8 * Running LilyPond:: Getting started
9 * The first tune:: The first tune
10 * Lyrics and chords:: Lyrics and chords
12 * A piano excerpt:: Piano music
13 * An orchestral score::
15 * Latex and texinfo integration::
16 * end of tutorial:: The end
17 * Pre-cooked makefile::
24 LilyPond prints music from a specification that you, the user, supply.
25 You have to give that specification using a @emph{language}. This
26 chapter is a gentle introduction to that language.
28 This tutorial will demonstrate how to use Lilypond by presenting
29 examples of input along with resulting output. We will use English
30 terms for notation. In case you are not familiar with those, you may
31 consult the glossary that is distributed with LilyPond.
33 @cindex examples, tutorial
35 The examples discussed are included in the distribution, in the
36 subdirectory @file{input/tutorial/}.@footnote{When we refer
37 to filenames, they are relative to the top directory of the source
40 }. We recommend that you experiment with writing Lilypond input
41 yourself, to get a feel for how the program behaves.
44 @node Running LilyPond
45 @section Running LilyPond
47 Before we dive into describing the input language of LilyPond, we first
48 show you through the procedure for getting notes on your screen and out
51 The first step is creating an input file. Using your favorite
52 text-editor, create @file{test.ly} containing
60 \notes @{ c'4 e'4 g'4 @}
65 @unnumberedsubsec Unix
67 @cindex Unix, Running lilypond on
69 If you run Unix, proceed as follows: run lilypond on the file, i.e.,
73 You will see the following on your screen:
76 Now processing: `input/tutorial/test.ly'
78 Interpreting music...[1]
79 Preprocessing elements...
80 Calculating column positions... [2]
81 paper output to test.tex...
84 Now, run @TeX{}@footnote{@TeX{} is a text-typesetting system that is
85 especially suited for typesetting mathematics.}. The result should
88 This is TeX, Version 3.14159 (Web2C 7.3.1)
89 (test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
90 (/home/hanwen/usr/share/lilypond/tex/lilypond-plaintex.tex
91 LilyPond Plain TeX settings) (/home/hanwen/usr/src/ ...
92 (/home/hanwen/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty]
93 (/home/hanwen/usr/share/lilypond/tex/fetdefs.tex)) [1] )
94 Output written on test.dvi (1 page, 3716 bytes).
95 Transcript written on test.log.
97 The result of the @TeX{} run is a @TeX{} ``DeVice Independent'' file
102 @cindex Viewing music
104 To view the output, run Xdvi, i.e.
108 You should see the following in a window next to some buttons.
115 \notes { c'4 e'4 g'4 }
120 @cindex postscript, converting to
121 When you're satisfied with the result, you can print it. For printing,
122 you have to generate a postscript file:
124 dvips -o test.ps test.dvi
126 which looks like this:
128 This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
129 ' TeX output 2001.01.27:1806' -> test.ps
130 <texc.pro><special.pro>. [1]
134 @cindex Printing output
137 PostScript is a page description language, similar to PDF. Some printers
138 can understand a postscript file directly, but the cheaper ones need the
139 intervention of GhostScript, an emulator that runs PostScript on your
140 computer instead of your printer. Most Linux distributions nowadays have
141 GhostScript running ``in the background'', so any configured printer
142 will act as a PostScript printer. Assuming this, the following command
147 If this does not make your printer produce a page of music, then you
148 should look into installing and configuring ghostscript. Refer to
149 GhostScript's website at @uref{http://www.ghostscript.com}.
151 There are three other routes: firstly, you can add titling to the
152 output. This is done by a separate program called @file{ly2dvi}: this
153 program first calls LilyPond to process the @file{.ly} file, and then
154 runs @TeX{} on it to produce a @file{.dvi} file with proper margin
155 settings and titling.
157 @cindex titles, adding
163 After some disk-activity, you should end up with a @file{.dvi} file.
164 Ly2dvi is further described in the @ref{ly2dvi}.
166 Secondly, you can generate PostScript directly. This is useful if you
167 can not or do not want to run @TeX{} on your system.
168 To obtain PS output, invoke LilyPond as follows:
169 @cindex PostScript output
171 lilypond -f ps test.ly
174 You have to set some environment variables to view or print this
175 output. More information can be found in the @ref{Invoking
178 Finally, there is a script called lilypond-book, that allows you to
179 freely mix LilyPond input with Texinfo or LaTeX input. For example, this
180 manual was written using lilypond-book. lilypond-book is discussed in
183 @unnumberedsubsec Windows
187 * setting of env vars (TFMINPUTS,MFINPUTS,TEXINPUTS)
188 * dvi viewer doesn't display postscript
192 @section The first tune
195 To demonstrate what LilyPond input looks like, we start off with a
196 full-fledged, yet simple example. It is a convoluted version
197 of the famous menuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
198 is included in the distribution as @file{menuet.ly}.
199 @cindex Bach, Johann Sebastian
202 % lines preceded by a percent are comments which
203 % are ignored by Lilypond.
204 \include "paper16.ly"
207 \relative c'' \sequential{
212 d4 g,8 a b c d4 g, g |
213 e'4 c8 d e fis g4 g, g |
214 c4 d8()c b a( )b4 c8 b a g |
215 a4 [b8 a] [g fis] g2. |
220 g4 e8 fis g d cis4 b8 cis a4 |
221 a8-. b-. cis-. d-. e-. fis-.
228 % standard settings are too wide for a book
229 linewidth = 14.0 \cm;
234 We will analyse the input, line by line.
236 % lines preceded by a percent are comments which
237 % are ignored by Lilypond.
239 The percent sign, @code{%}, introduces a line comment. If you want to
240 make larger comments, you can use block comments. These are delimited
241 by @code{%@{} and @code{%@}}
243 @cindex block comment
248 \include "paper16.ly"
251 @cindex @code{\include}
252 @cindex point, printer's
253 @cindex staff size setting
254 By default, LilyPond will use definitions for a staff that is 20
255 point@footnote {A point is the standard measure of length for printing;
256 one point is 1/72.27 inch. [TODO: mm vs. pt]} high. We want smaller
257 output (16 point staff height), so we must import the settings for that
258 size, which is done here.
264 A lilypond file combines music with directions for outputting that
265 music. The music is combined with the output directions by putting
266 them into a @code{\score} block.
272 This makes LilyPond ready for accepting notes.
279 @cindex octaves, choosing
281 As we will see, pitches are combinations of octave, note name and
282 chromatic alteration. In this scheme, the octave is indicated by
283 using raised quotes (@code{'}) and ``lowered'' quotes (commas:
284 @code{,}). The central C is denoted by @code{c'}. The C one octave
285 higher is @code{c''}. One and two octaves below the central C is
286 denoted by @code{c} and @code{c,} respectively.
289 For pitches in a long piece you might have to type many quotes. It is
290 easy to make typing errors with this, so LilyPond has a special entry
291 mode to remedy this. In this ``relative'' octave mode, octaves of notes
292 without quotes are chosen such that a note is as close as possible
293 (graphically, on the staff) to the the preceding note. If you add a
294 high-quote an extra octave is added. The lowered quote (a comma) will
295 subtract an extra octave. Because the first note has no predecessor,
296 you have to give the (absolute) pitch of the note to start with.
302 What follows is sequential music, i.e.,
303 @cindex sequential music
304 notes that are to be played and printed after each other.
310 @cindex time signature, setting
312 This command changes the time signature of the current piece: a 3/4
313 sign is printed. This command is also used to generate bar lines in
320 @cindex key signature, setting
322 This command changes the current key signature to G-major. Although this
323 command comes after the @code{\time} command, in the output, the key
324 signature comes before the time signature: LilyPond knows about music
325 typesetting conventions.
331 This command tells LilyPond that the following piece of music must be
332 played twice. The first argument indicates the type of repeat. In this
333 case, @code{"volta"} means that volta brackets are be used for
334 alternatives---if there were any.
340 The subject of the repeat is again sequential music. Since
341 @code{\sequential} is such a common construct, a shorthand is provided:
342 just leave off @code{\sequential}, and the result is the same.
348 This is a note with pitch @code{d} (determined up to octaves). The
349 relative music was started with a @code{c''}, so the real pitch of this
350 note is @code{d''}. The @code{4} designates the duration of the note
351 (it is a quarter note).
357 These are notes with pitch @code{a} and @code{b}. Because their
358 duration is the same as the @code{g}, there is no need to enter the
359 duration (You may enter it anyway, e.g. @code{a4 b4})
367 @cindex errors, finding
368 Three more notes. The @code{|} character is a `bar check'. When
369 processing the music, LilyPond will verify that bar checks are found at
370 the start of a measure. This can help you track down errors.
372 @cindex alteration, chromatic
373 @cindex chromatic alteration
374 So far, no notes were chromatically altered. Here is the first one
375 that is: @code{fis}. Lilypond by default uses Dutch note names, and
376 ``Fis'' is the Dutch note name for ``F sharp''. However, there is no
377 sharp sign in the output. The program keeps track of key signatures,
378 and will only print accidentals if they are needed.
384 LilyPond guesses were beams can be added to eighth and shorter notes.
385 In this case, a beam over 4 eighths is added.
388 c4 d8( )c b a( )b4 c8 b a g |
391 The next line shows how to make a slur: the beginning and ending note
392 of the slur is marked with an opening and closing parenthesis
393 respectively. In the line shown above, this is done for two slurs.
394 Slur markers (parentheses) are put between the slurred notes.
400 Automatic beaming can be overridden by inserting beam marks
401 (brackets). Brackets are put around the notes you want beamed.
407 @cindex augmentation dot
409 A duration with augmentation dot is notated
410 with the duration number followed by a period.
416 This ends the sequential music to be repeated. LilyPond will typeset
423 This line shows that Lily will print an accidental if that is
424 needed: the first C sharp of the bar will be printed with an accidental,
425 the second one without.
428 a8-. b-. cis-. d-. e-. fis-.
432 You can enter articulation signs either in a verbose form using a
433 shorthand. Here we demonstrate the shorthand: it is formed by a dash
434 and the character for the articulation to use, e.g. @code{-.} for
435 staccato as shown above.
442 Rests are denoted by the special notename @code{r}.
448 All articulations have a verbose form, like @code{\fermata}. The
449 command @code{\fermata} is not part of the core of the language (most
450 of the other discussed elements are), but it is a shorthand for a more
451 complicated description of a fermata. @code{\fermata} names that
452 description and is therefore called an identifier.
454 @cindex @code{\fermata}
469 This specifies a conversion from music to notation output. Most of
470 the details of this conversions (font sizes, dimensions, etc.) have
471 been taken care of, but to fit the output in this document, it has
472 to be smaller. We do this by setting the line width to 14 centimeters
473 (approximately 5.5 inches).
479 The last brace ends the @code{\score} block.
484 @node Lyrics and chords
485 @section Lyrics and chords
487 In this section we show how to typeset a song. This file is
488 included as @file{flowing.ly}.
492 title = "The river is flowing";
493 composer = "Traditional (?)";
495 \include "paper16.ly"
496 melody = \notes \relative c' @{
500 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
501 c4 c8 d [es () d] c4 | d4 es8 d c4.
506 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
507 ri -- ver is flo -- wing down to the sea.
510 accompaniment =\chords @{
512 c2:3- f:3-.7 d:min es4 c8:min r8
513 c2:min f:min7 g:7^3.5 c:min @}
518 \context ChordNames \accompaniment
521 \context Staff = mel @{
522 \property Staff.noAutoBeaming = ##t
523 \property Staff.automaticMelismata = ##t
526 \context Lyrics \text
528 \midi @{ \tempo 4=72;@}
529 \paper @{ linewidth = 10.0\cm; @}
534 The result would look this.@footnote{The titling and font size shown
535 may differ, since the titling in this document is not generated by
538 @center @strong{The river is flowing}
543 title = "The river is flowing";
544 composer = "Traditional (?)";
546 \include "paper16.ly"
547 melody = \notes \relative c' {
551 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
552 c4 c8 d [es () d] c4 | d4 es8 d c4.
557 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
558 ri -- ver is flo -- wing down to the sea.
561 accompaniment =\chords {
563 c2:3- f:3-.7 d:min es4 c8:min r8
564 c2:min f:min7 g:7^3.5 c:min }
569 \context ChordNames \accompaniment
572 \context Staff = mel {
573 \property Staff.noAutoBeaming = ##t
574 \property Staff.automaticMelismata = ##t
577 \context Lyrics \text
579 \midi { \tempo 4=72;}
580 \paper { linewidth = 10.0\cm; }
584 Again, we will dissect the file line by line.
590 @cindex @code{\header}
591 Information about the music you are about to typeset goes into a
592 @code{\header} block. The information in this block is not used by
593 LilyPond, but it is passed into the output. @file{ly2dvi} uses this
594 information to print titles above the music.
597 title = "The river is flowing";
598 composer = "Traditional (?)";
601 @cindex identifier assignment
602 the @code{\header} block contains assignments. An assignment starts
603 with a string. (which is unquoted, in this case). Then comes the
604 equal sign. After the equal sign comes the expression you
605 want to store. In this case, you want to put in strings. The
606 information has to be quoted here, because it contains spaces. Each
607 assignment is finished with a semicolon.
610 \include "paper16.ly"
613 Smaller size for inclusion in a book.
616 melody = \notes \relative c' @{
619 The structure of the file will be the same as the previous one, a
620 @code{\score} block with music in it. To keep things readable, we will
621 give names to the different parts of music, and use the names to
622 construct the music within the score block.
628 @cindex @code{\partial}
630 The piece starts with an anacrusis of one eighth.
634 The key is C minor: we have three flats.
638 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
639 c4 c8 d [es () d] c4 | d4 es8 d c4.
644 @cindex manual beaming
645 @cindex automatic beaming, turning off
646 We use explicit beaming. Since this is a song, we will turn automatic
647 beams off, and use explicit beaming where needed.
653 This ends the definition of @code{melody}. Note that there are no
654 semicolons after assignments at top level.
661 @cindex identifier assignment
662 @cindex syllables, entering
663 Another identifier assignment. This one is for the lyrics.
664 Lyrics are formed by syllables that have duration, and not by
665 notes. To make LilyPond parse words as syllables, switch it into
666 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
667 is a shorthand for @code{\sequential @{}.
670 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
671 ri- ver is flo- __ wing down to the sea.
675 @cindex extenders, lyric
676 @cindex hyphens, lyric
677 The syllables themselves are separated by spaces. You can get syllable
678 extenders by entering @code{__}, and centered hyphens with
679 `@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
680 in length (hence the @code{4}), and use a feature to align the
681 syllables to the music (which obviously isn't all quarter notes.)
684 accompaniment =\chords @{
689 We'll put chords over the music, to enter them, there is a special mode,
690 called @code{\chords}. There is a special mode (analogous
691 to @code{\lyrics} and @code{\notes} mode) where you can give the names
692 of the chords you want, instead of the notes comprising the chord.
698 There is no accompaniment during the anacrusis.
706 @cindex chord modifier
707 @cindex modifier, chord
708 A chord is started by the tonic of the chord. The
709 first one lasts a half note. An unadorned note creates a major
710 triad, while a minor triad is wanted. @code{3-} modifies the third to
711 be small. @code{7} modifies (adds) a seventh, which is small by default
712 to create the @code{f a c es} chord. Multiple modifiers must be
720 Some modifiers have predefined names, eg. @code{min} is the same as
721 @code{3-}, so @code{d-min} is a minor @code{d} chord.
724 c2:min f:min7 g:7^3.5 c:min @}
727 @cindex named modifier
729 A named modifier @code{min} and a normal modifier @code{7} do not have
730 to be separated by a dot. Tones from a chord are removed with chord
731 subtractions. Subtractions are started with a caret, and they are
732 also separated by dots. In this example, @code{g:7^3.5} produces a
733 minor seventh. The brace ends the sequential music.
740 We assemble the music in the @code{\score} block. Melody, lyrics and
741 accompaniment have to sound at the same time, so they should be
742 @code{\simultaneous}.
743 @cindex @code{\simultaneous}
749 Chord mode generates notes grouped in @code{\simultaneous} music. If
750 you remove the comment sign, you can see the chords in normal
751 notation: they will be printed as note heads on a separate
755 \context ChordNames \accompaniment
759 @cindex interpretation context
760 @cindex notation context
761 Normally, the notes that you enter are transformed into note heads.
762 The note heads alone make no sense, they need surrounding information:
763 a key signature, a clef, staff lines, etc. They need @emph{context}. In
764 LilyPond, these symbols are created by objects called `interpretation
765 contexts'. Interpretation contexts only exist during a run of
766 LilyPond. Interpretation contexts that are for printing music (as
767 opposed to playing music) are called `notation contexts'.
769 By default, LilyPond will create a Staff context for you. If you
770 removed the @code{%} sign in the previous line, you would see that
773 We don't want that default here, because we want chord names, not note heads.
774 An interpretation context can also created upon explicit request. The
775 keyword for such a request is @code{\context}. It takes two arguments.
776 The first is the name of an interpretation context. The name is a
777 string, it can be quoted with double quotes). The second argument is
778 the music that should be interpreted in this context. For the previous
779 line, we could have written @code{\context Staff \accompaniment}, and
786 @cindex @code{\addlyrics}
787 @cindex lyrics and melody, combining
788 @cindex combining lyrics and melody
790 The lyrics need to be aligned with the melody. This is done by
791 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
792 pieces of music (usually a melody and lyrics, in that order) and
793 aligns the syllables of the second piece under the notes of the
794 first piece. If you would reverse the order, the notes would be
795 aligned on the lyrics, which is not very useful. (Besides, it looks
799 \context Staff = mel @{
803 This is the argument of @code{\addlyrics}. We instantiate a
804 @code{Staff} context explicitly: should you chose to remove the comment
805 before the ``note heads'' version of the accompaniment, the
806 accompaniment will be on a nameless staff. The melody has to be on a
807 different staff as the accompaniment. This is accomplished by giving
808 the melody staff a different name.
811 \property Staff.noAutoBeaming = ##t
815 @cindex context variables
816 @cindex setting context variables
817 An interpretation context has variables that tune its behaviour. One of
818 the variables is @code{noAutoBeaming}. If set to @code{##t}, which is
819 the boolean value @var{true}, LilyPond will not try to put automatic beaming
820 on the current staff.
824 @cindex accessinng Scheme
825 @cindex evaluating Scheme
828 LilyPond internally uses GUILE, a Scheme-interpreter@footnote{Scheme is
829 a language from the LISP family. You can learn more about Scheme at
830 @uref{http://www.scheme.org}.} to represent data throughout the whole
831 program. The hash-sign (@code{#}) accesses GUILE directly: the code
832 following the hash-sign is evaluated as Scheme. The boolean value
833 @var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
838 \property Staff.automaticMelismata = ##t
841 @cindex automaticMelismata
843 @cindex @code{\addlyrics} and slurs
844 Similarly, we don't want to print a syllable when there is
845 a slur. This sets up @code{\addlyrics} to not put lyrics under notes
846 while there is a slur.
853 Finally, we put the melody on the current staff. Note that the
854 @code{\property} directives and @code{\melody} are grouped in sequential
855 music, so the property settings are done before the melody is
859 \context Lyrics \text
862 The second argument of @code{\addlyrics} is the text. The text also
863 should not land on a Staff, but on a interpretation context for
864 syllables, extenders, hyphens etc. This context is called
871 This ends @code{\simultaneous}.
874 \midi @{ \tempo 4=72;@}
877 This makes the music go to a MIDI file. MIDI is great for checking
878 music you enter. You listen to the MIDI file: if you hear something
879 unexpected, it's probably a typing error. @code{\midi} starts an output
880 definition, a declaration that specifies how to output music analogous
881 to @code{\paper @{ @}}. You can specify the tempo using the
882 @code{\tempo} command, in this case the tempo of quarter notes is set to
886 \paper @{ linewidth = 10.0\cm; @}
889 We also want notation output. The linewidth is short so the piece
890 will be set in two lines.
899 @section More movements
901 You probably ran @file{ly2dvi} on the last example, and ended up with a
902 viewable @file{.dvi} file. However, between there are a few steps of
903 which LilyPond is only one. To enhance your understanding of what's
904 happening under the hood when you run @code{ly2dvi}, we explain what
907 @code{ly2dvi} is a program that calls a number of programs in sequence.
908 The first thing it does, is running LilyPond on the input file. After
909 some calculations, a @file{.tex} is produced. The contents
910 of this file are very low-level instructions.
912 For example, the following file (@file{layout.ly})
916 \header @{ title = "Two miniatures"; @}
918 #(set! point-and-click line-column-location)
936 results in something like this@footnote{The titling in this manual was
937 not generated by ly2dvi, so details will differ.}
939 @center @strong{Two miniatures}
967 This file is produced by ly2dvi in a few stages, with the help of text
968 formatting tools. LilyPond produces two output files, @file{layout.tex}
969 and @file{layout-1.tex}. They both look like this:
973 \placebox@{-5 \outputscale @}%
974 @{ 8.7229 \outputscale @}%
975 @{\magfontWXGEomMMBo\char90 @}%
977 \placebox@{-4 \outputscale @}%
978 @{ 81.0647 \outputscale @}%
982 @file{ly2dvi} analyses the progress indication that LilyPond spews out,
983 and generates a file called @file{layout_ly1.tex}. This file contains
984 formatting instructions for the title and page layout. A fragment might
988 \geometry@{width=540.602362pt,headheight=2mm, ...
989 \renewcommand@{\@@oddfoot@}@{\parbox@{\textwidth@}@{\mbox@{@} ...
991 \lilypondtitle@{foo@}%
997 @file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
998 built on top of @TeX{}. It's very popular in the academic world. If LaTeX
999 is successful, this will produce a @file{.dvi} file, containing both the
1000 titling and notes. @code{ly2dvi} completes its task by deleting the two
1001 temporary files, leaving only @file{layout.dvi}.
1003 Next, now we'll look at the examples line by line to explain new things.
1008 Lilypond and its language are still under development, and occasionally,
1009 details of the syntax are changed. This fragment indicates for which
1010 version the input file was written. When you compile this file, the
1011 version number will be checked, and you will get a warning when the file
1014 This version number is also used by the @code{convert-ly} program (See
1015 @ref{convert-ly}), which uses it update the file to the latest lily
1019 \header @{ title = "Two miniatures"; @}
1021 This sets the titling information for the entire file.
1024 #(set! point-and-click line-column-location)
1027 This is Scheme code. It sets the variable @code{point-and-click} to the
1030 Editing input files can be quite complicated if you're working with
1031 large files: if you're digitizing existing music, you have to
1032 synchronize the .ly file, the sheet music on your lap and the sheet
1033 music on the screen. The point-and-click mechanism makes it easy to
1034 find the origin of an error in the .ly file: @footnote{This feature is
1035 presently only available on X-windows using patched versions of Xdvi and
1036 emacs} when you view the file with Xdvi and click on a note using
1037 control-mousebutton 1@footnote{If you're using a patched xdvik, the
1038 command is control-mousebutton-2}, your editor will jump to the spot
1039 where that note was entered.
1041 More information is in in @ref{Point and click}
1047 The @code{\score} blocks that follow in the file don't have
1048 @code{\paper} sections, so the settings of this block are substituted: A
1049 paper block, at top-level, i.e. not in a @code{\score} block sets the
1050 default page layout.
1053 linewidth = -1.0; @}
1058 The variable @code{linewidth} normally sets the length of the systems on
1059 the page. However, a negative value has a special meaning. If
1060 @code{linewidth} is less than 0, no line breaks are inserted into the
1061 score, and the spacing is set to natural length: a short phrase takes up
1062 little space, a longer phrase more space.
1066 \notes @{ c'4 d'4 @}
1069 In previous examples, notes were specified in relative octaves,
1070 i.e. each note was put in the octave that would put it closest to its
1071 predecessor. Besides relative, there is also absolute octave
1072 specification, and it is turned on by default. In this input mode, the
1073 central C is denoted by @code{c'}. Going down, you get @code{c}
1074 @code{c,} @code{c,,} etc. Going up, you get @code{c''} @code{c'''} etc.
1076 When you're copying music from existing sheet music, relative octaves
1077 are probably the easiest to use: it's less typing work and errors are
1078 easily spotted. However, if you write LilyPond input, either by hand
1079 (ie. composing) or by computer, absolute octaves are probably less work.
1086 The @code{\header} is normally at the top of the file, where it sets
1087 values for the rest of the file. If you want to typeset different pieces
1088 from one file (for example, if there are multiple movements, or if
1089 you're making a etude-book), you can put different @code{\score} blocks
1090 into the input file. ly2dvi will assemble all LilyPond output files into
1091 a big document. The contents of \header blocks specified within each
1092 score, are used for the titling of each movement.
1097 For example, the Opus number is put at the right, and the piece string
1098 will be at the left.
1102 @node A piano excerpt
1103 @section A piano excerpt
1105 Our third subject is a piece of piano music. The fragment in the input
1106 file is a piano reduction of the G major Sinfonia by Giovanni Battista
1107 Sammartini. It was composed around 1740. It's in the source package
1108 under the name @file{sammartini.ly}.
1111 \include "paper16.ly";
1113 stemDown = \property Voice.Stem \override #'direction = #-1
1114 stemUp = \property Voice.Stem \override #'direction = #1
1115 stemBoth = \property Voice.Stem \revert #'direction
1117 viola = \notes \relative c' \context Voice = viola {
1118 <c4-\f-\arpeggio g' c>
1124 oboes = \notes \relative c'' \context Voice = oboe {
1125 \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
1126 \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
1128 { \times 2/3 { a8 g c } \! c2 }
1129 \context Voice = oboeTwo {
1132 \property Grace.Stem \override #'direction = #-1
1137 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
1138 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
1139 [<c16( e> < )e8. g>] <c8 e,>
1142 hoomPah = \repeat unfold 8
1143 \notes \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
1145 bassvoices = \notes \relative c' {
1147 \autochange Staff \hoomPah
1148 \translator Staff = down
1149 \stemDown [c8 c'8] r4
1151 < {\stemUp r2 <e4 c'> <c8 g'> }
1152 \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
1156 \context PianoStaff \notes <
1157 \context Staff = up < \time 2/2;
1161 \context Staff = down < \time 2/2; \clef bass;
1168 linewidth = 15.0 \cm; }
1172 If it looks like incomprehensible gibberish to you, then you are right.
1173 This example has been doctored to have as many quirks as possible.
1176 stemDown = \property Voice.Stem \override #'direction = #-1
1179 As you can see, this example features more voices on one staff. To make
1180 room for those voices, their notes have to be stemmed in opposite
1181 directions. These are the commands to make that happen.
1183 The symbols that are printed, are internally represented by so-called
1184 Graphical Objects (or more colloquially: Grobs). These statements
1185 concern the grob called `Stem'. Each grob is described by a bunch of
1186 settings. These setting determine the fonts, offsets, sub-routines to be
1187 called on the grob, etc. The initial values of these settings are set
1188 in the Scheme file @file{scm/grob-description.scm}.
1190 This statement adds a the setting for all Stem grobs in the current
1191 Voice: @code{direction} is set to @code{-1}, which encodes down. The
1192 setting remains in effect until it is reverted.
1195 \property Voice.Stem \revert #'direction
1198 This statement reverts the old setting. If you do this, the effect of a
1199 @code{\stemDown} or @code{\stemUp} is neutralised.
1201 @code{\override} and @code{\revert} function like a stack: you can push
1202 values onto the grob-setting-stack with @code{\override} and you pop
1203 them with @code{\revert}.
1205 LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
1206 with some more often used formatting instructions, but to explain how it
1207 works, we wrote our own here. Of course, you should use predefined
1208 identifiers like these if possible: then you will be affected less by
1209 the implementation changes we occasionally make.
1212 viola = \notes \relative c' \context Voice = viola @{
1214 In this example, you can see multiple parts on a staff. Each part is
1215 associated with one notation context. This notation context handles
1216 stems and dynamics (among others). The name of this context is
1217 @code{Voice}. For each part we have to make sure that there is
1218 precisely one @code{Voice} context, so we give it an unique name
1222 <c4-\f-\arpeggio g' c>
1224 The delimiters @code{<} and @code{>} are shorthands for
1225 @code{\simultaneous @{} and @code{@}}. The expression enclosed in
1226 @code{<} and @code{>} is a chord.
1233 @code{\f} places a forte symbol under the chord. The forte applies to
1234 the whole chord, but the syntax requires that commands like forte and
1235 arpeggio are attached to a note, so here we attach them to the first
1238 @code{\arpeggio} draws an vertical wavy line before the chord,
1239 signifying an arpeggio.
1249 Relative octaves work a little differently with chords. The starting
1250 point for the note following a chord is the first note of the chord. So
1251 the @code{g} gets an octave up quote: it is a fifth above the starting
1252 note of the previous chord (the central C).
1257 @code{s} is a spacer rest. It does not print anything, but it does have
1258 the duration of a rest. It is useful for filling up voices that
1259 temporarily don't play. In this case, the viola doesn't come until one
1260 and a half measure later.
1263 oboes = \notes \relative c'' \context Voice = oboe @{
1265 Now comes a part for two oboes. They play homophonically, so we
1266 print the notes as one voice that makes chords. Again, we insure that
1267 these notes are indeed processed by precisely one context with
1270 \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
1272 @code{\stemUp} is a reference to the @code{\property \override} command
1275 \grace <e8 g> < d4 f> <c2 e>
1277 @cindex @code{\grace}
1281 @code{\grace} introduces grace notes. It takes one argument, in this
1285 The slur started on the @code{e} of the chord
1286 will be attached to the next note.@footnote{LilyPond will squirm
1287 about unended Slurs. In this case, you can ignore the warning}.
1294 Tuplets are made with the @code{\times} keyword. It takes two
1295 arguments: a fraction and a piece of music. The duration of the piece
1296 of music is multiplied by the fraction. Triplets make notes occupy 2/3
1297 of their notated duration, so in this case the fraction is 2/3.
1299 @{ <d8 \< f> <e g> <f a> @}
1301 The piece of music to be `tripletted' is sequential music containing
1302 three notes. On the first chord, a crescendo is started with
1303 @code{\<}. To be precise, the crescendo start is syntactically attached
1304 to the preceding note, the @code{d}.
1313 At this point, the homophonic music splits into two rhythmically
1314 different parts. We can't use a sequence of chords to enter this, so
1315 we make a `chord' of sequences to do it. We start with the upper
1316 voice, which continues with upward stems:
1318 @{ \times 2/3 @{ a8 g c @} \! c2 @}
1323 The crescendo is ended at the half note by the escaped exclamation
1326 \context Voice = oboeTwo @{
1329 We can't share stems with the other voice, so we have to create a new
1330 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
1331 it from the other context. Stems go down in this voice.
1335 @cindex Grace context
1336 When a grace section is processed, a @code{Grace} context is
1337 created. This context acts like a miniature score of its own. It has
1338 its own time bookkeeping, and you can make notes, beams, slurs
1339 etc. Here we fiddle with a property and make a beam. The argument of
1340 @code{\grace} is sequential music.
1343 \property Grace.Stem \override #'direction = #-1
1347 Normally, grace notes are always stem up, but in this case, the upper
1348 voice interferes. We set the stems down here.
1350 As far as relative mode is concerned, the previous note is the
1351 @code{c'''2} of the upper voice, so we have to go an octave down for
1358 This ends the two-part section.
1361 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
1366 @code{\stemBoth} ends the forced stem directions. From here, stems are
1367 positioned as if it were single part music.
1369 The bass has a little hoom-pah melody to demonstrate parts switching
1370 between staffs. Since it is repetitive, we use repeats:
1372 hoomPah = \repeat unfold 8
1374 @cindex unfolded @code{\repeat}
1375 This repeat print the following sequence notes eight times.
1377 \notes \transpose c' @{
1380 @cindex relative mode and transposing
1382 Transposing can be done with @code{\transpose}. It takes two arguments;
1383 the first specifies what central C should be transposed to. The second
1384 is the to-be-transposed music. As you can see, in this case, the
1385 transposition is a no-op, as central C stay at central C.
1387 The purpose of this no-op is circumventing relative mode. Relative mode
1388 can not be used together with transposition, so @code{\relative} will
1389 leave the contents of @code{\hoomPah} alone. We can use it without
1390 having to worry about getting the motive in a wrong octave.
1392 bassvoices = \notes \relative c' @{
1394 \autochange Staff \hoomPah
1396 @cindex staff switch, automatic
1397 @cindex cross staff voice, automatic
1398 @cindex @code{\autochange}
1400 Voices can switch between staffs. The easiest way to get this, is to use
1401 @code{\autochange}. This command looks at the pitch of each note, and if
1402 necessary, will cross to the other staff. For this to work, the two
1403 staffs must be called @code{"up"} and @code{"down"}.
1405 \translator Staff = down
1407 @cindex staff switch
1408 @cindex cross staff voice
1409 The rest of this melody must be in the lower staff, so we do a manual
1414 \context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
1418 After skipping some lines, we see @code{~}. This mark makes ties.
1422 A special context is needed to get cross staff beaming right. This
1423 context is called @code{PianoStaff}.
1425 \context Staff = bottom < \time 2/2; \clef bass;
1427 The bottom staff must have a different clef.
1431 To make some more room on the line, the first (in this case the only)
1432 line is not indented. The line still looks very cramped, but that is due
1433 to the page layout of this document.
1439 * font-size, multi-stanza.
1441 * Simple part combining in a Hymn
1444 @node An orchestral score
1445 @section An orchestral score
1447 If you've come this far, you should have seen enough LilyPond source to
1448 feel comfortable with an orchestral score. We will not go through the
1449 input line by line, but only indicate and explain the new elements.
1451 This orchestral score example consists of three input files. In the
1452 first file, @file{os-music.ly}, we define the music for all instruments.
1453 This file is to be used by the other two files, as you will see below.
1454 If you run lilypond on this file, no output will be produced.
1460 title = "Zo, goed lieverd?";
1461 subtitle = "How's, this babe?";
1464 piece = "Laid back";
1468 \skip 2*4; \bar "|.";
1470 Key = \notes \key as \major;
1471 flautoI = \notes\relative c'' @{
1473 bes as bes as bes as bes as
1475 flautoII = \notes\relative c'' @{
1476 as8 bes as bes R1 d4 ~ d
1478 tromboI = \notes\relative c'' @{
1479 c4. c8 c8 c4. es4 R1*1/2 es4
1481 tromboII = \notes\relative c'' @{
1482 as4. as8 as8 as4. R1*1/2 as4 es'
1484 timpani = \notes\relative c, @{
1485 \times 2/3 @{ f4 f f @}
1486 \times 4/5 @{ as8 as as as as @}
1489 corno = \notes\relative c' @{
1490 bes4 d f, bes d f, bes d
1494 Things to note here are the definition of @code{\global} where we define
1495 meter, and set the end bar. And the separate definition of @code{\Key}
1496 that we will use all staffs except staffs for transposing instruments.
1498 The second file, @file{os-score.ly} reads the definitions of the first
1499 (@file{os-music.ly}), and defines the @code{\score} block for the full
1504 \include "os-music.ly";
1505 \include "paper13.ly";
1507 #(set! point-and-click line-column-location)
1508 #(define text-flat '((font-relative-size . -2)
1509 (music "accidentals--1")))
1514 \context StaffGroup = woodwind <
1515 \context Staff = flauti <
1516 \property Staff.midiInstrument = #"flute"
1517 \property Staff.instrument = "2 Flauti"
1518 \property Staff.instr = "Fl."
1520 \context Voice=one @{ \voiceOne \flautoI @}
1521 \context Voice=two @{ \voiceTwo \flautoII @}
1524 \context StaffGroup = timpani <
1525 \context Staff = timpani <
1526 \property Staff.midiInstrument = #"timpani"
1527 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
1528 \property Staff.instr = #"Timp."
1534 \context StaffGroup = brass <
1535 \context Staff = trombe <
1536 \property Staff.midiInstrument = #"trumpet"
1537 \property Staff.instrument = #`(lines "2 Trombe" "(C)")
1538 \property Staff.instr = #`(lines "Tbe." "(C)")
1540 \context Voice=one \partcombine Voice
1541 \context Thread=one \tromboI
1542 \context Thread=two \tromboII
1544 \context Staff = corni <
1545 \property Staff.midiInstrument = #"french horn"
1546 \property Staff.instrument = #`(lines "Corno"
1547 (rows "(E" ,text-flat ")"))
1548 \property Staff.instr = #`(lines "Cor."
1549 (rows "(E" ,text-flat ")"))
1550 \property Staff.transposing = #3
1551 \notes \key bes \major;
1552 \context Voice=one \corno
1557 indent = 15 * \staffspace;
1558 linewidth = 60 * \staffspace;
1559 textheight = 90 * \staffspace;
1562 \consists "Rest_engraver";
1566 \remove "Rest_engraver";
1567 \consists "Multi_measure_rest_engraver";
1568 \consists "Bar_engraver";
1571 \HaraKiriStaffContext
1572 \remove "Multi_measure_rest_engraver";
1573 \remove "Bar_engraver";
1576 \OrchestralScoreContext
1577 BarNumber \override #'padding = #3
1586 @center @strong{Zo, goed lieverd?}
1588 @center How's, this babe?
1596 @lilypondfile{os-score.ly}
1598 First, we need to include the music definitions we made in
1601 \include "os-music.ly";
1604 In a large orchestral score like this you're bound to make some small
1605 mistakes, so we enable point and click (See @ref{Point and click})
1608 #(set! point-and-click line-column-location)
1611 We need a flat sign in text to name the tuning of the french horn, so we
1612 predefine it with bit of scheme markup text (See @ref{Text markup}).
1614 #(define text-flat '((font-relative-size . -2)
1615 (music "accidentals--1")))
1618 Of course, all staffs are simultaneous and use the same global settings.
1624 Then, we start a new staff group for the woodwind section (just the
1625 flutes in this case). Immediately after that, we start the staff for
1626 the two flutes, that also play simultaneously.
1628 \context StaffGroup = woodwind <
1629 \context Staff = flauti <
1632 We specify the intrument for MIDI output (see @ref{MIDI instrument
1635 \property Staff.midiInstrument = #"flute"
1638 And define the intrument names to be printed in the margin,
1639 @code{instrument} for the first line of the score, @code{instr} for the
1642 \property Staff.instrument = "2 Flauti"
1643 \property Staff.instr = "Fl."
1646 The flutes play in the default key.
1651 Last come the actual flute parts. Remember that we're still in
1652 simultaneous mode. We name both voices differently, so that LilyPond
1653 will actually create two Voice contexts. The flute parts are simple, so
1654 we specify manually which voice is which: @code{\voiceOne} forces the
1655 direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
1658 \context Voice=one @{ \voiceOne \flautoI @}
1659 \context Voice=two @{ \voiceTwo \flautoII @}
1662 We close the flutes staff and woodwind staff group.
1668 The timpani staff only shows a new piece of scheme markup, it sets two
1671 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
1674 For the trumpets we use the automatic part combiner (see @ref{Automatic
1675 part combining}) to combine the two simultaneous trumpet parts onto the
1676 trumpet staff. Each trumpet gets its own Thread context, which must be
1677 named @code{one} and @code{two}). The part combiner makes these two
1678 threads share a Voice when they're similar, and splits the threads up
1679 when they're different.
1681 \context Voice=one \partcombine Voice
1682 \context Thread=one \tromboI
1683 \context Thread=two \tromboII
1686 The french horn has the most complex scheme markup name, made up of two
1687 lines of text. The second line has two elements (rows), the @code{E}
1688 and the flat sign @code{text-flat} that we defined before.
1690 \property Staff.instrument = #`(lines "Corno"
1691 (rows "(E" ,text-flat ")"))
1694 The french horn is to be tuned in E-flat, so we tell the MIDI backend to
1695 transpose this staff by three steps.
1697 \property Staff.transposing = #3
1700 Therefore, it has a different key.
1702 \notes \key bes \major;
1705 We specify a big indent for the first line and a small linewith for this
1708 indent = 15 * \staffspace;
1709 linewidth = 60 * \staffspace;
1712 Because we have a Thread representing one instrument, we need to move
1713 the @code{Rest_engraver} from Voice to Thread level. Similarly, we need
1714 to move the @code{Multi_measure_rest_engraver} from Staff to Voice level.
1718 \consists "Rest_engraver";
1722 \remove "Rest_engraver";
1723 \consists "Multi_measure_rest_engraver";
1724 \consists "Bar_engraver";
1728 In orchestral scores, it often happens that one instrument has only
1729 rests during one line of the score. The @code{HaraKiriStaffContext} can
1730 be used as a regular @code{StaffContext} drop-in and will take care of
1731 the automatic removing of empty staffs.
1734 \HaraKiriStaffContext
1735 \remove "Multi_measure_rest_engraver";
1736 \remove "Bar_engraver";
1740 We want bar numbering at score level and want to move the bar number a
1741 few staff spaces up.
1744 \OrchestralScoreContext
1745 BarNumber \override #'padding = #3
1749 @node Part extraction
1750 @section Part extraction
1752 The third file, @file{os-flute-2.ly} also reads the definitions of the
1753 first (@file{os-music.ly}), and defines the @code{\score} block for the
1757 \include "os-music.ly";
1758 \include "paper16.ly";
1762 \property Staff.midiInstrument = #"flute"
1768 instrument = "Flauto II";
1771 linewidth = 80 * \staffspace;
1772 textheight = 200 * \staffspace;
1774 \OrchestralScoreContext
1784 @center @strong{Zo, goed lieverd?}
1786 @center How's, this babe?
1787 @center @emph{Flauto II}
1794 @lilypondfile{os-flute-2.ly}
1797 Because we separated the music definitions from the @code{\score}
1798 instantiations, we can easily define a second score from the music of
1799 the second flute. This then is the part for the second flute player.
1800 Of course, we make separate parts for all individual instruments.
1802 In this individual part the second flute has a whole staff for itself,
1803 so we don't want to force stem or tie directions.
1808 The @code{\header} definitions were also read from @file{os-music.ly},
1809 but we need to set the instrument for this particular score.
1812 instrument = "Flauto II";
1816 In the conductor's full score, all bars with rests are printed, but for
1817 the individual parts, we want to contract pieces of consecutive empty
1823 @node Latex and texinfo integration
1824 @section Latex and texinfo integration
1826 So what does this look like? Well, here is an example:
1827 @lilypond[veryverbatim, intertext="produces this music:"]
1831 [e16( g b c a g][e a b d] | )e2 d,8 |
1832 [e16( g b c a g][e a b d] | )b2 [a16( f] |
1833 [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
1834 [f( a b d b a][f a b d] | )e2
1838 If you are lucky, the above example show a nice feature of LilyPond
1839 and La@TeX{}. Since LilyPond can output the music as @TeX{} graphics,
1840 La@TeX{} can insert pagebreaks between the lines of music.
1842 Notice that there is no @code{\paper} statement in the example
1843 above. Lilypond-book will insert some code for you that defines the
1844 linewidth and the font to use. If you don't want to change the default,
1845 there is no need to put an empty @code{\paper@{@}} inside the @code{\score}.
1846 In the example above, something like
1847 this might be inserted before your code:
1849 \include "paper16.ly"
1850 \paper@{ \paper_sixteen
1851 linewidth = 390.\pt;
1852 castingalgorithm = \Gourlay;
1855 The actual values for linewidth will differ depending on papersize and
1856 number of columns. Also, if you use a different fontsize for the
1857 music, another file than @code{paper16.ly} will be included.
1859 If you want to make the music not so wide, you can insert a
1860 @code{\paper} statement that set the linewidth:
1862 @lilypond[veryverbatim, intertext="produces this music:"]
1866 [e16( g b c a g][e a b d] | )e2 d,8 |
1867 [e16( g b c a g][e a b d] | )b2 [a16( f] |
1868 [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
1869 [f( a b d b a][f a b d] | )e2
1871 \paper{linewidth = 10.\cm;}
1875 Very often, if you mix music and text, the music is often only a
1876 few notes or at most a few bars. This music should be as short as
1877 possible and not stretched to be aligned to the right margin.
1879 If you only write voice-contents in the lilypond block, @command{lilypond-book}
1880 will set the @code{linewidth} variable to -1, so Lilypond
1881 will make the music as short as possible but without breaking the
1882 line. Here is a well know harmonic progression:
1883 @lilypond[veryverbatim, intertext="produce a well known harmonic progression:"]
1884 \context Voice { <c' e g> <b d g> <c2 e g> }
1887 If you want to place music examples in the text,
1889 \context Voice { <c' e g> <b d g> <c2 e g> }
1891 , you can use the @code{eps} option. This will create the music as
1892 eps graphics and include it into the document with the
1893 @code{\includegraphics} command.
1895 The code used look like this:
1898 \context Voice @{ <c' e g> <b d g> <c2 e g> @}
1902 You can also use the @code{eps} option if the block is a complete
1903 lilypond source. This 5 cm long empty line,
1907 \paper{ linewidth = 5.\cm;}
1910 was created with this code:
1915 \paper@{ linewidth = 5.\cm;@}
1920 To avoid that La@TeX{} places the music on a line of its one, there should
1921 be no empty lines between the normal text and the lilypond
1924 You can also use @code{lilypondfile} (on a separate line, FIXME), to
1925 include another file.
1927 @subsection Fontsize options
1929 You can use all lilypond fontsizes in @command{lilypond-book}. The
1930 default 16pt fontsize is probably to big to be included in the middle of
1931 the text, 11pt or 13pt is probably better.
1933 The code can look like this:
1935 @@lilypond[13pt, eps]
1940 The following options set the fontsize:
1943 @lilypond[11pt, eps]
1945 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
1946 [d16 g, a b][c a b g][d'8 g f-\prall g]
1950 @lilypond[13pt, eps]
1952 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
1953 [d16 g, a b][c a b g][d'8 g f-\prall g]
1957 @lilypond[16pt, eps]
1959 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
1960 [d16 g, a b][c a b g][d'8 g f-\prall g]
1964 @lilypond[20pt, eps]
1966 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
1967 [d16 g, a b][c a b g][d'8 g f-\prall g]
1971 @lilypond[26pt, eps]
1973 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
1979 @subsection More options
1982 @item The @code{singleline} option set @code{linewidth} to -1.0.
1983 @item The @code{multiline} option set @code{linewidth} to a value letting
1984 the music be aligned to the right margin. The music can span several
1988 @subsection Just in case...
1989 The options @code{fragment} and @code{nofragment} will override
1990 @command{lilypond-book} when it scans the lilypond code to see if it is voice
1991 contents or complete code. This might be useful if @command{lilypond-book} choose
1994 Since there is no finder's fee which doubles every year, there is no
1995 need to wait for the price money to grow. So send a bug report today
1996 if you need this one of these options.
1998 @subsection Examples
2000 This was all options to @code{\begin}. The rest of the lilypond
2001 document will show some ways you can use lilypond in
2002 La@TeX{} documents. It will also act as a simple test-suite for
2003 lilypond-book. You can place @code{eps} lilypond in and marginspars just
2004 as any other included eps graphics.
2010 r4-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
2011 [f16-.( )f-. dis8-- gis16-.( )gis-.] cis4.-\fermata |
2013 r4.-\fermata [cis,16 cis g'8 f16 f b8][g16 g f8 b16 b] dis4.-\fermata
2015 \paper{linewidth = 7.\cm;}
2020 To the right you can see some bars from the trumpet fanfara from the
2021 beginning of the fantastic street opera ``Houdini the Great'', by the
2022 Danish composer Andy Pape. The music is put inside a
2023 @code{floatingfigure} environment, and the music will be aligned by
2024 the right marging if you set floatingfigure width and lilypond linewidth
2025 to the same value. The code looks like this:
2031 r4.-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
2032 [f16-.( )f-. dis8-- gis16-.( )gis-.] cis8.-\fermata |
2034 r4.-\fermata [cis,16 cis g'8 f16 f b8]
2035 [g16 g f8 b16 b] dis4.-\fermata
2037 \paper{linewidth = 7.\cm;}
2041 If you have a lot of small music examples like this in the middle of
2042 your text, you might get a nicer look by using ``double'' line
2043 spacing. Put the @code{\linespread@{1.6@}} command into the preamble of
2044 your document. Then the line spacing will not be increased between the
2045 lines where you have music printed with the smallest font size.
2047 Lilypond-book does know about @code{\onecolumn} and @code{\twocolumn}.
2048 So the music will be adjusted to the new linewith:
2050 Verbatim environments will also ignore the page margins. That is
2051 a feature of La@TeX{}. (But you usually put things inside a verbatim
2052 environment when you don't want La@TeX{} to do any linebreaking)
2055 @node end of tutorial
2058 That's all folks. From here, you can either try fiddling with input
2059 files, or you can read the reference manual. You can find more example
2060 files in @file{input} and @file{input/test}. You can also look at Real
2061 Music (TM), have a look at the @ref{Mutopia project}.
2065 [TODO figure out what to do with this: ]
2068 @node Pre-cooked makefile
2069 @section Pre-cooked makefile
2071 @c waar deze info? is uiteindelijk wel handig, schat ik.
2074 If you have a big music project, or just a lot of LilyPond input files,
2075 all generated output from LilyPond, @TeX{} and metafont will clutter
2076 your working directory. LilyPond comes with a one-size-fits-all
2077 pre-cooked makefile that helps you manage producing ouptut. It will
2078 produce all output in @file{out}, generate and track dependencies.
2079 Also, it helps in preparing your submission to the @ref{Mutopia
2086 cp /usr/share/lilypond/make/ly.make GNUmakefile
2087 cp /usr/share/doc/lilypond/examples/input/tutorial/menuet.ly .
2090 Generated out/menuet.ps for target menuet.
2093 Type @samp{make help} to see possible targets.
2096 @file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}