1 \input texinfo @c -*-texinfo-*-
2 @setfilename tutorial.info
3 @settitle Typesetting music with LilyPond
7 This is a short tutorial to show you how LilyPond works. It is not a
8 tutorial. It was written by Han-Wen Nienhuys.
10 Copyright 1999 by its authors.
16 @c fool ls-latex: why not use these, for texinfo??
18 @author Han-Wen Nienhuys
19 @title Typesetting music with LilyPond
23 @comment The title is printed in a large font.
24 @center @titlefont{LilyPond tutorial}
26 @center @titlefont{Han-Wen Nienhuys}
28 @vskip 0pt plus 1filll
29 Copyright @copyright{} 1999 by its author(s)
33 @node Top, , The end, (dir)
36 * Typesetting music with LilyPond::Typesetting music with LilyPond
43 @node Typesetting music with LilyPond, Introduction, , Top
45 * Introduction:: Introduction
46 * tutorial-introduction:: tutorial-introduction
47 * The first tune:: The first tune
48 * sec-firsttune:: sec-firsttune
49 * Lyrics and chords:: Lyrics and chords
50 * Piano music:: Piano music
53 @chapter Typesetting music with LilyPond
55 @node Introduction, tutorial-introduction, Typesetting music with LilyPond, Typesetting music with LilyPond
57 @node tutorial-introduction, The first tune, Introduction, Typesetting music with LilyPond
60 LilyPond prints music from a specification that you, the user, supply.
61 You have to give that specification using a @emph{language}. This
62 document is a gentle introduction to that language, which is called
63 Mudela, an acronym of Music Definition Language.
65 This tutorial will demonstrate how to use Mudela by presenting
66 examples of input along with resulting output. We will use English
67 terms for notation. In case you are not familiar with those, you may
68 consult the glossary that is distributed with LilyPond.
70 The examples discussed are included in the distribution, in the
71 subdirectory @file{input/tutorial/}. It is recommended that you
72 experiment with writing Mudela input yourself, to get a feel for
75 @node The first tune, sec-firsttune, tutorial-introduction, Typesetting music with LilyPond
76 @section The first tune
77 @node sec-firsttune, Lyrics and chords, The first tune, Typesetting music with LilyPond
79 To demonstrate what LilyPond input looks like, we start off with a
80 full fledged, yet simple example. It is a convoluted version
81 of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
84 % lines preceded by a percent are comments.
88 \relative c'' \sequential{
93 d4 g,8 a b c d4 g, g |
94 e'4 c8 d e fis g4 g, g |
95 c4 d8()c b a( )b4 c8 b a g |
96 a4 [b8 a] [g fis] g2. |
101 g4 e8 fis g d cis4 b8 cis a4 |
102 a8-. b-. cis-. d-. e-. fis-.
109 % standard settings are too wide for a book
110 linewidth = 14.0 \cm;
115 Enter it (or copy it, the filename is @file{menuet.ly}), compile it
116 with LilyPond and view the output. Details of this procedure may vary
117 from system to system. To create the output, one would issue the
118 command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
119 the job of running LilyPond and TeX, handling of titles and
120 adjusting of page margins.
122 If all goes well, the file @file{menuet.dvi} will be created.
123 To view this output, issue the command `@code{xdvi menuet}'.
125 Now that we are familiar with the procedure of producing output, we
126 will analyse the input, line by line.
128 Let's try to redo this
131 % lines preceded by a percent are comments.
134 The percent sign, `@code{%}', introduces a line comment. If you want to
135 make larger comments, you can use block comments. These are delimited
136 by `@code{%@{}' and `@code{%@}}'
138 @multitable @columnfractions .60 .39
141 @c @example urg: no tt font
142 @c @exdent % lines preceded by a percent are comments.
143 @exdent @code{% lines preceded by a percent are comments.}
146 The percent sign, `@code{%}', introduces a line comment. If you
147 want to make larger comments, you can use block comments. These
148 are delimited by `@code{%@{}' and `@code{%@}}'
155 By default, LilyPond will use definitions for a 20
156 point@footnote{A point is the standard measure of length for
157 printing. One point is 1/72.27 inch.} high staff. We want smaller
158 output (16 point staff height), so we must import the settings for
159 that size, which is done.@example
164 A mudela file combines music with directions for outputting that
165 music. The music is combined with the output directions by putting
166 them into a @code{\score} block.
172 This makes LilyPond ready for accepting notes.
178 As we will see, pitches are combinations of octave, note name and
179 chromatic alteration. In this scheme, the octave is indicated by
180 using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
181 `@code{,}'). The central C is denoted by @code{c'}. The C one octave
182 higher is @code{c''}. One and two octaves below the central C is
183 denoted by @code{c} and @code{c,} respectively.
185 For pitches in a long piece you might have to type many quotes. To
186 remedy this, LilyPond has a ``relative'' octave entry mode. In this
187 mode, octaves of notes without quotes are chosen such that a note is
188 as close as possible (graphically, on the staff) to the the preceding
189 note. If you add a high-quote an extra octave is added. The lowered
190 quote (a comma) will subtract an extra octave. Because the first note
191 has no predecessor, you have to give the (absolute) pitch of the note
192 to start with.@example
197 What follows is sequential music, i.e.,
198 notes that are to be played and printed after each other.@example
203 This command changes the time signature of the current piece: a 3/4
204 sign is printed. This command is also used to generate bar lines in
205 the right spots.@example
210 This command changes the current key to G-major. Although this
211 command comes after the @code{\time} command, in the output, the key
212 signature comes before the time signature: LilyPond knows about music
213 typesetting conventions. @example
218 This command tells LilyPond that the following piece of music must
219 be played twice; @code{"volta"} volta brackets should be used for
220 alternatives---if there were any.
226 The subject of the repeat is again sequential music. Since
227 @code{\sequential} is such a common construct, a shorthand is provided:
228 just leave off @code{\sequential}, and the result is the same. @example
233 This is a note with pitch @code{d} (determined up to octaves). The
234 relative music was started with a @code{c''}, so the real pitch of this
235 note is @code{d''}. The @code{4} designates the duration of the note
236 (it is a quarter note). @example
241 These are notes with pitch @code{a} and @code{b}. Because their
242 duration is the same as the @code{g}, there is no need to enter the
243 duration (You may enter it anyway, eg. @code{a4 b4}) @example
248 Three more notes. The `@code{|}' character is a `barcheck'. When
249 processing the music, LilyPond will verify that barchecks are found at
250 the start of a measure. This can help you track down errors.
252 So far, no notes were chromatically altered. Here is the first one
253 that is: @code{fis}. Mudela by default uses Dutch note names, and
254 ``Fis'' is the Dutch note name for ``F sharp''. However, there is no
255 sharp sign in the output. The program keeps track of key signatures,
256 and will only print accidentals if they are needed.
262 LilyPond guesses were beams can be added to eighth and shorter notes.
263 In this case, a beam over 4 eighths is added.
266 c4 d8( )c b a( )b4 c8 b a g |
269 The next line shows how to make a slur:
270 the beginning and ending note of the slur is marked with an opening and
271 closing parenthesis respectively. In the line shown above this is
272 done for two slurs. Slur markers (parentheses) are between
278 Automatic beaming can be overridden by inserting beam marks
279 (brackets). Brackets are put around notes you want beamed.@example
284 A duration with augmentation dot is notated
285 with the duration number followed by a period.@example
290 This ends the sequential music to be repeated. LilyPond will typeset
291 a repeat bar. @example
296 This line shows that Lily will print an accidental if that is
297 needed: the first C sharp will be printed with an accidental, the
298 second one without. @example
300 a8-. b-. cis-. d-. e-. fis-.
303 You can enter articulation signs either in a verbose form using a
304 shorthand. Here we demonstrate the shorthand: it is formed by a dash
305 and the the character for the articulation to use, e.g. `@code{-.}' for
306 staccato as shown above. @example
312 Rests are denoted by the special notename `@code{r}'. You can also enter
313 an invisible rest by using the special notename `@code{s}'.
319 All articulations have a verbose form, like @code{\fermata}. The
320 command `@code{\fermata}' is not part of the core of the language (most
321 of the other discussed elements are), but it is a shorthand for a more
322 complicated description of a fermata. @code{\fermata} names that
323 description and is therefore called an @emph{identifier}. @example
337 This specifies a conversion from music to notation output. Most of
338 the details of this conversions (font sizes, dimensions, etc.) have
339 been taken care of, but to fit the output in this document, it has
340 to be smaller. We do this by setting the line width to 14 centimeters
341 (approximately 6 inches).
347 The last brace ends the @code{\score} block.
349 There are two things to note here. The format contains musical
350 concepts like pitches and durations, instead of symbols and positions:
351 the input format tries to capture the meaning of @emph{music}, and not
352 notation. Therefore Second, the format tries to be @emph{context-free}:
353 a note will sound the same regardless of the current time signature,
356 The purpose of LilyPond is explained informally by the term `music
357 typesetter'. This is not a fully correct name: not only does the
358 program print musical symbols, it also makes esthetic decisions. All
359 symbols and their placement is @emph{generated} from a high-level musical
360 description. In other words, LilyPond would be best
361 described by `music compiler' or `music to notation compiler'.
363 @node Lyrics and chords, Piano music, sec-firsttune, Typesetting music with LilyPond
364 @section Lyrics and chords
366 In this section we show how to typeset a song of unknown
367 origin.@footnote{The author would welcome information about the origin
372 title = "The river is flowing";
373 composer = "Traditional (?)";
375 \include "paper16.ly"
376 melody = \notes \relative c' @{
379 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
380 c4 c8 d [es () d] c4 | d4 es8 d c4.
385 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
386 ri -- ver is flo -- wing down to the sea.
389 accompaniment =\chords @{
391 c2-3- f-3-.7 d-min es4 c8-min r8
392 c2-min f-min7 g-7^3.5 c-min @}
397 \context ChordNames \accompaniment
400 \context Staff = mel @{
401 \property Staff.noAutoBeaming = "1"
402 \property Staff.automaticMelismata = "1"
405 \context Lyrics \text
408 \paper @{ linewidth = 10.0\cm; @}
413 The result would look this@footnote{The titling and font size shown
414 may differ, since the titling in this document is not generated by
417 @center @strong{The river is flowing}
422 title = "The river is flowing";
423 composer = "Traditional (?)";
425 \include "paper16.ly"
426 melody = \notes \relative c' {
429 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
430 c4 c8 d [es () d] c4 | d4 es8 d c4.
435 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
436 ri -- ver is flo -- wing down to the sea.
439 accompaniment =\chords {
441 c2-3- f-3-.7 d-min es4 c8-min r8
442 c2-min f-min7 g-7^3.5 c-min }
447 \context ChordNames \accompaniment
450 \context Staff = mel {
451 \property Staff.noAutoBeaming = "1"
452 \property Staff.automaticMelismata = "1"
455 \context Lyrics \text
458 \paper { linewidth = 10.0\cm; }
462 Again, we will dissect the file line by line.@example
467 Information about the music you are about to typeset goes into a
468 @code{\header} block. The information in this block is not used by
469 LilyPond, but it is included in the output. @file{ly2dvi} uses this
470 information to print titles above the music.
473 title = "The river is flowing";
474 composer = "Traditional (?)";
476 the @code{\header} block contains assignments. An assignment starts
477 with a string. (which is unquoted, in this case). Then comes the
478 equal sign `@code{=}'. After the equal sign comes the expression you
479 want to store. In this case, you want to put in strings. The
480 information has to be quoted here, because it contains spaces. The
481 assignment is finished with a semicolon.@example
483 \include "paper16.ly"
486 Smaller size for inclusion in a book.@example
488 melody = \notes \relative c' @{
491 The structure of the file will be the same as the previous one, a
492 @code{\score} block with music in it. To keep things readable, we will
493 give names to the different parts of music, and use the names to
494 construct the music within the score block.
502 The piece starts with an anacrusis of one eighth. @example
504 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
505 c4 c8 d [es () d] c4 | d4 es8 d c4.
509 We use explicit beaming. Since this is a song, we will turn automatic
510 beams off, and use explicit beaming where needed.@example
515 This ends the definition of @code{melody}. Note that there are no
516 semicolons after assignments at top level.@example
521 Another identifier assignment. This one is for the lyrics.
522 Lyrics are formed by syllables that have duration, and not by
523 notes. To make LilyPond parse words as syllables, switch it into
524 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
525 is a shorthand for @code{\sequential @{}. @example
527 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
528 ri- ver is flo- __ wing down to the sea.
532 The syllables themselves are separated by spaces. You can get syllable
533 extenders by entering `@code{__}', and centered hyphens with
534 `@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
535 in length (hence the @code{4}), and use a feature to align the
536 syllables to the music (which obviously isn't all quarter notes.)
539 accompaniment =\chords @{
542 We'll put chords over the music. There is a special mode (analogous
543 to @code{\lyrics} and @code{\notes} mode) where you can give the names
544 of the chords you want, instead of the notes comprising the chord.
550 There is no accompaniment during the anacrusis.@example
555 A chord is started by the tonic of the chord. The
556 first one lasts a half note. An unadorned note creates a major
557 triad, while a minor triad is wanted. @code{3-} modifies the third to
558 be small. @code{7} modifies (adds) a seventh, which is small by default
559 to create the @code{f a c es} chord. Multiple modifiers must be
560 separated by a dot.@example
565 Some modifiers have predefined names, eg. @code{min} is the same as
566 @code{3-}, so @code{d-min} is a minor @code{d} chord.@example
568 c2-min f-min7 g-7^3.5 c-min @}
571 A named modifier @code{min} and a normal modifier @code{7} do not have
572 to be separated by a dot. Tones from a chord are removed with chord
573 subtractions. Subtractions are started with a caret, and they are
574 also separated by dots. In this example, @code{g-7^3.5} produces a
575 minor seventh. The brace ends the sequential music. @example
581 We assemble the music in the @code{\score} block. Melody, lyrics and
582 accompaniment have to sound at the same time, so they should be
583 @code{\simultaneous}.@example
588 Chord mode generates notes grouped in @code{\simultaneous} music. If
589 you remove the comment sign, you can see the chords in normal
590 notation: they will be printed as note heads on a separate
593 \context ChordNames \accompaniment
596 Normally, the notes that you enter are transformed into note heads.
597 The note heads alone make no sense, they need surrounding information:
598 a key signature, a clef, staff lines, etc. They need @emph{context}. In
599 LilyPond, these symbols are created by objects called `interpretation
600 context'. Interpretation contexts only exist during a run of
601 LilyPond. Interpretation contexts that are for printing music (as
602 opposed to playing music) are called `notation context'.
604 By default, LilyPond will create a Staff contexts for you. If you
605 would remove the @code{%} sign in the previous line, you can see that
608 We don't want default contexts here, because we want names, not note
609 heads. An interpretation context can also created upon explicit
610 request. The keyword for such a request is @code{\context}. It takes
611 two arguments. The first is the name of a interpretation context.
612 The name is a string, it can be quoted with double quotes). The
613 second argument is the music that should be interpreted in this
614 context. For the previous line, we could have written @code{\context
615 Staff \accompaniment}, and get the same effect.@example
620 The lyrics need to be aligned with the melody. This is done by
621 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
622 pieces of music (usually a melody and lyrics, in that order) and
623 aligns the syllables of the second piece under the notes of the
624 first piece. If you would reverse the order, the notes would be
625 aligned on the lyrics, which is not very useful. (Besides, it looks
628 \context Staff = mel @{
631 This is the argument of @code{\addlyrics}. We instantiate a
632 @code{Staff} context explicitly: should you chose to remove comment
633 before the ``note heads'' version of the accompaniment, the
634 accompaniment will be on a nameless staff. The melody has to be on a
635 different staff as the accompaniment. This is accomplished by giving
636 the melody staff a different name.@example
638 \property Staff.noAutoBeaming = "1"
641 An interpretation context has variables that tune its behaviour. One
642 of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
643 true) LilyPond will not try to put automatic beaming on the current
646 \property Staff.automaticMelismata = "1"
649 Similarly, we don't want to print a syllable when there is
650 a slur. This sets up the Staff context to signal slurs while
651 @code{\addlyrics} is processed. @example
657 Finally, we put the melody on the current staff. Note that the
658 @code{\property} directives and @code{\melody} are grouped in sequential
659 music, so the property settings are done before the melody is
662 \context Lyrics \text
665 The second argument of @code{\addlyrics} is the text. The text also
666 should not land on a Staff, but on a interpretation context for
667 syllables, extenders, hyphens etc. This context is called
673 This ends @code{\simultaneous}.@example
678 This makes the music go to a MIDI file. MIDI is great for
679 checking music you enter. You listen to the MIDI file: if you hear
680 something unexpected, it's probably a typing error. @code{\midi} is an
681 `output definition', a declaration that specifies how to output music
682 analogous to @code{\paper @{ @}}.@example
684 \paper @{ linewidth = 10.0\cm; @}
687 We also want notation output. The linewidth is short so the piece
688 will be set in two lines. @example
695 @node Piano music, The end, Lyrics and chords, Typesetting music with LilyPond
698 Our third subject is a piece piano music. The fragment in the input
699 file is a piano reduction of the G major Sinfonia by Giovanni Battista
700 Sammartini. It was composed around 1740.
704 \include "paper16.ly";
706 viola = \notes \relative c' \context Voice = viola {
708 \property Voice.verticalDirection = \down g'8. b,16
713 oboes = \notes \relative c'' \context Voice = oboe {
714 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
715 \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
717 { \times 2/3 { a8 g c } \! c2 }
718 \context Voice = oboeTwo {
721 \property Grace.verticalDirection = \down
726 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
727 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
728 [<c16( e> < )e8. g>] <c8 e,>
731 hoomPah = \notes \transpose c' {
732 c8 \translator Staff = top \stemdown
733 c'8 \translator Staff = bottom \stemup }
735 hoomPahHoomPah = { [\hoomPah \hoomPah] }
737 bassvoices = \notes \relative c' {
739 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
740 \stemdown [c8 c'8] r4
742 < {\stemup r2 <e4 c'> <c8 g'> }
743 \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
747 \context PianoStaff \notes <
748 \context Staff = top < \time 2/2;
749 \context Voice = viola \viola
752 \context Staff = bottom < \time 2/2; \clef bass;
759 linewidth = 15.0 \cm; }
763 If it looks like incomprehensible gibberish to you... Then you are
764 right. The author has doctored this example to have as many quirks in
765 one system as possible.@example
766 viola = \notes \relative c' \context Voice = viola @{
768 In this example, you can see multiple parts on a staff. Each part is
769 associated with one notation context. This notation context handles
770 stems and dynamics (among others). The name of this context is
771 @code{Voice}. For each part we have to make sure that there is
772 precisely one Voice context@footnote{If @code{\context} would not
773 have been specified explicitly, three @code{Voice} contexts would be
774 created: one for each note in the first chord.}.@example
777 @code{<} and @code{>} are short hands for @code{\simultaneous @{} and
778 @code{@}}. So the expression enclosed in @code{<} and @code{>} is a
779 chord. @code{\f} places a forte symbol under the chord.@example
780 \property Voice.verticalDirection = \down
782 @code{verticalDirection} is a property of the voice context. It
783 controls the directions of stems, articulations marks and other
785 If @code{verticalDirection} is set to @code{\down}
786 (identifier for the integer -1) the stems go down,
787 @code{\up} (identifier for the integer 1) makes the stems go up.@example
790 Relative octaves work a little differently with chords. The starting
791 point for the note following a chord is the first note of the chord. So
792 the @code{g} gets an octave up quote: it is a fifth above the starting
793 note of the previous chord (the central C).
798 @code{s} is a `spacer' rest. It does not print anything, but it does
799 have the duration of a rest. @example
800 oboes = \notes \relative c'' \context Voice = oboe @{
802 Now comes a part for two oboes. They play homophonically, so we
803 print the notes as one voice that makes chords. Again, we insure that
804 these notes are indeed processed by precisely one context with
805 @code{\context}.@example
806 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
808 @code{\stemup} is an identifier reference. It is shorthand for
809 @code{\property Voice.verticalDirection = \up}. If possible, you
810 should use predefined identifiers like these for setting properties.
811 Your input will be less dependent upon the implementation of LilyPond.
813 \grace <e8( g> < )d4 f> <c2 e>
815 @code{\grace} introduces grace notes. It takes one argument, in this
816 case a chord. The slur started on the @code{e} of the chord
817 will be attached to the next note.@footnote{LilyPond will squirm
818 about unended Slurs. In this case, you can ignore the warning}.
822 Tuplets are made with the @code{\times} keyword. It takes two
823 arguments: a fraction and a piece of music. The duration of the
824 second argument is multiplied by the first argument. Triplets make
825 notes occupy 2/3 of their notated duration, so in this case the
826 fraction is 2/3. @example
827 @{ <d8 \< f> <e g> <f a> @}
829 The piece of music to be `tripletted' is sequential music containing
830 three notes. On the first chord (the @code{d}), a crescendo is started
831 with @code{\<}.@example
834 At this point, the homophonic music splits into two rhythmically
835 different parts. We can't use a sequence of chords to enter this, so
836 we make a `chord' of sequences to do it. We start with the upper
837 voice, which continues with upward stems: @example
838 @{ \times 2/3 @{ a8 g c @} \! c2 @}
840 The crescendo is ended at the half note by the escaped exclamation
841 mark `@code{\!}'. @example
842 \context Voice = oboeTwo @{
845 We can't share stems with the other voice, so we have to create a new
846 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
847 it from the other context. Stems go down in this voice. @example
850 When a grace section is processed, a @code{Grace} context is
851 created. This context acts like a miniature score of its own. It has
852 its own time bookkeeping, and you can make notes, beams, slurs
853 etc. Here fiddle with a property and make a beam. The argument of
854 @code{\grace} is sequential music.@example
855 \property Grace.verticalDirection = \down
858 Normally, grace notes are always stem up, but in this case, the upper
859 voice interferes. We set the stems down here.
861 As far as relative mode is concerned, the previous note is the
862 @code{c'''2} of the upper voice, so we have to go an octave down for
869 This ends the two-part section. @example
871 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
873 @code{\stemboth} ends the forced stem directions. From here, stems are
874 positioned as if it were single part music.
876 The bass has a little hoom-pah melody to demonstrate parts switching
877 between staffs. Since it is repetitive, we use identifiers:@example
878 hoomPah = \notes \transpose c' @{
880 Transposing can be done with @code{\transpose}. It takes two
881 arguments; the first specifies what central C should be transposed to.
882 The second is the to-be-transposed music. As you can see, in this
883 case, the transposition is a no-op. Central C is transposed to
886 The purpose of this no-op is circumventing relative mode. Relative
887 mode can not be used in conjunction with transposition, so relative
888 mode will leave the contents of @code{\hoomPah} alone. We can use it
889 without having to worry about getting the motive in a wrong
890 octave@footnote{@code{hoomPah = \relative ...} would be more
891 intuitive to use, but that would not let me plug @code{\transpose}
893 c8 \translator Staff = top \stemdown
895 We assume that the first note will be put in the lower staff. After
896 that note we switch to the upper staff with @code{\translator}. To be
897 precise, this @code{\translator} entry switches the current voice to a
898 @code{Staff} named @code{top}. So we have to name the upper staff
899 `@code{top}'. Stem directions are set to avoid interfering with the
900 oboe voices. @example
901 c'8 \translator Staff = bottom \stemup @}
903 Then a note is put on the upper staff, and we switch again. We have
904 to name the lower staff `@code{bottom}'. @example
905 hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
907 Put two of these fragments in sequence, and beam them.@example
908 bassvoices = \notes \relative c' @{
910 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
913 Entering the bass part is easy: the hoomPahHoomPah variable is
914 referenced four times.@example
915 \context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
917 After skipping some lines, we see @code{~}. This mark makes ties.@example
920 For piano music, a special context is needed to get cross staff
921 beaming right. It is called @code{PianoStaff}.@example
922 \context Staff = bottom < \time 2/2; \clef bass;
924 The bottom staff must have a different clef.@example
927 To make some more room on the line, the first (in this case the only)
928 line is not indented. The line still looks is very cramped, but that is due
929 to the format of this tutorial.
931 This example shows a lot of features, but the organisation isn't
932 perfect. For example, it would be less confusing to use a chord
933 containing sequential music than a sequence of chords for the oboe
936 [TODO: demonstrate Hara-Kiri with scores and part extraction.]
938 @node The end, Top, Piano music, Typesetting music with LilyPond
941 That's all folks. From here, you can either try fiddling with input
942 files, or you can read the reference manual.