[lilypond.git] / Documentation / user / tutorial.itely

@c -*-texinfo-*-

@c TODO:
@c   * more details about running lilypond; error messages,
@c     compiling/viewing (emacs?)
@c   * where to go from  First steps+More basics?

@node Tutorial
@chapter Tutorial

@html
<!--- @@WEB-TITLE@@=Tutorial --->
@end html

@menu
* First steps::                 Music language of LilyPond.
* Running LilyPond::            Printing music.
* More about pitches and accidentals::  
* Octave entry ::               
* Relative octave entry::       
* Combining music into compound expressions::  
* Adding articulation marks to notes ::  
* Combining notes into  chords::  
* Printing lyrics::             
* A lead sheet::                
* Listening to output::         
* Titling ::                    
* Single staff polyphony  ::    
* Piano staffs::                
* Setting variables::           
* Fine tuning layout::          
* Organizing larger pieces::    
* An orchestral part::          
* Integrating text and music::  Integrating text and music.
@end menu

Using LilyPond comes down to encoding music in an input file. After
entering the music, the program is run on the file producing output
which can be viewed or printed.  In this tutorial, we will show step
by step how to enter such files, by showing fragments of input and the
corresponding output.  At the end of every section, a paragraph will
list where to find further information on the topics discussed.

Many people learn programs by trying and fiddling around with the
program.  This is also possible with LilyPond. If you click on a
picture in the HTML version of this manual, you will see the exact
LilyPond input that was used to generate that image.
@ifhtml
For example, consider the following input
@c TODO: intertext fixme
@lilypond[relative 1,singleline,verbatim,intertext="with the following output"]
  c'^\markup { \bold \huge { Click on this image! } }
@end lilypond
If you click it, you can see that the input shown is simplified a
little. This has been done for reasons of space and clarity. If you
want to fiddle, you need the full input, otherwise LilyPond will not
accept it.
@end ifhtml
By cutting and pasting the full input into a test file, you have a
starting template for experiments. If you like learning in this way,
you will probably want to print out or bookmark
@ifhtml
the
@end ifhtml
@ref{Cheat sheet}, which is a table listing all commands for quick
reference.


This tutorial starts with a short introduction to the LilyPond music
language.  After this first contact, we will show you how to to
produce printed output, normally using the program @code{ly2dvi}.  You
should then be able to create and print your first sheets of music.


@node First steps
@section First steps

We start off by showing how very simple music is entered in LilyPond:
you get a note simply by typing its @htmlref{note name}, from @samp{a}
through @samp{g}.  So if you enter

@example
c d e f g a b
@end example

@noindent
then the result looks like this:

@c ?
@c \transpose c c' { c d e f g a b }
@c @lily pond[notime]
@c \property Score.timing = ##f
@lilypond[notime, relative=2]
c d e f g a b
@end lilypond

The length of a note is specified by adding a number, @samp{1} for a
@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:

@example
a1 a2 a4 a16 a32
@end example

@lilypond[notime]
\property Score.timing = ##f
\property Staff.autoBeaming = ##f
\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond

If you do not specify a @rglos{duration}, the previous one is used: 

@example
a4 a a2 a
@end example

@lilypond[notime]
\property Score.timing = ##f
\transpose c c' { a a a2 a s16_" " }
@end lilypond


Rests are entered just like notes, but with the name ``@code{r}'':

@cindex rests
@quotation
@example
r2 r4 r8 r16
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.Clef = \turnOff
\property Staff.TimeSignature = \turnOff
r2 r4 r8 r16
s16_" "
@end lilypond
@end quotation
@separate


Add a dot @samp{.} after the duration to get a @rglos{dotted note}:

@example
a2. a4 a8. a16
@end example

@lilypond[notime]
\property Score.timing = ##f
\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond


The @rglos{meter} (or @rglos{time signature}) can be set with the
@code{\time} command:

@example
\time 3/4
\time 6/8
\time 4/4
@end example

@c a clef here may lead to confusion
@lilypond
\property Staff.Clef \set #'transparent = ##t 
\time 3/4
s4_" "
\time 6/8
s4_" "
\time 4/4
s16_" "
@end lilypond


The @rglos{clef} can be set using the @code{\clef} command:

@c what is more common name treble or violin?
@c in Dutch, its violin.
@c in English its definitely treble.
@example
\clef treble
\clef bass
\clef alto
\clef tenor
@end example

@lilypond[notime]
\property Score.timing = ##f
\clef violin
s4_" "
\clef bass
s4_" "
\clef alto
s4_" "
\clef tenor
s16_" "
@end lilypond

Notes and commands like @code{\clef} and @code{\time} , are enclosed
in @code{\notes @{@dots{}@}}.  This indicates that music (as opposed
to @rglos{lyrics}) follows:

@example
\notes @{
  \time 3/4
  \clef bass
  c2 e4 g2.
  f4 e d c2 r4
@}
@end example
Now the piece of music is almost ready to be printed.  The final step is to
combine the music with a printing command.

The printing command is the so-called @code{\paper} block.  The
@code{\paper} block is used to customize printing specifics, but we
accept the defaults for now.  The music and the @code{\paper} block
are combined by enclosing them in @code{\score @{ ... @}}.  The
following is a complete and valid input file.

@example
\score @{
  \notes @{
    \time 3/4
    \clef bass
    c2 e4 g2.
    f4 e d c2 r4
  @}
  \paper @{ @}
@}
@end example

@lilypond[noindent]
\score {
  \notes {
     \time 3/4
     \clef bass
     c2 e4 g2.
     f4 e d c2 r4
  }
  \paper {
    linewidth = 55 * \staffspace
  }
}
@end lilypond

During the rest of the tutorial, we will often leave out @code{\score}
and @code{\paper}, for clarity. However, both must be present when
feeding the file to LilyPond.

More elaborate information on entering pitches and durations is in
@ref{Pitches} and @ref{Durations}.  Clefs are fully explained in
@ref{Clef}.  Time signatures and other timing commands are described
in @ref{Time signature}.


@node Running LilyPond
@section Running LilyPond

In the last section we explained what kind of things you could enter
in a LilyPond file.  In this section we explain what commands to run
and how to view or print the output.  If you have not used LilyPond
before, want to test your setup, or want to run an example file
yourself, read this section.  The instructions that follow are for
Unix-like systems.  Some additional instructions for Microsoft Windows
are given at the end of this section.

Begin by opening a terminal window and starting a text editor.
For example, you could open an xterm and execute @code{joe}.  In your
text editor, enter the following input and save the file as
@file{test.ly}:

@quotation
@example
\score @{
  \notes @{ c'4 e' g' @}
@} 
@end example
@end quotation

@cindex ly2dvi

@c now this is weird, running ly2dvi to run LilyPond
@c (therefore name change proposal) 

LilyPond is the program that computes the sheet music. All other
things, such as adding titles, page breaking and other page layout,
are done by a small wrapper program called
@code{ly2dvi}. @code{ly2dvi} calls LilyPond to render the music, and
then adds the titling and page layout instructions.  To process
@file{test.ly} with @code{ly2dvi}, proceed as follows:

@quotation
@example
ly2dvi -p test.ly
@end example
@end quotation

You will see something resembling:

@quotation
@example
GNU LilyPond 1.8.0
Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
 @emph{ ... more interesting stuff ... }
PDF output to `test.pdf'...
DVI output to `test.dvi'...
@end example
@end quotation
@cindex DVI file
@cindex Viewing music
@cindex xdvi

The result of the ly2dvi is the file @file{test.pdf}.@footnote{ For
@TeX{} afficionados, there is also a (@file{test.dvi}) file. It can be
viewed with @code{xdvi}. The DVI uses a lot of PostScript specials,
which do not show up in the magnifying glass. The specials also mean
that the DVI file cannot be processed with @code{dvilj}. Use
@code{dvips} for printing.
@cindex dvips
@cindex dvilj
@cindex DVI driver
}  One the following commands should put the PDF on your
screen.
@c eeek
@quotation
@example
  gv test.pdf
  ghostview test.pdf
  ggv test.pdf
  kghostview test.pdf
  xpdf test.pdf
  gpdf test.pdf
  acroread test.pdf
@end example
@end quotation
If the music on your screen looks good, you can print it by clicking
File/Print inside your viewing program.

@cindex Ghostscript
@cindex @code{lpr}
@cindex Printing output
@cindex PostScript
@cindex PDF


On Windows,  the terminal is started by clicking on the LilyPond or
Cygwin icon.  Any text editor (such as NotePad, Emacs or Vim) may be
used to edit the LilyPond file.  If you have a PDF viewer installed,
use that for viewing the PDF
@c where on file system for double-click people?
If you have no viewer, then  you can download @code{GSView}  from
@uref{http://www.cs.wisc.edu/~ghost}. With @code{GSView},
the PDF file can viewed with
@quotation
@example
@code{gsview32 test.pdf}
@end example
@end quotation
Printing may be done with
@quotation
@example
@code{gsview32 /s test.pdf}
@end example
@end quotation

The commands for formatting and printing music are detailed in
@ref{Invoking LilyPond}.

@node More about pitches and accidentals
@section More about pitches and accidentals

A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
@rglos{flat} (@texiflat{}) by adding @samp{es}.  As you might expect,
a @rglos{double sharp} or @rglos{double flat} is made by adding
@samp{isis} or @samp{eses}:@footnote{This syntax derived from note
naming conventions in Nordic and Germanic languages, like German and
Dutch.}

@example
cis1 ees fisis aeses
@end example

@lilypond[notime]
\property Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond

 
@cindex key signature, setting

The key signature is set with the command ``@code{\key}'', followed by
a pitch and  @code{\major} or @code{\minor}:
@quotation
@example
\key d \major
g1
\key c \minor
g
@end example

@lilypond[fragment]
\property Staff.TimeSignature = \turnOff
\key d \major
g'1
\key c \minor
g'
@end lilypond
@end quotation


@cindex tie
A tie is created by adding a tilde ``@code{~}'' to the first note
being tied.
@quotation
@lilypond[fragment,verbatim,relative 2]
g4-~ g a2-~ a4
@end lilypond
@end quotation
@separate

This example shows the key signature, accidentals and ties in action.

@quotation
@example
\score @{
  \notes @{
    \time 4/4
    \key g \minor
    \clef violin
    r4 r8 a8 gis4 b
    g8 d4.-~ d' e'8
    fis4 fis8 fis8 eis4  a8 gis-~
    gis2 r2
  @}
  \paper @{ @}
@}
@end example

@lilypond
\score {
  \notes { \transpose c c' { 
    \time 4/4
    \key g \minor
    \clef violin
    r4 r8 a8 gis4 b
    g8 d4.-~ d e8
    fis4 fis8 fis8 eis4  a8 gis-~
    gis2 r2
  }}
  \paper { linewidth = #(* 50 staffspace) }
}
@end lilypond
@end quotation
@cindex accidentals

There are some interesting points to note in this example.  Bar lines
and beams are drawn automatically.  Line breaks are calculated
automatically; it does not matter where the lines breaks are in the
source file. Finally, the order of time, key and clef changes is not
relevant: in the printout, these are ordered according to standard
notation conventions.

Accidentals (sharps and flats) do not have to be marked explicitly:
you just enter the pitch of the note, and an accidental is printed
only when necessary. The flip side of this mechanism, is that you have
to mark notes as sharp or flat, even when they do not get accidentals.
For example, in this example,
@lilypond[fragment]
\clef bass
\property Staff.TimeSignature = #'()
\key cis \major
cis dis eis fis gis ais bis 
@end lilypond
no note gets an explicit accidental, but still you enter
@example
\clef bass
\key cis \major
cis dis eis fis gis ais bis 
@end example

Adding all alterations explicitly might require some more effort when
typing, but the advantage is that transposing is easier. It also makes
it possible to use different conventions for when to print
accidentals.

@node  Octave entry 
@section Octave entry


@c Tim wants to move this quotes example just before the: quotes-do not-work
@c score, but we'd need to remove quotes from the other two (key and
@c tie) examples...

@c better to have this just before the `octaves are bad' snipped
@c but we'd need to remove the ', from \key and tie 
To raise a note by an octave, add a high quote @code{'} (apostrophe) to
the note name, to lower a note one octave, add a ``low quote'' @code{,}
(a comma).  Middle C is @code{c'}:

@quotation
@example
c'4 c'' c''' \clef bass c c,
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
c'4 c'' c''' \clef bass c c,
@end lilypond
@end quotation
@separate

An example of the use of quotes is in the following Mozart fragment.
@lilypond[singleline,fragment,verbatim]
  \key a \major
  \time 6/8
  cis''8. d''16 cis''8 e''4 e''8
  b'8. cis''16 b'8 d''4 d''8 
@end lilypond 

This example shows that music in a high register needs lots of quotes.
This makes the input less readable, and it is a source of errors.  The
solution is to use ``relative octave'' mode.  In practice, this is the
most convenient way to copy existing music.  To use relative mode, add
@code{\relative} before the piece of music.  You must also give a note
from which relative starts, in this case @code{c''}.  If you do not
use octavation quotes (i.e. do not add ' or , after a note), relative
mode chooses the note that is closest to the previous one.
For example, @code{c f} goes up while @code{c g} goes down.

@quotation
@example
\relative c'' @{
  c f c g c
@}
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\relative c'' {
  c f c g c
}
@end lilypond
@end quotation
@separate


Since most music has small intervals, in relative mode pieces can be
written almost without using octavation quotes.  In relative mode, the
Mozart example is entered as
@c
@lilypond[singleline,fragment,verbatim]
\relative c'' {
  \key a \major
  \time 6/8
  cis8. d16 cis8 e4 e8
  b8. cis16 b8 d4 d8
}
@end lilypond 


@c needed better, maybe even redundant explanation
@c   added another example below.
@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
Larger intervals are made by adding octavation quotes.  Quotes or
commas do not determine the absolute height of a note; the height of a
note is relative to the previous one.
@c do not use commas or quotes in this sentence
For example: @code{c f,} goes down; @code{f, f} are both the same;
@code{c' c} are the same; and @code{c g'} goes up:

@quotation
@example
\relative c'' @{
  c f, f c' c g' c,
@}
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\relative c'' {
  c f, f c' c g' c,
}
@end lilypond
@end quotation
@separate


Here is an example of the difference between relative mode and
``normal'' (non-relative) mode:

@quotation
@example
\relative a @{
\clef bass
  a d a e d c' d'
@}
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\relative a {
\clef bass
  a d a e d c' d'
}
@end lilypond
@end quotation
@separate

@quotation
@example
\clef bass
  a d a e d c' d'
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\clef bass
  a d a e d c' d'
@end lilypond
@end quotation
@separate




@node  Relative octave entry
@section Relative octave entry

@c lousy example
@c ? --hwn
@c fragment of 1st hrn in Adams' The Chairman Dances, with creative
@c chromatic thing pasted in front.  (admittedly the original does not
@c have a phrasing slur. The problem is that we do not want the slur
@c and the Phrasing slur to collide. We are trying to make a good
@c impression here.

@quotation
@lilypond[fragment,relative 1, verbatim]
a8-(-\( ais b  c-) cis2 b'2 a4 cis,  c-\)
@end lilypond
@end quotation
@separate

@cindex beams, by hand 
Beams are drawn automatically, but if you do not like where they are
put, they can be entered by hand. Mark the first note to be beamed
with @code{[} and the last one with @code{]}:
@quotation
@lilypond[fragment,relative 1, verbatim]
a8-[ ais-] d-[ es r d-]
@end lilypond
@end quotation
@separate

Rests are described in full detail in @ref{Rests}. 

The notation manual discusses ties in @ref{Ties}.




@node Combining music into compound expressions
@section Combining music into compound expressions

To print more than one staff, each piece of music that makes up a
staff is marked by adding @code{\context Staff} before it.  These
@code{Staff}'s are then grouped inside @code{\simultaneous @{} and
@code{@}}, as is demonstrated here:

@quotation
@lilypond[fragment,verbatim]
\simultaneous {
  \context Staff = staffA { \clef violin c'' }
  \context Staff = staffB { \clef bass c }
}
@end lilypond
@end quotation


In this example, @code{\simultaneous } indicates that both music
fragments happen at the same time, and must be printed stacked
vertically.  The notation @code{< .. >} can also be used as a
shorthand for @code{\simultaneous @{ .. @}}.

@code{\context} introduces a ``notation context''.  To understand this
concept, imagine that you are performing a piece of music. When you
perform the music, you combine the symbols printed at a certain point
with contextual information. For example, without knowing the current
clef, and the accidentals in the last measure, it would be impossible
to determine the pitch of a note. In other words, this information
forms context that helps you decipher a score. LilyPond produces
notation from music, so in effect, it does the inverse of reading
scores. Therefore, it also needs to keep track of contextual
information. This information is maintained in ``notation contexts.''
There are several types of contexts, e.g. @code{Staff}, @code{Voice}
and @code{Score}, but also @code{Lyrics} and
@code{ChordNames}. Prepending @code{\context} to a chunk of music
indicates what kind of context to use for interpreting it.

By specifying different names (in this case @code{staffA} and
@code{staffB}), two different contexts are created, leading to two
staves. It does not matter which names they are given, as long as they
are different. If they get the same name, the chunks of music are
assumed to belong on the same staff, and will be printed like that.

@separate

We can now typeset a melody with two staves:

@quotation
@lilypond[verbatim,singleline]
\score {
  \notes 
  < \context Staff = staffA {
      \time 3/4
      \clef violin
      \relative c'' {
        e2-( d4 c2 b4 a8-[ a-]
        b-[ b-] g-[ g-] a2.-) }  
    }
    \context Staff = staffB {
       \clef bass
       c2 e4  g2.
       f4 e d c2.
    }
  >
  \paper {} 
}
@end lilypond
@end quotation

The example shows how small chunks of music, for example the notes
@code{c2}, @code{e4}, etc. of the second staff, are combined to form a
larger chunk by enclosing it in braces. Again, a larger chunk is
formed by prefix @code{\context Staff} to it, and that chunk is
combined with @code{< >}. This mechanism is similar with mathematical
formulas: in a formula, a so-called expression is formed by combining
simpler expressions into larger expressions. For example, 

@quotation
  1

  1 + 2
  
  (1 + 2) * 3
  
  ((1 + 2) * 3) / (4 * 5)
@end quotation
@cindex expression
@cindex music expression
is a sequence of expressions, where each expression is contained in
the next one.  The simplest expressions are numbers and operators
(like +, * and /). Parentheses are used to group expressions.  In
LilyPond input, a similar mechanism is used. Here, the simplest
expressions are notes and rests.  By enclosing expressions in @code{<
>} and @code{@{ @}}, more complex music is formed. The @code{\context}
also forms new expressions; prepending it to a music expression yields
a new expression.

Like mathematical expressions, music expressions can be nested
arbitrarily deep, e.g.
@lilypond[verbatim,relative 1] 
  { c <c e>
      < { e f } { c <b d> }
      >
  }
@end lilypond 


@cindex indent
When spreading expressions over multiple lines, it is customary to use
an indent that indicates the nesting level. Formatting music like this
eases reading, and helps you  insert the right amount of closing
braces at the end of an expression. For example
@example
\score @{
  \notes <
    @{
      @dots{}
    @}
    @{
      @dots{}
    @}
  >
@}
@end example




@node Adding articulation marks to notes 
@section Adding articulation marks to notes

@cindex articulation
@cindex accents
@cindex staccato

Common accents can be added to a note using a dash (`@code{-}') and a
single character:
@quotation
@lilypond[verbatim,relative 1]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
@end quotation
@separate

@cindex fingering
Similarly, fingering indications can be added to a note using a dash
(`@code{-}') and the digit to be printed.
@c
@lilypond[verbatim,relative 1]
  c-3 e-5 b-2 a-1
@end lilypond


Dynamic signs are made by adding the markings to the note:
@quotation
@lilypond[verbatim,relative 1]
c-\ff c-\mf
@end lilypond
@end quotation
@separate

@cindex dynamics
@cindex decrescendo
@cindex crescendo

Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. The command @code{\!} finishes a crescendo on the note it
is attached to.
@quotation
@lilypond[verbatim,relative 1]
c2-\<  c2-\!-\ff  c2-\>  c2-\!
@end lilypond
@end quotation
@separate



@cindex slur

A slur is drawn across many notes, and indicates bound articulation
(legato).  The starting note and ending note are marked with a
``@code{(}'' and a ``@code{)}'' respectively:

@quotation
@lilypond[fragment,relative 1, verbatim]
d4-( c16-)-( cis d e c cis d e-)-( d4-)
@end lilypond
@end quotation
@separate
@cindex slurs versus ties
A slur is different from a tie. A tie simply makes the first note
sound longer, and can only be used on pairs of notes with the same
pitch. Slurs indicate the articulations of notes, and can be used on
larger groups of notes. Slurs and ties are also nested in practice:
@lilypond[fragment, relative=1]
c2-~-( c8 fis fis4 ~ fis2 g2-)
@end lilypond

@cindex phrasing slurs
If you need two slurs at the same time (one for articulation, one for
phrasing), you can also make a phrasing slur with @code{\(} and
@code{\)}.

More information on fingering, articulation, slurs, phrasing slurs,
and dynamics can be found in @ref{Fingering instructions},
@ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs} @ref{Dynamics}
respectively.

@node Combining notes into chords
@section Combining notes into chords

@cindex chords
Chords can be made by
surrounding pitches with @code{<<} and @code{>}>:
@quotation
@lilypond[relative 0, fragment,verbatim]
r4 <<c e g>>4 <<c f a>>8
@end lilypond
@end quotation
@separate


You can combine beams and ties with chords.  Beam and tie markings
must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
@end lilypond
@end quotation

@quotation
@example
r4 <<c e g>>8-\>-( <<c e g>> <<c e g>>  <<c f a>>8-\!-)
@end example
@lilypond[relative 0, fragment]
\slurUp
r4 <<c e g>>8-\>-( <<c e g>> <<c e g>>  <<c f a>>8-\!-)
@end lilypond
@end quotation
@separate



@menu
* Basic rhythmical commands::   
* Commenting input files::      
@end menu

@node Basic rhythmical commands
@subsection  Basic rhythmical commands

@cindex pickup
@cindex anacruse
@cindex upstep
@cindex partial measure
A pickup (or upstep) is entered with the keyword @code{\partial}. It
is followed by a duration: @code{\partial 4} is a quarter note upstep
and @code{\partial 8} an eighth note.
@lilypond[relative 1,verbatim,fragment]
  \partial 8
  f8 c2 d e
@end lilypond

@cindex tuplets
@cindex triplets
Tuplets are made with the @code{\times} keyword.  It takes two
arguments: a fraction and a piece of music.  The duration of the piece
of music is multiplied by the fraction.  Triplets make notes occupy
2/3 of their notated duration, so  a triplet has  2/3 as its fraction.
@c
@lilypond[relative 0,verbatim,fragment]
  \times 2/3 { f8 g a }
  \times 2/3 { c r c }
@end lilypond 

@cindex grace notes
@cindex accacciatura
Grace notes are also made by prefixing a note, or a set of notes with
a keyword. In this case, the keyword is @code{\grace}. 
@lilypond[relative 1, verbatim,fragment]
  c4 \grace b16-( c4-)
  \grace { d16-( e } d4-)
@end lilypond

@noindent
More information on grace notes, tuplets and upsteps are in @ref{Grace
notes}, @ref{Tuplets} and @ref{Partial measures}.



@node Commenting input files
@subsection Commenting input files

@cindex comments
@cindex line comment
@cindex block comment
Comments are pieces of the input that are ignored.  There are two
types of comments. A line comments is introduced by @code{%}: after
that, the rest of that line is ignored.  Block comments span larger
sections of input.  Anything that is enclosed in @code{%@{} and
@code{%@}} is ignored too. The following fragment shows possible uses
for comments.

@example
  % notes for twinkle twinkle follow:
  c4 c   g' g  a a
  
  %@{
  
    This line, and the notes below
    are ignored, since they are in a
    block comment.

    g g f f e e d d c2 
  %@}
@end example




@node Printing lyrics
@section Printing lyrics
@cindex lyrics

@cindex Lyrics
@cindex Songs
Lyrics are entered by separating each syllable with a space, and
surrounding them with @code{\lyrics @{ @dots{} @}}, for example
@example
  \lyrics @{ I want to break free @}
@end example

Like notes, lyrics are also a form of music, but they must not be
printed on a staff, which is the default way to print music. To print
them as lyrics, they must be marked with @code{ \context Lyrics}:
@example
  \context Lyrics  \lyrics @{ I want to break free @}
@end example
The melody for this song is as follows

@lilypond[fragment,relative=1]
   \partial 8
     c8
   \times 2/3 {  f4 g g } \times 2/3 { g4-( a2-) }
@end lilypond

The lyrics can be set to these notes, combining both with the
@code{\addlyrics} keyword:
@example
 \addlyrics
    \notes @{ @dots{} @}
    \context Lyrics @dots{}
@end example

The final result is 
@lilypond[verbatim,linewidth=6.0cm]
\score  {
 \notes {
  \addlyrics
   \relative c' {
     \partial 8
     c8
     \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
   }
   \context Lyrics  \lyrics { I want to break free }
 }
 \paper{ }
}
@end lilypond

@cindex melisma
@cindex extender line
@c synonyms?
This melody ends on a @rglos{melisma}, a single syllable (``free'')
sung to more than one note. This is indicated with a @emph{extender
line}. It is entered as two  underscores, i.e.,
@example
  \lyrics @{ I want to break free __ @}
@end example 
@lilypond[]
\score  {
 \notes {
  \addlyrics
   \relative c' {
   \partial 8
     c8
     \times 2/3 { f g g } \times 2/3 { g4-( a2-) }

     %% ugh, this is to deal with bugs in the extender implementation
     \hideNotes
     c32
   }
   \context Lyrics  \lyrics { I want to break free __ }
 }
 \paper{ linewidth = 9.0 \cm }
}
@end lilypond

Similarly, hyphens between words can be entered as two dashes,
resulting in a centered hyphen between two syllables.
@example
  Twin -- kle twin -- kle
@end example
@lilypond[singleline]
\score {
  \addlyrics \notes \relative f' { \time 2/4
    f4 f c' c' }
    \context Lyrics \lyrics { Twin -- kle twin -- kle
 }
\paper { linewidth = 6.0 \cm }
 }
 
@end lilypond

More options, like putting multiple lines of lyrics below a melody are
discussed in @ref{Vocal music}.



@node A lead sheet
@section A lead sheet

@cindex Lead sheets
@cindex chords
@cindex chord names
 
In popular music, it is common to denote accompaniment as chord-names.
Using them in LilyPond has two parts, just like lyrics: entering the
chords (with @code{\chords}), and printing them (with @code{\context
ChordNames}).

Chord names are entered by starting chords mode (with @code{\chords}).
In chords mode, you can enter chords with a letter (indicating the
root of the chord), and a durations following that.
@c
@lilypond[verbatim]
  \chords { c2 f4. g8 } 
@end lilypond

@noindent
The result of @code{\chords} is a list of chords, and is  equivalent
to entering chords with @code{<<@dots{}>>}.

Other chords can be created by adding modifiers, after a colon.  The
following example shows a few common modifiers
@c
@lilypond[verbatim]
  \chords { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond

Printing chords is done by adding @code{\context ChordNames}
before the chords thus entered:
@c
@lilypond[verbatim]
 \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond

@cindex lead sheet 
When put together,  chord names, lyrics and a melody form
a lead sheet, for example,

@example
\score @{
  <
    \context ChordNames \chords @{ @emph{chords} @}
    \addlyrics
      \notes @emph{the melody}
      \context Lyrics \lyrics @{ @emph{the text} @}
  >
  \paper @{ @}
@}
@end example
@lilypond[]
\score  {
  < 
   \context ChordNames \chords { r8 c2:sus4 f } 
   \addlyrics
    \notes \relative c' {
     \partial 8
     c8
     \times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
   \context Lyrics  \lyrics { I want to break free __ }
  >
 \paper{ raggedright = ##t }
}
@end lilypond


A complete list of modifiers, and other options for layout are in the
reference manual section @ref{Chords}.

@node Listening to output
@section Listening to output

@cindex sound
@cindex MIDI

MIDI (Musical Instrument Digital Interface) is a standard for
connecting and recording digital instruments.  A MIDI file is like a
tape recording of a MIDI instrument. The @code{\midi} block makes the
music go to a MIDI file, so you can listen to the music you entered.
It is great for checking the music: octaves that are off, or
accidentals that were mistyped, stand out very much when listening to
the musical transcription.

@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
example
@example 
\score @{
    @var{..music..}
    \midi  @{ \tempo 4=72 @}
    \paper  @{ @}
@}
@end example 

Here, the tempo is specified using the @code{\tempo} command.  In this
case the tempo of quarter notes is set to 72 beats per minute. More
information on auditory output is in the @ref{Sound} section in the
notation manual.



@node Titling 
@section Titling

Bibliographic information is entered in a separate block, the
@code{\header} block. The name of the piece, its composer, etc. are
entered as assignment, within @code{\header @{ @dots{} @}}. For
example,
@example 
  \header @{
    title = "Eight miniatures" 
    composer = "Igor Stravinsky"
    tagline = "small is beautiful"
  @}
  
  \score @{ @dots{} @}
@end example

@cindex bibliographic information
@cindex titles
@cindex composer
@cindex ly2dvi


When the file is processed by @code{ly2dvi}, the title and composer
specified are printed above the music. The `tagline' is a short line
printed at bottom of the last page, which normally says ``Lily was
here, version @dots{}''. In the example above, it is replaced by the
line ``small is beautiful.'' 

Normally, the @code{\header} is put at the top of the file. However,
for a document that contains multiple pieces (e.g. a etude book, or
part with multiple movements), then the header can be put into the
@code{\score} block as follows In this case, the name of each piece
will be printed before each movement.


@cindex Lily was here
@cindex signature line
@cindex tag line

@example 
  \header @{
    title = "Eight miniatures" 
    composer = "Igor Stravinsky"
    tagline = "small is beautiful"
  @}
  
  \score @{ @dots{}
    \header @{ piece = "Adagio" @}
  @}
  \score @{ @dots{}
    \header @{ piece = "Menuetto" @}
  @}
@end example

More information on titling can be found in @ref{Invoking ly2dvi}.


@node Single staff polyphony  
@section Single staff polyphony

@cindex polyphony
@cindex multiple voices
@cindex voices, more -- on a staff

When different melodic lines are combined on a single staff, these are
printed as polyphonic voices: each voice has its own stems, slurs
and beams, and the top voice has the stems up, while the bottom voice
has stems down.

Entering such parts is done by entering each voice as a sequence (with
@code{@{ .. @}}), and combining those simultaneously, separating the
voices with @code{\\}:

@example
  < @{ a4 g2 f4-~ f4 @} \\
    @{ r4 g4 f2 f4 @} >
@end example
@lilypond[relative 1]
\context Staff   < { a4 g2 f4-~ f4 } \\
    { r4 g4 f2 f4 } >
@end lilypond

For polyphonic music typesetting, spacer rests can also be convenient: these
are rests that do not print.  It is useful for filling up voices that
temporarily do not play:
@example
  < @{ a4 g2 f4-~ f4 @} \\
    @{ s4 g4 f2 f4 @} >
@end example
@lilypond[relative 1]
\context Staff  < { a4 g2 f4-~ f4 } \\
    { s4 g4 f2 f4 } >
@end lilypond

Again, these expressions can be nested arbitrarily.

@lilypond[fragment]
<
 \context Staff = staffA 
  \relative c''
    < { a4 g2 f4-~ f4 } \\
      { s4 g4 f2 f4 } >
 \context Staff = staffB 
  <  { \clef bass <<c g>>1  } \\
     { f4 d e2 }
  >
>
@end lilypond


More features of polyphonic typesetting are in the notation manual
in @ref{Polyphony}.

@node Piano staffs
@section Piano staffs

@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}

Piano music is always typeset in two staffs connected by a brace.
Printing such a staff is done similar to the polyphonic example in
@ref{Combining music into compound expressions}:
@example
 < \context Staff = up @{ @dots{} @}
   \context Staff = down @{ @dots{} @}
 >
@end example
but now this entire expression must be interpreted as a
@code{PianoStaff}:
@example
 \context PianoStaff < \context Staff @dots{} >
@end example

Here is a full-fledged example:

@lilypond[relative 0,fragment]
\context PianoStaff
 < \context Staff = up { \time 2/4
     c4 c g' g  }
   \context Staff = down {
     \clef bass c,, c' e c }
 >
@end lilypond

More information on formatting piano music is in @ref{Piano music}. 

@node Setting variables
@section Setting variables

When the music is converted from notes to print, it is interpreted
from left-to-right order, similar to what happens when we read
music. During this step, context-sensitive information, such as the
accidentals to print, and where barlines must be placed, are stored in
variables. These variables are called @emph{translation properties}.
The properties can also be manipulated from input files. Consider this input:
@example
\property Staff.autoBeaming = ##f
@end example 
It sets the property named @code{autoBeaming} in the current staff to
@code{##f}, which means `false'. This property controls whether beams
are printed automatically:
@lilypond[relative 1,fragment,verbatim]
  c8 c c c
  \property Staff.autoBeaming = ##f
  c8 c c c  
@end lilypond

@noindent
LilyPond includes a built-in programming language, namely, a dialect
of Scheme.  The argument to @code{\property}, @code{##f}, is an
expression in that language.  The first hash-mark signals that a piece
of Scheme code follows. The second hash character is part of the
boolean value true (@code{#t}).  Values of other types may be
entered as follows
@itemize @bullet
@item a string, enclosed in double quotes, for example
@example
  \property Staff.instrument = #"French Horn"
@end example
@item a boolean: either @code{#t} or @code{#f}, for true and false
respectively, e.g.
@example
  \property Voice.autoBeaming = ##f
  \property Score.skipBars = ##t
@end example

@item a number
@example
  \property Score.currentBarNumber = #20
@end example

@item a symbol, which is introduced by a quote character,
@example
  \property Staff.crescendoSpanner = #'dashed-line
@end example

@item a pair, which is also introduced by a quote character.
The following statements set properties to the pairs (-7.5, 6)  and
(3, 4) respectively.

@example
  \property Staff.minimumVerticalExtent  = #'(-7.5 . 6)
  \property Staff.timeSignatureFraction  = #'(3 . 4)
@end example


@end itemize

There are many different properties, and not all of them are listed in
this manual. However, the internal documentation lists them all in the
@internalsref{All translation properties}, and most properties
are demonstrated in one of the
@ifhtml
@uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
@end ifhtml
@ifnothtml
tips-and-tricks
@end ifnothtml
examples.


@node Fine tuning layout
@section Fine tuning layout

Sometimes it is necessary to change music layout by hand.  When music
is formatted, layout objects are created for each symbol.  For
example, every clef and every note head is represented by a layout
object.  These layout objects also carry variables, which we call
@emph{layout properties}. By changing these variables from their
values, we can alter the look of a formatted score.

@lilypond[verbatim,relative 0]
  c4
  \property Voice.Stem \override #'thickness = #3.0
  c4 c4 c4 
@end lilypond

@noindent
In the example shown here, the layout property @code{thickness} (a
symbol) is set to 3 in the @code{Stem} layout objects of the current
Voice.  As a result, the notes following @code{\property} have thicker
stems.

In most cases of manual overrides, only a single object must be
changed. This can be achieved by prefixing @code{\once} to the
@code{\property} statement, i.e.,

@example
 \once \property Voice.Stem \set #'thickness = #3.0
@end example

@lilypond[relative 0]
  c4
  \once \property Voice.Stem \set #'thickness = #3.0
  c4 c4 c4 
@end lilypond

@noindent
Some overrides are so common that predefined commands are provided as
a short cut.  For example, @code{\slurUp} and @code{\stemDown}. These
commands are described in
@ifhtml
the
@end ifhtml
@ref{Notation manual}, under the sections for slurs and stems
respectively.

The exact tuning possibilities for each type of layout object are
documented in the internal documentation of the respective
object. However, many layout objects share properties, which can be
used to apply generic tweaks.  We mention a couple of these:

@itemize @bullet
@cindex @code{extra-offset}
@item The @code{extra-offset} property, which
has a pair of numbers as value, moves around objects in the printout.
The first number controls left-right movement; a positive number will
move the object to the right.  The second number controls up-down
movement; a positive number will move it higher.  The unit of these
offsets are staff-spaces.  The @code{extra-offset} property is a
low-level feature: the formatting engine is completely oblivious to
these offsets.

In the following example example, the second fingering is moved a
little to the left, and 1.8 staff space downwards.

@cindex setting object properties

@lilypond[relative 1,verbatim]
\stemUp
f-5
\once \property Voice.Fingering
  \set #'extra-offset = #'(-0.3 . -1.8) 
f-5
@end lilypond

@item
Setting the @code{transparent} property will make an object be printed
in `invisible ink': the object is not printed, but all its other
behavior is retained. The object still takes space, it takes part in
collisions, and slurs, ties and beams can be attached to it.

@cindex transparent objects
@cindex removing objects
@cindex invisible objects
The following example demonstrates how to connect different voices
using ties. Normally ties only happen between notes of the same
voice. By introducing a tie in a different voice, and blanking a stem
in that voice, the tie appears to cross voices.

@lilypond[fragment,relative 1,verbatim]
\context Staff < {
      \once \property Voice.Stem \set #'transparent = ##t
      b8~ b8
  } \\ {
       b-[ g8-]
  } >
@end lilypond

@item
The @code{padding} property for objects with
@code{side-position-interface} can be set to increase distance between
symbols that are printed above or below notes. We only give an
example; a more elaborate explanation is in @ref{Constructing a
tweak}.
@lilypond[relative 1]
  c2-\fermata
  \property Voice.Script \set #'padding = #3
  b2-\fermata
@end lilypond

@end itemize

More specific overrides are also possible.  The notation manual
discusses in depth how to figure out these statements for yourself, in
@ref{Tuning output}.

@node Organizing larger pieces
@section Organizing larger pieces

When all of the elements discussed earlier are combined to produce
larger files, the @code{\score} blocks get a lot bigger, because the
music expressions are longer, and, in the case of polyphonic and/or
orchestral pieces, more deeply nested.

By using variables, also known as identifiers, it is possible to break
up complex music expressions.
An identifier is assigned as follows
@example
  namedMusic = \notes @{ @dots{}
@end example

The contents of the music expression @code{namedMusic}, can be used
later by preceding the name with a backslash, i.e. @code{\namedMusic}.
In the next example, a two note motive is repeated thrice by using
variable substitution:

@lilypond[singleline,verbatim]
seufzer  = \notes {
  dis'8 e'8
}
\score { \notes {
  \seufzer \seufzer \seufzer
} }
@end lilypond

The name of an identifier should only have alphabetic characters only,
and no numbers, underscores or dashes. The assignment should be
outside of the @code{\score} block.

It is possible to use variables for many other types of objects in the
input.  For example,
@example
  width = 4.5\cm
  name = "Wendy"
  aFivePaper = \paper @{ paperheight = 21.0 \cm @}
@end example
Depending on its contents, the identifier can be used in different
places. The following example uses the above variables:
@example
  \score @{
    \notes @{ c4^\name @}
    \paper @{
      \aFivePaper
      linewidth = \width
    @}
  @}
@end example

More information on the possible uses of identifiers is in the
technical manual, in @ref{Scheme datatypes}.


@node An orchestral part
@section An orchestral part

In orchestral music, all notes are printed twice: both in a part for
the musicians, and in a full score for the conductor. Identifiers can
be used to avoid double work: the music is entered once, and stored in
variable. The contents of that variable is then used to generate
both the part and the score.

It is convenient  to define the notes in a  special file, for example,
suppose that the @file{horn-music.ly} contains the following part of a
horn/bassoon duo.
@example
hornNotes = \notes \relative c @{
  \time 2/4
  r4 f8 a cis4 f e d
@}
@end example

Then, an individual part is made by putting the following in a file
@example
\include "horn-music.ly"
\header @{
  instrument = "Horn in F"
@}
\score @{
  \notes \transpose c' f \hornNotes
@}
@end example
The @code{\include} command substitutes the contents of the file at
this position in the file, so that @code{hornNotes} is defined
afterwards.  Since the horn is tuned in F, the @code{\transpose}
command is used. The code @code{\transpose c' f} indicates that the
argument, being @code{\hornNotes}, should be transposed by a fifth
downwards: the @code{c'} becomes a @code{f}. The transposition can be
seen in the following output:

@lilypond[singleline]
\score {
  \notes \transpose c' f  \notes \relative c' {
  \time 2/4
  r4 f8 a cis4 f e d
}
}
@end lilypond

In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
rest. It is entered with a capital R, and followed by a duration (1
for a whole note, 2 for a half note, etc.) By multiplying the
duration, longer rests can be constructed. For example, the next rest
takes 3 measures in 2/4 time.
@example
  R2*3
@end example

When printing the part, the following @code{skipBars} property must be
set to false, to prevent the rest from being expanded in three one bar
rests.
@example
  \property Score.skipBars = ##t
@end example
Prepending the rest and the property setting above, leads to the
following result.

@lilypond[singleline]
\score {\notes { \transpose c' f \relative c' { \time 2/4
\property Score.skipBars = ##t 
        R2*3
    r4 f8 a cis4 f e d } }}
@end lilypond

The score is made by combining all of the music in a @code{\score}
block, assuming that the other voice is in @code{bassoonNotes}, in the
file @file{bassoon-music.ly}:
@example
\include "bassoon-music.ly"
\include "horn-music.ly"

\score @{
  \simultaneous @{
    \context Staff = hornStaff \hornNotes
    \context Staff = bsnStaff \bassoonNotes
  @} @}
@end example

This would lead to the simple score depicted below.

@lilypond[singleline]
\score {
  \notes \relative c \simultaneous {
    \context Staff = hornStaff { \time 2/4
        R2*3
    r4 f8 a cis4 f e d }
    \context Staff = fagStaff { \clef bass
      r4 d,8 f | gis4 c |  b bes |
      a8 e f4 |  g d | gis f }
  } }
@end lilypond 

More in-depth information on preparing parts and scores is in the
notation manual, in @ref{Orchestral music}.


@node Integrating text and music
@section Integrating text and music

@cindex La@TeX{}, music in
@cindex HTML, music in
@cindex Texinfo, music in

Sometimes you might want to use music examples in a text that you are
writing (for example a musicological treatise, a songbook, or (like us)
the LilyPond manual).  You can make such texts by hand, simply by
importing a PostScript figure into your word processor.  However,
there is an automated procedure to reduce the amount of work.

If you use HTML, La@TeX{}, or Texinfo, you can mix text and LilyPond
code.  A script called @code{lilypond-book} will extract the music
fragments, run LilyPond on them, and put back the resulting notation.
This program is fully described in @ref{lilypond-book manual}.  Here
we show a small example.  Since the example also contains explanatory
text, we will not comment it further.

@example
\documentclass[a4paper]@{article@}
\begin@{document@}

In a lilypond-book document, you can freely mix music and text. For
example:
\begin@{lilypond@}
  \score @{ \notes \relative c' @{
     c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
  @} @}
\end@{lilypond@}

Notice that the music line length matches the margin settings of the
document.

If you have no \verb+\score+ block in the fragment,
\texttt@{lilypond-book@} will supply one:

\begin@{lilypond@}
  c'4
\end@{lilypond@}

In the example you see here, two things happened: a
\verb+\score+ block was added, and the line width was set to natural
length. You can specify  options by putting them in brackets:

\begin[26pt,verbatim]@{lilypond@}
  c'4 f16
\end@{lilypond@}

If you want to include large examples into the text, it is more
convenient to put it in a separate file:

\lilypondfile@{screech-boink.ly@}

\end@{document@}
@end example

Under Unix, you can view the results as follows.
@example
$ cd input/tutorial
$ mkdir -p out/
$ lilypond-book --outdir=out/ lilbook.tex
lilypond-book (GNU LilyPond) 1.7.23
Reading `input/tutorial/lilbook.tex'
Reading `input/screech-boink6.ly'
@var{lots of stuff deleted}
Writing `out/lilbook.latex'
$ cd out
$ latex lilbook.latex
@var{lots of stuff deleted}
$ xdvi lilbook 
@end example

Running lilypond-book and running latex creates a lot of temporary
files, and you would not want those to clutter up your working
directory.  The @code{outdir} option to lilypond-book creates the
temporary files in a separate subdirectory @file{out}.

The result looks more or less like this: 

@separate

In a lilypond-book document, you can freely mix music and text. For
example:
@lilypond
\score {
  \notes \relative c' {
    c2 g'2 \times 2/3 { f8 e d } c'2 g4
  }
  \paper {
    raggedright = ##t
  }
}
@end lilypond

Notice that the music line length matches the margin settings of the
document.

If you have no @code{\score} block in the fragment,
@code{lilypond-book} will supply one:

@lilypond
  c'4
@end lilypond

In the example you see here, two things happened: a
@code{score} block was added, and the line width was set to natural
length. You can specify  options by putting them in brackets:

@lilypond[26pt,verbatim]
  c'4 f16
@end lilypond

If you want to include large examples into the text, it is more
convenient to put it in a separate file:

@lilypondfile{screech-boink.ly}