1 @c -*- coding: utf-8; mode: texinfo; -*-
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11 @include included/generating-output.itexi
18 This chapter gives a basic introduction to working with LilyPond.
22 * How to write input files::
23 * Dealing with errors::
24 * How to read the manuals::
27 @node Compiling a file
28 @section Compiling a file
30 This section introduces @qq{compiling}---the processing of
31 LilyPond input files (written by you) to produce output files.
41 @subsection Entering input
45 @cindex example, first
46 @cindex case sensitive
52 @qq{Compiling} is the term used for processing an input file in
53 LilyPond format to produce output file(s). Output files are
54 generally PDF (for printing or viewing), MIDI (for playing), and
55 PNG (for online use). LilyPond input files are simple text files.
57 This example shows a simple input file:
60 \version "@w{@version{}}"
66 The graphical output is:
68 @c in this case we don't want verbatim
75 @warning{Notes and lyrics in LilyPond input must always be
76 surrounded by @w{@strong{@{ curly braces @}}}. The braces
77 should also be surrounded by a space unless they are at the
78 beginning or end of a line to avoid ambiguities. They may
79 be omitted in some examples in this manual, but don't forget them
80 in your own music! For more information about the display of
81 examples in the manual, see @ref{How to read the manuals}.}
83 In addition, LilyPond input is @strong{case sensitive}.
84 @w{@samp{@{ c d e @}}} is valid input; @w{@samp{@{ C D E @}}} will
85 produce an error message.
90 @node Producing output
91 @unnumberedsubsubsec Producing output
97 The method of producing output depends on your operating system
98 and the program(s) you use.
103 @ref{MacOS X, @sourceimage{logo-macosx,,,}}
104 @ref{MacOS X, MacOS X} (graphical)
107 @ref{Windows, @sourceimage{logo-windows,,,}}
108 @ref{Windows, Microsoft Windows} (graphical)
111 @ref{Command-line, @sourceimage{logo-linux,,,}
112 @sourceimage{logo-freebsd,,,}
113 @sourceimage{logo-macosx,,,}
114 @sourceimage{logo-windows,,,}
116 @ref{Command-line, All operating systems} (command-line)
120 There are several other text editors available with specific
121 support for LilyPond. For more information, see
122 @rweb{Easier editing}.
124 @warning{The first time you ever run LilyPond, it may take a
125 minute or two because all of the system fonts have to be analyzed
126 first. After this, LilyPond will be much faster!}
132 @cindex running LilyPond under MacOS X
133 @cindex MacOS X, running LilyPond
141 @cindex running LilyPond under Windows
142 @cindex Windows, running LilyPond
148 @subsection Command-line
150 @cindex running LilyPond under Unix
151 @cindex Unix, running LilyPond
155 @node How to write input files
156 @section How to write input files
158 This section introduces some basic LilyPond syntax to help get you
159 started writing input files.
163 * Working on input files::
167 @node Simple notation
168 @subsection Simple notation
170 @cindex simple notation
171 @cindex notation, simple
175 * Durations (rhythms)::
183 LilyPond will add some notation elements automatically. In the
184 next example, we have only specified four pitches, but LilyPond
185 has added a clef, time signature, and rhythms.
187 @lilypond[verbatim,quote]
194 This behavior may be altered, but in most cases these automatic
199 @unnumberedsubsubsec Pitches
202 @cindex relative mode
203 @cindex quote, single
205 @cindex accidentals and relative mode
206 @cindex relative mode, and accidentals
213 Music Glossary: @rglos{pitch}, @rglos{interval},
214 @rglos{scale}, @rglos{middle C}, @rglos{octave},
217 LilyPond uses lower-case letters for pitches. The letters
218 @code{c} through@tie{}@code{b} denote pitches in the
219 @q{small octave} below @notation{middle C}. Added @code{'}
220 or@tie{}@code{,} suffixes indicate higher or lower octaves.
221 Here is a scale starting on @notation{middle C}, and an arpeggio:
223 @lilypond[verbatim,quote]
224 { c' d' e' f' g' a' b' c'' g c' e' g' c'' e'' g'' c''' }
227 The easiest way to enter notes is by using @code{\relative} mode.
228 In this mode, the octave is chosen automatically by assuming the
229 following note is always to be placed closest to the previous
230 note, i.e., it is to be placed in the octave which is within three
231 staff spaces of the previous note. We begin by entering the most
232 elementary piece of music, a @notation{scale}, in which every note
233 is within just one staff space of the previous note.
235 @lilypond[verbatim,quote]
242 The initial note is @notation{middle C}, denoted by @code{c'}.
243 Each successive note is
244 placed closest to the previous note -- in other words, the first
245 @code{c} is the closest C to middle C. This is followed by the
246 closest D to the previous note. We can create melodies which have
247 larger intervals, still using only @code{\relative} mode:
249 @lilypond[verbatim,quote]
257 In the previous example, the first note -- the @code{d'} with one
258 @code{'}-mark -- is the D in the octave starting from middle C
261 By adding (or removing) quotes @code{'} or commas @code{,} from
262 the first note, we can change the starting octave:
264 @lilypond[verbatim,quote]
270 Relative mode can be confusing initially, but is the easiest way
271 to enter most melodies. Let us see how this relative calculation
272 works in practice. Starting from a B, which is on the middle line
273 in a treble clef, you can reach a C, D and E within 3 staff spaces
274 going up, and an A, G and F within 3 staff spaces going down. So
275 if the note following a B is a C, D or E it will be assumed to be
276 above the B, and an A, G or F will be assumed to be below.
278 @lilypond[verbatim,quote]
280 b' c % c is 1 staff space up, so is the c above
281 b d % d is 2 up or 5 down, so is the d above
282 b e % e is 3 up or 4 down, so is the e above
283 b a % a is 6 up or 1 down, so is the a below
284 b g % g is 5 up or 2 down, so is the g below
285 b f % f is 4 up or 3 down, so is the f below
289 Exactly the same happens even when any of these notes are
290 sharpened or flattened. @notation{Accidentals} are
291 @strong{totally ignored} in the calculation of relative position.
292 Precisely the same staff space counting is done from a note at any
293 other position on the staff.
295 To add intervals that are larger than three staff spaces, we can
296 raise the @notation{octave} by adding a single quote @code{'} (or
297 apostrophe) to the note name. We can lower the octave by adding a
298 comma @code{,} to the note name.
300 @lilypond[verbatim,quote]
308 To change a note by two (or more!) octaves, we use multiple
309 @code{''} or @code{,,} -- but be careful that you use two single
310 quotes @code{''} and not one double quote @code{"}@tie{}!
311 @c " - keeps quotes in order for context-sensitive editor -td
313 @node Durations (rhythms)
314 @unnumberedsubsubsec Durations (rhythms)
316 @cindex note durations
323 @cindex notating durations
325 Music Glossary: @rglos{beam}, @rglos{duration},
326 @rglos{whole note}, @rglos{half note}, @rglos{quarter note},
329 The @notation{duration} of a note is specified by a number after
330 the note name: @code{1} for a @notation{whole note}, @code{2} for
331 a @notation{half note}, @code{4} for a @notation{quarter note} and
332 so on. @notation{Beams} are added automatically.
334 If you do not specify a duration, the previous duration is used
335 for the next note. The duration of the first note defaults to a
338 @lilypond[verbatim,quote]
342 a16 a a a a32 a a a a64 a a a a a a a a2
346 To create @notation{dotted notes}, add a dot @code{.} to the
347 duration number. The duration of a dotted note must be stated
348 explicitly (i.e., with a number).
350 @lilypond[verbatim,quote]
358 @unnumberedsubsubsec Rests
361 @cindex notating rests
363 Music Glossary: @rglos{rest}.
365 A @notation{rest} is entered just like a note with the name
368 @lilypond[verbatim,quote]
377 @unnumberedsubsubsec Time signature
379 @cindex time signature
384 Music Glossary: @rglos{time signature}.
386 The @notation{time signature} can be set with the @code{\time}
389 @lilypond[verbatim,quote]
401 @unnumberedsubsubsec Tempo marks
404 @cindex metronome marks
409 Music Glossary: @rglos{tempo indication}, @rglos{metronome}.
411 The @notation{tempo indication} and @notation{metronome mark} can be
412 set with the @code{\tempo} command:
414 @lilypond[verbatim,quote]
423 \tempo "Presto" 4 = 120
430 @unnumberedsubsubsec Clef
441 Music Glossary: @rglos{clef}.
443 The @notation{clef} can be set using the @code{\clef} command:
445 @lilypond[verbatim,quote]
460 @unnumberedsubsubsec All together
462 Here is a small example showing all these elements together:
464 @lilypond[verbatim,quote]
468 \tempo "Andante" 4 = 120
478 Notation Reference: @ruser{Writing pitches},
479 @ruser{Writing rhythms}, @ruser{Writing rests},
480 @ruser{Time signature}, @ruser{Clef}.
483 @node Working on input files
484 @subsection Working on input files
487 @cindex braces, curly
490 @cindex comment, line
491 @cindex block comment
492 @cindex comment, line
493 @cindex case sensitive
494 @cindex whitespace insensitive
498 @cindex version number
503 @funindex %@{ ... %@}
505 LilyPond input files are similar to source files in many common
506 programming languages. They contain a version statement, are case
507 sensitive, and white-space is generally ignored. Expressions are
508 formed with curly braces @w{@code{@{ @}}}, and comments are
509 denoted with @code{%} or @w{@code{%@{ @dots{} %@}}}@tie{}.
511 If the previous sentences sound like nonsense, don't worry! We'll
512 explain what all these terms mean:
517 @strong{Version statement}:
518 Every LilyPond file should contain a version statement. A version
519 statement is a line that describes the version of LilyPond for which
520 the file was written, as in the following example:
523 \version "@w{@version{}}"
526 By convention, the version statement is placed at the top of the
529 The version statement is important for at least two reasons. First,
530 it allows automatic updating of the input file as LilyPond syntax
531 changes. Second, it describes the version of LilyPond needed to
534 If the version statement is omitted from an input file, LilyPond will print
535 a warning during the compilation of the file.
538 @strong{Case sensitive}:
539 it matters whether you enter a letter in lower case (e.g.
540 @w{@code{a, b, s, t}}) or upper case (e.g. @w{@code{A, B, S, T}}).
541 Notes are lower case: @w{@samp{@{ c d e @}}} is valid input;
542 @w{@samp{@{ C D E @}}} will produce an error message.
545 @strong{Whitespace insensitive}:
546 it does not matter how many spaces (or tabs or new lines) you add.
547 @w{@samp{@{ c4 d e @}}} means the same thing as
548 @w{@samp{@{ c4 @tie{} @tie{} @tie{} d e @}}} and:
556 Of course, the previous example is hard to read. A good rule of
557 thumb is to indent code blocks with two spaces:
565 However, whitespace @emph{is} required to separate many
566 syntactical elements from others. In other words, whitespace can
567 always be @emph{added}, but not always @emph{eliminated}. Since
568 missing whitespace can give rise to strange errors, it is
569 advisable to always insert whitespace before and after every
570 syntactic element, for example, before and after every curly
574 @strong{Expressions}:
575 every piece of LilyPond input needs to have
576 @strong{@{@tie{}curly@tie{}braces@tie{}@}} placed around the
577 input. These braces tell LilyPond that the input is a single
578 music expression, just like parentheses @code{()} in mathematics.
579 The braces should be surrounded by a space unless they are at the
580 beginning or end of a line to avoid ambiguities.
582 A LilyPond command followed by a simple expression in braces (such
583 as @q{@w{@code{@bs{}relative @{ @dots{} @}}}}) also counts as a
584 single music expression.
588 @cindex block comment
591 a comment is a remark for the human reader of the music input; it
592 is ignored while parsing, so it has no effect on the printed
593 output. There are two types of comments. The percent symbol
594 @code{%} introduces a line comment; anything after @code{%} on
595 that line is ignored. By convention, a line comment is placed
596 @emph{above} the code it refers to.
600 % this comment refers to the Bs
604 A block comment marks a whole section of music input as a comment.
605 Anything that is enclosed in @code{%@{} and @code{%@}} is ignored.
606 However, block comments do not @q{nest}. This means that you
607 cannot place a block comment inside another block comment. If you
608 try, the first @code{%@}} will terminate @emph{both} block
609 comments. The following fragment shows possible uses for
613 % notes for twinkle twinkle follow
617 This line, and the notes below are ignored,
618 since they are in a block comment.
627 @node Dealing with errors
628 @section Dealing with errors
630 @cindex troubleshooting
632 Sometimes LilyPond doesn't produce the output you expect. This
633 section provides some links to help you solve the problems you
638 * General troubleshooting tips::
639 * Some common errors::
642 @node General troubleshooting tips
643 @subsection General troubleshooting tips
645 Troubleshooting LilyPond problems can be challenging for
646 people who are used to a graphical interface, because invalid
647 input files can be created. When this happens, a logical approach
648 is the best way to identify and solve the problem. Some guidelines
649 to help you learn to do this are provided in @rprogram{Troubleshooting}.
652 @node Some common errors
653 @subsection Some common errors
655 @cindex common errors
656 @cindex errors, common
658 There are a few common errors that are difficult to troubleshoot
659 based simply on the error messages that are displayed. These are
660 described in @rprogram{Common errors}.
664 @node How to read the manuals
665 @section How to read the manuals
667 This section shows how to read the documentation efficiently, and
668 also introduces some useful interactive features available in the
673 * Clickable examples::
674 * Overview of manuals::
678 @node Omitted material
679 @subsection Omitted material
682 @cindex how to read the manual
683 @cindex manual, reading
684 @cindex reading the manual
685 @cindex examples, clickable
686 @cindex clickable examples
687 @cindex tips for constructing files
689 @cindex constructing files, tips
690 @cindex files, tips for constructing
692 LilyPond input must be surrounded by @code{@{ @}} marks or a
693 @q{@w{@code{@bs{}relative @{ @dots{} @}}}}, as we saw in
694 @ref{Working on input files}. For the rest of this manual, most
695 examples will omit this. To replicate the examples, you may copy
696 and paste the displayed input, but to put the pitches in the same
697 octaves as seen in the manual you @strong{must} add a particular
698 form of @code{@bs{}relative} with an explicit starting pitch
699 @code{c''} like this:
703 @dots{}example goes here@dots{}
707 Also, remember that every LilyPond file should have a
708 @code{\version} statement. Because the examples in the manuals
709 are snippets, not files, the @code{\version} statement is omitted.
710 But you should make a practice of including them in your files.
712 @node Clickable examples
713 @subsection Clickable examples
715 @warning{This feature is only available in the HTML manuals.}
717 Many people learn programs by trying and fiddling around with the
718 program. This is also possible with LilyPond. If you click on a
719 picture in the HTML version of this manual, you will see the exact
720 LilyPond input that was used to generate that image. Try it on
726 c''4-\markup { \bold \huge { Click here. } }
730 By cutting and pasting everything in the @qq{ly snippet} section,
731 you have a starting template for experiments. To see exactly the
732 same output (line-width and all), copy everything from @qq{Start
733 cut-&-pastable section} to the bottom of the file.
739 @n ode Keyboard navigation
740 @s ubsection Keyboard navigation
742 @warning{This features is only available in the HTML manuals.}
744 @c TODO: once this is figured out, insert it here.
746 We are currently working on this feature.
749 @node Overview of manuals
750 @subsection Overview of manuals
752 There is a lot of documentation for LilyPond. New users are
753 sometimes confused about what part(s) they should read, and
754 occasionally skip over reading vital portions.
756 @warning{Please do not skip over important parts of the
757 documentation. You will find it much harder to understand later
763 @strong{Before trying to do @emph{anything}}: read the Learning
764 manual's @ref{Tutorial}, and @ref{Common notation}. If you
765 encounter musical terms which you do not recognize, please look
766 them up in the @rglosnamed{Top, Glossary}.
769 @strong{Before trying to write a complete piece of music}: read
770 the Learning manual's @ref{Fundamental concepts}. After that, you
771 may want to look in relevant sections of the
772 @rusernamed{Top, Notation reference}.
775 @strong{Before trying to change the default output}: read the
776 Learning manual's @ref{Tweaking output}.
779 @strong{Before undertaking a large project}: read the Usage
780 document's @rprogram{Suggestions for writing files}.