kas.")
2452 (clefGlyph . "clefs.G")
2453 (clefOctavation . -7)
2454 (middleCPosition . 1)
2456 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2457 (midiInstrument . "voice oohs"))
2459 \addInstrumentDefinition #"melchior"
2460 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2461 (shortInstrumentName . "Mel.")
2462 (clefGlyph . "clefs.F")
2463 (clefOctavation . 0)
2464 (middleCPosition . 6)
2466 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2467 (midiInstrument . "voice aahs"))
2470 \instrumentSwitch "kaspar"
2472 \instrumentSwitch "melchior"
2474 \instrumentSwitch "kaspar"
2481 @ref{Instrument names},
2482 @ref{Scheme functions},
2484 @ref{Text markup commands}.
2487 @rextend{Markup construction in Scheme}.
2490 @unnumberedsubsubsec Musical cues
2492 @cindex musical cues
2493 @cindex cues, musical
2495 Musical cues can be inserted in Vocal Scores, Vocal Books and
2496 Orchestral Parts to indicate what music in another part
2497 immediately precedes an entry. Also, cues are often inserted in the
2498 piano reduction in Vocal Scores to indicate what each orchestral
2499 instrument is playing. This aids the conductor when a full
2500 Conductors' Score is not available.
2502 The basic mechanism for inserting cues is fully explained in the
2503 main text, see @ref{Quoting other voices} and
2504 @ref{Formatting cue notes}. But when many cues have to be
2505 inserted, for example, as an aid to a conductor in a vocal score,
2506 the instrument name must be positioned carefully just before and
2507 close to the start of the cue notes. The following example shows
2510 @lilypond[quote,verbatim]
2511 flute = \relative c'' {
2514 \addQuote "flute" { \flute }
2516 pianoRH = \relative c'' {
2518 % position name of cue-ing instrument just before the cue notes,
2519 % and above the staff
2520 s1*0^\markup { \right-align { \tiny "Flute" } }
2521 \cueDuring "flute" #UP { g4 bes4 }
2523 pianoLH = \relative c { c4 <c' e> e, <g c> }
2538 If a transposing instrument is being quoted the instrument part should
2539 specify its key so the conversion of its cue notes will be done
2540 automatically. The example below shows this transposition for a
2541 B-flat clarinet. The notes in this example are low on the staff so
2542 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2543 down) and the instrument name is positioned below the staff. Note
2544 also that the piano right-hand voice is explicitly declared. This
2545 is because the cue notes in this example begin at the start of the
2546 first bar and this would otherwise cause the entire piano right-hand
2547 notes to be placed in a @code{CueVoice} context.
2549 @lilypond[quote,verbatim]
2550 clarinet = \relative c' {
2554 \addQuote "clarinet" { \clarinet }
2556 pianoRH = \relative c'' {
2558 % position name of cue-ing instrument below the staff
2559 s1*0_\markup { \right-align { \tiny "Clar." } }
2560 \cueDuring "clarinet" #DOWN { c4. g8 }
2563 pianoLH = \relative c { c4 <c' e> e, <g c> }
2582 From these two examples it is clear that inserting many cues in a
2583 Vocal Score would be tedious, and the notes of the piano part would
2584 become obscured. However, as the following snippet shows, it is
2585 possible to define a music function to reduce the amount of typing
2586 and to make the piano notes clearer.
2589 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2590 {adding-orchestral-cues-to-a-vocal-score.ly}
2597 @ref{Aligning objects},
2598 @ref{Direction and placement},
2599 @ref{Formatting cue notes},
2600 @ref{Quoting other voices},
2601 @ref{Using music functions}.
2606 Internals Reference:
2607 @rinternals{InstrumentSwitch},
2608 @rinternals{CueVoice}.
2611 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2612 and all cue notes are placed in that context. This means it is not
2613 possible to have two overlapping sequences of cue notes by this
2614 technique. Overlapping sequences could be entered by explicitly
2615 declaring separate @code{CueVoice} contexts and using
2616 @code{\quoteDuring} to extract and insert the cue notes.
2620 @unnumberedsubsubsec Spoken music
2623 @cindex Sprechgesang
2624 Such effects as @q{parlato} or @q{Sprechgesang} require performers to
2625 speak without pitch but still with rhythm; these are notated by cross
2626 note heads, as demonstrated in @ref{Special note heads}.
2628 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2629 @c add "showing the rhythm of a melody" snip
2630 @c add "one staff-line notation"
2631 @c add "improvisation" ref
2632 @c add "lyrics independents of notes" ref
2634 @node Dialogue over music
2635 @unnumberedsubsubsec Dialogue over music
2637 Dialogue over music is usually printed over the staves in an italic
2638 font, with the start of each phrase keyed in to a particular music
2641 For short interjections a simple markup suffices.
2643 @lilypond[quote,verbatim,relative=2]
2644 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2645 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2649 For longer phrases it may be necessary to expand the music to make
2650 the words fit neatly. There is no provision in LilyPond to do this
2651 fully automatically, and some manual intervention to layout the
2652 page will be necessary.
2654 For long phrases or for passages with a lot of closely packed
2655 dialogue, using a Lyrics context will give better results. The
2656 Lyrics context should not be associated with a music Voice; instead
2657 each section of dialogue should be given an explicit duration. If
2658 there is a gap in the dialogue, the final word should be separated
2659 from the rest and the duration split between them so that the
2660 underlying music spaces out smoothly.
2662 If the dialogue extends for more than one line it will be necessary
2663 to manually insert @code{\break}s and adjust the placing of the
2664 dialogue to avoid running into the right margin. The final word of
2665 the last measure on a line should also be separated out, as above.
2667 Here is an example illustrating how this might be done.
2669 @c This should be a snippet, but it can't be as it needs to be
2670 @c manually adjusted to suit the imposed line length. -td
2672 @lilypond[quote,verbatim,ragged-right]
2673 music = \relative c'' {
2674 \repeat unfold 3 { a4 a a a }
2677 dialogue = \lyricmode {
2679 \fontsize #1 \upright \smallCaps Abe:
2680 "Say this over measures one and"
2684 "and this over measure"4*3
2691 \override LyricText #'font-shape = #'italic
2692 \override LyricText #'self-alignment-X = #LEFT
2696 \new Voice { \music }
2702 @c TODO show use of \column to produce dialogue on two lines
2706 @ref{Manual syllable durations},
2710 @rinternals{LyricText}.
2713 @node Chants psalms and hymns
2714 @subsection Chants psalms and hymns
2719 @cindex religious music
2721 The music and words for chants, psalms and hymns usually follow a
2722 well-established format in any particular church. Although the
2723 formats may differ from church to church the type-setting problems
2724 which arise are broadly similar, and are covered in this section.
2727 * References for chants and psalms::
2729 * Pointing a psalm::
2730 * Partial measures in hymn tunes::
2733 @node References for chants and psalms
2734 @unnumberedsubsubsec References for chants and psalms
2736 Typesetting Gregorian chant in various styles of ancient notation
2737 is described in @ref{Ancient notation}.
2741 @ref{Ancient notation}.
2747 @node Setting a chant
2748 @unnumberedsubsubsec Setting a chant
2750 Modern chant settings use modern notation with varying numbers of
2751 elements taken from ancient notation. Some of the elements and
2752 methods to consider are shown here.
2754 Chants often use quarter notes without stems to indicate the pitch,
2755 with the rhythm being taken from the spoken rhythm of the words.
2757 @lilypond[verbatim,quote]
2758 stemOff = { \override Staff.Stem #'transparent = ##t }
2767 Chants often omit the bar lines or use shortened or dotted bar
2768 lines to indicate pauses in the music. To omit all bar lines from
2769 all staves remove the bar line engraver completely:
2771 @lilypond[verbatim,quote]
2792 \remove Bar_engraver
2798 Bar lines can also be removed on a staff-by-staff basis:
2800 @lilypond[verbatim, quote]
2804 \with { \remove Bar_engraver } {
2822 To remove bar lines from just a section of music treat it as a
2823 cadenza. If the section is long you may need to insert dummy
2824 bar lines with @code{\bar ""} to show where the line should break.
2826 @lilypond[verbatim,quote,relative=2]
2839 Rests or pauses in chants can be indicated by modified bar lines.
2841 @lilypond[verbatim, quote,relative=2]
2856 Alternatively, the notation used in Gregorian chant for pauses or
2857 rests is sometimes used even though the rest of the notation is
2858 modern. This uses a modified @code{\breathe} mark:
2860 @lilypond[verbatim,quote]
2862 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2863 \once \override BreathingSign #'Y-offset = #0
2867 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2868 \once \override BreathingSign #'Y-offset = #0
2872 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2873 \once \override BreathingSign #'Y-offset = #0
2877 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2878 \once \override BreathingSign #'Y-offset = #0
2896 \remove Bar_engraver
2902 Chants usually omit the time signature and often omit the clef too.
2904 @lilypond[verbatim,quote]
2916 \remove Bar_engraver
2917 \remove Time_signature_engraver
2918 \remove Clef_engraver
2924 Chants for psalms in the Anglican tradition are usually either
2925 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2926 of 7 bars. Each group of 7 bars is divided into two halves,
2927 corresponding to the two halves of each verse, usually separated by
2928 a double bar line. Only whole and half notes are used. The 1st bar
2929 in each half always contains a single chord of whole notes. This is
2930 the @qq{reciting note}. Chants are usually centered on the page.
2932 @lilypond[verbatim,quote]
2933 SopranoMusic = \relative g' {
2934 g1 | c2 b | a1 | \bar "||"
2935 a1 | d2 c | c b | c1 | \bar "||"
2938 AltoMusic = \relative c' {
2940 f1 | f2 e | d d | e1 |
2943 TenorMusic = \relative a {
2945 d1 | g,2 g | g g | g1 |
2948 BassMusic = \relative c {
2950 d1 | b2 c | g' g | c,1 |
2957 % Use markup to center the chant on the page
2966 \new Voice = "Soprano" <<
2970 \new Voice = "Alto" <<
2978 \new Voice = "Tenor" <<
2982 \new Voice = "Bass" <<
2992 \override SpacingSpanner
2993 #'base-shortest-duration = #(ly:make-moment 1 2)
2997 \remove "Time_signature_engraver"
3005 Some other approaches to setting such a chant are shown in the first
3006 of the following snippets.
3010 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3011 {chant-or-psalms-notation.ly}
3013 Canticles and other liturgical texts may be set more freely, and
3014 may use notational elements from ancient music. Often the words
3015 are shown underneath and aligned with the notes. If so, the notes
3016 are spaced in accordance with the syllables rather than the notes'
3019 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3020 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3024 @rlearning{Visibility and color of objects},
3025 @rlearning{Vocal ensembles}.
3028 @ref{Ancient notation},
3030 @ref{Modifying context plug-ins},
3031 @ref{Typesetting Gregorian chant},
3032 @ref{Unmetered music},
3033 @ref{Visibility of objects}.
3036 @node Pointing a psalm
3037 @unnumberedsubsubsec Pointing a psalm
3039 The words to an Anglican psalm are usually printed in separate
3040 verses centered underneath the chant.
3042 Single chants (with 7 bars) are repeated for every verse. Double
3043 chants (with 14 bars) are repeated for every pair of verses. Marks
3044 are inserted in the words to show how they should be fitted to the
3045 chant. Each verse is divided into two halves. A colon is usually
3046 used to indicate this division. This corresponds to the double bar
3047 line in the music. The words before the colon are sung to the first
3048 three bars of music; the words after the colon are sung to the last
3051 Single bar lines (or in some psalters an inverted comma or similar
3052 symbol) are inserted between words to indicate where the bar lines
3053 in the music fall. In markup mode a single bar line can be entered
3054 with the bar check symbol, @code{|}.
3056 @lilypond[verbatim,quote]
3061 \line { O come let us sing | unto the | Lord : let }
3062 \line { us heartily rejoice in the | strength of | our }
3063 \line { sal- | -vation. }
3070 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3071 For details, see @ref{Fonts}.
3073 @lilypond[verbatim,quote]
3075 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3081 \line { O come let us sing \tick unto the \tick Lord : let }
3083 us heartily rejoice in the \tick strength of \tick our
3085 \line { sal \tick vation. }
3092 Where there is one whole note in a bar all the words corresponding
3093 to that bar are recited on that one note in speech rhythm. Where
3094 there are two notes in a bar there will usually be only one or two
3095 corresponding syllables. If there are more that two syllables a
3096 dot is usually inserted to indicate where the change in note occurs.
3098 @lilypond[verbatim,quote]
3100 \raise #0.7 \musicglyph #"dots.dot"
3103 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3110 O come let us sing \tick unto \dot the \tick Lord : let
3113 us heartily rejoice in the \tick strength of \tick our
3115 \line { sal \tick vation. }
3122 In some psalters an asterisk is used to indicate a break in a
3123 recited section instead of a comma, and stressed or slightly
3124 lengthened syllables are indicated in bold text.
3126 @lilypond[verbatim,quote]
3128 \raise #0.7 \musicglyph #"dots.dot"
3131 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3137 \line { Today if ye will hear his voice * }
3139 \concat { \bold hard en }
3140 | not your | hearts : as in the pro-
3142 \line { vocation * and as in the \bold day of tempt- | }
3143 \line { -ation | in the | wilderness. }
3150 In other psalters an accent is placed over the syllable to indicate
3153 @lilypond[verbatim,quote]
3155 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3162 O come let us \concat {
3163 si \combine \tick ng
3165 | unto the | Lord : let
3168 us heartily \concat {
3169 rejo \combine \tick ice
3171 in the | strength of | our
3173 \line { sal- | -vation. }
3180 The use of markup to center text, and arrange lines in columns is
3181 described in @ref{Formatting text}.
3183 Most of these elements are shown in one or other of the two verses
3184 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3188 @rlearning{Vocal ensembles}.
3192 @ref{Formatting text}.
3195 @node Partial measures in hymn tunes
3196 @unnumberedsubsubsec Partial measures in hymn tunes
3198 Hymn tunes frequently start and end every line of music with
3199 partial measures so that each line of music corresponds exactly
3200 with a line of text. This requires a @code{\partial} command at
3201 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3202 commands at the end of each line.
3204 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3208 @node Ancient vocal music
3209 @subsection Ancient vocal music
3211 Ancient vocal music is supported, as explained in
3212 @ref{Ancient notation}.
3216 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3217 @c and "Transcription of Ancient music with incipit" snippet. -vv
3221 @ref{Ancient notation}.