1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
15 @c TODO: inspirational headword
17 This section explains how to typeset vocal music, and make sure
18 that the lyrics will be aligned with the notes of their melody.
21 * Common notation for vocal music::
22 * Techniques specific to lyrics::
26 * Opera and stage musicals::
27 * Chants psalms and hymns::
28 * Ancient vocal music::
33 @node Common notation for vocal music
34 @subsection Common notation for vocal music
36 This section discusses issues common to most types of vocal music.
39 * References for vocal music::
41 * Aligning lyrics to a melody::
42 * Automatic syllable durations::
43 * Manual syllable durations::
44 * Multiple syllables to one note::
45 * Multiple notes to one syllable::
47 * Extenders and hyphens::
51 @node References for vocal music
52 @unnumberedsubsubsec References for vocal music
54 This section indicates where to find details of notation issues
55 that may arise in any type of vocal music.
60 Most styles of vocal music use written text as lyrics. An introduction
61 to this notation is to be found in @rlearning{Setting simple songs}.
64 Vocal music is likely to require the use of @code{markup} mode, either
65 for lyrics of for other text elements (character's names, etc.).
66 This syntax is described in @ref{Text markup introduction}.
69 @notation{Ambitus} may be added at the beginning of vocal staves, as explained
79 @unnumberedsubsubsec Entering lyrics
81 Lyrics are entered in lyric mode. This section explains how this
87 @cindex spaces, in lyrics
88 @cindex quotes, in lyrics
90 @c TODO: this section is to be rewritten.
91 Since LilyPond input files are text, there is at least one
92 issue to consider when working with vocal music:
93 song texts must be interpreted as text, not notes. For example, the
94 input@tie{}@code{d} should be interpreted as a one letter syllable,
96 Therefore, a special lyric mode has to be used, either explicitly
97 or using some abbreviated methods.
99 Lyrics are entered in a special input mode, which can be introduced
100 by the keyword @code{\lyricmode}, or by using @code{\addlyrics} or
101 @code{\lyricsto}. In this mode you can enter lyrics,
102 with punctuation and accents, and the input @code{d} is not parsed as
103 a pitch, but rather as a one letter syllable. Syllables are entered
104 like notes, but with pitches replaced by text. For example,
107 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
110 There are two main methods to specify the horizontal placement
111 of the syllables, either by specifying the duration of each syllable
112 explicitly, like in the example above, or by automatically aligning
113 the lyrics to a melody or other voice of music, using @code{\addlyrics}
116 @c For more details see @ref{The Lyrics context}.
118 A word or syllable of lyrics begins with an alphabetic character, and ends
120 any space or digit. The following characters can be any character
121 that is not a digit or white space.
123 Any character that is not a digit or white space will be regarded as
124 part of the syllable; one important consequence of this is that a word
125 can end with @code{@}}, which often leads to the following mistake:
128 \lyricmode @{ lah- lah@}
131 In this example, the @code{@}} is included in the final syllable, so the
132 opening brace is not balanced and the input file will probably not
136 @funindex \property in \lyricmode
139 Similarly, a period which follows an alphabetic sequence is included in
140 the resulting string. As a consequence, spaces must be inserted around
141 property commands: do @emph{not} write
144 \override Score.LyricText #'font-shape = #'italic
151 \override Score . LyricText #'font-shape = #'italic
154 To enter lyrics with characters from non-English languages, or with
155 accented and special characters (such as the heart symbol or slanted quotes),
156 simply insert the characters directly into the input file and save
157 it with UTF-8 encoding. See @ref{Text encoding}, for more info.
159 @lilypond[quote,ragged-right,fragment,verbatim]
160 \relative c' { e4 f e d e f e2 }
161 \addlyrics { He said: “Let my peo ple go”. }
164 To use normal quotes in lyrics, add a backslash before the
167 @lilypond[quote,ragged-right,fragment,verbatim]
168 \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
169 \addlyrics { "\"I" am so lone- "ly\"" said she }
172 The full definition of a word start in Lyrics mode is somewhat more
175 A word in Lyrics mode begins with: an alphabetic character, @code{_},
176 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
177 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
178 any 8-bit character with ASCII code over 127, or a two-character
179 combination of a backslash followed by one of @code{`}, @code{'},
180 @code{"}, or @code{^}.
182 @c " to balance double quotes for not-so-bright context-sensitive editors
184 To define variables containing lyrics, the function @code{lyricmode}
188 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
191 \new Voice = "one" \relative c'' @{
194 c4 b8. a16 g4. f8 e4 d c2
196 \addlyrics @{ \verseOne @}
207 @rinternals{LyricText},
208 @rinternals{LyricSpace}.
211 @node Aligning lyrics to a melody
212 @unnumberedsubsubsec Aligning lyrics to a melody
218 @c TODO: this stuff is to be rewritten. -vv
220 Aligning of text with melodies can be made automatically, but if you
221 specify the durations of the syllables it can also be made manually.
222 Lyrics aligning and typesetting are prepared with the help of skips,
223 hyphens and extender lines.
225 Lyrics are printed by interpreting them in the context called
226 @code{Lyrics}; see @rinternals{Lyrics}, for more.
229 \new Lyrics \lyricmode @dots{}
232 There are two main methods to specify the horizontal placement
237 by automatically aligning
238 the lyrics to a melody or other voice of music, using @code{\addlyrics}
242 or by specifying the duration of each syllable
243 explicitly, using @code{\lyricmode}
246 The @code{Voice} context containing the melody to which the lyrics
247 are being aligned must not have @qq{died}, or the lyrics after that
248 point will be lost. This can happen if there are periods when that
249 voice has nothing to do. For methods of keeping contexts alive, see
250 @ref{Keeping contexts alive}.
253 @node Automatic syllable durations
254 @unnumberedsubsubsec Automatic syllable durations
256 @cindex syllable durations, automatic
257 @cindex lyrics and melodies
259 The lyrics can be aligned under a given melody
260 automatically. This is achieved by combining the
261 melody and the lyrics with the @code{\lyricsto} expression
264 \new Lyrics \lyricsto @var{name} @dots{}
268 This aligns the lyrics to the
269 notes of the @code{Voice} context called @var{name}, which must
270 already exist. Therefore normally the @code{Voice} is specified first, and
271 then the lyrics are specified with @code{\lyricsto}. The command
272 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
273 @code{\lyricmode} keyword may be omitted.
275 The following example uses different commands for entering lyrics.
277 @lilypond[quote,fragment,ragged-right,verbatim]
279 \new Voice = "one" \relative c'' {
282 c4 b8. a16 g4. f8 e4 d c2
285 % not recommended: left-aligned syllables
286 \new Lyrics \lyricmode { Joy4 to8. the16 world!4. the8 Lord4 is come.2 }
288 % wrong: durations needed
289 \new Lyrics \lyricmode { Joy to the earth! the Sa -- viour reigns. }
292 \new Lyrics \lyricsto "one" { No more let sins and sor -- rows grow. }
296 The second stanza is not properly aligned because the durations
297 were not specified. A solution for that would be to use @code{\lyricsto}.
301 The @code{\addlyrics} command is actually just a convenient way
302 to write a more complicated LilyPond structure that sets up the
307 \addlyrics @{ LYRICS @}
314 \new Voice = "blah" @{ music @}
315 \new Lyrics \lyricsto "blah" @{ LYRICS @}
320 @lilypond[ragged-right,verbatim,fragment,quote]
322 \relative c' { c2 e4 g2. }
323 \addlyrics { play the game }
326 More stanzas can be added by adding more
327 @code{\addlyrics} sections
329 @lilypond[ragged-right,verbatim,fragment,quote]
331 \relative c' { c2 e4 g2. }
332 \addlyrics { play the game }
333 \addlyrics { speel het spel }
334 \addlyrics { joue le jeu }
337 The command @code{\addlyrics} cannot handle polyphony settings.
338 For these cases you should use @code{\lyricsto} and
339 @code{\lyricmode}, for details see @ref{Entering lyrics}.
341 @node Manual syllable durations
342 @unnumberedsubsubsec Manual syllable durations
344 Lyrics can also be entered without @code{\addlyrics} or
345 @code{\lyricsto}. In this case,
346 syllables are entered like notes -- but with pitches replaced by text -- and the
347 duration of each syllable must be entered explicitly. For example:
354 The alignment to a melody can be specified with the
355 @code{associatedVoice} property,
358 \set associatedVoice = #"lala"
362 The value of the property (here: @code{"lala"}) should be the name of
363 a @code{Voice} context. Without this setting, extender lines
364 will not be formatted properly.
366 Here is an example demonstrating manual lyric durations,
368 @lilypond[relative=1,ragged-right,verbatim,fragment,quote]
369 << \new Voice = "melody" {
373 \new Lyrics \lyricmode {
374 \set associatedVoice = #"melody"
382 @ref{Keeping contexts alive}.
389 @node Multiple syllables to one note
390 @unnumberedsubsubsec Multiple syllables to one note
393 @cindex spaces, in lyrics
394 @cindex quotes, in lyrics
395 @cindex ties, in lyrics
397 In order to assign more than one syllable to a single note with
398 spaces between the syllables, you can surround the phrase with
399 quotes or use a @code{_} character. Alternatively, you can use
400 code the tilde symbol (@code{~}) to get a lyric tie. The lyric
401 tie is implemented with the Unicode character U+203F, so be
402 sure to have a font (like DejaVuLGC) installed that includes this
405 @lilypond[quote,ragged-right,fragment,verbatim]
407 \relative c' { c2 e4 g2 e4 }
408 \addlyrics { gran- de_a- mi- go }
409 \addlyrics { pu- "ro y ho-" nes- to }
410 \addlyrics { pu- ro~y~ho- nes- to }
416 @rinternals{LyricCombineMusic}.
419 @c Here come the section which used to be "Melismata"
420 @c the new title might be more self-explanatory
423 @node Multiple notes to one syllable
424 @unnumberedsubsubsec Multiple notes to one syllable
428 @cindex phrasing, in lyrics
430 Sometimes, particularly in Medieval music, several notes are to be sung on one
431 single syllable; such vocalises are called melismas, or melismata.
433 @c this method seems to be the simplest; therefore
434 @c it might be better to present it first - vv
436 You can define melismata entirely in the lyrics, by entering @code{_}
437 for every extra note that has to be added to the melisma.
439 @c TODO: clarify: __ is used to crate a lyric extender,
440 @c _ is used to add a note to a melisma, so both __ and _ are needed.
443 @c duplicated: TODO fix
444 Additionally, you can make an extender line to be typeset to indicate
445 the melisma in the score, writing a double underscore next to the
446 first syllable of the melisma. This example shows the three elements
447 that are used for this purpose (all of them surrounded by spaces):
448 double hyphens to separate syllables in a word, underscores to add
449 notes to a melisma, and a double underscore to put an extender line.
451 @c wrong: extender line only on last syllable of a word. Change example
452 @lilypond[relative=1,verbatim,fragment,quote]
453 { \set melismaBusyProperties = #'()
454 c d( e) f f( e) e e }
456 { Ky -- _ _ ri __ _ _ _ e }
459 In this case, you can also have ties and slurs in the melody if you
460 set @code{melismaBusyProperties}, as is done in the example above.
462 However, the @code{\lyricsto} command can also
463 detect melismata automatically: it only puts one
464 syllable under a tied or slurred group of notes. If you want to force
465 an unslurred group of notes to be a melisma, insert @code{\melisma}
466 after the first note of the group, and @code{\melismaEnd} after the
469 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
471 \new Voice = "lala" {
479 \new Lyrics \lyricsto "lala" {
485 In addition, notes are considered a melisma if they are manually
486 beamed, and automatic beaming (see @ref{Setting automatic beam
487 behavior}) is switched off.
489 @lilypond[quote,relative=2,ragged-right,fragment,verbatim]
491 \new Voice = "lala" {
497 \new Lyrics \lyricsto "lala" {
503 @c TODO: this now links to LM -vv
504 @c umm, yeah... so what? -gp
509 A complete example of a SATB score setup is in
510 @rlearning{Vocal ensembles}.
516 @funindex \melismaEnd
522 @c @lsr{vocal,lyric@/-combine.ly}.
527 Melismata are not detected automatically, and extender lines must be
531 @unnumberedsubsubsec Skipping notes
533 Making a lyric line run slower than the melody can be achieved by
534 inserting @code{\skip}s into the lyrics. For every @code{\skip},
535 the text will be delayed another note. The @code{\skip} command
536 must be followed by a valid duration, but this is ignored when
537 @code{\skip} is used in lyrics.
539 @lilypond[verbatim,ragged-right,quote]
540 \relative c' { c c g' }
548 @node Extenders and hyphens
549 @unnumberedsubsubsec Extenders and hyphens
554 @c leave this as samp. -gp
555 In the last syllable of a word, melismata are sometimes indicated with
556 a long horizontal line starting in the melisma syllable, and ending in
557 the next one. Such a line is called an extender line, and it is
558 entered as @samp{ __ } (note the spaces before and after the two
559 underscore characters).
561 @warning{Melismata are indicated in the score with extender lines,
562 which are entered as one double underscore; but short melismata can
563 also be entered by skipping individual notes, which are entered as
564 single underscore characters; these do not make an extender line to be
569 @c leave this as samp. -gp
570 Centered hyphens are entered as @samp{ -- } between syllables of a same word
571 (note the spaces before and after the two hyphen characters). The hyphen
572 will be centered between the syllables, and its length will be adjusted
573 depending on the space between the syllables.
575 In tightly engraved music, hyphens can be removed. Whether this
576 happens can be controlled with the @code{minimum-distance} (minimum
577 distance between two syllables) and the @code{minimum-length}
578 (threshold below which hyphens are removed).
583 @rinternals{LyricExtender},
584 @rinternals{LyricHyphen}.
587 @node Techniques specific to lyrics
588 @subsection Techniques specific to lyrics
590 @c TODO This whole section is to be reorganized. -vv
593 * Working with lyrics and variables::
594 * Lyrics and repeats::
596 * Lyrics independent of notes::
597 * Spacing out syllables::
598 * Placement of lyrics between staves::
603 @node Working with lyrics and variables
604 @unnumberedsubsubsec Working with lyrics and variables
606 @cindex lyrics, variables
608 To define variables containing lyrics, the function @code{\lyricmode}
609 must be used. You do not have to enter durations though, if you add
610 @code{\addlyrics} or @code{\lyricsto}
611 when invoking your variable.
614 verseOne = \lyricmode @{ Joy to the world the Lord is come @}
617 \new Voice = "one" \relative c'' @{
620 c4 b8. a16 g4. f8 e4 d c2
622 \addlyrics @{ \verseOne @}
627 For different or more complex orderings, the best way is to set up the
628 hierarchy of staves and lyrics first, e.g.,
631 \new Voice = "soprano" @{ @emph{music} @}
632 \new Lyrics = "sopranoLyrics" @{ s1 @}
633 \new Lyrics = "tenorLyrics" @{ s1 @}
634 \new Voice = "tenor" @{ @emph{music} @}
639 and then combine the appropriate melodies and lyric lines
642 \context Lyrics = sopranoLyrics \lyricsto "soprano"
647 The final input would resemble
650 <<\new ChoirStaff << @emph{setup the music} >>
651 \lyricsto "soprano" @emph{etc}
652 \lyricsto "alto" @emph{etc}
659 http://code.google.com/p/lilypond/issues/detail?id=329
660 The problem cannot be reproduced.
661 The following has no sense, because the issue seems to be fixed.
662 A comment is in tracker waiting for response ---FV
665 Be careful when defining a variable with lyrics that creates a new
666 context, for example, using the deprecated @code{\lyrics} command. See
667 the next erroneous example:
670 words = \lyrics{ %warning: this creates a new context
674 \new Voice = "sop" { c1 }
675 \new Lyrics \lyricsto "sop" { \words }
676 \new Voice = "alt" { c2 c }
677 \new Lyrics \lyricsto "alt" { \words }
681 the problem is that \lyricsto will try to connect the "sop" melody with the context
682 created by "\new Lyrics".
684 Then \lyrics in \words creates another context, and the original "\new Lyrics" one
691 @c TODO: document \new Staff << Voice \lyricsto >> bug
693 @rinternals{LyricCombineMusic},
697 @node Lyrics and repeats
698 @unnumberedsubsubsec Lyrics and repeats
700 @cindex repeats and lyrics
702 @c see http://lists.gnu.org/archive/html/lilypond-user/2010-07/msg00022.html
703 @c see http://lists.gnu.org/archive/html/lilypond-user/2010-06/msg00472.html
705 @subheading Simple repeats
707 Repeats in @emph{music} are fully described elsewhere; see
708 @ref{Repeats}. This section explains how to add lyrics to repeated
711 Lyrics to a volta repeat can be written exactly as if the music was
712 not repeated, if the words are unchanged.
714 @lilypond[verbatim,quote]
718 \new Voice = "melody" {
721 \repeat volta 2 { b4 b b b }
727 Not re -- peat -- ed.
728 Re -- peat -- ed twice.
735 But if an unfold repeat is used, both the lyrics and the music must
736 be repeated (assuming the repeated words are the same), otherwise
737 the repeated section will have no lyrics.
739 @lilypond[verbatim,quote]
743 \new Voice = "melody" {
746 \repeat unfold 2 { b4 b b b }
752 Not re -- peat -- ed.
753 \repeat unfold 2 { Re -- peat -- ed twice. }
760 If the repeated section has different words and is unfolded simply
763 @lilypond[verbatim,quote,ragged-right]
767 \new Voice = "melody" {
770 \repeat unfold 2 { b4 b b b }
776 Not re -- peat -- ed.
777 The first time words.
778 Sec -- ond time words.
785 When the words to a repeated volta section are different the words
786 to each repeat must entered in separate @code{Lyrics} contexts.
787 Earlier unrepeated sections must be skipped in the second and
788 subsequent repeats. The easiest way to skip several notes is to
789 use @code{\repeat unfold} around the @code{\skip}.
791 @warning{The @code{\skip} command must be followed by a number,
792 but this number is ignored in lyric mode. Each @code{\skip} skips
793 a single note of any value, irrespective of the value of the
796 @lilypond[verbatim,quote]
800 \new Voice = "melody" {
803 \repeat volta 2 { b4 b b b }
809 Not re -- peat -- ed.
810 The first time words.
815 % skip 4 notes of any duration
816 \repeat unfold 4 { \skip 1 }
817 Sec -- ond time words.
824 An alternative way, which avoids having to count notes, is to use a
825 temporary voice for the repeated section. This may be useful if
826 the earlier sections are still subject to change. A temporary voice
827 can be inserted anywhere in the main music stream in parallel with
828 it, as shown below, but it may be necessary to keep the main voice
829 alive in complex scores when using this technique; see
830 @ref{Keeping contexts alive}.
832 @lilypond[verbatim,quote,ragged-right]
836 \new Voice = "singleVoice" {
837 \relative c'' { a4 a a a }
838 \new Voice = "repeatVoice" {
839 \relative c'' \repeat volta 3 { b4 b b b }
841 \relative c'' { c4 c c c }
845 \lyricsto "singleVoice" {
846 Not re -- peat -- ed.
849 \lyricsto "repeatVoice" {
850 The first time words.
854 \lyricsto "repeatVoice" {
855 Sec -- ond time words.
859 \lyricsto "repeatVoice" {
860 The third time words.
867 @c TODO lowering a common line of lyrics
869 @subheading Repeats with alternative endings
875 @unnumberedsubsubsec Divisi lyrics
877 You can display alternate (or divisi) lyrics by naming voice
878 contexts and attaching lyrics to those specific contexts.
880 @lilypond[verbatim,ragged-right,quote]
882 \new Voice = "melody" {
887 \new Voice = "splitpart" { \voiceTwo c4 }
892 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
893 \new Lyrics \lyricsto "splitpart" { will }
898 You can use this trick to display different lyrics for a repeated
901 @lilypond[verbatim,ragged-right,quote]
903 \new Voice = "melody" \relative c' {
905 \new Voice = "verse" \repeat volta 2 {c4 d e f | g1 | }
907 \new Lyrics = "mainlyrics" \lyricsto melody \lyricmode {
910 \context Lyrics = "mainlyrics" \lyricsto verse \lyricmode {
912 \new Lyrics = "repeatlyrics" \lyricsto verse \lyricmode {
913 dodo rere mimi fafa solsol }
920 @node Lyrics independent of notes
921 @unnumberedsubsubsec Lyrics independent of notes
923 @cindex Devnull context
925 In some complex vocal music, it may be desirable to place
926 lyrics completely independently of notes. Music defined
927 inside @code{lyricrhythm} disappears into the
928 @code{Devnull} context, but the rhythms can still be used
931 @lilypond[quote,verbatim,ragged-right]
934 \tag #'music { c''2 }
935 \tag #'lyricrhythm { c''4. c''8 }
939 lyr = \lyricmode { I like my cat! }
942 \new Staff \keepWithTag #'music \voice
943 \new Devnull="nowhere" \keepWithTag #'lyricrhythm \voice
944 \new Lyrics \lyricsto "nowhere" \lyr
945 \new Staff { c'8 c' c' c' c' c' c' c'
946 c' c' c' c' c' c' c' c' }
950 This method is recommended only if the music in the @code{Devnull}
951 context does not contain melismata. Melismata are defined by the
952 @code{Voice} context. Connecting lyrics to a @code{Devnull} context
953 makes the voice/lyrics links to get lost, and so does the info on
954 melismata. Therefore, if you link lyrics to a @code{Devnull} context,
955 the implicit melismata get ignored.
957 @c Conclusion: do not use devnull for lyrics -FV
959 @c this clarifies http://code.google.com/p/lilypond/issues/detail?id=248
961 @node Spacing out syllables
962 @unnumberedsubsubsec Spacing out syllables
964 @cindex Spacing lyrics
965 @cindex Lyrics, increasing space between
967 To increase the spacing between lyrics, set the @code{minimum-distance}
968 property of @code{LyricSpace}.
970 @lilypond[relative,verbatim,fragment,quote,ragged-right]
973 \override Lyrics.LyricSpace #'minimum-distance = #1.0
977 longtext longtext longtext longtext
978 longtext longtext longtext longtext
983 To make this change for all lyrics in the score, set the property in the
986 @lilypond[verbatim,quote,ragged-right]
993 longtext longtext longtext longtext
994 longtext longtext longtext longtext
999 \override LyricSpace #'minimum-distance = #1.0
1006 @c This snippet has been renamed to "lyrics-alignment.ly"
1007 @c update as soon as lsr/is updated -vv
1008 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1009 @c {lyrics-alignment.ly}
1011 @c TODO: move to LSR -vv
1014 Checking to make sure that text scripts and lyrics are within the margins is
1015 a relatively large computational task. To speed up processing, LilyPond does
1016 not perform such calculations by default; to enable it, use
1019 \override Score.PaperColumn #'keep-inside-line = ##t
1022 To make lyrics avoid bar lines as well, use
1028 \consists "Bar_engraver"
1029 \consists "Separating_line_group_engraver"
1030 \override BarLine #'transparent = ##t
1035 @c TODO Create and add lsr example of lyricMelismaAlignment
1036 @c It's used like this to center-align all lyric syllables,
1037 @c even when notes are tied. -td
1042 \context { \Score lyricMelismaAlignment = #0 }
1047 @node Placement of lyrics between staves
1048 @unnumberedsubsubsec Placement of lyrics between staves
1050 @c TODO Add text from -user
1051 @c TODO Add new spacing properties, centering lyrics, etc
1058 * Adding stanza numbers::
1059 * Adding dynamics marks to stanzas::
1060 * Adding singers' names to stanzas::
1061 * Stanzas with different rhythms::
1062 * Printing stanzas at the end::
1063 * Printing stanzas at the end in multiple columns::
1067 @node Adding stanza numbers
1068 @unnumberedsubsubsec Adding stanza numbers
1070 @cindex stanza number
1072 Stanza numbers can be added by setting @code{stanza}, e.g.,
1074 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1076 \time 3/4 g2 e4 a2 f4 g2.
1078 \set stanza = #"1. "
1079 Hi, my name is Bert.
1081 \set stanza = #"2. "
1082 Oh, ché -- ri, je t'aime
1088 These numbers are put just before the start of the first syllable.
1090 @c TODO Create and add snippet to show how two lines of a
1091 @c stanza can be grouped together, along these lines:
1092 @c (might need improving a bit) -td
1095 leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
1099 \set stanza = \markup { "1. " \leftbrace }
1100 \lyricmode { Child, you're mine and I love you.
1101 Lend thine ear to what I say.
1107 % \set stanza = \markup { " "}
1108 \lyricmode { Child, I have no great -- er joy
1109 Than to have you walk in truth.
1115 \repeat volta 2 { c'8 c' c' c' c' c' c'4
1116 c'8 c' c' c' c' c' c'4 }
1117 } \addlyrics { \stanzaOneOne }
1118 \addlyrics { \stanzaOneThree }
1122 @node Adding dynamics marks to stanzas
1123 @unnumberedsubsubsec Adding dynamics marks to stanzas
1125 Stanzas differing in loudness may be indicated by putting a
1126 dynamics mark before each stanza. In LilyPond, everything coming in
1127 front of a stanza goes into the @code{StanzaNumber} object; dynamics marks
1128 are no different. For technical reasons, you have to set the stanza
1129 outside @code{\lyricmode}:
1131 @lilypond[quote,ragged-right,verbatim]
1133 \set stanza = \markup { \dynamic "ff" "1. " }
1140 \new Voice = "tune" {
1144 \new Lyrics \lyricsto "tune" \text
1148 @node Adding singers' names to stanzas
1149 @unnumberedsubsubsec Adding singers' names to stanzas
1152 @cindex name of singer
1154 Names of singers can also be added. They are printed at the start of
1155 the line, just like instrument names. They are created by setting
1156 @code{vocalName}. A short version may be entered as @code{shortVocalName}.
1158 @lilypond[fragment,ragged-right,quote,verbatim,relative=2]
1160 \time 3/4 g2 e4 a2 f4 g2.
1162 \set vocalName = #"Bert "
1163 Hi, my name is Bert.
1165 \set vocalName = #"Ernie "
1166 Oh, ché -- ri, je t'aime
1170 @node Stanzas with different rhythms
1171 @unnumberedsubsubsec Stanzas with different rhythms
1173 Often, different stanzas of one song are put to one melody in slightly
1174 differing ways. Such variations can still be captured with
1177 @subsubheading Ignoring melismata
1179 One possibility is that the text has a melisma in one stanza, but
1180 multiple syllables in another one. One solution is to make the faster
1181 voice ignore the melisma. This is done by setting
1182 @code{ignoreMelismata} in the Lyrics context.
1184 @lilypond[verbatim,ragged-right,quote]
1186 \relative c' \new Voice = "lahlah" {
1187 \set Staff.autoBeaming = ##f
1193 \new Lyrics \lyricsto "lahlah" {
1196 \new Lyrics \lyricsto "lahlah" {
1198 \set ignoreMelismata = ##t
1200 \unset ignoreMelismata
1207 Unlike most @code{\set} commands, @code{\set ignoreMelismata} does
1208 not work if prefixed with @code{\once}. It is necessary to use
1209 @code{\set} and @code{\unset} to bracket the lyrics where melismata
1212 @subsubheading Adding syllables to grace notes
1214 By default, grace notes (e.g. via @code{\grace}) do not get assigned
1215 syllables when using @code{\lyricsto}, but this behavior can be
1218 @lilypond[verbatim,ragged-right,quote]
1220 f4 \appoggiatura a32 b4
1221 \grace { f16[ a16] } b2
1222 \afterGrace b2 { f16[ a16] }
1223 \appoggiatura a32 b4
1228 \set includeGraceNotes = ##t
1231 after -- grace case,
1232 \set ignoreMelismata = ##t
1239 Like for @code{associatedVoice}, @code{includeGraceNotes} needs to be
1240 set at latest one syllable before the one which is to be put under a
1241 grace note. For the case of a grace note at the very beginning of a
1242 piece of music, consider using a @code{\with} or @code{\context}
1245 @lilypond[verbatim,ragged-right,quote]
1247 \new Voice = melody \relative c' {
1248 \grace { c16[( d e f] }
1251 \new Lyrics \with { includeGraceNotes = ##t }
1258 @subsubheading Switching to an alternative melody
1260 More complex variations in text underlay are possible. It is possible
1261 to switch the melody for a line of lyrics during the text. This is
1262 done by setting the @code{associatedVoice} property. In the example
1264 @lilypond[ragged-right,quote]
1266 \relative c' \new Voice = "lahlah" {
1267 \set Staff.autoBeaming = ##f
1270 \new Voice = "alternative" {
1273 % show associations clearly.
1274 \override NoteColumn #'force-hshift = #-3
1285 \new Lyrics \lyricsto "lahlah" {
1286 Ju -- ras -- sic Park
1288 \new Lyrics \lyricsto "lahlah" {
1289 % Tricky: need to set associatedVoice
1290 % one syllable too soon!
1291 \set associatedVoice = alternative % applies to "ran"
1295 \set associatedVoice = lahlah % applies to "rus"
1301 the text for the first stanza is set to a melody called @q{lahlah},
1304 \new Lyrics \lyricsto "lahlah" @{
1305 Ju -- ras -- sic Park
1310 The second stanza initially is set to the @code{lahlah} context, but
1311 for the syllable @q{ran}, it switches to a different melody.
1312 This is achieved with
1314 \set associatedVoice = alternative
1318 Here, @code{alternative} is the name of the @code{Voice} context
1319 containing the triplet.
1321 @c TODO: make this easier to understand -vv
1322 This command must be one syllable too early, before @q{Ty} in this
1323 case. In other words, changing the associatedVoice happens one step
1324 later than expected. This is for technical reasons, and it is not a
1328 \new Lyrics \lyricsto "lahlah" @{
1329 \set associatedVoice = alternative % applies to "ran"
1333 \set associatedVoice = lahlah % applies to "rus"
1339 The underlay is switched back to the starting situation by assigning
1340 @code{lahlah} to @code{associatedVoice}.
1343 @node Printing stanzas at the end
1344 @unnumberedsubsubsec Printing stanzas at the end
1346 Sometimes it is appropriate to have one stanza set
1347 to the music, and the rest added in verse form at
1348 the end of the piece. This can be accomplished by adding
1349 the extra verses into a @code{\markup} section outside
1350 of the main score block. Notice that there are two
1351 different ways to force linebreaks when using
1354 @lilypond[ragged-right,verbatim,quote]
1355 melody = \relative c' {
1361 \set stanza = #"1." Ma- ry had a lit- tle lamb,
1362 its fleece was white as snow.
1366 \new Voice = "one" { \melody }
1367 \new Lyrics \lyricsto "one" \text
1373 \line{ All the children laughed and played }
1374 \line{ To see a lamb at school. }
1381 Mary took it home again,
1383 It was against the rule."
1388 @node Printing stanzas at the end in multiple columns
1389 @unnumberedsubsubsec Printing stanzas at the end in multiple columns
1391 When a piece of music has many verses, they are often printed in
1392 multiple columns across the page. An outdented verse number often
1393 introduces each verse. The following example shows how to produce such
1396 @lilypond[ragged-right,quote,verbatim]
1397 melody = \relative c' {
1402 \set stanza = #"1." This is verse one.
1407 \new Voice = "one" { \melody }
1408 \new Lyrics \lyricsto "one" \text
1415 \hspace #0.1 % moves the column off the left margin;
1416 % can be removed if space on the page is tight
1420 "This is verse two."
1424 \hspace #0.1 % adds vertical spacing between verses
1427 "This is verse three."
1432 \hspace #0.1 % adds horizontal spacing between columns;
1433 % if they are still too close, add more " " pairs
1434 % until the result looks good
1438 "This is verse four."
1442 \hspace #0.1 % adds vertical spacing between verses
1445 "This is verse five."
1450 \hspace #0.1 % gives some extra space on the right margin;
1451 % can be removed if page space is tight
1458 Internals Reference:
1459 @rinternals{LyricText},
1460 @rinternals{StanzaNumber}.
1467 * References for songs::
1471 @node References for songs
1472 @unnumberedsubsubsec References for songs
1474 @c TODO chords, setting simple songs (LM), stanzas
1478 @unnumberedsubsubsec Lead sheets
1480 Lead sheets may be printed by combining vocal parts and @q{chord mode};
1481 this syntax is explained in @ref{Chord notation}.
1484 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1485 {simple-lead-sheet.ly}
1489 @ref{Chord notation}.
1500 This section discusses notation issues that relate most directly
1501 to choral music. This includes anthems, part songs, oratorio,
1505 * References for choral::
1506 * Score layouts for choral::
1510 @node References for choral
1511 @unnumberedsubsubsec References for choral
1513 Choral music is usually notated on two, three or four staves within
1514 a @code{ChoirStaff} group. Accompaniment, if required, is placed
1515 beneath in a @code{PianoStaff} group, which is usually reduced in
1516 size for @emph{a capella} choral works. The notes for each vocal
1517 part are placed in a @code{Voice} context, with each staff
1518 being given either a single vocal part (i.e., one @code{Voice}) or
1519 a pair of vocal parts (i.e., two @code{Voice}s).
1521 Words are placed in @code{Lyrics} contexts, either underneath each
1522 corresponding music staff, or one above and one below the music
1523 staff if this contains the music for two parts.
1525 Several common topics in choral music are described fully elsewhere:
1530 An introduction to creating an SATB vocal score can be found in
1531 the Learning Manual, see @rlearning{Four-part SATB vocal score}.
1534 Several templates suitable for various styles of choral music can
1535 also be found in the Learning Manual, see
1536 @rlearning{Vocal ensembles}.
1539 For information about @code{ChoirStaff} and @code{PianoStaff} see
1540 @ref{Grouping staves}.
1543 Shape noteheads, as used in Sacred Harp and similar notation, are
1544 described in @ref{Shape note heads}.
1547 When two vocal parts share a staff the stems, ties, slurs, etc., of
1548 the higher part will be directed up and those of the lower part
1549 down. To do this, use @code{\voiceOne} and @code{\voiceTwo}. See
1550 @ref{Single-staff polyphony}.
1561 @rlearning{Four-part SATB vocal score},
1562 @rlearning{Vocal ensembles}.
1565 @ref{Context layout order},
1566 @ref{Grouping staves},
1567 @ref{Shape note heads},
1568 @ref{Single-staff polyphony}.
1570 Internals Reference:
1571 @rinternals{ChoirStaff},
1572 @rinternals{Lyrics},
1573 @rinternals{PianoStaff}.
1575 @node Score layouts for choral
1576 @unnumberedsubsubsec Score layouts for choral
1578 Choral music containing four staves, with or without piano
1579 accompaniment, is usually laid out with two systems per page.
1580 Depending on the page size, achieving this may require changes
1581 to several default settings. The following settings should be
1587 The global staff size can be modified to change the overall size
1588 of the elements of the score. See @ref{Setting the staff size}.
1591 The distances between the systems, the staves and the lyrics can
1592 all be adjusted independently. See @ref{Vertical spacing}.
1595 The dimensions of the vertical layout variables can be displayed as
1596 an aid to adjusting the vertical spacing. This and other
1597 possibilities for fitting the music onto fewer pages are described
1598 in @ref{Fitting music onto fewer pages}.
1601 If the number of systems per page changes from one to two it is
1602 customary to indicate this with a system separator mark between
1603 the two systems. See @ref{Separating systems}.
1606 For details of other page formatting properties, see
1607 @ref{Page formatting}.
1612 Dynamic markings by default are placed below the staff, but in
1613 choral music they are usually placed above the staff in order to
1614 avoid the lyrics. The predefined command @code{\dynamicUp} does
1615 this for the dynamic markings in a single @code{Voice} context.
1616 If there are many @code{Voice} contexts this predefined command
1617 would have to be placed in every one. Alternatively its expanded
1618 form can be used to place all dynamic markings in the entire score
1619 above their respective staves, as shown here:
1621 @lilypond[verbatim,quote]
1626 \relative c'' { g4\f g g g }
1631 \relative c' { d4 d d\p d }
1638 \override DynamicText #'direction = #UP
1639 \override DynamicLineSpanner #'direction = #UP
1646 @code{\dynamicUp}, @code{\dynamicDown}, @code{\dynamicNeutral}.
1650 @ref{Changing spacing},
1651 @ref{Displaying spacing},
1652 @ref{Fitting music onto fewer pages},
1653 @ref{Page formatting},
1655 See @ref{Separating systems},
1656 @ref{Setting the staff size},
1657 @ref{Using an extra voice for breaks},
1658 @ref{Vertical spacing}.
1660 Internals Reference:
1661 @rinternals{VerticalAxisGroup},
1662 @rinternals{StaffGrouper}.
1665 @node Divided voices
1666 @unnumberedsubsubsec Divided voices
1668 @cindex voices, divided
1670 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1671 {using-arpeggiobracket-to-make-divisi-more-visible.ly}
1675 @ref{Expressive marks as lines}.
1678 @node Opera and stage musicals
1679 @subsection Opera and stage musicals
1681 The music, lyrics and dialogue to opera and stage musicals are
1682 usually set out in one or more of the following forms:
1687 A @emph{Conductors' Score} containing the full orchestral and vocal
1688 parts, together with libretto cues if there are spoken passages.
1691 @emph{Orchestral Parts} containing the music for the individual
1692 instruments of the orchestra or band.
1695 A @emph{Vocal Score} containing all vocal parts with piano
1696 accompaniment. The accompaniment is usually an orchestral
1697 reduction, and if so the name of the original orchestral instrument
1698 is often indicated. Vocal scores sometimes includes stage
1699 directions and libretto cues.
1702 A @emph{Vocal Book} containing just the vocal parts
1703 (no accompaniment), sometimes combined with the libretto.
1706 A @emph{Libretto} containing the extended passages of spoken
1707 dialogue usually found in musicals, together with the words to the
1708 sung parts. Stage directions are usually included. LilyPond can
1709 be used to typeset libretti but as they contain no music
1710 alternative methods may be preferable.
1714 The sections in the LilyPond documentation which cover the topics
1715 needed to create scores in the styles commonly found in opera and
1716 musicals are indicated in the References below. This is followed
1717 by sections covering those techniques which are peculiar to
1718 typesetting opera and musical scores.
1721 * References for opera and stage musicals::
1724 * Dialogue over music::
1727 @node References for opera and stage musicals
1728 @unnumberedsubsubsec References for opera and stage musicals
1733 A conductors' score contains many grouped staves and lyrics. Ways
1734 of grouping staves is shown in @ref{Grouping staves}. To nest
1735 groups of staves see @ref{Nested staff groups}.
1738 The printing of empty staves in conductors' scores and vocal scores
1739 is often suppressed. To create such a @qq{Frenched score} see
1740 @ref{Hiding staves}.
1743 Writing orchestral parts is covered in @ref{Writing parts}.
1744 Other sections in the Specialist notation chapter may be relevant,
1745 depending on the orchestration used. Many instruments are
1746 transposing instruments, see @ref{Instrument transpositions}.
1749 If the number of systems per page changes from page to page it is
1750 customary to separate the systems with a system separator mark.
1751 See @ref{Separating systems}.
1754 For details of other page formatting properties, see
1755 @ref{Page formatting}.
1758 Musical cues can be inserted with the @code{\cueDuring} predefined
1759 command. For details of its use see @ref{Formatting cue notes}.
1762 Dialogue cues and stage directions can be inserted with markup.
1763 See @ref{Text}. Extensive stage directions can be inserted with
1764 a section of stand-alone markup between two @code{\score} blocks.
1765 See @ref{Separate text}.
1771 @code{\quoteDuring}.
1776 @rglos{Frenched score},
1777 @rglos{Frenched staves},
1778 @rglos{transposing instrument}.
1781 @ref{Grouping staves},
1782 @ref{Hiding staves},
1783 @ref{Instrument names},
1784 @ref{Instrument transpositions},
1785 @ref{Nested staff groups},
1786 @ref{Page formatting},
1787 @ref{Selecting font and font size},
1788 @ref{Separating systems},
1791 @ref{Writing parts},
1795 @node Character names
1796 @unnumberedsubsubsec Character names
1798 @cindex character names
1799 @cindex names, character
1801 Character names are usually shown to the left of the staff when the
1802 staff is dedicated to that character alone. The instrument name can
1803 be used for this purpose.
1805 @lilypond[quote,verbatim,ragged-right]
1809 \set Staff.instrumentName = #"Kaspar"
1810 \set Staff.shortInstrumentName = #"Kas"
1819 \set Staff.instrumentName = #"Melchior"
1820 \set Staff.shortInstrumentName = #"Mel"
1831 When two or more characters share a staff the character's name is
1832 usually printed above the staff at the start of every section
1833 applying to that character. This can be done with markup. Often a
1834 specific font is used for this purpose.
1836 @lilypond[quote,verbatim,relative=1]
1837 \override TextScript #'font-family = #'typewriter
1838 \override TextScript #'font-size = #2
1849 @ref{Instrument names},
1850 @ref{Selecting font and font size},
1855 @unnumberedsubsubsec Spoken music
1858 @cindex Sprechgesang
1859 Such effects as @q{parlato} or @q{Sprechgesang} require performers to speak
1860 without pitch but still with rhythm; these are notated by cross
1861 note heads, as demonstrated in @ref{Special note heads}.
1863 @c TODO add "marking-notes-on-spoken-parts" snippet -vv
1864 @c add "showing the rhythm of a melody" snip
1865 @c add "one staff-line notation"
1866 @c add "improvisation" ref
1867 @c add "lyrics independents of notes" ref
1869 @node Dialogue over music
1870 @unnumberedsubsubsec Dialogue over music
1875 @node Chants psalms and hymns
1876 @subsection Chants psalms and hymns
1881 @cindex religious music
1883 The music and words for chants, psalms and hymns usually follow a
1884 well-established format in any particular church. Although the
1885 formats may differ from church to church the type-setting problems
1886 which arise are broadly similar, and are covered in this section.
1889 * References for chants and psalms::
1891 * Pointing a psalm::
1892 * Partial measures in hymn tunes::
1895 @node References for chants and psalms
1896 @unnumberedsubsubsec References for chants and psalms
1898 Typesetting Gregorian chant in various styles of ancient notation
1899 is described in @ref{Ancient notation}.
1903 @ref{Ancient notation}.
1906 @node Setting a chant
1907 @unnumberedsubsubsec Setting a chant
1909 Modern chant settings use modern notation with varying numbers of
1910 elements taken from ancient notation. Some of the elements and
1911 methods to consider are shown here.
1913 Chants often use quarter notes without stems to indicate the pitch,
1914 with the rhythm being taken from the spoken rhythm of the words.
1916 @lilypond[verbatim,quote]
1917 stemOff = { \override Staff.Stem #'transparent = ##t }
1926 Chants often omit the bar lines or use shortened or dotted bar
1927 lines to indicate pauses in the music. To omit all bar lines from
1928 all staves remove the bar line engraver completely:
1930 @lilypond[verbatim,quote]
1951 \remove Bar_engraver
1957 Bar lines can also be removed on a staff-by-staff basis:
1959 @lilypond[verbatim, quote]
1963 \with { \remove Bar_engraver } {
1981 To remove bar lines from just a section of music treat it as a
1982 cadenza. If the section is long you may need to insert dummy
1983 barlines with @code{\bar ""} to show where the line should break.
1985 @lilypond[verbatim,quote,relative=2]
1998 Rests or pauses in chants can be indicated by modified bar lines.
2000 @lilypond[verbatim, quote,relative=2]
2015 Alternatively, the notation used in Gregorian chant for pauses or
2016 rests is sometimes used even though the rest of the notation is
2017 modern. This uses a modified @code{\breathe} mark:
2019 @lilypond[verbatim,quote]
2021 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-minima
2022 \once \override BreathingSign #'Y-offset = #0
2026 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maior
2027 \once \override BreathingSign #'Y-offset = #0
2031 \once \override BreathingSign #'stencil = #ly:breathing-sign::divisio-maxima
2032 \once \override BreathingSign #'Y-offset = #0
2036 \once \override BreathingSign #'stencil = #ly:breathing-sign::finalis
2037 \once \override BreathingSign #'Y-offset = #0
2055 \remove Bar_engraver
2061 Chants usually omit the time signature and often omit the clef too.
2063 @lilypond[verbatim,quote]
2075 \remove Bar_engraver
2076 \remove Time_signature_engraver
2077 \remove Clef_engraver
2083 Chants for psalms in the Anglican tradition are usually either
2084 @emph{single}, with 7 bars of music, or @emph{double}, with two lots
2085 of 7 bars. Each group of 7 bars is divided into two halves,
2086 corresponding to the two halves of each verse, usually separated by
2087 a double bar line. Only whole and half notes are used. The 1st bar
2088 in each half always contains a single chord of whole notes. This is
2089 the @qq{reciting note}. Chants are usually centered on the page.
2091 @lilypond[verbatim,quote]
2092 SopranoMusic = \relative g' {
2093 g1 | c2 b | a1 | \bar "||"
2094 a1 | d2 c | c b | c1 | \bar "||"
2097 AltoMusic = \relative c' {
2099 f1 | f2 e | d d | e1 |
2102 TenorMusic = \relative a {
2104 d1 | g,2 g | g g | g1 |
2107 BassMusic = \relative c {
2109 d1 | b2 c | g' g | c,1 |
2116 % Use markup to center the chant on the page
2125 \new Voice = "Soprano" <<
2129 \new Voice = "Alto" <<
2137 \new Voice = "Tenor" <<
2141 \new Voice = "Bass" <<
2151 \override SpacingSpanner
2152 #'base-shortest-duration = #(ly:make-moment 1 2)
2156 \remove "Time_signature_engraver"
2164 Some other approaches to setting such a chant are shown in the first
2165 of the following snippets.
2169 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2170 {chant-or-psalms-notation.ly}
2172 Canticles and other liturgical texts may be set more freely, and
2173 may use notational elements from ancient music. Often the words
2174 are shown underneath and aligned with the notes. If so, the notes
2175 are spaced in accordance with the syllables rather than the notes'
2178 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2179 {ancient-notation-template----modern-transcription-of-gregorian-music.ly}
2183 @rlearning{Visibility and color of objects},
2184 @rlearning{Vocal ensembles}.
2187 @ref{Ancient notation},
2189 @ref{Modifying context plug-ins},
2190 @ref{Typesetting Gregorian chant},
2191 @ref{Unmetered music},
2192 @ref{Visibility of objects}.
2195 @node Pointing a psalm
2196 @unnumberedsubsubsec Pointing a psalm
2198 The words to an Anglican psalm are usually printed in separate
2199 verses centered underneath the chant.
2201 Single chants (with 7 bars) are repeated for every verse. Double
2202 chants (with 14 bars) are repeated for every pair of verses. Marks
2203 are inserted in the words to show how they should be fitted to the
2204 chant. Each verse is divided into two halves. A colon is usually
2205 used to indicate this division. This corresponds to the double bar
2206 line in the music. The words before the colon are sung to the first
2207 three bars of music; the words after the colon are sung to the last
2210 Single bar lines (or in some psalters an inverted comma or similar
2211 symbol) are inserted between words to indicate where the bar lines
2212 in the music fall. In markup mode a single bar line can be entered
2213 with the bar check symbol, @code{|}.
2215 @lilypond[verbatim,quote]
2220 \line { O come let us sing | unto the | Lord : let }
2221 \line { us heartily rejoice in the | strength of | our }
2222 \line { sal- | -vation. }
2229 Other symbols may require glyphs from the @code{fetaMusic} fonts.
2230 For details, see @ref{Fonts}.
2232 @lilypond[verbatim,quote]
2234 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2240 \line { O come let us sing \tick unto the \tick Lord : let }
2242 us heartily rejoice in the \tick strength of \tick our
2244 \line { sal \tick vation. }
2251 Where there is one whole note in a bar all the words corresponding
2252 to that bar are recited on that one note in speech rhythm. Where
2253 there are two notes in a bar there will usually be only one or two
2254 corresponding syllables. If there are more that two syllables a
2255 dot is usually inserted to indicate where the change in note occurs.
2257 @lilypond[verbatim,quote]
2259 \raise #0.7 \musicglyph #"dots.dot"
2262 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2269 O come let us sing \tick unto \dot the \tick Lord : let
2272 us heartily rejoice in the \tick strength of \tick our
2274 \line { sal \tick vation. }
2281 In some psalters an asterisk is used to indicate a break in a
2282 recited section instead of a comma, and stressed or slightly
2283 lengthened syllables are indicated in bold text.
2285 @lilypond[verbatim,quote]
2287 \raise #0.7 \musicglyph #"dots.dot"
2290 \raise #1 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2296 \line { Today if ye will hear his voice * }
2298 \concat { \bold hard en }
2299 | not your | hearts : as in the pro-
2301 \line { vocation * and as in the \bold day of tempt- | }
2302 \line { -ation | in the | wilderness. }
2309 In other psalters an accent is placed over the syllable to indicate
2312 @lilypond[verbatim,quote]
2314 \raise #2 \fontsize #-5 \musicglyph #"scripts.rvarcomma"
2321 O come let us \concat {
2322 si \combine \tick ng
2324 | unto the | Lord : let
2327 us heartily \concat {
2328 rejo \combine \tick ice
2330 in the | strength of | our
2332 \line { sal- | -vation. }
2339 The use of markup to center text, and arrange lines in columns is
2340 described in @ref{Formatting text}.
2342 Most of these elements are shown in one or other of the two verses
2343 in the template, see @qq{Psalms} in @rlearning{Vocal ensembles}.
2347 @rlearning{Vocal ensembles}.
2351 @ref{Formatting text}.
2354 @node Partial measures in hymn tunes
2355 @unnumberedsubsubsec Partial measures in hymn tunes
2357 Hymn tunes frequently start and end every line of music with
2358 partial measures so that each line of music corresponds exactly
2359 with a line of text. This requires a @code{\partial} command at
2360 the start of the music and @code{\bar "|"} or @code{\bar "||"}
2361 commands at the end of each line.
2363 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2367 @node Ancient vocal music
2368 @subsection Ancient vocal music
2370 Ancient vocal music is supported, as explained in @ref{Ancient notation}.
2374 @c Add "Printing both the ancient and the modern clef in vocal music" snippet,
2375 @c and "Transcription of Ancient music with incipit" snippet. -vv
2379 @ref{Ancient notation}.