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. See TRANSLATION for details.
14 @c TODO: inspirational headword
16 This section explains how to typeset vocal music, and make sure
17 that the lyrics will be aligned with the notes of their melody.
20 * Common notation for vocal music::
22 * Aligning lyrics to a melody::
23 * Specific uses of lyrics::
28 @node Common notation for vocal music
29 @subsection Common notation for vocal music
31 This section discusses issues related to vocal music in general, and
32 to some particular styles of vocal music.
35 * References for vocal music and lyrics::
40 * Ancient vocal music::
44 @node References for vocal music and lyrics
45 @unnumberedsubsubsec References for vocal music and lyrics
47 @c TODO: split this section in two parts? -vv
49 Various issues may arise when engraving vocal music. Some of these
50 are discussed in this section, while others are explained elsewhere:
54 Most styles of vocal music use written text as lyrics. An introduction
55 to this notation is to be found in @rlearning{Setting simple songs}.
57 Vocal music is likely to require the use of @code{markup} mode, either
58 for lyrics of for other text elements (character's names, etc.).
59 This syntax is described in @ref{Text markup introduction}.
61 Lead sheets may be printed by combining vocal parts and @q{chord mode};
62 this syntax is explained in @ref{Chord notation}.
64 @q{Ambitus} may be added at the beginning of vocal staves, as explained
67 Vocal parts may be printed using traditional clefs, as shown in @ref{Clefs}.
69 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
74 @unnumberedsubsubsec Opera
79 @c add characters names snippet -vv
82 @unnumberedsubsubsec Song books
88 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
89 {simple-lead-sheet.ly}
96 @unnumberedsubsubsec Spoken music
99 Such effects as @q{parlato} or @q{Sprechgesang} require perfomers to speak
100 without pitch but still with rhythm; these are notated by cross
101 note heads, as demonstrated in @ref{Special note heads}.
103 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
104 @c add "showing the rhythm of a melody" snip
105 @c add "one staff-line notation"
106 @c add "improvisation" ref
107 @c add "lyrics independents of notes" ref
110 @unnumberedsubsubsec Chants
112 @c TODO Add text from lsr and -user
115 @node Ancient vocal music
116 @unnumberedsubsubsec Ancient vocal music
121 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
122 @c and "Transcription of Ancient music with incipit" snippet. -vv
126 @ref{Ancient notation}.
129 @node Entering lyrics
130 @subsection Entering lyrics
132 @c TODO add one sentence here. -vv
136 * Setting simple songs::
137 * Working with lyrics and variables::
141 @node Lyrics explained
142 @unnumberedsubsubsec Lyrics explained
147 @cindex spaces, in lyrics
148 @cindex quotes, in lyrics
150 @c FIXME: this section is to be rewritten.
151 Since LilyPond input files are text, there is at least one
152 issue to consider when working with vocal music:
153 song texts must be interpreted as text, not notes. For example, the
154 input@tie{}@code{d} should be interpreted as a one letter syllable,
156 Therefore, a special lyric mode has to be used, either explicitely
157 or using some abbreviated methods.
159 Lyrics are entered in a special input mode, which can be introduced
160 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
161 @code{\lyricsto}. In this mode you can enter lyrics,
162 with punctuation and accents, and the input @code{d} is not parsed as
163 a pitch, but rather as a one letter syllable. Syllables are entered
164 like notes, but with pitches replaced by text. For example,
167 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
170 There are two main methods to specify the horizontal placement
171 of the syllables, either by specifying the duration of each syllable
172 explicitly, like in the example above, or by automatically aligning
173 the lyrics to a melody or other voice of music, using @code{\addlyrics}
176 @c For more details see @ref{The Lyrics context}.
178 A word or syllable of lyrics begins with an alphabetic character, and ends
180 any space or digit. The following characters can be any character
181 that is not a digit or white space.
183 Any character that is not a digit or white space will be regarded as
184 part of the syllable; one important consequence of this is that a word
185 can end with @code{@}}, which often leads to the following mistake:
188 \lyricmode @{ lah- lah@}
191 In this example, the @code{@}} is included in the final syllable, so the
192 opening brace is not balanced and the input file will probably not
196 @funindex \property in \lyricmode
199 Similarly, a period which follows an alphabetic sequence is included in
200 the resulting string. As a consequence, spaces must be inserted around
201 property commands: do @emph{not} write
204 \override Score.LyricText #'font-shape = #'italic
211 \override Score . LyricText #'font-shape = #'italic
215 @cindex spaces, in lyrics
216 @cindex quotes, in lyrics
217 @cindex ties, in lyrics
219 In order to assign more than one syllable to a single note, you can
220 surround them with quotes or use a @code{_} character, to get spaces
221 between syllables, or use tilde symbol (@code{~}) to get a lyric tie.
223 @lilypond[quote,ragged-right,fragment,verbatim]
225 \relative c' { c2 e4 g2 e4 }
226 \addlyrics { gran- de_a- mi- go }
227 \addlyrics { pu- "ro y ho-" nes- to }
228 \addlyrics { pu- ro~y~ho- nes- to }
232 The lyric tie is implemented with the Unicode character
233 @code{U+203F}; therefore a font that includes this glyph
234 (such as DejaVuLGC) has to be used. More explanations about
235 text and non-text fonts can be found in @ref{Fonts}.
238 To enter lyrics with characters from non-English languages, or with
239 accented and special characters (such as the heart symbol or slanted quotes),
240 simply insert the characters directly into the input file and save
241 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
243 @lilypond[quote,ragged-right,fragment,verbatim]
244 \relative c' { e4 f e d e f e2 }
245 \addlyrics { He said: “Let my peo ple go”. }
248 To use normal quotes in lyrics, add a backslash before the
251 @lilypond[quote,ragged-right,fragment,verbatim]
252 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
253 \addlyrics { "\"I" am so lone- "ly\"" said she }
256 The full definition of a word start in Lyrics mode is somewhat more
259 A word in Lyrics mode begins with: an alphabetic character, @code{_},
260 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
261 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
262 any 8-bit character with ASCII code over 127, or a two-character
263 combination of a backslash followed by one of @code{`}, @code{'},
264 @code{"}, or @code{^}.
266 @c " to balance double quotes for not-so-bright context-sensitive editors
268 To define variables containing lyrics, the function @code{lyricmode}
272 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
275 \new Voice = "one" \relative c'' @{
278 c4 b8. a16 g4. f8 e4 d c2
280 \addlyrics @{ \verseOne @}
292 @rinternals{LyricText},
293 @rinternals{LyricSpace}.
295 @c FIXME: this title has to be changed (possible confusion with LM) -vv
296 @node Setting simple songs
297 @unnumberedsubsubsec Setting simple songs
301 The easiest way to add lyrics to a melody is to append
304 \addlyrics @{ @var{the lyrics} @}
308 to a melody. Here is an example,
310 @lilypond[ragged-right,verbatim,fragment,quote]
312 \relative c' { c2 e4 g2. }
313 \addlyrics { play the game }
316 More stanzas can be added by adding more
317 @code{\addlyrics} sections
319 @lilypond[ragged-right,verbatim,fragment,quote]
321 \relative c' { c2 e4 g2. }
322 \addlyrics { play the game }
323 \addlyrics { speel het spel }
324 \addlyrics { joue le jeu }
327 The command @code{\addlyrics} cannot handle polyphony settings. For these
328 cases you should use @code{\lyricsto} and @code{\lyricmode}, as will be
329 introduced in @ref{Lyrics explained}.
331 @c TODO: one additional section may be needed here,
332 @c such as "advanced lyric syntax" or whatever -vv
334 @node Working with lyrics and variables
335 @unnumberedsubsubsec Working with lyrics and variables
337 @cindex lyrics, variables
339 To define variables containing lyrics, the function @code{\lyricmode}
340 must be used. You do not have to enter durations though, if you add
341 @code{\addlyrics} or @code{\lyricsto}
342 when invoking your variable.
345 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
348 \new Voice = "one" \relative c'' @{
351 c4 b8. a16 g4. f8 e4 d c2
353 \addlyrics @{ \verseOne @}
358 For different or more complex orderings, the best way is to setup the
359 hierarchy of staves and lyrics first, e.g.,
362 \new Voice = "soprano" @{ @emph{music} @}
363 \new Lyrics = "sopranoLyrics" @{ s1 @}
364 \new Lyrics = "tenorLyrics" @{ s1 @}
365 \new Voice = "tenor" @{ @emph{music} @}
369 and then combine the appropriate melodies and lyric lines
372 \context Lyrics = sopranoLyrics \lyricsto "soprano"
378 The final input would resemble
381 <<\new ChoirStaff << @emph{setup the music} >>
382 \lyricsto "soprano" @emph{etc}
383 \lyricsto "alto" @emph{etc}
390 http://code.google.com/p/lilypond/issues/detail?id=329
391 The problem cannot be reproduced.
392 The following has no sense, because the issue seems to be fixed.
393 A comment is in tracker waiting for response ---FV
396 Be careful when defining a variable with lyrics that creates a new
397 context, for example, using the deprecated @code{\lyrics} command. See
398 the next erroneous example:
401 words = \lyrics{ %warning: this creates a new context
405 \new Voice = "sop" { c1 }
406 \new Lyrics \lyricsto "sop" { \words }
407 \new Voice = "alt" { c2 c }
408 \new Lyrics \lyricsto "alt" { \words }
412 the problem is that \lyricsto will try to connect the "sop" melody with the context
413 created by "\new Lyrics".
415 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
422 @c TODO: document \new Staff << Voice \lyricsto >> bug
424 @rinternals{LyricCombineMusic},
428 @node Aligning lyrics to a melody
429 @subsection Aligning lyrics to a melody
435 @c FIXME: this stuff is to be rewritten. -vv
437 Aligning of text with melodies can be made automatically, but if you
438 specify the durations of the syllables it can also be made manually.
439 Lyrics aligning and typesetting are prepared with the help of skips,
440 hyphens and extender lines.
442 Lyrics are printed by interpreting them in the context called
446 \new Lyrics \lyricmode @dots{}
449 There are two main methods to specify the horizontal placement
454 by automatically aligning
455 the lyrics to a melody or other voice of music, using @code{\addlyrics}
459 or by specifying the duration of each syllable
460 explicitly, using @code{\lyricmode}
464 * Automatic syllable durations::
465 * Manual syllable durations::
466 * Multiple syllables to one note::
467 * Multiple notes to one syllable::
469 * Extenders and hyphens::
470 * Lyrics and repeats::
473 @node Automatic syllable durations
474 @unnumberedsubsubsec Automatic syllable durations
476 @cindex automatic syllable durations
477 @cindex lyrics and melodies
479 The lyrics can be aligned under a given melody
480 automatically. This is achieved by combining the
481 melody and the lyrics with the @code{\lyricsto} expression
484 \new Lyrics \lyricsto @var{name} @dots{}
487 This aligns the lyrics to the
488 notes of the @rinternals{Voice} context called @var{name}, which must
489 already exist. Therefore normally the @code{Voice} is specified first, and
490 then the lyrics are specified with @code{\lyricsto}. The command
491 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
492 @code{\lyricmode} keyword may be omitted.
494 The following example uses different commands for entering lyrics.
496 @lilypond[quote,fragment,ragged-right,verbatim]
498 \new Voice = "one" \relative c'' {
501 c4 b8. a16 g4. f8 e4 d c2
504 % not recommended: left aligns syllables
505 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
507 % wrong: durations needed
508 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
511 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
515 The second stanza is not properly aligned because the durations
516 were not specified. A solution for that would be to use @code{\lyricsto}.
518 The @code{\addlyrics} command is actually just a convenient way
519 to write a more complicated LilyPond structure that sets up the
524 \addlyrics @{ LYRICS @}
531 \new Voice = "blah" @{ music @}
532 \new Lyrics \lyricsto "blah" @{ LYRICS @}
535 @node Manual syllable durations
536 @unnumberedsubsubsec Manual syllable durations
538 Lyrics can also be entered without @code{\addlyrics} or
539 @code{\lyricsto}. In this case,
540 syllables are entered like notes -- but with pitches replaced by text -- and the
541 duration of each syllable must be entered explicitly. For example:
548 The alignment to a melody can be specified with the
549 @code{associatedVoice} property,
552 \set associatedVoice = #"lala"
556 The value of the property (here: @code{"lala"}) should be the name of
557 a @rinternals{Voice} context. Without this setting, extender lines
558 will not be formatted properly.
560 Here is an example demonstrating manual lyric durations,
562 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
563 << \new Voice = "melody" {
567 \new Lyrics \lyricmode {
568 \set associatedVoice = #"melody"
579 @node Multiple syllables to one note
580 @unnumberedsubsubsec Multiple syllables to one note
584 @cindex ties, in lyrics
586 In order to assign more than one syllable to a single note, you can
587 surround them with quotes or use a @code{_} character, to get spaces
588 between syllables, or use tilde symbol (@code{~}) to get a lyric
589 tie@footnote{The lyric ties is implemented with the Unicode character
591 sure to have a font (Like DejaVuLGC) installed that includes this
594 @lilypond[quote,ragged-right,fragment,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 }
605 @rinternals{LyricCombineMusic}.
607 @c Here come the section which used to be "Melismata"
608 @c the new title might be more self-explanatory
611 @node Multiple notes to one syllable
612 @unnumberedsubsubsec Multiple notes to one syllable
616 @cindex phrasing, in lyrics
618 Sometimes, particularly in Medieval music, several notes are to be sung on one
619 single syllable; such vocalises are called melismas, or melismata.
621 @c this method seems to be the simplest; therefore
622 @c it might be better to present it first - vv
624 You can define melismata entirely in the lyrics, by entering @code{_}
625 for every extra note that has to be added to the the melisma.
627 @c FIXME: clarify: __ is used to crate a lyric extender,
628 @c _ is used to add a note to a melisma, so both __ and _ are needed.
631 @c duplicated: TODO fix
632 Additionaly, you can make an extender line to be typeset to indicate
633 the melisma in the score, writing a double underscore next to the
634 first syllable of the melisma. This example shows the three elements
635 that are used for this purpose (all of them surrounded by spaces):
636 double hyphens to separate syllables in a word, underscores to add
637 notes to a melisma, and a double underscore to put an extender line.
639 @c wrong: extender line only on last syllable of a word. Change example
640 @lilypond[relative=1,verbatim,fragment,quote]
641 { \set melismaBusyProperties = #'()
642 c d( e) f f( e) e e }
644 { Ky -- _ _ ri __ _ _ _ e }
647 In this case, you can also have ties and slurs in the melody if you
648 set @code{melismaBusyProperties}, as is done in the example above.
650 However, the @code{\lyricsto} command can also
651 detect melismata automatically: it only puts one
652 syllable under a tied or slurred group of notes. If you want to force
653 an unslurred group of notes to be a melisma, insert @code{\melisma}
654 after the first note of the group, and @code{\melismaEnd} after the
657 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
659 \new Voice = "lala" {
667 \new Lyrics \lyricsto "lala" {
673 In addition, notes are considered a melisma if they are manually
674 beamed, and automatic beaming (see @ref{Setting automatic beam
675 behavior}) is switched off.
677 @c FIXME: this now links to LM -vv
682 A complete example of a SATB score setup is in section
683 @rlearning{Vocal ensembles}.
688 @code{\melisma}, @code{\melismaEnd}
689 @funindex \melismaEnd
694 @c @lsr{vocal,lyric@/-combine.ly}.
698 Melismata are not detected automatically, and extender lines must be
702 @unnumberedsubsubsec Skipping notes
704 Making a lyric line run slower than the melody can be achieved by
705 inserting @code{\skip}s into the lyrics. For every @code{\skip},
706 the text will be delayed another note. The @code{\skip} command
707 must be followed by a valid duration, but this is ignored when
708 @code{\skip} is used in lyrics.
712 @lilypond[verbatim,ragged-right,quote]
713 \relative c' { c c g' }
721 @node Extenders and hyphens
722 @unnumberedsubsubsec Extenders and hyphens
727 @c leave this as samp. -gp
728 In the last syllable of a word, melismata are sometimes indicated with
729 a long horizontal line starting in the melisma syllable, and ending in
730 the next one. Such a line is called an extender line, and it is
731 entered as @samp{ __ } (note the spaces before and after the two
732 underscore characters).
734 @warning{Melismata are indicated in the score with extender lines,
735 which are entered as one double underscore; but short melismata can
736 also be entered by skipping individual notes, which are entered as
737 single underscore characters; these do not make an extender line to be
742 @c leave this as samp. -gp
743 Centered hyphens are entered as @samp{ -- } between syllables of a same word
744 (note the spaces before and after the two hyphen characters). The hyphen
745 will be centered between the syllables, and its length will be adjusted
746 depending on the space between the syllables.
748 In tightly engraved music, hyphens can be removed. Whether this
749 happens can be controlled with the @code{minimum-distance} (minimum
750 distance between two syllables) and the @code{minimum-length}
751 (threshold below which hyphens are removed).
756 @rinternals{LyricExtender},
757 @rinternals{LyricHyphen}
759 @node Lyrics and repeats
760 @unnumberedsubsubsec Lyrics and repeats
762 @c TODO New section. Add text
766 @node Specific uses of lyrics
767 @subsection Specific uses of lyrics
769 @c FIXME This whole section is to be reorganized. -vv
771 Often, different stanzas of one song are put to one melody in slightly
772 differing ways. Such variations can still be captured with
777 * Lyrics independent of notes::
778 * Spacing out syllables::
779 * Centering lyrics between staves::
785 @unnumberedsubsubsec Divisi lyrics
787 You can display alternate (or divisi) lyrics by naming voice
788 contexts and attaching lyrics to those specific contexts.
790 @lilypond[verbatim,ragged-right,quote]
792 \new Voice = "melody" {
797 \new Voice = "splitpart" { \voiceTwo c4 }
802 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
803 \new Lyrics \lyricsto "splitpart" { will }
808 You can use this trick to display different lyrics for a repeated
811 @lilypond[verbatim,ragged-right,quote]
813 \new Voice = "melody" \relative c' {
815 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
817 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
820 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
822 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
823 dodo rere mimi fafa solsol }
830 @node Lyrics independent of notes
831 @unnumberedsubsubsec Lyrics independent of notes
833 @cindex Devnull context
835 In some complex vocal music, it may be desirable to place
836 lyrics completely independently of notes. Music defined
837 inside @code{lyricrhythm} disappears into the
838 @code{Devnull} context, but the rhythms can still be used
841 @lilypond[quote,verbatim,ragged-right]
844 \tag #'music { c''2 }
845 \tag #'lyricrhythm { c''4. c''8 }
849 lyr = \lyricmode { I like my cat! }
852 \new Staff \keepWithTag #'music \voice
853 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
854 \new Lyrics \lyricsto "nowhere" \lyr
855 \new Staff { c'8 c' c' c' c' c' c' c'
856 c' c' c' c' c' c' c' c' }
860 This method is recommended only if the music in the @code{Devnull}
861 context does not contain melismata. Melismata are defined by the
862 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
863 makes the voice/lyrics links to get lost, and so does the info on
864 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
865 the implicit melismata get ignored.
867 @c Conclusion: do not use devnull for lyrics -FV
869 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
871 @node Spacing out syllables
872 @unnumberedsubsubsec Spacing out syllables
874 @cindex Spacing lyrics
875 @cindex Lyrics, increasing space between
877 To increase the spacing between lyrics, set the minimum-distance property of
880 @lilypond[relative,verbatim,fragment,quote,ragged-right]
883 \override Lyrics.LyricSpace #'minimum-distance = #1.0
887 longtext longtext longtext longtext
888 longtext longtext longtext longtext
892 To make this change for all lyrics in the score, set the property in the
895 @lilypond[verbatim,quote,ragged-right]
902 longtext longtext longtext longtext
903 longtext longtext longtext longtext
908 \override LyricSpace #'minimum-distance = #1.0
915 @c This snippet has been renamed to "lyrics-alignment.ly"
916 @c update as soon as lsr/is updated -vv
917 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
918 @c {lyrics-alignment.ly}
920 @c TODO: move to LSR -vv
923 Checking to make sure that text scripts and lyrics are within the margins is
924 a relatively large computational task. To speed up processing, LilyPond does
925 not perform such calculations by default; to enable it, use
928 \override Score.PaperColumn #'keep-inside-line = ##t
931 To make lyrics avoid bar lines as well, use
937 \consists "Bar_engraver"
938 \consists "Separating_line_group_engraver"
939 \override BarLine #'transparent = ##t
944 @c TODO Create and add lsr example of lyricMelismaAlignment
945 @c It's used like this to center-align all lyric syllables,
946 @c even when notes are tied. -td
951 \context { \Score lyricMelismaAlignment = #0 }
956 @node Centering lyrics between staves
957 @unnumberedsubsubsec Centering lyrics between staves
959 @c TODO Add text from -user
966 * Adding stanza numbers ::
967 * Adding dynamics marks to stanzas::
968 * Adding singers' names to stanzas::
969 * Stanzas with different rhythms::
970 * Printing stanzas at the end ::
971 * Printing stanzas at the end in multiple columns ::
975 @node Adding stanza numbers
976 @unnumberedsubsubsec Adding stanza numbers
978 @cindex stanza number
980 Stanza numbers can be added by setting @code{stanza}, e.g.,
982 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
984 \time 3/4 g2 e4 a2 f4 g2.
990 Oh, ché -- ri, je t'aime
996 These numbers are put just before the start of the first syllable.
998 @c TODO Create and add snippet to show how two lines of a
999 @c stanza can be grouped together, along these lines:
1000 @c (might need improving a bit) -td
1003 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1007 \set stanza = \markup { "1. " \leftbrace }
1008 \lyricmode { Child, you're mine and I love you.
1009 Lend thine ear to what I say.
1015 % \set stanza = \markup { " "}
1016 \lyricmode { Child, I have no great -- er joy
1017 Than to have you walk in truth.
1023 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1024 c'8 c' c' c' c' c' c'4 }
1025 } \addlyrics { \stanzaOneOne }
1026 \addlyrics { \stanzaOneThree }
1030 @node Adding dynamics marks to stanzas
1031 @unnumberedsubsubsec Adding dynamics marks to stanzas
1033 Stanzas differing in loudness may be indicated by putting a
1034 dynamics mark before each stanza. In LilyPond, everything coming in
1035 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1036 are no different. For technical reasons, you have to set the stanza
1037 outside @code{\lyricmode}:
1039 @lilypond[quote,ragged-right,verbatim]
1041 \set stanza = \markup { \dynamic "ff" "1. " }
1048 \new Voice = "tune" {
1052 \new Lyrics \lyricsto "tune" \text
1056 @node Adding singers' names to stanzas
1057 @unnumberedsubsubsec Adding singers' names to stanzas
1060 @cindex name of singer
1062 Names of singers can also be added. They are printed at the start of
1063 the line, just like instrument names. They are created by setting
1064 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1066 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1068 \time 3/4 g2 e4 a2 f4 g2.
1070 \set vocalName = "Bert "
1071 Hi, my name is Bert.
1073 \set vocalName = "Ernie "
1074 Oh, ché -- ri, je t'aime
1078 @node Stanzas with different rhythms
1079 @unnumberedsubsubsec Stanzas with different rhythms
1081 @subsubheading Ignoring melismata
1083 One possibility is that the text has a melisma in one stanza, but
1084 multiple syllables in another one. One solution is to make the faster
1085 voice ignore the melisma. This is done by setting
1086 @code{ignoreMelismata} in the Lyrics context.
1088 There is one tricky aspect: the setting for @code{ignoreMelismata}
1089 must be set one syllable @emph{before} the non-melismatic syllable
1090 in the text, as shown here,
1092 @c TODO: breaks compile
1093 @c seems to be fixed, does not break compile anymore --FV
1094 @lilypond[verbatim,ragged-right,quote]
1096 \relative c' \new Voice = "lahlah" {
1097 \set Staff.autoBeaming = ##f
1103 \new Lyrics \lyricsto "lahlah" {
1106 \new Lyrics \lyricsto "lahlah" {
1107 \set ignoreMelismata = ##t % applies to "fas"
1109 \unset ignoreMelismata
1116 The @code{ignoreMelismata} applies to the syllable @q{fas}, so it
1117 should be entered before @q{go}.
1120 @subsubheading Switching to an alternative melody
1122 More complex variations in text underlay are possible. It is possible
1123 to switch the melody for a line of lyrics during the text. This is
1124 done by setting the @code{associatedVoice} property. In the example
1126 @lilypond[ragged-right,quote]
1128 \relative c' \new Voice = "lahlah" {
1129 \set Staff.autoBeaming = ##f
1132 \new Voice = "alternative" {
1135 % show associations clearly.
1136 \override NoteColumn #'force-hshift = #-3
1147 \new Lyrics \lyricsto "lahlah" {
1148 Ju -- ras -- sic Park
1150 \new Lyrics \lyricsto "lahlah" {
1151 % Tricky: need to set associatedVoice
1152 % one syllable too soon!
1153 \set associatedVoice = alternative % applies to "ran"
1157 \set associatedVoice = lahlah % applies to "rus"
1163 the text for the first stanza is set to a melody called @q{lahlah},
1166 \new Lyrics \lyricsto "lahlah" @{
1167 Ju -- ras -- sic Park
1172 The second stanza initially is set to the @code{lahlah} context, but
1173 for the syllable @q{ran}, it switches to a different melody.
1174 This is achieved with
1176 \set associatedVoice = alternative
1180 Here, @code{alternative} is the name of the @code{Voice} context
1181 containing the triplet.
1183 @c FIXME: make this easier to understand -vv
1184 This command must be one syllable too early, before @q{Ty} in this
1185 case. In other words, changing the associatedVoice happens one step
1186 later than expected. This is for technical reasons, and it is not a
1190 \new Lyrics \lyricsto "lahlah" @{
1191 \set associatedVoice = alternative % applies to "ran"
1195 \set associatedVoice = lahlah % applies to "rus"
1201 The underlay is switched back to the starting situation by assigning
1202 @code{lahlah} to @code{associatedVoice}.
1205 @node Printing stanzas at the end
1206 @unnumberedsubsubsec Printing stanzas at the end
1208 Sometimes it is appropriate to have one stanza set
1209 to the music, and the rest added in verse form at
1210 the end of the piece. This can be accomplished by adding
1211 the extra verses into a @code{\markup} section outside
1212 of the main score block. Notice that there are two
1213 different ways to force linebreaks when using
1216 @lilypond[ragged-right,verbatim,quote]
1217 melody = \relative c' {
1223 \set stanza = "1." Ma- ry had a lit- tle lamb,
1224 its fleece was white as snow.
1228 \new Voice = "one" { \melody }
1229 \new Lyrics \lyricsto "one" \text
1235 \line{ All the children laughed and played }
1236 \line{ To see a lamb at school. }
1243 Mary took it home again,
1245 It was against the rule."
1250 @node Printing stanzas at the end in multiple columns
1251 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1253 When a piece of music has many verses, they are often printed in
1254 multiple columns across the page. An outdented verse number often
1255 introduces each verse. The following example shows how to produce such
1258 @lilypond[ragged-right,quote,verbatim]
1259 melody = \relative c' {
1264 \set stanza = "1." This is verse one.
1269 \new Voice = "one" { \melody }
1270 \new Lyrics \lyricsto "one" \text
1277 \hspace #0.1 % moves the column off the left margin;
1278 % can be removed if space on the page is tight
1282 "This is verse two."
1286 \hspace #0.1 % adds vertical spacing between verses
1289 "This is verse three."
1294 \hspace #0.1 % adds horizontal spacing between columns;
1295 % if they are still too close, add more " " pairs
1296 % until the result looks good
1300 "This is verse four."
1304 \hspace #0.1 % adds vertical spacing between verses
1307 "This is verse five."
1312 \hspace #0.1 % gives some extra space on the right margin;
1313 % can be removed if page space is tight
1321 Internals Reference:
1322 @rinternals{LyricText},
1323 @rinternals{StanzaNumber}.