1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. For details, see the Contributors'
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14 Tutorial guidelines: (different from policy.txt!)
15 - unless you have a really good reason, use
16 @lilypond[verbatim,quote]
18 - use "aes" and "ees" instead of "as" and "es". I know it's not
19 correct Dutch naming, but let's not confuse people with this
20 until we get to the Basic notation chapter.
22 - Add "Music Glossary: @rglos{foo}" to the *top* of the relevant
23 portions of the tutorial.
29 @chapter Common notation
31 This chapter explains how to create beautiful printed music
32 containing common musical notation, following the material in
36 * Single staff notation::
37 * Multiple notes at once::
43 @node Single staff notation
44 @section Single staff notation
46 This section introduces common notation that is used for one voice
50 * Bar lines and bar checks::
51 * Pitches and key signatures::
53 * Articulation and dynamics::
55 * Automatic and manual beams::
56 * Advanced rhythmic commands::
59 @node Bar lines and bar checks
60 @subsection Bar lines and bar checks
68 @unnumberedsubsubsec Bar lines
71 Single bar lines are automatically placed in the music so
72 there is no need to add them manually. Other types of bar
73 lines are added using @code{\bar}, for example
74 @code{\bar "||"} for a double bar line, or @code{\bar "|."}
75 for an ending bar line. For a full list of bar lines see
76 the @ruser{Bar lines}.
78 @lilypond[verbatim,quote]
79 \relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
83 @unnumberedsubsubsec Bar checks
86 Though not strictly necessary, @emph{bar checks} should be
87 used in the input code to show where bar lines are expected
88 to fall. They are entered using the bar symbol, @code{|}.
89 With bar checks, the program can verify that you've entered
90 durations that make each measure add up to the correct
91 length. Bar checks also make your input code easier to
92 read, since they help to keep things organized.
94 @c This example deliberately produces a warning
95 @lilypond[verbatim,quote]
97 g'1 | e1 | c2. c' | g4 c g e | c4 r r2 |
101 If you compile the code in the example above, you should see a
102 warning in the console output:
105 warning: barcheck failed at: 1/2
107 | g4 c g e | c4 r r2 |
110 Although the missing duration is clear in the musical output in this
111 simple example, the warning in the console output is far more
112 effective in drawing attention to the missing @code{4} in bar 3.
116 @ruser{Bar and bar number checks}.
119 @node Pitches and key signatures
120 @subsection Pitches and key signatures
123 * Pitch alterations::
125 * Warning key signatures and pitches::
128 @warning{New users often misunderstand how LilyPond uses the key
129 signature -- please read the warning at the bottom of this page.}
131 @node Pitch alterations
132 @unnumberedsubsubsec Pitch alterations
139 @cindex sharp, double
149 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
150 @rglos{double flat}, @rglos{accidental}.
152 Note-names in LilyPond identify pitches. For example, @code{c}
153 always means C-natural, regardless of the key signature.
155 A @notation{sharp} pitch is made by adding @code{is} to the name,
156 and a @notation{flat} pitch by adding @code{es}. As you might
157 expect, a @notation{double sharp} or @notation{double flat} is
158 made by adding @code{isis} or @code{eses}. This syntax is derived
159 from note naming conventions in Nordic and Germanic languages,
160 like German and Dutch. To use other names for
161 @notation{alterations}, see @ruser{Note names in other languages}.
163 @lilypond[verbatim,quote]
164 \relative { cis''4 ees fisis, aeses }
167 @cindex key signature, setting
170 @unnumberedsubsubsec Key signatures
173 @cindex key signature
176 @cindex accidentals and key signature
177 @cindex content vs. layout
178 @cindex layout vs. content
187 Music Glossary: @rglos{key signature}, @rglos{major},
190 The @notation{key signature} is set with the command @code{\key}
191 followed by a pitch and @code{\major} or @code{\minor}.
193 @lilypond[verbatim,quote]
197 \bar "||" \key c \minor
204 @node Warning key signatures and pitches
205 @unnumberedsubsubsec Warning: key signatures and pitches
208 Music Glossary: @rglos{accidental}, @rglos{key signature},
209 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
210 @rglos{transposition}, @rglos{Pitch names}.
212 LilyPond makes a distinction between musical content and
213 its printed representation. Input such as @code{d4 e fis2}
214 defines the pitches and durations of notes, which is musical
215 content. The @notation{key signature} is part of the printed
216 representation. The key signature also sets rules for the
217 printed representations of notes. LilyPond compares each input
218 pitch to the key signature to determine whether to print an
219 @notation{accidental}.
221 The command @code{\key} sets the @notation{key signature}, which
222 affects the printed representation, but does @emph{not} change
223 the pitch assigned to a note such as @code{c} in the input.
227 @lilypond[verbatim,quote]
235 No note has a printed accidental, but you must still add
236 @code{is} and type @code{cis} and @code{fis} in the input file.
238 The code @code{b} does not mean @qq{print a black dot just on
239 the middle line of the staff.} Rather, it means @qq{there is a
240 note with pitch B-natural.} In the key of A-flat major, it
241 @emph{does} get an accidental:
243 @lilypond[verbatim,quote]
250 Whenever you enter a pitch that is a black key on the piano, you
251 @emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note name.
253 Adding all alterations explicitly might require a little more
254 effort when typing, but the advantage is that
255 @notation{transposing} is easier, and accidentals can be printed
256 according to different conventions. For some examples of how
257 accidentals can be printed according to different rules, see
258 @ruser{Automatic accidentals}.
263 @ruser{Note names in other languages},
265 @ruser{Automatic accidentals},
266 @ruser{Key signature}.
270 @subsection Ties and slurs
274 @cindex slur, phrasing
275 @cindex phrasing slur
285 * Warnings slurs vs. ties::
289 @unnumberedsubsubsec Ties
291 Music Glossary: @rglos{tie}.
293 A @notation{tie} is created by appending a tilde @code{~} to the
294 first of the two notes being tied.
296 @lilypond[verbatim,quote]
297 \relative { g'4~ g c2~ | c4~ c8 a~ a2 | }
300 @cindex bare duration
301 @cindex duration, bare
303 When the pitch does not change, as is always the case with tied notes,
304 subsequent pitches may be omitted, specifying just the bare duration:
306 @lilypond[verbatim,quote]
307 \relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
310 This shorthand may be useful in other places where the rhythm changes
311 with an unchanging pitch, but remember that a bare pitch followed by a
312 space and a bare duration will be interpreted as a single note. In
313 other words, @code{c4 a 8 8} would be interpreted as @code{c4 a8 a8},
314 not as @code{c4 a4 a8 a8}. Write instead @code{c4 a4 8 8 }.
317 @unnumberedsubsubsec Slurs
320 Music Glossary: @rglos{slur}.
322 A @notation{slur} is a curve drawn across many notes. The
323 starting note and ending note are marked with @code{(} and
324 @code{)} respectively.
326 @lilypond[verbatim,quote]
327 \relative { d''4( c16) cis( d e c cis d) e( d4) }
331 @unnumberedsubsubsec Phrasing slurs
334 Music Glossary: @rglos{slur}, @rglos{phrasing}.
336 Slurs to indicate longer @notation{phrasing} can be entered with
337 @code{\(} and @code{\)}. You can have both @notation{slurs} and
338 phrasing slurs at the same time.
340 @lilypond[verbatim,quote]
341 \relative { g'4\( g8( a) b( c) b4\) }
346 @cindex slurs versus ties
348 @node Warnings slurs vs. ties
349 @unnumberedsubsubsec Warnings: slurs vs. ties
352 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
354 A @notation{slur} looks like a @notation{tie}, but it has a
355 different meaning. A tie simply makes the first note longer, and
356 can only be used on pairs of notes with the same pitch. Slurs
357 indicate the @notation{articulation} of notes, and can be used on
358 larger groups of notes. Slurs and ties can be nested.
360 @lilypond[verbatim,quote]
361 \relative { c''4(~ c8 d~ 4 e) }
369 @ruser{Phrasing slurs}.
372 @node Articulation and dynamics
373 @subsection Articulation and dynamics
382 @unnumberedsubsubsec Articulations
389 Music Glossary: @rglos{articulation}.
391 Common @notation{articulations} can be added to a note using a
392 dash @code{-} and a single character:
394 @lilypond[verbatim,quote]
402 @unnumberedsubsubsec Fingerings
410 Music Glossary: @rglos{fingering}.
412 Similarly, @notation{fingering} indications can be added to a note
413 using a dash (@code{-}) and the digit to be printed:
415 @lilypond[verbatim,quote]
416 \relative { c''4-3 e-5 b-2 a-1 }
419 Articulations and fingerings are usually placed automatically, but
420 you can specify a direction by replacing the dash (@code{-}) with
421 @code{^} (up) or @code{_} (down). You can also use multiple
422 articulations on the same note. However, in most cases it is best
423 to let LilyPond determine the articulation directions.
425 @lilypond[verbatim,quote]
426 \relative { c''4_-^1 d^. f^4_2-> e^-_+ }
430 @unnumberedsubsubsec Dynamics
450 Music Glossary: @rglos{dynamics}, @rglos{crescendo},
453 @notation{Dynamic} signs are made by adding the markings (with a
454 backslash) to the note:
456 @lilypond[verbatim,quote]
457 \relative { c''4\ff c\mf c\p c\pp }
461 @notation{Crescendi} and @notation{decrescendi} are started with
462 the commands @code{\<} and @code{\>}. The next dynamics sign, for
463 example @code{\f}, will end the (de)crescendo, or the command
464 @code{\!} can be used:
466 @lilypond[verbatim,quote]
467 \relative { c''4\< c\ff\> c c\! }
473 @ruser{Articulations and ornamentations},
474 @ruser{Fingering instructions},
479 @subsection Adding text
488 Text may be added to your scores:
490 @lilypond[verbatim,quote,fragment]
491 c''2^"espr" a'_"legato"
494 Extra formatting may be added with the @code{\markup} command:
496 @lilypond[verbatim,quote,fragment]
497 c''2^\markup { \bold espr }
499 \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
506 @ruser{Writing text}.
509 @node Automatic and manual beams
510 @subsection Automatic and manual beams
513 @cindex automatic beams
515 @cindex beams, automatic
516 @cindex beams, manual
517 @cindex beams, by hand
522 @funindex \autoBeamOff
523 @funindex autoBeamOff
524 @funindex \autoBeamOn
527 Music Glossary: @rglos{beam}.
529 All @notation{beams} are drawn automatically:
531 @lilypond[verbatim,quote]
532 \relative { a'8 ais d ees r d c16 b a8 }
535 If you do not like the automatic beams, they may be overridden
536 manually. To correct just an occasional beam mark the first note
537 to be beamed with @code{[} and the last one with @code{]}.
539 @lilypond[verbatim,quote]
540 \relative { a'8[ ais] d[ ees r d] c16 b a8 }
543 If you want to turn off automatic beaming entirely or for an
544 extended section of music, use the command @code{\autoBeamOff}
545 to turn off automatic beaming and @code{\autoBeamOn} to turn it
548 @lilypond[verbatim,quote]
551 a'8 c b4 d8. c16 b4 |
560 @ruser{Automatic beams},
561 @ruser{Manual beams}.
564 @node Advanced rhythmic commands
565 @subsection Advanced rhythmic commands
573 @node Partial measure
574 @unnumberedsubsubsec Partial measure
579 @cindex partial measure
584 Music Glossary: @rglos{anacrusis}.
586 A pickup (or @notation{anacrusis}) is entered with the keyword
587 @code{\partial}. It is followed by a duration: @code{\partial 4}
588 is a quarter note pickup and @code{\partial 8} an eighth note.
590 @lilypond[verbatim,quote]
598 @unnumberedsubsubsec Tuplets
607 Music Glossary: @rglos{note value}, @rglos{triplet}.
609 @notation{Tuplets} are made with the @code{\tuplet} keyword. It
610 takes two arguments: a fraction and a piece of music. The
611 fraction is the number of tuplet notes over the number
612 of notes normally filling the same duration.
613 For triplets, there are three notes instead of two, so
614 @notation{triplets} have 3/2 as their fraction.
616 @lilypond[verbatim,quote]
618 \tuplet 3/2 { f''8 g a }
619 \tuplet 3/2 { c8 r c }
620 \tuplet 3/2 { f,8 g16[ a g a] }
621 \tuplet 3/2 { d4 a8 }
626 @unnumberedsubsubsec Grace notes
635 @funindex \acciaccatura
636 @funindex acciaccatura
637 @funindex \appoggiatura
638 @funindex acciaccatura
640 Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
641 @rglos{appoggiatura}.
643 @notation{Grace notes} are created with the @code{\grace} command,
644 although they can also be created by prefixing a music expression
645 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
647 @lilypond[verbatim,quote]
649 c''2 \grace { a32 b } c2 |
650 c2 \appoggiatura b16 c2 |
651 c2 \acciaccatura b16 c2 |
663 @node Multiple notes at once
664 @section Multiple notes at once
666 This section introduces having more than one note at the same
667 time: multiple instruments, multiple staves for a single
668 instrument (i.e. piano), and chords.
670 Polyphony in music refers to having more than one voice occurring
671 in a piece of music. Polyphony in LilyPond refers to having more
672 than one voice on the same staff.
675 * Music expressions explained::
678 * Combining notes into chords::
679 * Single staff polyphony::
683 @node Music expressions explained
684 @subsection Music expressions explained
686 @cindex music expression
687 @cindex expression, music
688 @cindex compound music expression
689 @cindex music expression, compound
692 * Analogy mathematical expressions::
693 * Simultaneous music expressions multiple staves::
694 * Simultaneous music expressions single staff::
697 In LilyPond input files, music is represented by @emph{music
698 expressions}. A single note is a music expression:
700 @lilypond[verbatim,quote,fragment]
704 Enclosing a note in braces creates a @emph{compound music
705 expression}. Here we have created a compound music expression
708 @lilypond[verbatim,quote]
712 Putting a group of music expressions (e.g. notes) in braces means
713 that they are in sequence (i.e. each one follows the previous
714 one). The result is another music expression:
716 @lilypond[verbatim,quote]
717 \relative { { a'4 g } f4 g }
720 @node Analogy mathematical expressions
721 @unnumberedsubsubsec Analogy: mathematical expressions
724 This mechanism is similar to mathematical formulas: a big formula
725 is created by composing small formulas. Such formulas are called
726 expressions, and they can contain other expressions, so you can
727 make arbitrarily complex and large expressions. For example,
736 ((1 + 2) * 3) / (4 * 5)
739 This is a sequence of expressions, where each expression is
740 contained in the next (larger) one. The simplest expressions are
741 numbers, and larger ones are made by combining expressions with
742 operators (like @code{+}, @code{*} and @code{/}) and parentheses.
743 Like mathematical expressions, music expressions can be nested
744 arbitrarily deep, which is necessary for complex music like
748 @node Simultaneous music expressions multiple staves
749 @unnumberedsubsubsec Simultaneous music expressions: multiple staves
752 @cindex multiple staves
753 @cindex staves, multiple
755 @cindex combining expressions in parallel
756 @cindex parallel expressions
757 @cindex expressions, parallel
758 @cindex relative notes and simultaneous music
759 @cindex relative notes and parallel expressions
760 @cindex simultaneous music and relative notes
761 @cindex parallel expressions and relative notes
767 Music Glossary: @rglos{polyphony}.
769 This technique is useful for @notation{polyphonic} music. To
770 enter music with more voices or more staves, we combine
771 expressions in parallel. To indicate that two voices should play
772 at the same time, simply enter a simultaneous combination of music
773 expressions. A @q{simultaneous} music expression is formed by
774 enclosing expressions inside @code{<<} and @code{>>}. In the
775 following example, three sequences (all containing two separate
776 notes) are combined simultaneously:
778 @lilypond[verbatim,quote]
786 Note that we have indented each level of the input with a
787 different amount of space. LilyPond does not care how much (or
788 little) space there is at the beginning of a line, but indenting
789 LilyPond code like this makes it much easier for humans to read.
791 @warning{each note is relative to the previous note in the input,
792 only the first is relative to the @code{c''} in the initial
793 @code{@bs{}relative} command.}
796 @node Simultaneous music expressions single staff
797 @unnumberedsubsubsec Simultaneous music expressions: single staff
800 To determine the number of staves in a piece, LilyPond looks at
801 the beginning of the first expression. If there is a single note,
802 there is one staff; if there is a simultaneous expression, there
803 is more than one staff. The following example shows a complex
804 expression, but as it begins with a single note it will be set
805 out on a single staff.
807 @lilypond[verbatim,quote]
810 << { e2 f } { c2 <<b d>> } >> |
814 @node Multiple staves
815 @subsection Multiple staves
817 @cindex multiple staves
818 @cindex staves, multiple
820 @cindex context, notation
821 @cindex notation context
833 LilyPond input files are constructed out of music expressions, as
834 we saw in @ref{Music expressions explained}. If the score begins
835 with simultaneous music expressions, LilyPond creates multiples
836 staves. However, it is easier to see what happens if we create
837 each staff explicitly.
839 To print more than one staff, each piece of music that makes up a
840 staff is marked by adding @code{\new Staff} before it. These
841 @code{Staff} elements are then combined in parallel with @code{<<}
844 @lilypond[verbatim,quote]
846 \new Staff { \clef "treble" c''4 }
847 \new Staff { \clef "bass" c4 }
851 The command @code{\new} introduces a @q{notation context.} A
852 notation context is an environment in which musical events (like
853 notes or @code{\clef} commands) are interpreted. For simple
854 pieces, such notation contexts are created automatically. For
855 more complex pieces, it is best to mark contexts explicitly.
857 There are several types of contexts. @code{Score}, @code{Staff},
858 and @code{Voice} handle melodic notation, while @code{Lyrics} sets
859 lyric texts and @code{ChordNames} prints chord names.
861 In terms of syntax, prepending @code{\new} to a music expression
862 creates a bigger music expression. In this way it resembles the
863 minus sign in mathematics. The formula @math{(4+5)} is an
864 expression, so @math{-(4+5)} is a bigger expression.
866 Time signatures entered in one staff affect all other staves by
867 default. On the other hand, the key signature of one staff does
868 @emph{not} affect other staves. This different default behavior
869 is because scores with transposing instruments are more common
870 than polyrhythmic scores.
872 @lilypond[verbatim,quote]
874 \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
875 \new Staff { \clef "bass" c4 }
880 @subsection Staff groups
899 Piano music is typeset in two staves connected by a
901 Printing such a staff is similar to the polyphonic example in
902 @ref{Multiple staves}. However, now this entire expression is
903 inserted inside a @code{PianoStaff}:
912 Here is a small example:
914 @lilypond[verbatim,quote]
916 \new Staff \relative { \time 2/4 c''4 e | g g, | }
917 \new Staff \relative { \clef "bass" c4 c' | e c | }
921 Other staff groupings are introduced with @code{\new GrandStaff},
922 suitable for orchestral scores, and @w{@code{\new ChoirStaff}},
923 suitable for vocal scores. These staff groups each form another
924 type of context, one that generates the brace at the left end of
925 every system and also controls the extent of bar lines.
930 @ruser{Keyboard and other multi-staff instruments},
931 @ruser{Displaying staves}.
934 @node Combining notes into chords
935 @subsection Combining notes into chords
937 Music Glossary: @rglos{chord}
940 @cindex note durations in chords
946 We saw earlier how notes can be combined into @notation{chords} by
947 indicating they are simultaneous by enclosing them in double angle
948 brackets. However, the normal way of indicating a chord is to
949 surround the pitches with @emph{single} angle brackets. Note that
950 all the notes in a chord must have the same duration, and that the
951 duration is placed after the closing bracket.
953 @lilypond[verbatim,quote]
954 \relative { r4 <c'' e g> <c f a>2 }
957 Think of chords as almost equivalent to single notes:
958 almost everything you can attach to a single note can be attached
959 to a chord, and everything must go @emph{outside} the angle
960 brackets. For example, you can combine markings like beams and
961 ties with chords. They must be placed outside the angle brackets.
963 @lilypond[verbatim,quote]
965 r4 <c'' e g>~ <c f a>2 |
966 <c e g>8[ <c f a> <c e g> <c f a>]
967 <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
968 r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
974 @ruser{Chorded notes}.
977 @node Single staff polyphony
978 @subsection Single staff polyphony
981 @cindex multiple voices
982 @cindex voices, more on one staff
983 @cindex single staff polyphony
987 @funindex << ... \\ ... >>
992 Polyphonic music in lilypond, while not difficult, uses concepts
993 that we haven't discussed yet, so we're not going to introduce
994 them here. Instead, the following sections introduce these concepts
995 and explain them thoroughly.
999 @ref{Voices contain music}.
1002 @ruser{Simultaneous notes}.
1007 This section introduces vocal music and simple song sheets.
1010 * Setting simple songs::
1011 * Aligning lyrics to a melody::
1012 * Lyrics to multiple staves::
1016 @node Setting simple songs
1017 @subsection Setting simple songs
1022 @funindex \addlyrics
1025 Music Glossary: @rglos{lyrics}.
1027 Here is the start of the melody to a nursery
1028 rhyme, @notation{Girls and boys come out to play}:
1030 @lilypond[verbatim,quote]
1034 d''4 b8 c4 a8 | d4 b8 g4
1038 The @notation{lyrics} can be set to these notes, combining both
1039 with the @code{\addlyrics} keyword. Lyrics are entered by
1040 separating each syllable with a space.
1042 @lilypond[verbatim,quote]
1047 d''4 b8 c4 a8 | d4 b8 g4
1050 Girls and boys come out to play,
1055 Note the double angle brackets @w{@code{<<@dots{}>>}} around the
1056 whole piece to show that the music and lyrics are to occur at the
1059 @node Aligning lyrics to a melody
1060 @subsection Aligning lyrics to a melody
1063 @cindex extender line
1066 @cindex lyrics, aligning
1067 @cindex aligning lyrics
1068 @cindex lyrics, multi-syllable words
1069 @cindex words with multiple syllables in lyrics
1071 Music Glossary: @rglos{melisma}, @rglos{extender line}.
1073 The next line in the nursery rhyme is @notation{The moon doth
1074 shine as bright as day}. Let's extend it:
1076 @lilypond[verbatim,quote]
1081 d''4 b8 c4 a8 | d4 b8 g4 g8 |
1082 a4 b8 c b a | d4 b8 g4. |
1085 Girls and boys come out to play,
1086 The moon doth shine as bright as day;
1091 Looking at the music, we see that the extra lyrics do not align
1092 properly with the notes. The word @notation{shine} should be sung
1093 on two notes, not one. This is called a @notation{melisma}, a
1094 single syllable sung to more than one note. There are several
1095 ways to spread a syllable over multiple notes, the simplest being
1096 to add a slur across them, for details, see @ref{Ties and slurs}:
1098 @lilypond[verbatim,quote]
1103 d''4 b8 c4 a8 | d4 b8 g4 g8 |
1104 a4 b8 c( b) a | d4 b8 g4. |
1107 Girls and boys come out to play,
1108 The moon doth shine as bright as day;
1113 The words now line up correctly with the notes, but the automatic
1114 beaming for the notes above @notation{shine as} does not look right.
1115 We can correct this by inserting manual beaming commands to override
1116 the automatic beaming here, for details, see @ref{Automatic and
1119 @lilypond[verbatim,quote]
1124 d''4 b8 c4 a8 | d4 b8 g4 g8 |
1125 a4 b8 c([ b]) a | d4 b8 g4. |
1128 Girls and boys come out to play,
1129 The moon doth shine as bright as day;
1134 As an alternative to using slurs, the melismata may be indicated
1135 in just the lyrics by using an underscore @code{_} for each note
1136 that should be included in the melisma:
1138 @lilypond[verbatim,quote]
1143 d''4 b8 c4 a8 | d4 b8 g4 g8 |
1144 a4 b8 c[ b] a | d4 b8 g4. |
1147 Girls and boys come out to play,
1148 The moon doth shine _ as bright as day;
1153 If a syllable extends over several notes or a single very long
1154 note an @notation{extender line} is usually drawn from the
1155 syllable extending under all the notes for that syllable. It is
1156 entered as two underscores @code{__}. Here is an example from the
1157 first three bars of @notation{Dido's Lament}, from Purcell's
1158 @notation{Dido and Æneas}:
1160 @lilypond[verbatim,quote]
1165 g'2 a bes | bes2( a) b2 |
1166 c4.( bes8 a4. g8 fis4.) g8 | fis1
1170 am laid __ in earth,
1175 None of the examples so far have involved words containing more
1176 than one syllable. Such words are usually split one syllable to a
1177 note, with hyphens between syllables. Such hyphens are entered as
1178 two dashes, resulting in a centered hyphen between the syllables.
1179 Here is an example showing this and everything we have learned so
1180 far about aligning lyrics to notes.
1182 @c no ragged-right here because otherwise the hyphens get lost,
1183 @c but the example is long enough to avoid looking strange.
1184 @lilypond[verbatim,quote,noragged-right]
1190 d'4 | g4 g a8( b) | g4 g b8( c) |
1194 A -- way in a __ man -- ger,
1195 no __ crib for a bed,
1200 Some lyrics, especially those in Italian, require the opposite:
1201 setting more than one syllable to a single note. This is
1202 achieved by linking the syllables together with a single
1203 underscore @code{_} (with no spaces), or enclosing them in quotes.
1204 Here's an example from Rossini's @notation{Figaro}, where
1205 @notation{al} has to be sung on the same note as the @notation{go} of
1206 @notation{Largo} in Figaro's aria @notation{Largo al factotum}:
1208 @c no ragged-right here because otherwise the hyphens get lost,
1209 @c but the example is long enough to avoid looking strange.
1210 @lilypond[verbatim,quote,noragged-right]
1216 c'4.~ 8 d b | c8([ d]) b c d b | c8
1219 Lar -- go_al fac -- to -- tum del -- la cit -- tÃ
1227 @ruser{Vocal music}.
1230 @node Lyrics to multiple staves
1231 @subsection Lyrics to multiple staves
1233 @cindex lyrics and multiple staves
1234 @cindex multiple staves and lyrics
1236 The simple approach using @code{\addlyrics} can be used for
1237 placing lyrics under more than one staff. Here is an
1238 example from Handel's @notation{Judas Maccabæus}:
1240 @lilypond[verbatim,quote]
1246 c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4
1249 Let flee -- cy flocks the hills a -- dorn, __
1255 r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4
1258 Let flee -- cy flocks the hills a -- dorn,
1263 Scores any more complex than this simple example are better
1264 produced by separating out the score structure from the notes and
1265 lyrics with variables. These are discussed in @ref{Organizing
1266 pieces with variables}.
1271 @ruser{Vocal music}.
1275 @section Final touches
1277 This is the final section of the tutorial; it demonstrates how to
1278 add the final touches to simple pieces, and provides an
1279 introduction to the rest of the manual.
1282 * Organizing pieces with variables::
1284 * Absolute note names::
1285 * After the tutorial::
1289 @node Organizing pieces with variables
1290 @subsection Organizing pieces with variables
1293 @cindex variables, defining
1296 @cindex assigning variables
1297 @cindex using variables
1298 @cindex variables, using
1299 @cindex variables, characters allowed in
1300 @cindex characters allowed in variables
1302 When all of the elements discussed earlier are combined to produce
1303 larger files, the music expressions get a lot bigger. In
1304 polyphonic music with many staves, the input files can become very
1305 confusing. We can reduce this confusion by using
1308 With variables (also known as identifiers or macros), we can break
1309 up complex music expressions. A variable is assigned as
1313 namedMusic = @{ @dots{} @}
1316 The contents of the music expression @code{namedMusic} can be used
1317 later by placing a backslash in front of the name
1318 (@code{\namedMusic}, just like a normal LilyPond command).
1320 @lilypond[verbatim,quote]
1321 violin = \new Staff {
1327 cello = \new Staff {
1343 By convention, variable names consist of alphabetic characters only.
1345 Variables must be defined @emph{before} the main music
1346 expression, but may be used as many times as required anywhere after
1347 they have been defined. They may even be used in a later definition
1348 of another variable, giving a way of shortening the input if a
1349 section of music is repeated many times.
1351 @lilypond[verbatim,quote]
1352 tripletA = \relative { \tuplet 3/2 { c'8 e g } }
1353 barA = { \tripletA \tripletA \tripletA \tripletA }
1358 Variables may be used for many other types of objects in
1359 the input. For example,
1364 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1367 Depending on its contents, the variable can be used in different
1368 places. The following example uses the above variables:
1383 @subsection Adding titles
1387 @cindex header block
1392 The title, composer, opus number, and similar information are
1393 entered in the @code{\header} block. This exists outside of the
1394 main music expression; the @code{\header} block is usually placed
1395 underneath the version number.
1398 \version @w{"@version{}"}
1407 @dots{} music @dots{}
1411 When the file is processed, the title and composer are printed
1412 above the music. More information on titling can be found in
1413 @ruser{Creating titles headers and footers}.
1416 @node Absolute note names
1417 @subsection Absolute note names
1420 @cindex note names, absolute
1421 @cindex absolute mode
1422 @cindex absolute values for pitches
1423 @cindex pitches, absolute values
1424 @cindex absolute note names
1426 So far we have used @code{\relative} to define pitches.
1427 This is usually the fastest way to enter most music. Without
1428 @code{\relative}, pitches are interpreted in absolute mode.
1430 In this mode, LilyPond treats all pitches as absolute values. A
1431 @code{c'} will always mean middle@tie{}C, a @code{b} will always mean
1432 the note one step below middle@tie{}C, and a @code{g,} will always mean
1433 the note on the bottom staff of the bass clef.
1435 @lilypond[verbatim,quote]
1443 Writing a melody in the treble clef involves a lot
1444 of quote @code{'} marks. Consider this fragment from Mozart:
1446 @lilypond[verbatim,quote]
1450 cis''8. d''16 cis''8 e''4 e''8 |
1451 b'8. cis''16 b'8 d''4 d''8 |
1456 Common octave marks can be indicated just once, using the command
1457 @code{\fixed} followed by a reference pitch:
1459 @lilypond[verbatim,quote]
1463 cis8. d16 cis8 e4 e8 |
1464 b,8. cis16 b,8 d4 d8 |
1468 With @code{\relative}, the previous example needs no octave marks
1469 because this melody moves in steps no larger than three staff positions:
1471 @lilypond[verbatim,quote]
1475 cis''8. d16 cis8 e4 e8 |
1476 b8. cis16 b8 d4 d8 |
1480 If you make a mistake with an octave mark (@code{'} or @code{,})
1481 while working in @code{\relative} mode, it is very obvious -- many
1482 notes will be in the wrong octave. When working in absolute mode,
1483 a single mistake will not be as visible, and will not be as easy
1486 However, absolute mode is useful for music which has large
1487 intervals, and is extremely useful for computer-generated LilyPond
1488 files. When cutting and pasting melody fragments, absolute mode
1489 preserves the original octave.
1491 Sometimes music is arranged in more complex ways. If you are
1492 using @code{\relative} inside of @code{\relative}, the outer and
1493 inner relative sections are independent:
1495 @lilypond[verbatim,quote]
1496 \relative { c'4 \relative { f'' g } c }
1499 To use absolute mode inside of @code{\relative}, put the absolute
1500 music inside @code{\fixed c @{ @dots{} @}} and the absolute pitches
1501 will not affect the octaves of the relative music:
1503 @lilypond[verbatim,quote]
1505 c'4 \fixed c { f'' g'' } c |
1506 c4 \fixed c'' { f g } c
1510 @node After the tutorial
1511 @subsection After the tutorial
1513 After finishing the tutorial, you should probably try writing a
1514 piece or two. Start by adding notes to one of the
1515 @ref{Templates}. If you need any notation that was not covered in
1516 the tutorial, look at the Notation Reference, starting with
1517 @ruser{Musical notation}. If you want to write for an instrument
1518 ensemble that is not covered in the templates, take a look at
1519 @ref{Extending the templates}.
1521 Once you have written a few short pieces, read the rest of the
1522 Learning Manual (chapters 3-5). There's nothing wrong with
1523 reading it now, of course! However, the rest of the Learning
1524 Manual assumes that you are familiar with LilyPond input. You may
1525 wish to skim these chapters right now, and come back to them after
1526 you have more experience.
1528 In this tutorial and in the rest of the Learning Manual, there is a
1529 paragraph @strong{See also} at the end of each section, which contains
1530 cross-references to other sections: you should not follow these
1531 cross-references at first reading; when you have read all of the
1532 Learning Manual, you may want to read some sections again and follow
1533 cross-references for further reading.
1535 If you have not done so already, @emph{please} read @ref{Overview
1536 of manuals}. There is a lot of information about LilyPond, so
1537 newcomers often do not know where they should look for help. If
1538 you spend five minutes reading that section carefully, you might
1539 save yourself hours of frustration looking in the wrong places!