3 @c TODO: LilyPond LilyPond LilyPond
9 <!--- @@WEB-TITLE@@=Tutorial --->
13 * First steps:: Music language of LilyPond
14 * Simple legend:: Small table of music language symbols
15 * Running LilyPond:: Printing music
16 * The first real tune:: The first real tune
17 * Lyrics and chords:: Lyrics and chords
18 * More movements :: Joining separate pieces of music
19 * A piano excerpt:: Piano music
20 * An orchestral score:: Conductor's score and individual parts
21 * Other ways to run LilyPond:: Other ways to run LilyPond
22 * Integrating text and music:: Integrating text and music
23 * End of tutorial:: The end
27 The music is described in a text file, using a simple music language.
28 LilyPond reads that text file and generates music that you can print or
31 Therefore, creating music notation with LilyPond is done in two steps.
32 Using a text editor, you write down the notes to print. Then, you run
33 LilyPond to get your printed output.
35 This tutorial starts with a small introduction to the LilyPond music
36 language. After this first contact, we will show you how to run
37 LilyPond to produce printed output; you should then be able to create
38 your first sheets of music.
40 The tutorial continues with a slightly more elaborate example of real music.
41 This piece introduces and explains some finer details of LilyPond.
42 Then, a number of more complex examples follow, that will help you to
43 produce most complex music with LilyPond.
51 @c @node Music language of LilyPond
52 @c @section Music language of LilyPond
54 This section shows how easy writing music with LilyPond actually is. If
55 you have not seen LilyPond input source before, this section is for you.
57 The next section has a table (see @ref{Simple legend}) of all symbols
58 that are introduced here, you may want to keep an eye on that.
60 Writing music with LilyPond is explained below by a number of small
61 examples. Each example has a small piece of text; the LilyPond input
62 that you should type, with the resulting music printed below it.
64 You get a simple note by typing its note name, from @code{a} through
73 \property Score.timing = ##f
74 \property Staff.TimeSignature = \turnOff
75 \transpose c'' { c d e f g a b }
80 The length of a note is specified by adding a number, ``@code{1}'' for a
81 whole note, ``@code{2}'' for a half note, and so on:
88 @c missing clef seems to raise more questions than actual pitch of notes,
89 @c as these are snippets anyway
91 \property Score.timing = ##f
92 \property Staff.TimeSignature = \turnOff
93 \property Staff.noAutoBeaming = ##t
94 %\property Staff.Clef = \turnOff
95 \transpose c'' { a1 a2 a4 a16 a32 }
101 If you don't specify a duration, the previous duration is used:
108 @c missing clef seems to raise more questions than actual pitch of notes,
109 @c as these are snippets anyway
111 \property Score.timing = ##f
112 \property Staff.TimeSignature = \turnOff
113 %\property Staff.Clef = \turnOff
114 \transpose c'' { a a a2 a }
120 A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
121 (@texiflat{}) by adding ``@code{es}'':
129 \property Score.timing = ##f
130 \property Staff.TimeSignature = \turnOff
131 \transpose c'' { cis1 ees fisis aeses }
137 Add a dot ``@code{.}'' after the duration to get a dotted note:
143 @c missing clef seems to raise more questions than actual pitch of notes,
144 @c as these are snippets anyway
146 \property Score.timing = ##f
147 \property Staff.TimeSignature = \turnOff
148 %\property Staff.Clef = \turnOff
149 \transpose c'' { a2. a4 a8. a16 }
155 The meter (or time signature) can be set with the ``@code{\time}'' command:
164 @c a clef here may lead to confusion
166 \property Staff.Clef = \turnOff
177 The clef can be set using the ``@code{\clef}'' command:
179 @c what is more common name treble or violin?
180 @c in Dutch, its violin.
190 \property Score.timing = ##f
191 \property Staff.TimeSignature = \turnOff
204 From these commands and notes, a piece of music can be formed. A piece
205 of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
206 LilyPond then knows that music follows (and not lyrics, for example):
220 At this point, the piece of music is ready to be printed. This is done
221 by combining the music with a printing command.
223 The printing command is the so-called ``@code{\paper}'' block. You will
224 see later that the \paper block is necessary to customize all kinds of
225 printing specifics. The music and the \paper block are combined by
226 enclosing them in ``@code{\score @{ ... @}}''. This is what a full
227 LilyPond source file looks like:
250 \paper { linewidth = 60 * \staffspace }
257 We continue with the introduction of the remaining musical constructs.
259 @c maybe legend here?
261 Normal rests are entered just like notes with the name ``@code{r}'':
269 \property Score.timing = ##f
270 \property Staff.Clef = \turnOff
271 \property Staff.TimeSignature = \turnOff
278 @c Tim wants to move this quotes example just before the: quotes-don't-work
279 @c score, but we'd need to remove quotes from the other two (key and
282 @c better to have this just before the `octaves are bad' snipped
283 @c but we'd need to remove the ', from \key and tie
284 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
285 the note name, to lower a note one octave, add a ``low quote'' @code{,}
286 (a comma). The central C is @code{c'}:
290 c'4 c'' c''' \clef bass c c,
294 \property Score.timing = ##f
295 \property Staff.TimeSignature = \turnOff
296 c'4 c'' c''' \clef bass c c,
301 A tie is created by entering a tilde ``@code{~}'' between the notes to
302 be tied. A tie between two notes means that the second note must not be
303 played separately, but just makes the first note sound longer:
306 @lilypond[fragment,verbatim]
312 The key signature is set with the command ``@code{\key}'':
322 \property Staff.TimeSignature = \turnOff
331 @c bit on the long/complex/scary taste
332 @c cheating a bit: two lines makes for a friendlier look
333 This example shows notes, ties, octave marks, and rests in action.
334 Don't worry about all the quotes.
343 r4 r8 d''8 cis''4 e''
345 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
358 r4 r8 d''8 cis''4 e''
360 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
363 \paper { linewidth = 50*\staffspace }
369 There are some interesting points to note in this example. Firstly,
370 accidentals (sharps and flats) don't have to be marked explicitly: you
371 just enter the note name, and LilyPond determines whether or not to
372 print an accidental. Secondly, bar lines and beams are drawn
373 automatically. Thirdly, LilyPond calculates line breaks for you; it
374 doesn't matter where you make new lines in the source file.
376 The example also indicates that a piece of music written in a high
377 register needs lots of quotes. This makes the input a bit unreadable,
378 and is therefore also a potential source of errors.
382 The solution is to use ``relative octave'' mode. In practice, most
383 music is entered using this mode.
385 To use relative mode, add @code{\relative} before the piece of music.
386 You must also give a note from which relative starts, in this case
389 @c In relative octave mode, quotes are used to mark large jumps in the
390 @c melody. Without any quotes or commas, the interval between a note and
391 @c its predecessor is assumed to be a fourth or less. Quotes and commas
392 @c add octaves in up and down direction.
394 If you type no octaviation quotes, relative mode chooses the note that
395 is closest to the previous one, which is often just the one you need.
396 @c don't use commas or quotes in this sentence
397 For example: @code{c f} goes up; @code{c g} goes down:
407 \property Score.timing = ##f
408 \property Staff.TimeSignature = \turnOff
416 @c needed better, maybe even redundant explanation
417 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
418 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
419 You can make a large interval by adding octaviation quotes. Note that
420 quotes or commas do not determine the absolute height of a note;
421 the height of a note is relative to the previous one.
422 @c don't use commas or quotes in this sentence
423 For example: @code{c f,} goes down; @code{f, f} are both the same;
424 @code{c c'} are the same; and @code{c g'} goes up:
434 \property Score.timing = ##f
435 \property Staff.TimeSignature = \turnOff
443 A slur is drawn across many notes, and indicates bound articulation
444 (legato). The starting note and ending note are marked with a
445 ``@code{(}'' and a ``@code{)}'' respectively:
448 @lilypond[fragment,relative 1, verbatim]
449 d4( )c16( cis d e c cis d )e( )d4
454 If you need two slurs at the same time (one for articulation, one for
455 phrasing), you can also make a phrasing slur with @code{\(} and
460 @lilypond[fragment,relative 1, verbatim]
461 a8(\( ais b ) c cis2 b'2 a4 cis, \) c
466 Beams are drawn automatically, but if you don't like the choices, you
467 can enter beams by hand. Surround the notes to be grouped with @code{[}
470 @lilypond[fragment,relative 1, verbatim]
476 To print more than one staff, each piece of music that makes up a staff
477 is marked by adding @code{\context Staff} before it. These
478 @code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
482 @lilypond[fragment,verbatim]
484 \context Staff = staffA { \clef violin c'' }
485 \context Staff = staffB { \clef bass c }
490 In this example, @code{staffA} and @code{staffB} are names that are
491 given to the staves. For now, it doesn't matter what names you give, as
492 long as each staff has a unique name.
496 We can typeset a melody with two staves now:
502 < \context Staff = staffA {
505 \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
507 \context Staff = staffB {
518 Notice that the time signature is specified in one melody staff only
519 (the top staff), but is printed on both. LilyPond knows that the time
520 signature should be the same for all staves.
524 Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
526 @lilypond[verbatim,relative 1]
532 Dynamic signs are made by adding the markings to the note:
534 @lilypond[verbatim,relative 1]
540 Crescendi are started with the commands @code{\<} and @code{\>}. The
541 command @code{\!} finishes a crescendo on the following note.
543 @lilypond[verbatim,relative 1]
544 c2\< \!c2-\ff \>c2 \!c2
549 Chords can be made by surrounding notes with @code{<} and @code{>}:
551 @lilypond[relative 0, fragment,verbatim]
559 @c hmm, te losjes, iig
560 In general, @code{ < @var{stuff} > } is used when @var{stuff} all
561 happens at the same time, like in chords, or (like in the two-staff
562 example above) in a bunch of stacked staves.
565 Of course, you can combine beams and ties with chords. Notice that
566 beam and tie markings are placed outside the chord markers:
568 @lilypond[relative 0, fragment,verbatim]
569 r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
573 When you want to combine chords with slurs and dynamics, an annoying
574 technical detail crops up: you have type these commands next to the
575 notes, which means that they have to be inside the @code{< >}:
578 @lilypond[relative 0, fragment,verbatim]
579 r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
584 A nasty technical detail also crops up when you start a score with a
588 @lilypond[verbatim,singleline]
589 \score { \notes <c'1 e'1> }
594 The program can not guess that you want the notes on only one staff. To
595 force the chord on a staff, add @code{\context Staff} like this:
598 @lilypond[verbatim,singleline]
599 \score { \notes \context Staff <c'1 e'1> }
608 [TODO add some more here
619 This is the end of the simple tutorial. You know the basic ingredients
620 of a music file, so this is the right moment to try your at hand at
621 doing it yourself: try to type some simple examples, and experiment a
624 When you're comfortable with the basics, then you might want to read the
625 rest of this chapter. It also a manual in tutorial-style, but it is much
626 more in-depth. It will also be very intimidating if you're not familiar
627 with the basics. It deals with some of the more advanced features of
628 LilyPond. Topics include lyrics, chords, orchestral scores and parts,
629 fine tuning output, polyphonic music, and integrating text and music.
632 @c refer to this section
634 @section Simple legend
637 @c need texinfo-4.0a or later for this
640 @c both Tim and my father came independently with a request for a
641 @c `legend' like this.
643 @c what should be in it?
648 @multitable @columnfractions .10 .20 .40
653 @lilypond[fragment, relative 1]
654 \property Score.timing = ##f
655 \property Staff.TimeSignature = \turnOff
656 \property Staff.noAutoBeaming = ##t
657 \property Staff.Clef = \turnOff
664 @lilypond[fragment, relative 1]
665 \property Score.timing = ##f
666 \property Staff.TimeSignature = \turnOff
667 \property Staff.noAutoBeaming = ##t
668 \property Staff.Clef = \turnOff
675 @lilypond[fragment, relative 1]
676 \property Score.timing = ##f
677 \property Staff.TimeSignature = \turnOff
678 \property Staff.noAutoBeaming = ##t
679 \property Staff.Clef = \turnOff
685 @lilypond[fragment, relative 1]
686 \property Score.timing = ##f
687 \property Staff.TimeSignature = \turnOff
688 \property Staff.noAutoBeaming = ##t
689 \property Staff.Clef = \turnOff
696 @lilypond[fragment, relative 1]
697 \property Score.timing = ##f
698 \property Staff.TimeSignature = \turnOff
699 \property Staff.noAutoBeaming = ##t
700 \property Staff.Clef = \turnOff
707 @lilypond[fragment, relative 1]
708 \property Score.timing = ##f
709 \property Staff.TimeSignature = \turnOff
710 \property Staff.noAutoBeaming = ##t
711 \property Staff.Clef = \turnOff
712 \context Voice { <a c> }
718 @lilypond[fragment, relative 1]
719 \property Score.timing = ##f
720 \property Staff.TimeSignature = \turnOff
721 \property Staff.noAutoBeaming = ##t
722 \property Staff.Clef = \turnOff
729 @lilypond[fragment, relative 1]
730 \property Score.timing = ##f
731 \property Staff.TimeSignature = \turnOff
732 \property Staff.noAutoBeaming = ##t
733 \property Staff.Clef = \turnOff
742 @node Running LilyPond
743 @section Running LilyPond
745 You write music with LilyPond as follows: first you edit a text file
746 containing a description of the notes. Then you run LilyPond on the
747 file. This leaves you with an output file, which you can view or print.
749 In this section we explain how to run LilyPond, and view or print the
750 output. If you have not used LilyPond before, want to test your setup
751 of LilyPond, or try to run an example file yourself, then read this
754 The instructions that follow are for running LilyPond on Unix-like
755 systems. Some additional instructions for running LilyPond on Windows
756 are given at the end of this section.
758 You begin with opening a terminal window, and start up a text editor.
759 For example, open an xterm and execute @code{joe}. In your text editor,
760 enter the following input, and save the file as @file{test.ly}:
765 \notes @{ c'4 e' g' @}
772 @c now this is weird, running ly2dvi to run LilyPond
773 @c (therefore name change proposal)
775 To run LilyPond, you invoke ly2dvi to compile your LilyPond source file:
783 You will see the following on your screen:
788 Now processing: `/home/fred/ly/test.ly'
790 Interpreting music...[1]
791 @emph{ ... more interesting stuff ... }
792 PS output to `test.ps'...
793 DVI output to `test.dvi'...
797 @cindex Viewing music
800 The results of the ly2dvi run are two files, @file{test.dvi} and
801 @file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
802 You can view the PS file using the program ghostview. If a version of
803 ghostview is installed on your system, one of these commands will
804 produce a window with some music notation on your screen:
814 If you are satisfied with the looks of the music displayed on your
815 screen, you can print the PS file by clicking File/Print inside
818 The DVI file (@file{test.dvi}) contains the same sheet music in a
819 different format. DVI files are more easily processed by the computer,
820 so viewing them usually is quicker. Execute @code{xdvi test.dvi}
821 to view the DVI file.
823 If your DVI viewer does not have a "Print" button, you can print the
824 file by executing @code{lpr test.ps}.
826 @c volgende alinea schrappen?
828 If you can't get the examples to print, then you should look into
829 installing and configuring ghostscript. Refer to GhostScript's website
830 at @uref{http://www.ghostscript.com}.
834 @cindex Printing output
837 @unnumberedsubsec Windows users
838 Windows users start the terminal by clicking on the LilyPond or Cygwin
839 icon. Notepad is sufficient for editing the LilyPond file. Viewing
840 the PS file can be done with:
843 @code{gsview32 test.ps}
846 You can also print from the command line by executing:
849 @code{gsview32 /s test.ps}
854 @node The first real tune
855 @section The first real tune
858 The rest of this tutorial will demonstrate how to use Lilypond by
859 presenting examples of input along with resulting output. We will use
860 English terms for notation. In case you are not familiar with those,
861 you may consult the glossary that is distributed with LilyPond.
863 The examples discussed are included in the distribution, in the
864 subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
865 they are relative to the top directory of the source package. }
867 To demonstrate what LilyPond input looks like, we start off with a
868 full-fledged, yet simple example. It is a convoluted version
869 of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
870 is included in the distribution as @file{minuet.ly}.
871 @cindex Bach, Johann Sebastian
874 % all text after a percent sign is a comment
875 % and is ignored by LilyPond
876 \include "paper16.ly"
879 \relative c'' \sequential {
884 d4 g,8 a b c d4 g, g |
885 e'4 c8 d e fis g4 g, g |
886 c4 d8( )c b a( )b4 c8 b a g |
887 a4 [b8 a] [g fis] g2. |
892 g4 e8 fis g d cis4 b8 cis a4 |
893 a8-. b-. cis-. d-. e-. fis-.
900 % standard settings are too big and wide for a book
907 We will analyse the input, line by line.
910 % all text after a percent sign is a comment
911 % and is ignored by LilyPond
913 Percent signs introduce comments: everything after a percent sign is
914 ignored. You can use this to write down mental notes to yourself. You
915 can also make longer comments by enclosing text in @code{%@{} and
918 @cindex block comment
923 \include "paper16.ly"
926 @cindex @code{\include}
927 @cindex point, printer's
928 @cindex staff size setting
929 By default, LilyPond will typeset the music in a size such that each
930 staff is 20 point (0.7 cm, or 0.27 inch) high. We want smaller output
931 (16 point staff height), so we must import the settings for that size,
939 Music is printed by combining a piece of music with directions for
940 outputting it. This combination is formed in the @code{\score} block.
947 Prepare LilyPond for accepting notes.
948 @cindex octaves, choosing
957 @c removed duplicate introduction to octave marks /MB
958 @c Shorten even more?
960 @c As we will see, each note is described by its note name, duration,
961 @c octave and possibly a chromatic alteration. In this setup, the octave
962 @c is indicated by using high quotes (@code{'}) and ``lowered quotes''
963 @c (commas: @code{,}). The central C is denoted by @code{c'}. The C one
964 @c octave higher is @code{c''}. One and two octaves below the central C is
965 @c denoted by @code{c} and @code{c,} respectively.
967 Even though a piece of music often spans a range of several octaves, it
968 mostly moves in small intervals. LilyPond has a special entry mode to
969 save typing in this situation. In this ``relative'' octave mode,
970 octaves of notes without quotes are chosen such that a note is as close
971 as possible (graphically, on the staff) to the preceding note. If you
972 add a high-quote an extra octave is added. A lowered quote (a comma)
973 will subtract an extra octave.
975 Because the first note has no predecessor,
976 you have to give the (absolute) pitch of the note to start with.
983 What follows is sequential music, i.e.,
984 @cindex sequential music
985 notes that are to be played and printed after each other.
992 @cindex time signature, setting
994 Set (or change) the time signature of the current piece: a 3/4 sign is
995 printed. The time signature setting is also used to generate bar lines
1003 @cindex key signature, setting
1005 Set (or change) the current key signature to G-major. Although in this
1006 example, the @code{\key} command happened to be entered after the
1007 @code{\time} command, in the output the time signature will be printed
1008 after the key signature; LilyPond knows about music typesetting
1016 The following piece of music is played twice. The first argument
1017 indicates the type of repeat. In this case, @code{"volta"} means that
1018 prima volta/secunda volta brackets are used for the alternative
1019 endings---if there were any.
1026 The subject of the repeat is again sequential music. Since
1027 @code{\sequential} is such a common construct, a shorthand is provided:
1028 just leave off @code{\sequential}, and the result is the same.
1035 Two notes. The first note is a quarter note with relative pitch
1036 @code{d}. The relative music was started with a @code{c''}, so the real
1037 pitch of this note is @code{d''}. The duration of a note is designated
1038 by a number; the @code{4} here represents a quarter note.
1040 The second note is an eight note with relative pitch @code{g,}. The
1041 pitch is taken relative to the previous @code{d''}, making this
1042 note have real pitch @code{g'}. The @code{8} represents an eight note.
1049 Two more notes, with pitch @code{a} and @code{b}. Because their
1050 duration is the same as the @code{g,8}, there is no need to enter the
1051 duration, but you may enter it anyway, i.e., @code{a8 b8}
1060 @cindex errors, finding
1061 Three more notes. The @code{|} character is a ``bar check''. LilyPond
1062 will verify that bar checks are found at the start of a measure. This can
1063 help you track down typing errors.
1065 @cindex alteration, chromatic
1066 @cindex chromatic alteration
1073 So far, no notes were chromatically altered. Here is the first one that
1074 is: @code{fis}. LilyPond by default uses Dutch@footnote{Note names are
1075 available in several languages, but we find the Dutch names quite
1076 convenient.} note names, and ``Fis'' is the Dutch note name for ``F
1077 sharp''. However, there is no sharp sign in the output. The program
1078 keeps track of key signatures, and will only print accidentals if they
1081 For groups of eighth notes and shorter, LilyPond can determine how the
1082 notes should form a beam. In this case, the 4 eights are automatically
1087 c4 d8( )c b a( )b4 c8 b a g |
1090 The beginning and ending notes of a slur are marked with parentheses,
1091 @code{(} and @code{)} for start and end respectively. The line above
1092 indicates two slurs. These slur markers (parentheses) are entered
1093 between the slurred notes.
1100 Automatic beaming can be overridden by inserting beam marks, @code{[}
1101 and @code{]}. These beam markers (brackets) are put around the notes
1109 @cindex augmentation dot
1111 A period adds a dot to the note.
1118 The end of the sequential music to be repeated. LilyPond will typeset a
1126 Accidentals are printed whenever necessary: the first C sharp of the bar
1127 will be printed with an accidental, the second one without.
1131 a8-. b-. cis-. d-. e-. fis-.
1134 @cindex articulation
1135 You can enter articulation signs either in a verbose form or using a
1136 shorthand. Here we demonstrate the shorthand: it is formed by a dash
1137 and the character for the articulation to use, e.g. @code{-.} for
1138 staccato as shown above.
1146 Rests are denoted by the special note name @code{r}.
1153 All articulations have a verbose form, like @code{\fermata}. The
1154 command @code{\fermata} is not part of the core of the language, but it
1155 is a shorthand for a more complicated description of a fermata symbol.
1156 @code{\fermata} names that description and is therefore called an
1159 @cindex @code{\fermata}
1165 Here the music ends. LilyPond does not automatically typeset an end
1166 bar, we must explicitly request one, using @code{"|."}.
1172 % standard settings are too big and wide for a book
1178 The @code{\paper} block specifies how entered music should be converted
1179 to notation output. Most of the details of the conversion (font sizes,
1180 dimensions, etc.) have been taken care of, but to fit the output in this
1181 document, it has to be narrower. We do this by setting the line width
1182 to 14 centimeters (approximately 5.5 inches).
1189 The last brace ends the @code{\score} block.
1194 @node Lyrics and chords
1195 @section Lyrics and chords
1197 In this section we show how to typeset a song. This file is
1198 included as @file{flowing.ly}.
1202 title = "The river is flowing"
1203 composer = "Traditional"
1205 \include "paper16.ly"
1206 melody = \notes \relative c' @{
1210 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1211 c4 c8 d [es () d] c4 | d4 es8 d c4.
1216 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1217 ri -- ver is flo -- wing down to the sea.
1220 accompaniment =\chords @{
1222 c2:3- f:3-.7 d:min es4 c8:min r8
1223 c2:min f:min7 g:7^3.5 c:min @}
1228 \context ChordNames \accompaniment
1231 \context Staff = mel @{
1232 \property Staff.noAutoBeaming = ##t
1233 \property Staff.automaticMelismata = ##t
1236 \context Lyrics \text
1238 \midi @{ \tempo 4=72 @}
1239 \paper @{ linewidth = 10.0\cm @}
1244 The result would look this.@footnote{The titling and font size shown
1245 may differ, since the titling in this document is not generated by
1248 @center @strong{The river is flowing}
1253 title = "The river is flowing"
1254 composer = "Traditional"
1256 \include "paper16.ly"
1257 melody = \notes \relative c' {
1261 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1262 c4 c8 d [es () d] c4 | d4 es8 d c4.
1267 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1268 ri -- ver is flo -- wing down to the sea.
1271 accompaniment =\chords {
1273 c2:3- f:3-.7 d:min es4 c8:min r8
1274 c2:min f:min7 g:7^3.5 c:min }
1279 \context ChordNames \accompaniment
1282 \context Staff = mel {
1283 \property Staff.noAutoBeaming = ##t
1284 \property Staff.automaticMelismata = ##t
1287 \context Lyrics \text
1289 \midi { \tempo 4=72 }
1290 \paper { linewidth = 10.0\cm }
1294 Again, we will dissect the file line by line.
1301 @cindex @code{\header}
1302 Information about the music you are about to typeset goes into a
1303 @code{\header} block. The information in this block is not used by
1304 LilyPond, but it is passed into the output. @file{ly2dvi} uses this
1305 information to print titles above the music.
1309 title = "The river is flowing"
1310 composer = "Traditional (?)"
1313 @cindex identifier assignment
1314 the @code{\header} block contains assignments. In each assignment, a
1315 variable is set to a value. Lexically, both the variable name and the
1316 assigned value are strings. The values have to be quoted here, because
1317 they contain spaces. The variable names could also be put within quotes
1318 but it is not necessary.
1322 \include "paper16.ly"
1325 Smaller size for inclusion in a book.
1329 melody = \notes \relative c' @{
1332 The structure of the file will be the same as the previous one, a
1333 @code{\score} block with music in it. To keep things readable, we will
1334 give names to the different parts of music, and use the names to
1335 construct the music within the score block.
1342 @cindex @code{\partial}
1344 The piece starts with an anacrusis of one eighth.
1349 The key is C minor: we have three flats.
1354 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1355 c4 c8 d [es () d] c4 | d4 es8 d c4.
1360 @cindex manual beaming
1361 @cindex automatic beaming, turning off
1362 We use explicit beaming. Since this is a song, we turn automatic
1363 beams off, and use explicit beaming where needed.
1370 This ends the definition of @code{melody}.
1379 @cindex identifier assignment
1380 @cindex syllables, entering
1381 Another identifier assignment. This one is for the lyrics.
1382 Lyrics are formed by syllables that have duration, and not by
1383 notes. To make LilyPond parse words as syllables, switch it into
1384 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
1385 is a shorthand for @code{\sequential @{}.
1389 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1390 ri- ver is flo- __ wing down to the sea.
1394 @cindex extenders, lyric
1395 @cindex hyphens, lyric
1396 The syllables themselves are separated by spaces. You can get syllable
1397 extenders by entering @code{__}, and centered hyphens with
1398 @code{-}@code{-}. We enter the syllables as if they are all quarter notes
1399 in length (hence the @code{4}), and use a feature to align the
1400 syllables to the music, which obviously isn't all quarter notes.
1404 accompaniment =\chords @{
1408 @cindex mode, chords
1409 We'll put chords over the music. To enter them, there is a special mode
1410 analogous to @code{\lyrics} and @code{\notes} mode, where you can give
1411 the names of the chords you want, instead of listing the notes
1412 comprising the chord.
1419 There is no accompaniment during the anacrusis.
1428 @cindex chord modifier
1429 @cindex modifier, chord
1430 A chord is started by the tonic of the chord. The
1431 first one lasts a half note. An unadorned note creates a major
1432 triad. Since a minor triad is wanted, @code{3-} is added to modify the
1433 third to be small. @code{7} modifies (adds) a seventh, which is small by
1434 default to create the @code{f a c es} chord. Multiple modifiers must be
1443 Some modifiers have predefined names, e.g. @code{min} is the same as
1444 @code{3-}, so @code{d-min} is a minor @code{d} chord.
1448 c2:min f:min7 g:7^3.5 c:min @}
1451 @cindex named modifier
1453 A named modifier @code{min} and a normal modifier @code{7} do not have
1454 to be separated by a dot. Tones from a chord are removed with chord
1455 subtractions. Subtractions are started with a caret, and they are
1456 also separated by dots. In this example, @code{g:7^3.5} produces a
1457 minor seventh. The brace ends the sequential music.
1465 We assemble the music in the @code{\score} block. Melody, lyrics and
1466 accompaniment have to sound at the same time, so they should be
1467 @code{\simultaneous}.
1468 @cindex @code{\simultaneous}
1475 Chord mode generates notes grouped in @code{\simultaneous} music. If
1476 you remove the comment sign, you can see the chords in normal
1477 notation: they will be printed as note heads on a separate
1478 staff. To print them as chords names, they have to be interpreted as
1479 being chords, not notes. This is done with the following command:
1483 \context ChordNames \accompaniment
1487 @cindex interpretation context
1488 @cindex notation context
1491 Normally, the notes that you enter are transformed into note heads.
1492 Note heads alone make no sense, they need surrounding information: a key
1493 signature, a clef, staff lines, etc. They need @emph{context}. In
1494 LilyPond, these symbols are created by objects called `interpretation
1495 contexts'. Interpretation contexts exist for generating notation
1496 (`notation context') and for generating sound (`performance
1497 context'). These objects only exist during a run of LilyPond.
1499 By default, LilyPond will create a Staff context for you. If you would
1500 remove the @code{%} sign in the previous line, you would see that
1501 mechanism in action.
1503 We don't want that default here, because we want chord names. The
1504 command above explicitly creates an interpretation context of
1505 @code{ChordNames} type to interpret the music @code{\accompaniment}.
1512 @cindex @code{\addlyrics}
1513 @cindex lyrics and melody, combining
1514 @cindex combining lyrics and melody
1516 The lyrics should be aligned with the melody. This is done by
1517 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
1518 pieces of music (usually a melody and lyrics, in that order) and
1519 aligns the syllables of the second piece under the notes of the
1520 first piece. If you would reverse the order, the notes would be
1521 aligned on the lyrics, which is not very useful, and looks
1526 \context Staff = mel @{
1530 The first argument of @code{\addlyrics} is the melody. We instantiate
1531 a @code{Staff} context explicitly: should you choose to remove the
1532 comment before the ``note heads'' version of the accompaniment, the
1533 accompaniment will be on a nameless staff. The melody has to be on
1534 staff different from the accompaniment. This is accomplished by giving
1535 the melody and accompaniment staves different names.
1539 \property Staff.noAutoBeaming = ##t
1543 @cindex context variables
1544 @cindex setting context variables
1545 An interpretation context has variables, called properties, that tune
1546 its behavior. One of the variables is @code{noAutoBeaming}. Setting
1547 this @code{Staff}'s property to @code{##t}, which is the boolean value
1548 @var{true}, turns the automatic beaming mechanism off for the current
1552 @cindex accessing Scheme
1553 @cindex evaluating Scheme
1556 LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
1557 language from the LISP family. You can learn more about Scheme at
1558 @uref{http://www.scheme.org}. It is used to represent data throughout
1559 the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
1560 code following the hash-sign is evaluated as Scheme. The boolean value
1561 @var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
1564 If Scheme scares you, don't worry. You don't need to know Scheme to
1565 create beautiful sheet music.
1572 \property Staff.automaticMelismata = ##t
1575 @cindex automaticMelismata
1577 @cindex @code{\addlyrics} and slurs
1578 Similarly, we don't want to print a syllable when there is
1579 a slur. This sets up @code{\addlyrics} to not put lyrics under each
1580 separate note while there is a slur.
1588 Finally, we put the melody on the current staff. Note that the
1589 @code{\property} directives and @code{\melody} are grouped in sequential
1590 music, so the property settings are done before the melody is
1595 \context Lyrics \text
1598 The second argument of @code{\addlyrics} is the text. The text also
1599 should not land on a Staff, but on a interpretation context for
1600 syllables, extenders, hyphens etc. This context is called
1605 \midi @{ \tempo 4=72@}
1608 MIDI (Musical Instrument Digital Interface) is a standard for
1609 connecting and recording digital instruments. So a MIDI file is like a
1610 tape recording of an instrument. The @code{\midi} block makes the
1611 music go to a MIDI file, so you can listen to the music you entered. It
1612 is great for checking the music. Whenever you hear something weird, you
1613 probably hear a typing error.
1615 Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
1616 also specifies an output method. You can specify the tempo using the
1617 @code{\tempo} command, in this case the tempo of quarter notes is set to
1618 72 beats per minute.
1622 \paper @{ linewidth = 10.0\cm @}
1625 We also want notation output. The linewidth is short so the piece
1626 will be set in two lines.
1628 @node More movements
1629 @section More movements
1631 [FIXME: merge here with, or move this to: Other ways to run LilyPond]
1633 You probably ran @file{ly2dvi} on the last example, and ended up with a
1634 viewable @file{.dvi} file. However, between there are a few steps of
1635 which LilyPond is only one. To enhance your understanding of what's
1636 happening under the hood when you run @code{ly2dvi}, we explain what
1639 @code{ly2dvi} is a program that calls a number of programs in sequence.
1640 The first thing it does, is running LilyPond on the input file. After
1641 some calculations, a @file{.tex} is produced. The contents
1642 of this file are very low-level instructions.
1644 For example, consider the following file (@file{miniatures.ly})
1649 title = "Two miniatures"
1650 tagline = "small is beautiful"
1653 #(set! point-and-click line-column-location)
1655 \paper @{ linewidth = -1.0 @}
1658 \notes @{ c'4 d'4 @}
1664 \notes @{ d'4 c'4 @}
1671 The titling in this manual was not generated by ly2dvi, so we can't
1672 exactly show what it would look like, but the result should resemble this:
1674 @center @strong{Two miniatures}
1684 \paper { linewidth = -1.0 }
1696 \paper { linewidth = -1.0 }
1700 This file is produced by ly2dvi in a few stages, with the help of text
1701 formatting tools. LilyPond produces two output files,
1702 @file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
1703 only graphical music notation. @file{ly2dvi} looks at what output
1704 LilyPond produces, and adds page layout and titling to those files. The
1705 result is a DVI file called @file{miniatures.dvi}.
1707 Next, now we'll look at the example line by line to explain new things.
1713 Lilypond and its language are still under development, and occasionally,
1714 details of the syntax are changed. This fragment indicates for which
1715 version the input file was written. When you compile this file, the
1716 version number will be checked, and you will get a warning when the file
1719 This version number is also used by the @code{convert-ly} program (See
1720 @ref{convert-ly}), which is used to update the file to the latest lily
1726 title = "Two miniatures" @}
1728 This sets the titling information for the entire file.
1731 tagline = "small is beautiful"
1733 A signature line is printed at the bottom of the last page.
1734 This signature is produced from the @code{tagline} field of
1735 @code{\header}. Many people find the default "Lily was here,
1736 @var{version number}" too droll. If that is the case, assign
1737 something else to @code{tagline}, as shown above.
1740 #(set! point-and-click line-column-location)
1743 This piece of Scheme code sets the Scheme variable
1744 @code{point-and-click} to the value @var{line-column-location} (which
1745 itself is a Scheme procedure).
1747 Editing input files can be quite complicated if you're working with
1748 large files: if you're digitizing existing music, you have to
1749 synchronize the .ly file, the sheet music on your lap and the sheet
1750 music on the screen. The point-and-click mechanism makes it easy to
1751 find the origin of an error in the LY file: when you view the file with
1752 Xdvi and click on a note, your editor will jump to the spot where that
1753 note was entered. For more information, see @ref{Point and click}.
1760 The @code{\score} blocks that follow in the file don't have
1761 @code{\paper} sections, so the settings of this block are substituted: A
1762 paper block at top level, i.e. not in a @code{\score} block sets the
1763 default page layout.
1772 The variable @code{linewidth} normally sets the length of the systems on
1773 the page. However, a negative value has a special meaning. If
1774 @code{linewidth} is less than 0, no line breaks are inserted into the
1775 score, and the spacing is set to natural length: a short phrase takes up
1776 little space, a longer phrase more space.
1781 \notes @{ c'4 d'4 @}
1784 In previous examples, notes were specified in relative octaves,
1785 i.e. each note was put in the octave that is closest to its
1786 predecessor. Besides relative, there is also absolute octave
1787 specification, which you get when you don't specify @code{\relative}. In
1788 this input mode, the central C is denoted by @code{c'}. Going down, you
1789 get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
1792 When you're copying music from existing sheet music, relative octaves
1793 are probably the easiest to use: it's less typing work and errors are
1794 easily spotted. However, if you write LilyPond input directly, either by
1795 hand (i.e. composing) or by computer, absolute octaves may be easier to use.
1803 The @code{\header} is normally at the top of the file, where it sets
1804 values for the rest of the file. If you want to typeset different pieces
1805 from one file (for example, if there are multiple movements, or if
1806 you're making an exercise book), you can put different @code{\score}
1807 blocks into the input file. ly2dvi will assemble all LilyPond output
1808 files into a big document. The contents of \header blocks specified
1809 within each score, are used for the titling of each movement.
1815 For example, the Opus number is put at the right, and the piece string
1816 will be at the left.
1820 @node A piano excerpt
1821 @section A piano excerpt
1823 Our fourth subject is a piece of piano music. The fragment in the input
1824 file is a piano reduction of the G major Sinfonia by Giovanni Battista
1825 Sammartini. It was composed around 1740. It's in the source package
1826 under the name @file{sammartini.ly}.
1829 \include "paper16.ly"
1831 stemDown = \property Voice.Stem \override #'direction = #-1
1832 stemUp = \property Voice.Stem \override #'direction = #1
1833 stemBoth = \property Voice.Stem \revert #'direction
1835 viola = \notes \relative c' \context Voice = viola {
1836 <c4-\f-\arpeggio g' c>
1842 oboes = \notes \relative c'' \context Voice = oboe {
1843 \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
1844 \grace <e8( g> <d4 )f> <c2 e>
1845 \times 2/3 { <d8 \< f> <e g> <f a> }
1847 { \times 2/3 { a8 g c } \! c2 }
1848 \context Voice = oboeTwo {
1851 \property Voice.Stem \override #'direction = #-1
1853 \property Voice.Stem \revert #'direction
1859 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
1860 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
1861 [<c16( e> < )e8. g>] <c8 e,>
1864 hoomPah = \repeat unfold 8 \notes
1865 \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
1867 bassvoices = \notes \relative c' {
1869 \autochange Staff \hoomPah
1870 \translator Staff = down
1871 \stemDown [c8 c'8] r4
1873 < {\stemUp r2 <e4 c'> <c8 g'> }
1874 \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
1878 \context PianoStaff \notes <
1879 \context Staff = up < \time 2/2
1883 \context Staff = down < \time 2/2 \clef bass
1890 linewidth = 15.0 \cm }
1894 If this looks like incomprehensible gibberish to you, you are right.
1895 This example has been doctored to have as many quirks as possible.
1897 As you can see, this example features multiple voices on one staff. To
1898 make room for those voices, their notes have to be stemmed in opposite
1901 Printed symbols are internally represented by so-called Graphical
1902 Objects (more colloquially: Grobs). These statements concern the
1903 grob called `Stem'. Each grob is described by a bunch of settings. These
1904 setting determine the fonts, offsets, sub-routines to be called on the
1905 grob, etc. The initial values of these settings are set in the Scheme
1906 file @file{scm/grob-description.scm}.
1910 stemDown = \property Voice.Stem \override #'direction = #-1
1913 Set a property for all Stem grobs in the current Voice:
1914 @code{direction} is set to @code{-1}, which encodes down. The setting
1915 remains in effect until it is reverted.
1919 \property Voice.Stem \revert #'direction
1922 Revert the to the previous setting. The effect of precisely one
1923 @code{\stemDown} or @code{\stemUp} is neutralized.
1926 LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
1927 with some other commonly used formatting instructions, but to explain how
1928 it works, we wrote our own here. Of course, you should use predefined
1929 identifiers like these if possible: then you will be affected less by
1930 the implementation changes we occasionally make.
1934 viola = \notes \relative c' \context Voice = viola @{
1936 In this example, you can see multiple parts on a staff. Each part is
1937 associated with one notation context. This notation context handles
1938 stems and dynamics (among others). The type name of this context is
1939 @code{Voice}. For each part we have to make sure that there is
1940 precisely one @code{Voice} context, so we give it a unique name
1945 <c4-\f-\arpeggio g' c>
1947 The delimiters @code{<} and @code{>} are shorthands for
1948 @code{\simultaneous @{} and @code{@}}. The expression enclosed in
1949 @code{<} and @code{>} is a chord.
1956 @code{\f} places a forte symbol under the chord. The forte applies to
1957 the whole chord, but the syntax requires that commands like forte and
1958 arpeggio are attached to a note, so here we attach them to the first
1961 @code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
1974 Relative octaves work a little differently with chords. The starting
1975 point for the note following a chord is the first note of the chord. So
1976 the @code{g} gets an octave up quote: it is a fifth above the starting
1977 note of the previous chord (the central C).
1983 @code{s} is a spacer rest. It does not print anything, but it does have
1984 the duration of a rest. It is useful for filling up voices that
1985 temporarily don't play. In this case, the viola doesn't come until one
1986 and a half measure later.
1990 oboes = \notes \relative c'' \context Voice = oboe @{
1992 Now comes a part for two oboes. They play homophonically, so we
1993 print the notes as one voice that makes chords. Again, we insure that
1994 these notes are indeed processed by precisely one context with
1998 \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
2000 @code{\stemUp} is a reference to the @code{\property \override} command
2004 \grace <e8 g> < d4 f> <c2 e>
2006 @cindex @code{\grace}
2009 @code{\grace} introduces grace notes. It takes one argument, in this
2013 The slur started on the @code{e} of the chord
2014 will be attached to the next note.@footnote{LilyPond will squirm
2015 about unended Slurs. In this case, you can ignore the warning}.
2023 Tuplets are made with the @code{\times} keyword. It takes two
2024 arguments: a fraction and a piece of music. The duration of the piece
2025 of music is multiplied by the fraction. Triplets make notes occupy 2/3
2026 of their notated duration, so in this case the fraction is 2/3.
2029 @{ <d8 \< f> <e g> <f a> @}
2031 The piece of music to be `tripletted' is sequential music containing
2032 three notes. On the first chord, a crescendo is started with
2033 @code{\<}. To be precise, the crescendo start is syntactically attached
2034 to the preceding note, the @code{d}.
2044 At this point, the homophonic music splits into two rhythmically
2045 different parts. We can't use a sequence of chords to enter this, so
2046 we make a `chord' of sequences to do it. We start with the upper
2047 voice, which continues with upward stems:
2050 @{ \times 2/3 @{ a8 g c @} \! c2 @}
2055 The crescendo is ended at the half note by the escaped exclamation
2059 \context Voice = oboeTwo @{
2062 We can't share stems with the other voice, so we have to create a new
2063 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
2064 it from the other context. Stems go down in this voice.
2069 @cindex Grace context
2070 When a grace section is processed, a @code{Grace} context is
2071 created. This context acts like a miniature score of its own. It has
2072 its own time bookkeeping, and you can make notes, beams, slurs
2073 etc. Here we fiddle with a property and make a beam. The argument of
2074 @code{\grace} is sequential music.
2078 \property Voice.Stem \override #'direction = #-1
2080 \property Voice.Stem \revert #'direction
2083 Normally, grace notes are always stem up, but in this case, the upper
2084 voice interferes, so we set the stems down here.
2086 As far as relative mode is concerned, the previous note is the
2087 @code{c'''2} of the upper voice, so we have to go an octave down for
2095 This ends the two-part section.
2099 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
2104 @code{\stemBoth} ends the forced stem directions. From here, stems are
2105 positioned as if it were single part music.
2107 The bass has a little hoom-pah melody to demonstrate parts switching
2108 between staves. Since it is repetitive, we use repeats:
2111 hoomPah = \repeat unfold 8
2113 @cindex unfolded @code{\repeat}
2114 The unfolded repeat prints the notes in its argument as if they were
2115 written out in full eight times.
2118 \notes \transpose c' @{
2121 @cindex relative mode and transposing
2123 Transposing can be done with @code{\transpose}, which takes two arguments.
2124 The first specifies what central C should be transposed to. The second
2125 is the to-be-transposed music. As you can see, in this case, the
2126 transposition has no effect, as central C stays at central C.
2128 The purpose of this no-op is circumventing relative mode. Relative mode
2129 can not be used together with transposition, so @code{\relative} will
2130 leave the contents of @code{\hoomPah} alone. We can use it without
2131 having to worry about getting the motive in a wrong octave.
2134 bassvoices = \notes \relative c' @{
2136 \autochange Staff \hoomPah
2138 @cindex staff switch, automatic
2139 @cindex cross staff voice, automatic
2140 @cindex @code{\autochange}
2142 Voices can switch between staves. The easiest way to get this, is to use
2143 @code{\autochange}. This command looks at the pitch of each note, and if
2144 necessary, will cross to the other staff. For this to work, the two
2145 staves must be called @code{"up"} and @code{"down"}.
2148 \translator Staff = down
2150 @cindex staff switch
2151 @cindex cross staff voice
2152 We want the remaining part of this melody on the lower staff, so we do a
2153 manual staff switch here.
2158 \context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
2162 After skipping some lines, we see @code{~}. This mark makes ties. Note
2163 that ties and slurs are different things. A tie can only connect two
2164 note heads of the same pitch, whereas a slur can connect many chords
2171 A special context is needed to get cross staff beaming right. This
2172 context is called @code{PianoStaff}.
2175 \context Staff = bottom < \time 2/2 \clef bass
2177 The bottom staff must have a different clef.
2182 To make some more room on the line, the first (in this case the only)
2183 line is not indented. The line still looks very cramped, but that is due
2184 to the page layout of this document.
2190 * font-size, multi-stanza.
2192 * Simple part combining in a Hymn
2196 @node An orchestral score
2197 @section An orchestral score
2201 * Extracting an individual part::
2205 Our last two examples show a way to setup the music for an orchestral
2206 score. When typesetting a piece for several instruments, you'll want to
2207 create a conductor's full score, alongside several individual parts.
2209 LilyPond is well suited for this task. We will declare the music for
2210 each instrument individually, giving the music of each instrument its
2211 own name. These pieces of music are then combined in different
2212 @code{\score} blocks to produce different combinations of the score.
2214 This orchestral score example consists of three input files. In the
2215 first file, @file{os-music.ly}, we define the music for all instruments.
2216 This file will be used both for producing the score and the separate
2219 If you were to run LilyPond on this file, no printable output would be
2225 title = "Zo, goed lieverd?"
2226 subtitle = "How's, this babe?"
2235 Key = \notes \key as \major
2236 flautoI = \notes\relative c'' @{
2238 bes as bes as bes as bes as
2240 flautoII = \notes\relative c'' @{
2241 as8 bes as bes R1 d4 ~ d
2243 tromboI = \notes\relative c'' @{
2244 c4. c8 c8 c4. es4 r as, r
2246 tromboII = \notes\relative c'' @{
2247 as4. as8 as8 as4. R1*1/2 as4 es'
2249 timpani = \notes\relative c, @{
2250 \times 2/3 @{ f4 f f @}
2251 \times 4/5 @{ as8 as as as as @}
2254 corno = \notes\relative c' @{
2255 bes4 d f, bes d f, bes d
2259 We will not go through the input line by line, but only indicate and
2260 explain the new elements.
2267 \skip 2*4 \bar "|.";
2271 Declare setting to be used globally. The @code{\skip} command produces
2272 no output, but moves forward in time: in this case, the duration of a
2273 half note (@code{2}), and that four times (@code{*4}). This brings us
2274 to the end of the piece, and we can set the end bar.
2278 Key = \notes \key as \major
2280 Declare the key signature of the piece and assign it to the identifier
2281 @var{Key}. Later on, we'll use @code{\Key} for all staves except those
2282 for transposing instruments.
2284 @node The full score
2285 @subsection The full score
2288 The second file, @file{os-score.ly} reads the definitions of the first
2289 (@file{os-music.ly}), and defines the @code{\score} block for the full
2295 \include "os-music.ly"
2296 \include "paper13.ly"
2298 #(set! point-and-click line-column-location)
2299 #(define text-flat '((font-relative-size . -2)
2300 (music "accidentals--1")))
2305 \property Score.BarNumber \override #'padding = #3
2306 \context StaffGroup = woodwind <
2307 \context Staff = flauti <
2308 \property Staff.midiInstrument = #"flute"
2309 \property Staff.instrument = "2 Flauti"
2310 \property Staff.instr = "Fl."
2312 \context Voice=one @{ \voiceOne \flautoI @}
2313 \context Voice=two @{ \voiceTwo \flautoII @}
2316 \context StaffGroup = timpani <
2317 \context Staff = timpani <
2318 \property Staff.midiInstrument = #"timpani"
2319 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2320 \property Staff.instr = #"Timp."
2326 \context StaffGroup = brass <
2327 \context Staff = trombe <
2328 \property Staff.midiInstrument = #"trumpet"
2329 \property Staff.instrument = #`(lines "2 Trombe" "(C)")
2330 \property Staff.instr = #`(lines "Tbe." "(C)")
2332 \context Voice=one \partcombine Voice
2333 \context Thread=one \tromboI
2334 \context Thread=two \tromboII
2336 \context Staff = corni <
2337 \property Staff.midiInstrument = #"french horn"
2338 \property Staff.instrument = #`(lines "Corno"
2339 (columns "(E" ,text-flat ")"))
2340 \property Staff.instr = #`(lines "Cor."
2341 (columns "(E" ,text-flat ")"))
2342 \property Staff.transposing = #3
2343 \notes \key bes \major
2344 \context Voice=one \corno
2349 indent = 15 * \staffspace
2350 linewidth = 60 * \staffspace
2351 textheight = 90 * \staffspace
2353 \HaraKiriStaffContext
2362 @center @strong{Zo, goed lieverd?}
2364 @center How's, this babe?
2372 @lilypondfile{os-score.ly}
2376 \include "os-music.ly"
2378 First, we need to include the music definitions we made in
2383 #(set! point-and-click line-column-location)
2385 In a large orchestral score like this you're bound to make some small
2386 mistakes, so we enable point and click (See @ref{Point and click})
2391 #(define text-flat '((font-relative-size . -2)
2392 (music "accidentals--1")))
2395 When naming the tuning of the french horn, we'll need a piece of text
2396 with a flat sign. LilyPond has a mechanism for font selection and
2397 kerning called Scheme markup text (See @ref{Text markup}). The flat
2398 sign is taken from the music font, and its name is @code{accidentals--1}
2399 (The natural sign is called @code{accidentals-0}). The default font is
2400 too big for text, so we select a relative size of @code{-2}.
2407 Of course, all staves are simultaneous and use the same global settings.
2411 \property Score.BarNumber \override #'padding = #3
2413 LilyPond prints bar numbers at the start of each line, but
2414 unfortunately, they end up a bit too close to the staff in this example.
2415 A bar number internally is a Grob called @var{BarNumber}. BarNumber
2416 Grobs can be manipulated through their @var{side-position-interface}. One
2417 of the properties of a @var{side-position-interface} that can be tweaked
2418 is the @var{padding}: the amount of extra space that is put between this
2419 Grob and other Grobs. We set the padding to three staff spaces.
2421 You can find information on all these kind of properties in LilyPond's
2422 automatically generated documentation in
2424 @ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
2427 the online documentation.
2432 \context StaffGroup = woodwind <
2433 \context Staff = flauti <
2435 A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
2436 hold one or more @code{Staff}'s, and will print a big bracket at the
2437 left of the score. Start a new staff group for the woodwind section
2438 (just the flutes in this case). Immediately after that, we start the
2439 staff for the two flutes, that also play simultaneously.
2443 \property Staff.midiInstrument = #"flute"
2445 Specify the instrument for MIDI output (see @ref{MIDI instrument
2450 \property Staff.instrument = "2 Flauti"
2451 \property Staff.instr = "Fl."
2453 And define the instrument names to be printed in the margin,
2454 @code{instrument} for the first line of the score, @code{instr} for the
2461 The flutes play in the default key.
2465 \context Voice=one @{ \voiceOne \flautoI @}
2466 \context Voice=two @{ \voiceTwo \flautoII @}
2468 Last come the actual flute parts. Remember that we're still in
2469 simultaneous mode. We name both voices differently, so that LilyPond
2470 will actually create two Voice contexts. The flute parts are simple, so
2471 we specify manually which voice is which: @code{\voiceOne} forces the
2472 direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
2480 Close the flutes staff and woodwind staff group.
2484 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2486 The timpani staff only shows a new piece of scheme markup, it sets two
2491 \context Voice=one \partcombine Voice
2492 \context Thread=one \tromboI
2493 \context Thread=two \tromboII
2495 You have seen the notation contexts Staff and Voice, but here's a new
2496 one: Thread. One or more Threads can be part of a Voice. The Thread
2497 takes care of note heads and rests, the Voice combine note heads onto a
2500 For the trumpets we use the automatic part combiner (see @ref{Automatic
2501 part combining}) to combine the two simultaneous trumpet parts onto the
2502 trumpet staff. Each trumpet gets its own Thread context, which must be
2503 named @code{one} and @code{two}). The part combiner makes these two
2504 threads share a Voice when they're similar, and splits the threads up
2505 when they're different.
2509 \property Staff.instrument = #`(lines "Corno"
2510 (columns "(E" ,text-flat ")"))
2512 The french horn has the most complex scheme markup name, made up of two
2513 lines of text. The second line has three elements (columns), the @code{(E},
2514 the flat sign @code{text-flat} that we defined before and a final @code{")"}.
2515 Note that we use a backquote instead of an ordinary quote at the
2516 beginning of the Scheme expression to be able to access the
2517 @code{text-flat} identifier, `unquoting' it with a @code{,}.
2521 \property Staff.transposing = #3
2523 The french horn is to be tuned in E-flat, so we tell the MIDI backend to
2524 transpose this staff by three steps.
2526 Note how we can choose different tuning for entering, printing and
2527 playing, using @code{\transpose} and the MIDI Staff property
2532 \notes \key bes \major
2534 Therefore, it has a different key.
2538 indent = 15 * \staffspace
2539 linewidth = 60 * \staffspace
2541 We specify a big indent for the first line and a small linewidth for this
2546 Usually, LilyPond's predefined setup of notation contexts (Thread,
2547 Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
2548 want a different type of Staff context.
2552 \HaraKiriStaffContext
2556 In orchestral scores, it often happens that one instrument has only
2557 rests during one line of the score. The @code{HaraKiriStaffContext} can
2558 be used as a regular @code{StaffContext} drop-in and will take care of
2559 the automatic removing of empty staves.
2561 @node Extracting an individual part
2562 @subsection Extracting an individual part
2564 The third file, @file{os-flute-2.ly} also reads the definitions of the
2565 first (@file{os-music.ly}), and defines the @code{\score} block for the
2569 \include "os-music.ly"
2570 \include "paper16.ly"
2574 \property Score.skipBars = ##t
2575 \property Staff.midiInstrument = #"flute"
2581 instrument = "Flauto II"
2584 linewidth = 80 * \staffspace
2585 textheight = 200 * \staffspace
2593 @center @strong{Zo, goed lieverd?}
2595 @center How's, this babe?
2596 @center @emph{Flauto II}
2603 @lilypondfile{os-flute-2.ly}
2606 Because we separated the music definitions from the @code{\score}
2607 instantiations, we can easily define a second score with the music of
2608 the second flute. This then is the part for the second flute player.
2609 Of course, we make separate parts for all individual instruments.
2615 In this individual part the second flute has a whole staff for itself,
2616 so we don't want to force stem or tie directions.
2621 instrument = "Flauto II"
2624 The @code{\header} definitions were also read from @file{os-music.ly},
2625 but we need to set the instrument for this particular score.
2629 \property Score.skipBars = ##t
2631 In the conductor's full score, all bars with rests are printed, but for
2632 the individual parts, we want to contract pieces of consecutive empty
2633 bars. LilyPond will do this if Score's @var{skipBars} property to
2637 @node Other ways to run LilyPond
2638 @section Other ways to run LilyPond
2640 Until now, you have been using @file{ly2dvi} to invoke LilyPond.
2641 There are three other routes. Firstly, there is a script called
2642 @code{lilypond-book}, that allows you to freely mix LilyPond input with
2643 Texinfo or \LaTeX input. For example, this manual was written using
2644 @code{lilypond-book}. It is discussed below and in @ref{lilypond-book}.
2647 Secondly, you can generate PostScript directly. This is useful if you
2648 can not or do not want to run @TeX{} on your system. To obtain direct
2649 PostScript output, invoke LilyPond as follows:
2650 @cindex PostScript output
2652 lilypond -f ps test.ly
2654 You have to set some environment variables to view or print this output.
2655 More information can be found in @ref{Invoking LilyPond}. Since the
2656 direct Postscript generation has some problems, it is recommended
2657 to use @file{ly2dvi}.
2660 Thirdly, if you want to do special things with your output, you can run
2661 invoke LilyPond directly:
2665 to produce plain @TeX{} output. Note that La@TeX{} will not work on the
2666 resulting @file{test.tex}. You must run plain @TeX{} on it.
2674 @node Integrating text and music
2675 @section Integrating text and music
2677 Sometimes, you might want to use music examples in a text that you are
2678 writing. For example, if you are writing a musicological treatise, a
2679 songbook, or (like us) the LilyPond manual. You can make such texts by
2680 hand, simply by importing a PostScript figure into your wordprocessor.
2681 However, there is a also an automated procedure:
2683 If you use La@TeX{} or texinfo, you can mix text and LilyPond code. A
2684 script called @code{lilypond-book} will extract the music fragments, run
2685 LilyPond on them, and put back the resulting notation. lilypond-book is
2686 described fully in @ref{lilypond-book}, but here we show a small
2687 example. Since the example also contains explanatory text, we won't
2688 comment on the contents.
2691 \documentclass[a4paper]@{article@}
2694 In a lilypond-book document, you can freely mix music and text. For
2697 \score @{ \notes \relative c' @{
2698 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
2701 Notice that the music line length matches the margin settings of the
2704 If you have no \verb+\score+ block in the fragment,
2705 \texttt@{lilypond-book@} will supply one:
2711 In the example you see here, a number of things happened: a
2712 \verb+\score+ block was added, and the line width was set to natural
2713 length. You can specify many more options using \LaTeX style options
2716 \begin[verbatim,11pt,singleline,
2717 fragment,relative,intertext="hi there!"]@{lilypond@}
2721 \texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
2722 the default music size, \texttt@{fragment@} adds a score block,
2723 \texttt@{relative@} uses relative mode for the fragment, and
2724 \texttt@{intertext@} specifies what to print between the
2725 \texttt@{verbatim@} code and the music.
2727 If you include large examples into the text, it may be more convenient
2728 to put the example in a separate file:
2730 \lilypondfile[printfilename]@{sammartini.ly@}
2732 The \texttt@{printfilename@} option adds the file name to the output.
2737 Under Unix, you can view the results as follows.
2740 $ lilypond-book --outdir=out/ lilbook.tex
2741 lilypond-book (GNU LilyPond) 1.3.146
2742 Reading `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/lilbook.tex'
2744 `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/sammartini.ly'
2745 @var{lots of stuff deleted}
2746 Writing `out/lilbook.latex'
2748 $ latex lilbook.latex
2749 @var{lots of stuff deleted}
2753 Notice the @code{outdir} option to lilypond-book. Running lilypond-book
2754 and running latex creates a lot of temporary files, and you wouldn't want
2755 those to clutter up your working directory. Hence, we have them created
2756 in a separate subdirectory.
2758 The result more or less looks like this:
2762 In a lilypond-book document, you can freely mix music and text. For
2765 \score { \notes \relative c' {
2766 c2 g'2 \times 2/3 { f8 e d } c'2 g4
2769 Notice that the music line length matches the margin settings of the
2772 If you have no @code{\score} block in the fragment,
2773 @code{lilypond-book} will supply one:
2779 In the example you see here, a number of things happened: a
2780 @code{\score} block was added, and the line width was set to natural
2781 length. You can specify many more options using La@TeX{} style options
2784 @lilypond[verbatim,11pt,singleline,
2785 fragment,relative,intertext="hi there!"]
2789 @code{verbatim} also shows the LilyPond code, @code{11pt} selects
2790 the default music size, @code{fragment} adds a score block,
2791 @code{relative} uses relative mode for the fragment, and
2792 @code{intertext} specifies what to print between the
2793 @code{verbatim} code and the music.
2795 If you include large examples into the text, it may be more convenient
2796 to put the example in a separate file:
2798 @lilypondfile[printfilename]{sammartini.ly}
2800 The @code{printfilename} option adds the file name to the output.
2801 @node End of tutorial
2802 @section End of tutorial
2804 That's all folks. From here, you can either try fiddling with input
2805 files, or you can read the reference manual. You can find more example
2806 files in @file{input} and @file{input/test}. You can also look at some
2807 real music. The website @uref{http://www.mutopiaproject.org} has many
2808 examples of real music typeset by LilyPond.
2816 this should be on mutopia website.
2821 @c waar deze info? is uiteindelijk wel handig, schat ik.
2824 If you have a big music project, or just a lot of LilyPond input files,
2825 all generated output from LilyPond, @TeX{} and metafont will clutter
2826 your working directory. LilyPond comes with a one-size-fits-all
2827 pre-cooked makefile that helps you manage producing output. It will
2828 produce all output in the directory @file{out} , generate and track
2829 dependencies. Also, it helps in preparing your submission to @ref{Mutopia
2836 cp /usr/share/lilypond/make/ly.make GNUmakefile
2837 cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
2840 Generated out/minuet.ps for target minuet.
2843 Type @samp{make help} to see possible targets.
2846 @file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
2852 [TODO: rewrite completely.]
2855 * Songs with additional verses::