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
61 introduction to this notation is to be found in
62 @rlearning{Setting simple songs}.
65 Vocal music is likely to require the use of @code{markup} mode,
66 either for lyrics or for other text elements (characters' names,
67 etc.) This syntax is described in @ref{Text markup introduction}.
70 @notation{Ambitus} may be added at the beginning of vocal staves,
71 as explained in @ref{Ambitus}.
74 Dynamic markings by default are placed below the staff, but in
75 choral music they are usually placed above the staff in order to
76 avoid the lyrics, as explained in @ref{Score layouts for choral}.
85 @rlearning{Setting simple songs}.
88 @ref{Text markup introduction},
90 @ref{Score layouts for choral}.
96 @unnumberedsubsubsec Entering lyrics
98 @cindex lyrics, entering
99 @cindex entering lyrics
100 @cindex punctuation in lyrics
101 @cindex lyrics punctuation
102 @cindex spaces in lyrics
103 @cindex quotes in lyrics
106 @c TODO should we explain hyphens here
108 Lyrics are entered in a special input mode, which can be introduced
109 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
110 @code{\lyricsto}. In this special input mode, the input @code{d}
111 is not parsed as the pitch @notation{D}, but rather as a one-letter
112 syllable of text. In other words, syllables are entered like notes
113 but with pitches replaced by text.
118 \lyricmode @{ Three4 blind mice,2 three4 blind mice2 @}
121 There are two main methods for specifying the horizontal placement
122 of the syllables, either by specifying the duration of each syllable
123 explicitly, as in the example above, or by leaving the lyrics to be
124 aligned automatically to a melody or other voice of music, using
125 @code{\addlyrics} or @code{\lyricsto}. The former method is
126 described below in @ref{Manual syllable durations}. The latter
127 method is described in @ref{Automatic syllable durations}.
129 A word or syllable of lyrics begins with an alphabetic character
130 (plus some other characters, see below) and is terminated by any
131 white space or a digit. Later characters in the syllable can be any
132 character that is not a digit or white space.
134 Because any character that is not a digit or white space is regarded
135 as part of the syllable, a word is valid even if it ends with
136 @code{@}}, which often leads to the following mistake:
139 \lyricmode @{ lah lah lah@}
142 In this example, the @code{@}} is included in the final syllable, so the
143 opening brace is not balanced and the input file will probably not
144 compile. Instead, braces should always be surrounded with white space:
147 \lyricmode @{ lah lah lah @}
150 @cindex overrides in lyric mode
151 @funindex \override in \lyricmode
153 Similarly, in lyric mode, a period will be included in the
154 alphabetic sequence that it follows. As a consequence, spaces
155 must be inserted around the period in @code{\override} commands.
159 \override Score.LyricText #'font-shape = #'italic
166 \override Score . LyricText #'font-shape = #'italic
169 Punctuation, lyrics with accented characters, characters from
170 non-English languages, or special characters (such as the heart
171 symbol or slanted quotes), may simply be inserted directly
172 into the input file, providing it is saved with UTF-8 encoding.
173 For more information, see @ref{Text encoding}.
175 @lilypond[quote,verbatim]
176 \relative c'' { d8 c16 a bes8 f e' d c4 }
177 \addlyrics { „Schad’ um das schö -- ne grü -- ne Band, }
180 Normal quotes may be used in lyrics, but they have to be preceded
181 with a backslash character and the whole syllable has to be
182 enclosed between additional quotes. For example,
184 @lilypond[quote,verbatim]
185 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
186 \addlyrics { "\"I" am so lone -- "ly,\"" said she }
189 The full definition of a word start in lyrics mode is somewhat more
190 complex. A word in lyrics mode is one that begins with an
191 alphabetic character, @code{_}, @code{?}, @code{!}, @code{:},
192 @code{'}, the control characters @code{^A} through @code{^F},
193 @code{^Q} through @code{^W}, @code{^Y}, @code{^^}, any 8-bit
194 character with an ASCII code over 127, or a two-character
195 combination of a backslash followed by one of @code{`}, @code{'},
196 @code{"}, or @code{^}.
198 @c " to balance double quotes for not-so-bright context-sensitive editors
205 @ref{Automatic syllable durations},
208 @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}.
328 @node Automatic syllable durations
329 @unnumberedsubsubsec Automatic syllable durations
331 @cindex syllable durations, automatic
332 @cindex lyrics and melodies
333 @cindex associatedVoice
337 Lyrics can be automatically aligned to the notes of a melody in
343 by specifying the named Voice context containing the melody with
347 by introducing the lyrics with @code{\addlyrics} and placing them
348 immediately after the Voice context containing the melody,
351 by setting the @code{associatedVoice} property, the alignment of
352 the lyrics may be switched to a different named Voice context at
357 In all three methods hyphens can be drawn between the syllables of
358 a word and extender lines can be drawn beyond the end of a word. For
359 details, see @ref{Extenders and hyphens}.
361 The @code{Voice} context containing the melody to which the lyrics
362 are being aligned must not have @qq{died}, or the lyrics after that
363 point will be lost. This can happen if there are periods when that
364 voice has nothing to do. For methods of keeping contexts alive, see
365 @ref{Keeping contexts alive}.
367 @subheading Using @code{\lyricsto}
372 Lyrics can be aligned under a melody automatically by specifying
373 the named Voice context containing the melody with
376 @lilypond[quote,verbatim,relative=2]
378 \new Voice = "melody" {
381 \new Lyrics \lyricsto "melody" {
388 This aligns the lyrics to the notes of the named @code{Voice}
389 context, which must already exist. Therefore normally the
390 @code{Voice} context is specified first, followed by the
391 @code{Lyrics} context. The lyrics themselves follow the
392 @code{\lyricsto} command. The @code{\lyricsto} command
393 invokes lyric mode automatically, so the @code{\lyricmode} keyword
394 may be omitted. By default, the lyrics are placed underneath the
395 notes. For other placements, see @ref{Placing lyrics vertically}.
397 @subheading Using @code{\addlyrics}
402 The @code{\addlyrics} command is just a convenient shortcut that
403 can sometimes be used instead of having to set up the lyrics
404 through a more complicated LilyPond structure.
408 \addlyrics @{ LYRICS @}
415 \new Voice = "blah" @{ MUSIC @}
416 \new Lyrics \lyricsto "blah" @{ LYRICS @}
421 @lilypond[verbatim,quote]
424 \relative c' { c2 e4 g2. }
425 \addlyrics { play the game }
429 More stanzas can be added by adding more
430 @code{\addlyrics} sections:
433 @lilypond[ragged-right,verbatim,quote]
436 \relative c' { c2 e4 g2. }
437 \addlyrics { play the game }
438 \addlyrics { speel het spel }
439 \addlyrics { joue le jeu }
443 The command @code{\addlyrics} cannot handle polyphonic settings.
444 For these cases one should use @code{\lyricsto}.
446 @subheading Using associatedVoice
448 The melody to which the lyrics are being aligned can be changed by
449 setting the @code{associatedVoice} property,
452 \set associatedVoice = #"lala"
457 The value of the property (here: @code{"lala"}) should be the name
458 of a @code{Voice} context. For technical reasons, the @code{\set}
459 command must be placed one syllable before the one to which the
460 change in voice is to apply.
462 Here is an example demonstrating its use:
464 @lilypond[quote,ragged-right,verbatim]
468 \new Voice = "one" \relative c'' {
470 c4 b8. a16 g4. r8 a4 ( b ) c2
472 \new Voice = "two" \relative c' {
477 % takes durations and alignment from notes in "one" initially
478 % then switches to "two"
479 \new Lyrics \lyricsto "one" {
481 \set associatedVoice = "two" % must be set one syllable early
482 sins and sor -- rows grow.
489 @ref{Extenders and hyphens},
490 @ref{Keeping contexts alive}.
492 @node Manual syllable durations
493 @unnumberedsubsubsec Manual syllable durations
495 In some complex vocal music, it may be desirable to place lyrics
496 completely independently of notes. In this case do not use
497 @code{\lyricsto} or @code{\addlyrics} and do not set
498 @code{associatedVoice}. Syllables are entered like notes --
499 but with pitches replaced by text -- and the duration of each
500 syllable is entered explicitly after the syllable.
502 By default, syllables will be left-aligned to the corresponding
503 musical moment. Hyphenated lines may be drawn between syllables
504 as usual, but extender lines cannot be drawn when there is no
507 Here are two examples:
509 @lilypond[relative=1,verbatim,quote]
511 \new Voice = "melody" {
515 \new Lyrics \lyricmode {
522 @lilypond[quote,verbatim,ragged-right]
544 This technique is useful when writing dialogue over music, see
545 @ref{Dialogue over music}.
547 To center-align syllables on the notes at the corresponding musical
548 moments, set @code{associatedVoice} to the name of the Voice context
549 containing those notes. When @code{associatedVoice} is set, both
550 double hyphens and double underscores can be used to draw
551 hyphenated lines and extenders under melismata correctly.
553 @lilypond[relative=1,verbatim,quote]
555 \new Voice = "melody" {
559 \new Lyrics \lyricmode {
560 \set associatedVoice = #"melody"
566 @c TODO see also feature request 707 - show how to do this with manual durations
570 @ref{Dialogue over music}.
577 @node Multiple syllables to one note
578 @unnumberedsubsubsec Multiple syllables to one note
581 @cindex spaces, in lyrics
582 @cindex quotes, in lyrics
583 @cindex ties, in lyrics
585 In order to assign more than one syllable to a single note with
586 spaces between the syllables, you can surround the phrase with
587 quotes or use a @code{_} character. Alternatively, you can use
588 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
589 tie is implemented with the Unicode character U+203F, so be
590 sure to have a font (like DejaVuLGC) installed that includes this
593 @lilypond[quote,ragged-right,verbatim]
596 \relative c' { c2 e4 g2 e4 }
597 \addlyrics { gran- de_a- mi- go }
598 \addlyrics { pu- "ro y ho-" nes- to }
599 \addlyrics { pu- ro~y~ho- nes- to }
606 @rinternals{LyricCombineMusic}.
609 @node Multiple notes to one syllable
610 @unnumberedsubsubsec Multiple notes to one syllable
614 @cindex phrasing, in lyrics
616 @funindex \melismaEnd
618 Sometimes, particularly in Medieval music, several notes are to be
619 sung on one syllable; such vocalises are called melismata, or
620 @rglos{melisma}s. The syllable to a melisma is usually
621 left-aligned with the first note of the melisma.
623 When a melisma occurs on a syllable other that the last one in a
624 word, that syllable is usually joined to the following one with a
625 hyphenated line. This is indicated by placing a double hyphen,
626 @code{--}, immediately after the syllable.
628 Alternatively, when a melisma occurs on the last or only syllable in
629 a word an extender line is usually drawn from the end of the syllable
630 to the last note of the melisma. This is indicated by placing a
631 double underscore, @code{__}, immediately after the word.
633 There are five ways in which melismata can be indicated:
638 Melismata are created automatically over notes which are tied
641 @lilypond[quote,relative=2,verbatim]
643 \new Voice = "melody" {
649 \new Lyrics \lyricsto "melody" {
656 Melismata can be created automatically from the music by placing
657 slurs over the notes of each melisma. This is the usual way of
660 @lilypond[quote,relative=2,verbatim]
662 \new Voice = "melody" {
667 \new Lyrics \lyricsto "melody" {
674 Notes are considered a melisma if they are manually beamed,
675 providing automatic beaming is switched off. See
676 @ref{Setting automatic beam behavior}.
678 @lilypond[quote,relative=2,verbatim]
680 \new Voice = "melody" {
686 \new Lyrics \lyricsto "melody" {
692 Clearly this is not suited to melismata over notes which are longer
696 An unslurred group of notes will be treated as a melisma if they
697 are bracketed between @code{\melisma} and @code{\melismaEnd}.
699 @lilypond[quote,relative=2,verbatim]
701 \new Voice = "melody" {
709 \new Lyrics \lyricsto "melody" {
715 Note that this method cannot be used to indicate two melismata if
716 the first one is immediately followed by another.
719 A melisma can be defined entirely in the lyrics by entering a
720 single underscore character, @code{_}, for every extra note that has
721 to be added to the melisma.
723 @lilypond[verbatim, quote, relative=2]
725 \new Voice = "melody" {
730 \new Lyrics \lyricsto "melody" {
731 Ky -- ri -- _ _ _ e __ _ _
738 It is possible to have ties, slurs and manual beams in the melody
739 without their indicating melismata. To do this, set
740 @code{melismaBusyProperties} and indicate the melismata with single
741 underscores in the lyrics, one underscore for each extra note:
743 @lilypond[relative=1,verbatim,quote]
745 \new Voice = "melody" {
747 \set melismaBusyProperties = #'()
752 \new Lyrics \lyricsto "melody" {
753 Ky -- _ _ _ _ ri -- _ _ e __ _
758 Other settings for @code{melismaBusyProperties} can be used to
759 include or exclude ties, slurs, and beams from the automatic
760 detection of melismata; see @code{melismaBusyProperties} in
761 @rinternals{Tunable context properties}.
775 @rlearning{Aligning lyrics to a melody}.
778 @ref{Aligning lyrics to a melody},
779 @ref{Automatic syllable durations},
780 @ref{Setting automatic beam behavior}.
783 @rinternals{Tunable context properties}.
787 Extender lines under melismata are not created automatically; they
788 must be inserted manually with a double underscore.
791 @unnumberedsubsubsec Skipping notes
793 Making a lyric line run slower than the melody can be achieved by
794 inserting @code{\skip}s into the lyrics. For every @code{\skip},
795 the text will be delayed by another note. The @code{\skip} command
796 must be followed by a valid duration, but this is ignored when
797 @code{\skip} is used in lyrics which derive their durations from the
798 notes in an associated melody through @code{\addlyrics} or
801 @lilypond[verbatim,ragged-right,quote]
802 \relative c' { c c g' }
810 @node Extenders and hyphens
811 @unnumberedsubsubsec Extenders and hyphens
816 @c TODO cf Multiple notes to one syllable; should this be merged in?
818 @c leave this as samp. -gp
819 In the last syllable of a word, melismata are sometimes indicated with
820 a long horizontal line starting in the melisma syllable, and ending in
821 the next one. Such a line is called an extender line, and it is
822 entered as @samp{ __ } (note the spaces before and after the two
823 underscore characters).
825 @warning{Melismata are indicated in the score with extender lines,
826 which are entered as one double underscore; but short melismata can
827 also be entered by skipping individual notes, which are entered as
828 single underscore characters; these do not make an extender line to be
833 @c leave this as samp. -gp
834 Centered hyphens are entered as @samp{ -- } between syllables of a
835 same word (note the spaces before and after the two hyphen
836 characters). The hyphen will be centered between the syllables, and
837 its length will be adjusted depending on the space between the
840 In tightly engraved music, hyphens can be removed. Whether this
841 happens can be controlled with the @code{minimum-distance} (minimum
842 distance between two syllables) and the @code{minimum-length}
843 (threshold below which hyphens are removed) properties of
849 @rinternals{LyricExtender},
850 @rinternals{LyricHyphen}.
853 @node Techniques specific to lyrics
854 @subsection Techniques specific to lyrics
856 @c TODO this whole section is to be reorganised
859 * Working with lyrics and variables::
860 * Placing lyrics vertically::
861 * Placing syllables horizontally::
862 * Lyrics and repeats::
868 @node Working with lyrics and variables
869 @unnumberedsubsubsec Working with lyrics and variables
871 @cindex lyrics, using variables
873 Variables containing lyrics can be created, but the lyrics must be
874 entered in lyric mode:
876 @lilypond[quote,verbatim]
877 musicOne = \relative c'' {
878 c4 b8. a16 g4. f8 e4 d c2
880 verseOne = \lyricmode {
881 Joy to the world, the Lord is come.
889 \new Lyrics \lyricsto "one" {
896 Durations do not need to be added if the variable is to be invoked
897 with @code{\addlyrics} or @code{\lyricsto}.
899 For different or more complex orderings, the best way is to define
900 the music and lyric variables first, then set up the hierarchy of
901 staves and lyrics, omitting the lyrics themselves, and then add the
902 lyrics using @code{\context} underneath. This ensures that the
903 voices referenced by @code{\lyricsto} have always been defined
904 earlier. For example:
906 @lilypond[quote,verbatim]
907 sopranoMusic = \relative c'' { c4 c c c }
908 contraltoMusic = \relative c'' { a4 a a a }
909 sopranoWords = \lyricmode { Sop -- ra -- no words }
910 contraltoWords = \lyricmode { Con -- tral -- to words }
915 \new Voice = "sopranos" {
919 \new Lyrics = "sopranos"
920 \new Lyrics = "contraltos"
922 \new Voice = "contraltos" {
926 \context Lyrics = "sopranos" {
927 \lyricsto "sopranos" {
931 \context Lyrics = "contraltos" {
932 \lyricsto "contraltos" {
943 @ref{Placing lyrics vertically}.
946 @rinternals{LyricCombineMusic},
950 @node Placing lyrics vertically
951 @unnumberedsubsubsec Placing lyrics vertically
953 @cindex placement of lyrics
954 @cindex lyrics, positioning
956 Depending on the type of music, lyrics may be positioned
957 above the staff, below the staff, or between staves. Placing
958 lyrics below the associated staff is the easiest, and can be
959 achieved by simply defining the Lyrics context below the Staff
962 @lilypond[quote,verbatim]
966 \new Voice = "melody" {
967 \relative c'' { c4 c c c }
979 Lyrics may be positioned above the staff using one of
980 two methods. The simplest is to use the same syntax as
981 above and explicitly specify the position of the lyrics:
983 @lilypond[quote,verbatim]
986 \new Staff = "staff" {
987 \new Voice = "melody" {
988 \relative c'' { c4 c c c }
991 \new Lyrics \with { alignAboveContext = "staff" } {
1000 Alternatively, a two-step process may be used. First the Lyrics
1001 context is declared (without any content) before the Staff and
1002 Voice contexts, then the @code{\lyricsto} command is placed after
1003 the Voice declaration it references by using @code{\context}, as
1006 @lilypond[quote,verbatim]
1009 \new Lyrics = "lyrics"
1011 \new Voice = "melody" {
1012 \relative c'' { c4 c c c }
1015 \context Lyrics = "lyrics" {
1016 \lyricsto "melody" {
1024 When there are two voices on separate staves the lyrics may be
1025 placed between the staves using either of these methods. Here
1026 is an example of the second method:
1028 @lilypond[quote,verbatim]
1032 \new Voice = "sopranos" {
1033 \relative c'' { c4 c c c }
1036 \new Lyrics = "sopranos"
1037 \new Lyrics = "contraltos"
1039 \new Voice = "contraltos" {
1040 \relative c'' { a4 a a a }
1043 \context Lyrics = "sopranos" {
1044 \lyricsto "sopranos" {
1045 Sop -- ra -- no words
1048 \context Lyrics = "contraltos" {
1049 \lyricsto "contraltos" {
1050 Con -- tral -- to words
1057 Other combinations of lyrics and staves may be generated by
1058 elaborating these examples, or by examining the
1059 @rlearning{Vocal ensembles} templates in the Learning Manual.
1063 @rlearning{Vocal ensembles}.
1066 @ref{Aligning contexts},
1067 @ref{Creating contexts}.
1069 @node Placing syllables horizontally
1070 @unnumberedsubsubsec Placing syllables horizontally
1072 @cindex Spacing lyrics
1073 @cindex Lyrics, increasing space between
1075 To increase the spacing between lyrics, set the @code{minimum-distance}
1076 property of @code{LyricSpace}.
1078 @lilypond[relative=1,verbatim,quote,ragged-right]
1081 \override Lyrics.LyricSpace #'minimum-distance = #1.0
1085 longtext longtext longtext longtext
1086 longtext longtext longtext longtext
1091 To make this change for all lyrics in the score, set the property in the
1092 @code{\layout} block.
1094 @lilypond[verbatim,quote,ragged-right]
1101 longtext longtext longtext longtext
1102 longtext longtext longtext longtext
1107 \override LyricSpace #'minimum-distance = #1.0
1114 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1115 {lyrics-alignment.ly}
1117 @c TODO: move to LSR -vv
1119 Checking to make sure that text scripts and lyrics are within the margins is
1120 a relatively large computational task. To speed up processing, LilyPond does
1121 not perform such calculations by default; to enable it, use
1124 \override Score.PaperColumn #'keep-inside-line = ##t
1127 To make lyrics avoid bar lines as well, use
1133 \consists "Bar_engraver"
1134 \consists "Separating_line_group_engraver"
1135 \override BarLine #'transparent = ##t
1140 @c TODO Create and add lsr example of lyricMelismaAlignment
1141 @c It's used like this to center-align all lyric syllables,
1142 @c even when notes are tied. -td
1147 \context { \Score lyricMelismaAlignment = #0 }
1152 @node Lyrics and repeats
1153 @unnumberedsubsubsec Lyrics and repeats
1155 @cindex repeats and lyrics
1156 @cindex lyrics, repeating
1158 @subheading Simple repeats
1160 Repeats in @emph{music} are fully described elsewhere; see
1161 @ref{Repeats}. This section explains how to add lyrics to repeated
1164 Lyrics to a section of music that is repeated should be surrounded
1165 by exactly the same repeat construct as the music, if the words are
1168 @lilypond[verbatim,quote]
1172 \new Voice = "melody" {
1175 \repeat volta 2 { b4 b b b }
1180 \lyricsto "melody" {
1181 Not re -- peat -- ed.
1182 \repeat volta 2 { Re -- peat -- ed twice. }
1189 The words will then be correctly expanded if the repeats are
1192 @lilypond[verbatim,quote]
1197 \new Voice = "melody" {
1200 \repeat volta 2 { b4 b b b }
1205 \lyricsto "melody" {
1206 Not re -- peat -- ed.
1207 \repeat volta 2 { Re -- peat -- ed twice. }
1215 If the repeated section is to be unfolded and has different words,
1216 simply enter all the words:
1218 @lilypond[verbatim,quote,ragged-right]
1222 \new Voice = "melody" {
1225 \repeat unfold 2 { b4 b b b }
1230 \lyricsto "melody" {
1231 Not re -- peat -- ed.
1232 The first time words.
1233 Sec -- ond time words.
1243 When the words to a repeated volta section are different, the words
1244 to each repeat must be entered in separate @code{Lyrics} contexts.
1245 Earlier unrepeated sections must be skipped in the second and
1246 subsequent repeats. The easiest way to skip several notes is to
1247 use @code{\repeat unfold} around the @code{\skip} command.
1249 Note: do not use an underscore, @code{_}, to skip notes in this
1250 particular case. As this syntax indicates a melisma, it will cause
1251 the preceding syllable to be left-aligned.
1253 @warning{The @code{@bs{}skip} command must be followed by a number,
1254 but this number is ignored in lyrics which derive their durations
1255 from the notes in an associated melody through @code{\addlyrics} or
1256 @code{\lyricsto}. Each @code{@bs{}skip} skips a single note of any
1257 value, irrespective of the value of the following number.}
1259 @lilypond[verbatim,quote]
1263 \new Voice = "melody" {
1266 \repeat volta 2 { b4 b b b }
1271 \lyricsto "melody" {
1272 Not re -- peat -- ed.
1273 The first time words.
1277 \lyricsto "melody" {
1278 % skip 4 notes of any duration
1279 \repeat unfold 4 { \skip 1 }
1280 Sec -- ond time words.
1287 @cindex lyrics, repeating with a temporary voice
1289 An alternative way, which avoids skips and having to count notes,
1290 is to use a temporary voice for the repeated section. This may be
1291 preferable if the earlier sections are still subject to change. A
1292 temporary voice can be inserted anywhere in the main music stream
1293 in parallel with it, as shown below, but it may be necessary to
1294 keep the main voice alive in complex scores when using this
1295 technique; see @ref{Keeping contexts alive}.
1297 @lilypond[verbatim,quote,ragged-right]
1301 \new Voice = "singleVoice" {
1302 \relative c'' { a4 a a a }
1303 \new Voice = "repeatVoice" {
1304 \relative c'' \repeat volta 3 { b4 b b b }
1306 \relative c'' { c4 c c c }
1310 \lyricsto "singleVoice" {
1311 Not re -- peat -- ed.
1312 The end sec -- tion.
1314 \lyricsto "repeatVoice" {
1315 The first time words.
1319 \lyricsto "repeatVoice" {
1320 Sec -- ond time words.
1324 \lyricsto "repeatVoice" {
1325 The third time words.
1332 @c TODO lowering a common line of lyrics
1334 @subheading Repeats with alternative endings
1336 @cindex lyrics, repeats with alternative endings
1337 @cindex repeating lyrics with alternative endings
1338 @cindex alternative endings and lyrics
1340 If the words of the repeated section are the same, exactly the
1341 same structure can be used for both the lyrics and music.
1343 @lilypond[quote,verbatim]
1348 \new Voice = "melody" {
1351 \repeat volta 2 { b4 b }
1352 \alternative { { b b } { b c } }
1357 \lyricsto "melody" {
1358 Not re -- peat -- ed.
1359 \repeat volta 2 { Re -- peat -- }
1360 \alternative { { ed twice. } { ed twice. } }
1367 But when the repeated section has different words, a repeat
1368 construct cannot be used around the words and @code{\skip} commands
1369 have to be inserted manually as described in the previous section to
1370 skip over the notes in the alternative sections which do not apply.
1372 @lilypond[verbatim,quote,ragged-right]
1377 \new Voice = "melody" {
1379 \repeat volta 2 { b4 b }
1380 \alternative { { b b } { b c } }
1386 \lyricsto "melody" {
1387 The first time words.
1388 \repeat unfold 2 { \skip 1 }
1393 \lyricsto "melody" {
1395 \repeat unfold 2 { \skip 1 }
1403 @cindex lyrics and tied notes
1404 @funindex \repeatTie
1406 When a note is tied over into two or more alternative endings a
1407 tie is used to carry the note into the first alternative ending and
1408 a @code{\repeatTie} is used in the second and subsequent endings.
1409 This structure causes difficult alignment problems when lyrics are
1410 involved and increasing the length of the alternative sections so
1411 the tied notes are contained wholly within them may give a more
1414 The tie creates a melisma into the first alternative, but not into
1415 the second and subsequent alternatives, so to align the lyrics
1416 correctly it is necessary to disable the automatic creation of
1417 melismata over the volta section and insert manual skips.
1419 @lilypond[quote,verbatim]
1424 \new Voice = "melody" {
1426 \set melismaBusyProperties = #'()
1427 \repeat volta 2 { b4 b ~}
1428 \alternative { { b b } { b \repeatTie c } }
1429 \unset melismaBusyProperties
1435 \lyricsto "melody" {
1436 \repeat volta 2 { Here's a __ }
1448 Note that if @code{\unfoldRepeats} is used around a section
1449 containing @code{\repeatTie}, the @code{\repeatTie} should be
1450 removed to avoid both types of tie being printed.
1452 When the repeated section has different words a @code{\repeat}
1453 cannot be used around the lyrics and @code{\skip} commands need to
1454 be inserted manually, as before.
1456 @lilypond[quote,verbatim]
1461 \new Voice = "melody" {
1463 \repeat volta 2 { b4 b ~}
1464 \alternative { { b b } { b \repeatTie c } }
1470 \lyricsto "melody" {
1472 \repeat unfold 2 { \skip 1 }
1476 \lyricsto "melody" {
1478 \repeat unfold 2 { \skip 1 }
1486 If you wish to show extenders and hyphens into and out of
1487 alternative sections these must be inserted manually.
1489 @lilypond[quote,verbatim]
1494 \new Voice = "melody" {
1496 \repeat volta 2 { b4 b ~}
1497 \alternative { { b b } { b \repeatTie c } }
1503 \lyricsto "melody" {
1505 \repeat unfold 2 { \skip 1 }
1509 \lyricsto "melody" {
1522 @unnumberedsubsubsec Divisi lyrics
1524 @cindex divided lyrics
1525 @cindex lyrics, divided
1527 When just the words and rhythms of the two parts differ with the
1528 pitches remaining the same, temporarily turning off the automatic
1529 detection of melismata and indicating the melisma in the lyrics
1530 may be the appropriate method to use:
1532 @lilypond[quote,verbatim]
1535 \new Voice = "melody" {
1537 \set melismaBusyProperties = #'()
1541 \unset melismaBusyProperties
1545 \new Lyrics \lyricsto "melody" {
1546 They shall not o -- ver -- come
1548 \new Lyrics \lyricsto "melody" {
1555 When both music and words differ it may be better to display
1556 the differing music and lyrics by naming voice contexts and
1557 attaching lyrics to those specific contexts:
1559 @lilypond[verbatim,ragged-right,quote]
1562 \new Voice = "melody" {
1569 \new Voice = "splitpart" {
1579 \new Lyrics \lyricsto "melody" {
1580 They shall not o -- ver -- come
1582 \new Lyrics \lyricsto "splitpart" {
1594 * Adding stanza numbers::
1595 * Adding dynamics marks to stanzas::
1596 * Adding singers' names to stanzas::
1597 * Stanzas with different rhythms::
1598 * Printing stanzas at the end::
1599 * Printing stanzas at the end in multiple columns::
1603 @node Adding stanza numbers
1604 @unnumberedsubsubsec Adding stanza numbers
1606 @cindex stanza number
1608 Stanza numbers can be added by setting @code{stanza}, e.g.,
1610 @lilypond[quote,ragged-right,verbatim,relative=2]
1612 \time 3/4 g2 e4 a2 f4 g2.
1614 \set stanza = #"1. "
1615 Hi, my name is Bert.
1617 \set stanza = #"2. "
1618 Oh, ché -- ri, je t'aime
1624 These numbers are put just before the start of the first syllable.
1626 @c TODO Create and add snippet to show how two lines of a
1627 @c stanza can be grouped together, along these lines:
1628 @c (might need improving a bit) -td
1631 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1635 \set stanza = \markup { "1. " \leftbrace }
1636 \lyricmode { Child, you're mine and I love you.
1637 Lend thine ear to what I say.
1643 % \set stanza = \markup { " "}
1644 \lyricmode { Child, I have no great -- er joy
1645 Than to have you walk in truth.
1651 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1652 c'8 c' c' c' c' c' c'4 }
1653 } \addlyrics { \stanzaOneOne }
1654 \addlyrics { \stanzaOneThree }
1658 @node Adding dynamics marks to stanzas
1659 @unnumberedsubsubsec Adding dynamics marks to stanzas
1661 Stanzas differing in loudness may be indicated by putting a
1662 dynamics mark before each stanza. In LilyPond, everything coming in
1663 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1664 are no different. For technical reasons, you have to set the stanza
1665 outside @code{\lyricmode}:
1667 @lilypond[quote,ragged-right,verbatim]
1669 \set stanza = \markup { \dynamic "ff" "1. " }
1676 \new Voice = "tune" {
1680 \new Lyrics \lyricsto "tune" \text
1684 @node Adding singers' names to stanzas
1685 @unnumberedsubsubsec Adding singers' names to stanzas
1688 @cindex name of singer
1690 Names of singers can also be added. They are printed at the start of
1691 the line, just like instrument names. They are created by setting
1692 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1694 @lilypond[ragged-right,quote,verbatim,relative=2]
1696 \time 3/4 g2 e4 a2 f4 g2.
1698 \set vocalName = #"Bert "
1699 Hi, my name is Bert.
1701 \set vocalName = #"Ernie "
1702 Oh, ché -- ri, je t'aime
1706 @node Stanzas with different rhythms
1707 @unnumberedsubsubsec Stanzas with different rhythms
1709 Often, different stanzas of one song are put to one melody in slightly
1710 differing ways. Such variations can still be captured with
1713 @subsubheading Ignoring melismata
1715 One possibility is that the text has a melisma in one stanza, but
1716 multiple syllables in another. One solution is to make the faster
1717 voice ignore the melisma. This is done by setting
1718 @code{ignoreMelismata} in the Lyrics context.
1720 @lilypond[verbatim,ragged-right,quote]
1722 \relative c' \new Voice = "lahlah" {
1723 \set Staff.autoBeaming = ##f
1729 \new Lyrics \lyricsto "lahlah" {
1732 \new Lyrics \lyricsto "lahlah" {
1734 \set ignoreMelismata = ##t
1736 \unset ignoreMelismata
1743 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1744 not work if prefixed with @code{\once}. It is necessary to use
1745 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1748 @subsubheading Adding syllables to grace notes
1750 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1751 syllables when using @code{\lyricsto}, but this behavior can be
1754 @lilypond[verbatim,ragged-right,quote]
1756 f4 \appoggiatura a32 b4
1757 \grace { f16[ a16] } b2
1758 \afterGrace b2 { f16[ a16] }
1759 \appoggiatura a32 b4
1764 \set includeGraceNotes = ##t
1767 after -- grace case,
1768 \set ignoreMelismata = ##t
1775 Like @code{associatedVoice}, @code{includeGraceNotes} needs to be
1776 set at latest one syllable before the one which is to be put under a
1777 grace note. For the case of a grace note at the very beginning of a
1778 piece of music, consider using a @code{\with} or @code{\context}
1781 @lilypond[verbatim,ragged-right,quote]
1783 \new Voice = melody \relative c' {
1784 \grace { c16[( d e f] }
1787 \new Lyrics \with { includeGraceNotes = ##t }
1794 @subsubheading Switching to an alternative melody
1796 @cindex associatedVoice
1797 @cindex alternative melody, switching to
1799 More complex variations in setting lyrics to music are possible.
1800 The melody to which the lyrics are being set can be changed from
1801 within the lyrics by setting the @code{associatedVoice} property:
1803 @lilypond[verbatim,quote]
1805 \relative c' \new Voice = "lahlah" {
1806 \set Staff.autoBeaming = ##f
1809 \new Voice = "alternative" {
1812 % show associations clearly.
1813 \override NoteColumn #'force-hshift = #-3
1824 \new Lyrics \lyricsto "lahlah" {
1825 Ju -- ras -- sic Park
1827 \new Lyrics \lyricsto "lahlah" {
1828 % Tricky: need to set associatedVoice
1829 % one syllable too soon!
1830 \set associatedVoice = "alternative" % applies to "ran"
1834 \set associatedVoice = "lahlah" % applies to "rus"
1840 The text for the first stanza is set to the melody called @q{lahlah}
1841 in the usual way, but the second stanza is set initally to the
1842 @code{lahlah} context and is then switched to the @code{alternative}
1843 melody for the syllables @q{ran} to @q{sau} by the lines:
1846 \set associatedVoice = "alternative" % applies to "ran"
1850 \set associatedVoice = "lahlah" % applies to "rus"
1855 Here, @code{alternative} is the name of the @code{Voice} context
1856 containing the triplet.
1858 Note the placement of the @code{\set associatedVoice} command --
1859 it appears to be one syllable too early, but this is correct.
1861 @warning{The @code{\set associatedVoice} command must be placed
1862 one syllable @emph{before} the one at which the switch to the new
1863 voice is to occur. In other words, changing the associated Voice
1864 happens one syllable later than expected. This is for technical
1865 reasons, and it is not a bug.}
1868 @node Printing stanzas at the end
1869 @unnumberedsubsubsec Printing stanzas at the end
1871 Sometimes it is appropriate to have one stanza set
1872 to the music, and the rest added in verse form at
1873 the end of the piece. This can be accomplished by adding
1874 the extra verses into a @code{\markup} section outside
1875 of the main score block. Notice that there are two
1876 different ways to force linebreaks when using
1879 @lilypond[ragged-right,verbatim,quote]
1880 melody = \relative c' {
1886 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1887 its fleece was white as snow.
1891 \new Voice = "one" { \melody }
1892 \new Lyrics \lyricsto "one" \text
1898 \line{ All the children laughed and played }
1899 \line{ To see a lamb at school. }
1906 Mary took it home again,
1908 It was against the rule."
1913 @node Printing stanzas at the end in multiple columns
1914 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1916 When a piece of music has many verses, they are often printed in
1917 multiple columns across the page. An outdented verse number often
1918 introduces each verse. The following example shows how to produce such
1921 @lilypond[ragged-right,quote,verbatim]
1922 melody = \relative c' {
1927 \set stanza = #"1." This is verse one.
1932 \new Voice = "one" { \melody }
1933 \new Lyrics \lyricsto "one" \text
1940 \hspace #0.1 % moves the column off the left margin;
1941 % can be removed if space on the page is tight
1945 "This is verse two."
1949 \hspace #0.1 % adds vertical spacing between verses
1952 "This is verse three."
1957 \hspace #0.1 % adds horizontal spacing between columns;
1958 % if they are still too close, add more " " pairs
1959 % until the result looks good
1963 "This is verse four."
1967 \hspace #0.1 % adds vertical spacing between verses
1970 "This is verse five."
1975 \hspace #0.1 % gives some extra space on the right margin;
1976 % can be removed if page space is tight
1983 Internals Reference:
1984 @rinternals{LyricText},
1985 @rinternals{StanzaNumber}.
1992 * References for songs::
1996 @node References for songs
1997 @unnumberedsubsubsec References for songs
1999 Songs are usually written on three staves with the melody for the
2000 singer on the top staff and two staves of piano accompaniment at
2001 the bottom. The lyrics of the first stanza are printed immediately
2002 underneath the top staff. If there are just a small number of
2003 further stanzas these can be printed immediately under the first
2004 one, but if there are more stanzas than can be easily accommodated
2005 there the second and subsequent stanzas are printed after the music
2006 as stand-alone text.
2008 All the notational elements needed to write songs are fully described
2014 For constructing the staff layout, see @ref{Displaying staves}.
2017 For writing piano music, see
2018 @ref{Keyboard and other multi-staff instruments}.
2021 For writing the lyrics to a melody line, see
2022 @ref{Common notation for vocal music}.
2025 For placing the lyrics, see @ref{Placing lyrics vertically}.
2028 For entering stanzas, see @ref{Stanzas}.
2031 Songs are frequently printed with the chording indicated by chord
2032 names above the staves. This is described in
2033 @ref{Displaying chords}.
2036 To print fret diagrams of the chords for guitar accompaniment or
2037 accompaniment by other fretted instruments, see @qq{Fret diagram
2038 markups} in @ref{Common notation for fretted strings}.
2047 @ref{Common notation for vocal music},
2048 @ref{Displaying chords},
2049 @ref{Displaying staves},
2050 @ref{Keyboard and other multi-staff instruments},
2051 @ref{Placing lyrics vertically},
2058 @unnumberedsubsubsec Lead sheets
2060 Lead sheets may be printed by combining vocal parts and @q{chord mode};
2061 this syntax is explained in @ref{Chord notation}.
2064 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2065 {simple-lead-sheet.ly}
2069 @ref{Chord notation}.
2080 This section discusses notation issues that relate most directly
2081 to choral music. This includes anthems, part songs, oratorio,
2085 * References for choral::
2086 * Score layouts for choral::
2090 @node References for choral
2091 @unnumberedsubsubsec References for choral
2093 Choral music is usually notated on two, three or four staves within
2094 a @code{ChoirStaff} group. Accompaniment, if required, is placed
2095 beneath in a @code{PianoStaff} group, which is usually reduced in
2096 size for @emph{a capella} choral works. The notes for each vocal
2097 part are placed in a @code{Voice} context, with each staff
2098 being given either a single vocal part (i.e., one @code{Voice}) or
2099 a pair of vocal parts (i.e., two @code{Voice}s).
2101 Words are placed in @code{Lyrics} contexts, either underneath each
2102 corresponding music staff, or one above and one below the music
2103 staff if this contains the music for two parts.
2105 Several common topics in choral music are described fully elsewhere:
2110 An introduction to creating an SATB vocal score can be found in
2111 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
2114 Several templates suitable for various styles of choral music can
2115 also be found in the Learning Manual, see
2116 @rlearning{Vocal ensembles}.
2119 For information about @code{ChoirStaff} and @code{PianoStaff} see
2120 @ref{Grouping staves}.
2123 Shape noteheads, as used in Sacred Harp and similar notation, are
2124 described in @ref{Shape note heads}.
2127 When two vocal parts share a staff the stems, ties, slurs, etc., of
2128 the higher part will be directed up and those of the lower part
2129 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
2130 @ref{Single-staff polyphony}.
2141 @rlearning{Four-part SATB vocal score},
2142 @rlearning{Vocal ensembles}.
2145 @ref{Context layout order},
2146 @ref{Grouping staves},
2147 @ref{Shape note heads},
2148 @ref{Single-staff polyphony}.
2153 Internals Reference:
2154 @rinternals{ChoirStaff},
2155 @rinternals{Lyrics},
2156 @rinternals{PianoStaff}.
2158 @node Score layouts for choral
2159 @unnumberedsubsubsec Score layouts for choral
2161 Choral music containing four staves, with or without piano
2162 accompaniment, is usually laid out with two systems per page.
2163 Depending on the page size, achieving this may require changes
2164 to several default settings. The following settings should be
2170 The global staff size can be modified to change the overall size
2171 of the elements of the score. See @ref{Setting the staff size}.
2174 The distances between the systems, the staves and the lyrics can
2175 all be adjusted independently. See @ref{Vertical spacing}.
2178 The dimensions of the vertical layout variables can be displayed as
2179 an aid to adjusting the vertical spacing. This and other
2180 possibilities for fitting the music onto fewer pages are described
2181 in @ref{Fitting music onto fewer pages}.
2184 If the number of systems per page changes from one to two it is
2185 customary to indicate this with a system separator mark between
2186 the two systems. See @ref{Separating systems}.
2189 For details of other page formatting properties, see
2195 Dynamic markings by default are placed below the staff, but in
2196 choral music they are usually placed above the staff in order to
2197 avoid the lyrics. The predefined command @code{\dynamicUp} does
2198 this for the dynamic markings in a single @code{Voice} context.
2199 If there are many @code{Voice} contexts this predefined command
2200 would have to be placed in every one. Alternatively its expanded
2201 form can be used to place all dynamic markings in the entire score
2202 above their respective staves, as shown here:
2204 @lilypond[verbatim,quote]
2209 \relative c'' { g4\f g g g }
2214 \relative c' { d4 d d\p d }
2221 \override DynamicText #'direction = #UP
2222 \override DynamicLineSpanner #'direction = #UP
2229 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
2233 @ref{Changing spacing},
2234 @ref{Displaying spacing},
2235 @ref{Fitting music onto fewer pages},
2238 @ref{Separating systems},
2239 @ref{Setting the staff size},
2240 @ref{Using an extra voice for breaks},
2241 @ref{Vertical spacing}.
2243 Internals Reference:
2244 @rinternals{VerticalAxisGroup},
2245 @rinternals{StaffGrouper}.
2248 @node Divided voices
2249 @unnumberedsubsubsec Divided voices
2251 @cindex voices, divided
2253 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2254 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
2258 @ref{Expressive marks as lines}.
2261 @node Opera and stage musicals
2262 @subsection Opera and stage musicals
2264 The music, lyrics and dialogue to opera and stage musicals are
2265 usually set out in one or more of the following forms:
2270 A @emph{Conductors' Score} containing the full orchestral and vocal
2271 parts, together with libretto cues if there are spoken passages.
2274 @emph{Orchestral Parts} containing the music for the individual
2275 instruments of the orchestra or band.
2278 A @emph{Vocal Score} containing all vocal parts with piano
2279 accompaniment. The accompaniment is usually an orchestral
2280 reduction, and if so the name of the original orchestral instrument
2281 is often indicated. Vocal scores sometimes includes stage
2282 directions and libretto cues.
2285 A @emph{Vocal Book} containing just the vocal parts
2286 (no accompaniment), sometimes combined with the libretto.
2289 A @emph{Libretto} containing the extended passages of spoken
2290 dialogue usually found in musicals, together with the words to the
2291 sung parts. Stage directions are usually included. LilyPond can
2292 be used to typeset libretti but as they contain no music
2293 alternative methods may be preferable.
2297 The sections in the LilyPond documentation which cover the topics
2298 needed to create scores in the styles commonly found in opera and
2299 musicals are indicated in the References below. This is followed
2300 by sections covering those techniques which are peculiar to
2301 typesetting opera and musical scores.
2304 * References for opera and stage musicals::
2308 * Dialogue over music::
2311 @node References for opera and stage musicals
2312 @unnumberedsubsubsec References for opera and stage musicals
2317 A conductors' score contains many grouped staves and lyrics. Ways
2318 of grouping staves is shown in @ref{Grouping staves}. To nest
2319 groups of staves see @ref{Nested staff groups}.
2322 The printing of empty staves in conductors' scores and vocal scores
2323 is often suppressed. To create such a @qq{Frenched score} see
2324 @ref{Hiding staves}.
2327 Writing orchestral parts is covered in @ref{Writing parts}.
2328 Other sections in the Specialist notation chapter may be relevant,
2329 depending on the orchestration used. Many instruments are
2330 transposing instruments, see @ref{Instrument transpositions}.
2333 If the number of systems per page changes from page to page it is
2334 customary to separate the systems with a system separator mark.
2335 See @ref{Separating systems}.
2338 For details of other page formatting properties, see
2342 Dialogue cues and stage directions can be inserted with markup.
2343 See @ref{Text}. Extensive stage directions can be inserted with
2344 a section of stand-alone markup between two @code{\score} blocks.
2345 See @ref{Separate text}.
2351 @rglos{Frenched score},
2352 @rglos{Frenched staves},
2353 @rglos{transposing instrument}.
2356 @ref{Grouping staves},
2357 @ref{Hiding staves},
2358 @ref{Instrument transpositions},
2359 @ref{Nested staff groups},
2361 @ref{Separating systems},
2363 @ref{Writing parts},
2370 @node Character names
2371 @unnumberedsubsubsec Character names
2373 @cindex character names
2374 @cindex names, character
2376 Character names are usually shown to the left of the staff when the
2377 staff is dedicated to that character alone:
2379 @lilypond[quote,verbatim,ragged-right]
2383 \set Staff.vocalName = \markup \smallCaps Kaspar
2384 \set Staff.shortVocalName = \markup \smallCaps Kas.
2393 \set Staff.vocalName = \markup \smallCaps Melchior
2394 \set Staff.shortVocalName = \markup \smallCaps Mel
2405 When two or more characters share a staff the character's name is
2406 usually printed above the staff at the start of every section
2407 applying to that character. This can be done with markup. Often a
2408 specific font is used for this purpose.
2410 @lilypond[quote,verbatim,relative=1]
2412 c4^\markup \fontsize #1 \smallCaps Kaspar
2415 a4^\markup \fontsize #1 \smallCaps Melchior
2418 c4^\markup \fontsize #1 \smallCaps Kaspar
2422 Alternatively, if there are many character changes, it may be
2423 easier to set up @qq{instrument} definitions for each character at
2424 the top level so that @code{\instrumentSwitch} can be used to
2425 indicate each change.
2427 @lilypond[quote,verbatim]
2428 \addInstrumentDefinition #"kaspar"
2429 #`((instrumentTransposition . ,(ly:make-pitch -1 0 0))
2430 (shortInstrumentName . "Kas.")
2431 (clefGlyph . "clefs.G")
2432 (clefOctavation . -7)
2433 (middleCPosition . 1)
2435 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Kaspar"))
2436 (midiInstrument . "voice oohs"))
2438 \addInstrumentDefinition #"melchior"
2439 #`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
2440 (shortInstrumentName . "Mel.")
2441 (clefGlyph . "clefs.F")
2442 (clefOctavation . 0)
2443 (middleCPosition . 6)
2445 (instrumentCueName . ,(markup #:fontsize 1 #:smallCaps "Melchior"))
2446 (midiInstrument . "voice aahs"))
2449 \instrumentSwitch "kaspar"
2451 \instrumentSwitch "melchior"
2453 \instrumentSwitch "kaspar"
2460 @ref{Instrument names},
2461 @ref{Scheme functions},
2463 @ref{Text markup commands}.
2466 @rextend{Markup construction in Scheme}.
2469 @unnumberedsubsubsec Musical cues
2471 @cindex musical cues
2472 @cindex cues, musical
2474 Musical cues can be inserted in Vocal Scores, Vocal Books and
2475 Orchestral Parts to indicate what music in another part
2476 immediately precedes an entry. Also, cues are often inserted in the
2477 piano reduction in Vocal Scores to indicate what each orchestral
2478 instrument is playing. This aids the conductor when a full
2479 Conductors' Score is not available.
2481 The basic mechanism for inserting cues is fully explained in the
2482 main text, see @ref{Quoting other voices} and
2483 @ref{Formatting cue notes}. But when many cues have to be
2484 inserted, for example, as an aid to a conductor in a vocal score,
2485 the instrument name must be positioned carefully just before and
2486 close to the start of the cue notes. The following example shows
2489 @lilypond[quote,verbatim]
2490 flute = \relative c'' {
2493 \addQuote "flute" { \flute }
2495 pianoRH = \relative c'' {
2497 % position name of cue-ing instrument just before the cue notes,
2498 % and above the staff
2499 s1*0^\markup { \right-align { \tiny "Flute" } }
2500 \cueDuring "flute" #UP { g4 bes4 }
2502 pianoLH = \relative c { c4 <c' e> e, <g c> }
2517 If a transposing instrument is being quoted the instrument part should
2518 specify its key so the conversion of its cue notes will be done
2519 automatically. The example below shows this transposition for a
2520 B-flat clarinet. The notes in this example are low on the staff so
2521 @code{#DOWN} is specified in @code{\cueDuring} (so the stems are
2522 down) and the instrument name is positioned below the staff. Note
2523 also that the piano right-hand voice is explicitly declared. This
2524 is because the cue notes in this example begin at the start of the
2525 first bar and this would otherwise cause the entire piano right-hand
2526 notes to be placed in a @code{CueVoice} context.
2528 @lilypond[quote,verbatim]
2529 clarinet = \relative c' {
2533 \addQuote "clarinet" { \clarinet }
2535 pianoRH = \relative c'' {
2537 % position name of cue-ing instrument below the staff
2538 s1*0_\markup { \right-align { \tiny "Clar." } }
2539 \cueDuring "clarinet" #DOWN { c4. g8 }
2542 pianoLH = \relative c { c4 <c' e> e, <g c> }
2561 From these two examples it is clear that inserting many cues in a
2562 Vocal Score would be tedious, and the notes of the piano part would
2563 become obscured. However, as the following snippet shows, it is
2564 possible to define a music function to reduce the amount of typing
2565 and to make the piano notes clearer.
2568 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2569 {adding-orchestral-cues-to-a-vocal-score.ly}
2576 @ref{Aligning objects},
2577 @ref{Direction and placement},
2578 @ref{Formatting cue notes},
2579 @ref{Quoting other voices},
2580 @ref{Using music functions}.
2585 Internals Reference:
2586 @rinternals{InstrumentSwitch},
2587 @rinternals{CueVoice}.
2590 @code{\cueDuring} automatically inserts a @code{CueVoice} context
2591 and all cue notes are placed in that context. This means it is not
2592 possible to have two overlapping sequences of cue notes by this
2593 technique. Overlapping sequences could be entered by explicitly
2594 declaring separate @code{CueVoice} contexts and using
2595 @code{\quoteDuring} to extract and insert the cue notes.
2599 @unnumberedsubsubsec Spoken music
2602 @cindex Sprechgesang
2603 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
2604 without pitch but still with rhythm; these are notated by cross
2605 note heads, as demonstrated in @ref{Special note heads}.
2607 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
2608 @c add "showing the rhythm of a melody" snip
2609 @c add "one staff-line notation"
2610 @c add "improvisation" ref
2611 @c add "lyrics independents of notes" ref
2613 @node Dialogue over music
2614 @unnumberedsubsubsec Dialogue over music
2616 Dialogue over music is usually printed over the staves in an italic
2617 font, with the start of each phrase keyed in to a particular music
2620 For short interjections a simple markup suffices.
2622 @lilypond[quote,verbatim,relative=2]
2623 a4^\markup { \smallCaps { Alex - } \italic { He's gone } } a a a
2624 a4 a a^\markup { \smallCaps { Bethan - } \italic Where? } a
2628 For longer phrases it may be necessary to expand the music to make
2629 the words fit neatly. There is no provision in LilyPond to do this
2630 fully automatically, and some manual intervention to layout the
2631 page will be necessary.
2633 For long phrases or for passages with a lot of closely packed
2634 dialogue, using a Lyrics context will give better results. The
2635 Lyrics context should not be associated with a music Voice; instead
2636 each section of dialogue should be given an explicit duration. If
2637 there is a gap in the dialogue, the final word should be separated
2638 from the rest and the duration split between them so that the
2639 underlying music spaces out smoothly.
2641 If the dialogue extends for more than one line it will be necessary
2642 to manually insert @code{\break}s and adjust the placing of the
2643 dialogue to avoid running into the right margin. The final word of
2644 the last measure on a line should also be separated out, as above.
2646 Here is an example illustating how this might be done.
2648 @c This should be a snippet, but it can't be as it needs to be
2649 @c manually adjusted to suit the imposed line length. -td
2651 @lilypond[quote,verbatim,ragged-right]
2652 music = \relative c'' {
2653 \repeat unfold 3 { a4 a a a }
2656 dialogue = \lyricmode {
2658 \fontsize #1 \upright \smallCaps Abe:
2659 "Say this over measures one and"
2663 "and this over measure"4*3
2670 \override LyricText #'font-shape = #'italic
2671 \override LyricText #'self-alignment-X = #LEFT
2675 \new Voice { \music }
2681 @c TODO show use of \column to produce dialogue on two lines
2685 @ref{Manual syllable durations},
2689 @rinternals{LyricText}.
2692 @node Chants psalms and hymns
2693 @subsection Chants psalms and hymns
2698 @cindex religious music
2700 The music and words for chants, psalms and hymns usually follow a
2701 well-established format in any particular church. Although the
2702 formats may differ from church to church the type-setting problems
2703 which arise are broadly similar, and are covered in this section.
2706 * References for chants and psalms::
2708 * Pointing a psalm::
2709 * Partial measures in hymn tunes::
2712 @node References for chants and psalms
2713 @unnumberedsubsubsec References for chants and psalms
2715 Typesetting Gregorian chant in various styles of ancient notation
2716 is described in @ref{Ancient notation}.
2720 @ref{Ancient notation}.
2726 @node Setting a chant
2727 @unnumberedsubsubsec Setting a chant
2729 Modern chant settings use modern notation with varying numbers of
2730 elements taken from ancient notation. Some of the elements and
2731 methods to consider are shown here.
2733 Chants often use quarter notes without stems to indicate the pitch,
2734 with the rhythm being taken from the spoken rhythm of the words.
2736 @lilypond[verbatim,quote]
2737 stemOff = { \override Staff.Stem #'transparent = ##t }
2746 Chants often omit the bar lines or use shortened or dotted bar
2747 lines to indicate pauses in the music. To omit all bar lines from
2748 all staves remove the bar line engraver completely:
2750 @lilypond[verbatim,quote]
2771 \remove Bar_engraver
2777 Bar lines can also be removed on a staff-by-staff basis:
2779 @lilypond[verbatim, quote]
2783 \with { \remove Bar_engraver } {
2801 To remove bar lines from just a section of music treat it as a
2802 cadenza. If the section is long you may need to insert dummy
2803 barlines with @code{\bar ""} to show where the line should break.
2805 @lilypond[verbatim,quote,relative=2]
2818 Rests or pauses in chants can be indicated by modified bar lines.
2820 @lilypond[verbatim, quote,relative=2]
2835 Alternatively, the notation used in Gregorian chant for pauses or
2836 rests is sometimes used even though the rest of the notation is
2837 modern. This uses a modified @code{\breathe} mark:
2839 @lilypond[verbatim,quote]
2841 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2842 \once \override BreathingSign #'Y-offset = #0
2846 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2847 \once \override BreathingSign #'Y-offset = #0
2851 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2852 \once \override BreathingSign #'Y-offset = #0
2856 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2857 \once \override BreathingSign #'Y-offset = #0
2875 \remove Bar_engraver
2881 Chants usually omit the time signature and often omit the clef too.
2883 @lilypond[verbatim,quote]
2895 \remove Bar_engraver
2896 \remove Time_signature_engraver
2897 \remove Clef_engraver
2903 Chants for psalms in the Anglican tradition are usually either
2904 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2905 of 7 bars. Each group of 7 bars is divided into two halves,
2906 corresponding to the two halves of each verse, usually separated by
2907 a double bar line. Only whole and half notes are used. The 1st bar
2908 in each half always contains a single chord of whole notes. This is
2909 the @qq{reciting note}. Chants are usually centered on the page.
2911 @lilypond[verbatim,quote]
2912 SopranoMusic = \relative g' {
2913 g1 | c2 b | a1 | \bar "||"
2914 a1 | d2 c | c b | c1 | \bar "||"
2917 AltoMusic = \relative c' {
2919 f1 | f2 e | d d | e1 |
2922 TenorMusic = \relative a {
2924 d1 | g,2 g | g g | g1 |
2927 BassMusic = \relative c {
2929 d1 | b2 c | g' g | c,1 |
2936 % Use markup to center the chant on the page
2945 \new Voice = "Soprano" <<
2949 \new Voice = "Alto" <<
2957 \new Voice = "Tenor" <<
2961 \new Voice = "Bass" <<
2971 \override SpacingSpanner
2972 #'base-shortest-duration = #(ly:make-moment 1 2)
2976 \remove "Time_signature_engraver"
2984 Some other approaches to setting such a chant are shown in the first
2985 of the following snippets.
2989 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2990 {chant-or-psalms-notation.ly}
2992 Canticles and other liturgical texts may be set more freely, and
2993 may use notational elements from ancient music. Often the words
2994 are shown underneath and aligned with the notes. If so, the notes
2995 are spaced in accordance with the syllables rather than the notes'
2998 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2999 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
3003 @rlearning{Visibility and color of objects},
3004 @rlearning{Vocal ensembles}.
3007 @ref{Ancient notation},
3009 @ref{Modifying context plug-ins},
3010 @ref{Typesetting Gregorian chant},
3011 @ref{Unmetered music},
3012 @ref{Visibility of objects}.
3015 @node Pointing a psalm
3016 @unnumberedsubsubsec Pointing a psalm
3018 The words to an Anglican psalm are usually printed in separate
3019 verses centered underneath the chant.
3021 Single chants (with 7 bars) are repeated for every verse. Double
3022 chants (with 14 bars) are repeated for every pair of verses. Marks
3023 are inserted in the words to show how they should be fitted to the
3024 chant. Each verse is divided into two halves. A colon is usually
3025 used to indicate this division. This corresponds to the double bar
3026 line in the music. The words before the colon are sung to the first
3027 three bars of music; the words after the colon are sung to the last
3030 Single bar lines (or in some psalters an inverted comma or similar
3031 symbol) are inserted between words to indicate where the bar lines
3032 in the music fall. In markup mode a single bar line can be entered
3033 with the bar check symbol, @code{|}.
3035 @lilypond[verbatim,quote]
3040 \line { O come let us sing | unto the | Lord : let }
3041 \line { us heartily rejoice in the | strength of | our }
3042 \line { sal- | -vation. }
3049 Other symbols may require glyphs from the @code{fetaMusic} fonts.
3050 For details, see @ref{Fonts}.
3052 @lilypond[verbatim,quote]
3054 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3060 \line { O come let us sing \tick unto the \tick Lord : let }
3062 us heartily rejoice in the \tick strength of \tick our
3064 \line { sal \tick vation. }
3071 Where there is one whole note in a bar all the words corresponding
3072 to that bar are recited on that one note in speech rhythm. Where
3073 there are two notes in a bar there will usually be only one or two
3074 corresponding syllables. If there are more that two syllables a
3075 dot is usually inserted to indicate where the change in note occurs.
3077 @lilypond[verbatim,quote]
3079 \raise #0.7 \musicglyph #"dots.dot"
3082 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3089 O come let us sing \tick unto \dot the \tick Lord : let
3092 us heartily rejoice in the \tick strength of \tick our
3094 \line { sal \tick vation. }
3101 In some psalters an asterisk is used to indicate a break in a
3102 recited section instead of a comma, and stressed or slightly
3103 lengthened syllables are indicated in bold text.
3105 @lilypond[verbatim,quote]
3107 \raise #0.7 \musicglyph #"dots.dot"
3110 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3116 \line { Today if ye will hear his voice * }
3118 \concat { \bold hard en }
3119 | not your | hearts : as in the pro-
3121 \line { vocation * and as in the \bold day of tempt- | }
3122 \line { -ation | in the | wilderness. }
3129 In other psalters an accent is placed over the syllable to indicate
3132 @lilypond[verbatim,quote]
3134 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
3141 O come let us \concat {
3142 si \combine \tick ng
3144 | unto the | Lord : let
3147 us heartily \concat {
3148 rejo \combine \tick ice
3150 in the | strength of | our
3152 \line { sal- | -vation. }
3159 The use of markup to center text, and arrange lines in columns is
3160 described in @ref{Formatting text}.
3162 Most of these elements are shown in one or other of the two verses
3163 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
3167 @rlearning{Vocal ensembles}.
3171 @ref{Formatting text}.
3174 @node Partial measures in hymn tunes
3175 @unnumberedsubsubsec Partial measures in hymn tunes
3177 Hymn tunes frequently start and end every line of music with
3178 partial measures so that each line of music corresponds exactly
3179 with a line of text. This requires a @code{\partial} command at
3180 the start of the music and @code{\bar "|"} or @code{\bar "||"}
3181 commands at the end of each line.
3183 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
3187 @node Ancient vocal music
3188 @subsection Ancient vocal music
3190 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
3194 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
3195 @c and "Transcription of Ancient music with incipit" snippet. -vv
3199 @ref{Ancient notation}.