1 \input texinfo @c -*-texinfo-*- vim:textwidth=72:expandtab
2 @setfilename tutorial.info
3 @settitle Typesetting music with LilyPond
6 macros don't work (yet?) --jcn
7 @macro explain{line,explanation}
8 @multitable @columnfractions .60 .39
20 This is a short tutorial to show you how LilyPond works. It is not a
21 tutorial. It was written by Han-Wen Nienhuys.
23 Copyright 1999 by its authors.
29 @c fool ls-latex: why not use these, for texinfo??
31 @author Han-Wen Nienhuys
32 @title Typesetting music with LilyPond
36 @comment The title is printed in a large font.
37 @center @titlefont{LilyPond tutorial}
39 @center @titlefont{Han-Wen Nienhuys}
41 @vskip 0pt plus 1filll
42 Copyright @copyright{} 1999 by its author(s)
46 @node Top, , The end, (dir)
49 * Typesetting music with LilyPond::Typesetting music with LilyPond
63 @node Typesetting music with LilyPond, Introduction, , Top
65 * Introduction:: Introduction
66 * tutorial-introduction:: tutorial-introduction
67 * The first tune:: The first tune
68 * sec-firsttune:: sec-firsttune
69 * Lyrics and chords:: Lyrics and chords
70 * Piano music:: Piano music
73 @chapter Typesetting music with LilyPond
80 @node Introduction, tutorial-introduction, Typesetting music with LilyPond, Typesetting music with LilyPond
82 @node tutorial-introduction, The first tune, Introduction, Typesetting music with LilyPond
85 LilyPond prints music from a specification that you, the user, supply.
86 You have to give that specification using a @emph{language}. This
87 document is a gentle introduction to that language, which is called
88 Mudela, an acronym of Music Definition Language.
90 This tutorial will demonstrate how to use Mudela by presenting
91 examples of input along with resulting output. We will use English
92 terms for notation. In case you are not familiar with those, you may
93 consult the glossary that is distributed with LilyPond.
95 The examples discussed are included in the distribution, in the
96 subdirectory @file{input/tutorial/}. It is recommended that you
97 experiment with writing Mudela input yourself, to get a feel for
100 @node The first tune, sec-firsttune, tutorial-introduction, Typesetting music with LilyPond
101 @section The first tune
102 @node sec-firsttune, Lyrics and chords, The first tune, Typesetting music with LilyPond
104 To demonstrate what LilyPond input looks like, we start off with a
105 full fledged, yet simple example. It is a convoluted version
106 of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
109 % lines preceded by a percent are comments.
110 \include "paper16.ly"
113 \relative c'' \sequential{
118 d4 g,8 a b c d4 g, g |
119 e'4 c8 d e fis g4 g, g |
120 c4 d8()c b a( )b4 c8 b a g |
121 a4 [b8 a] [g fis] g2. |
126 g4 e8 fis g d cis4 b8 cis a4 |
127 a8-. b-. cis-. d-. e-. fis-.
134 % standard settings are too wide for a book
135 linewidth = 14.0 \cm;
140 Enter it (or copy it, the filename is @file{menuet.ly}), compile it
141 with LilyPond and view the output. Details of this procedure may vary
142 from system to system. To create the output, one would issue the
143 command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
144 the job of running LilyPond and TeX, handling of titles and
145 adjusting of page margins.
147 If all goes well, the file @file{menuet.dvi} will be created.
148 To view this output, issue the command `@code{xdvi menuet}'.
150 Now that we are familiar with the procedure of producing output, we
151 will analyse the input, line by line.
153 Let's try to redo this
156 % lines preceded by a percent are comments.
159 The percent sign, `@code{%}', introduces a line comment. If you want to
160 make larger comments, you can use block comments. These are delimited
161 by `@code{%@{}' and `@code{%@}}'
163 @multitable @columnfractions .60 .39
166 @c @example urg: no tt font
167 @c @exdent % lines preceded by a percent are comments.
168 @exdent @code{% lines preceded by a percent are comments.}
171 The percent sign, `@code{%}', introduces a line comment. If you
172 want to make larger comments, you can use block comments. These
173 are delimited by `@code{%@{}' and `@code{%@}}'
180 By default, LilyPond will use definitions for a 20
181 point@footnote{A point is the standard measure of length for
182 printing. One point is 1/72.27 inch.} high staff. We want smaller
183 output (16 point staff height), so we must import the settings for
184 that size, which is done.@example
189 A mudela file combines music with directions for outputting that
190 music. The music is combined with the output directions by putting
191 them into a @code{\score} block.
197 This makes LilyPond ready for accepting notes.
203 As we will see, pitches are combinations of octave, note name and
204 chromatic alteration. In this scheme, the octave is indicated by
205 using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
206 `@code{,}'). The central C is denoted by @code{c'}. The C one octave
207 higher is @code{c''}. One and two octaves below the central C is
208 denoted by @code{c} and @code{c,} respectively.
210 For pitches in a long piece you might have to type many quotes. To
211 remedy this, LilyPond has a ``relative'' octave entry mode. In this
212 mode, octaves of notes without quotes are chosen such that a note is
213 as close as possible (graphically, on the staff) to the the preceding
214 note. If you add a high-quote an extra octave is added. The lowered
215 quote (a comma) will subtract an extra octave. Because the first note
216 has no predecessor, you have to give the (absolute) pitch of the note
217 to start with.@example
222 What follows is sequential music, i.e.,
223 notes that are to be played and printed after each other.@example
228 This command changes the time signature of the current piece: a 3/4
229 sign is printed. This command is also used to generate bar lines in
230 the right spots.@example
235 This command changes the current key to G-major. Although this
236 command comes after the @code{\time} command, in the output, the key
237 signature comes before the time signature: LilyPond knows about music
238 typesetting conventions. @example
243 This command tells LilyPond that the following piece of music must
244 be played twice; @code{"volta"} volta brackets should be used for
245 alternatives---if there were any.
251 The subject of the repeat is again sequential music. Since
252 @code{\sequential} is such a common construct, a shorthand is provided:
253 just leave off @code{\sequential}, and the result is the same. @example
258 This is a note with pitch @code{d} (determined up to octaves). The
259 relative music was started with a @code{c''}, so the real pitch of this
260 note is @code{d''}. The @code{4} designates the duration of the note
261 (it is a quarter note). @example
266 These are notes with pitch @code{a} and @code{b}. Because their
267 duration is the same as the @code{g}, there is no need to enter the
268 duration (You may enter it anyway, eg. @code{a4 b4}) @example
273 Three more notes. The `@code{|}' character is a `barcheck'. When
274 processing the music, LilyPond will verify that barchecks are found at
275 the start of a measure. This can help you track down errors.
277 So far, no notes were chromatically altered. Here is the first one
278 that is: @code{fis}. Mudela by default uses Dutch note names, and
279 ``Fis'' is the Dutch note name for ``F sharp''. However, there is no
280 sharp sign in the output. The program keeps track of key signatures,
281 and will only print accidentals if they are needed.
287 LilyPond guesses were beams can be added to eighth and shorter notes.
288 In this case, a beam over 4 eighths is added.
291 c4 d8( )c b a( )b4 c8 b a g |
294 The next line shows how to make a slur:
295 the beginning and ending note of the slur is marked with an opening and
296 closing parenthesis respectively. In the line shown above this is
297 done for two slurs. Slur markers (parentheses) are between
303 Automatic beaming can be overridden by inserting beam marks
304 (brackets). Brackets are put around notes you want beamed.@example
309 A duration with augmentation dot is notated
310 with the duration number followed by a period.@example
315 This ends the sequential music to be repeated. LilyPond will typeset
316 a repeat bar. @example
321 This line shows that Lily will print an accidental if that is
322 needed: the first C sharp will be printed with an accidental, the
323 second one without. @example
325 a8-. b-. cis-. d-. e-. fis-.
328 You can enter articulation signs either in a verbose form using a
329 shorthand. Here we demonstrate the shorthand: it is formed by a dash
330 and the the character for the articulation to use, e.g. `@code{-.}' for
331 staccato as shown above. @example
337 Rests are denoted by the special notename `@code{r}'. You can also enter
338 an invisible rest by using the special notename `@code{s}'.
344 All articulations have a verbose form, like @code{\fermata}. The
345 command `@code{\fermata}' is not part of the core of the language (most
346 of the other discussed elements are), but it is a shorthand for a more
347 complicated description of a fermata. @code{\fermata} names that
348 description and is therefore called an @emph{identifier}. @example
362 This specifies a conversion from music to notation output. Most of
363 the details of this conversions (font sizes, dimensions, etc.) have
364 been taken care of, but to fit the output in this document, it has
365 to be smaller. We do this by setting the line width to 14 centimeters
366 (approximately 6 inches).
372 The last brace ends the @code{\score} block.
374 There are two things to note here. The format contains musical
375 concepts like pitches and durations, instead of symbols and positions:
376 the input format tries to capture the meaning of @emph{music}, and not
377 notation. Therefore Second, the format tries to be @emph{context-free}:
378 a note will sound the same regardless of the current time signature,
381 The purpose of LilyPond is explained informally by the term `music
382 typesetter'. This is not a fully correct name: not only does the
383 program print musical symbols, it also makes esthetic decisions. All
384 symbols and their placement is @emph{generated} from a high-level musical
385 description. In other words, LilyPond would be best
386 described by `music compiler' or `music to notation compiler'.
388 @node Lyrics and chords, Piano music, sec-firsttune, Typesetting music with LilyPond
389 @section Lyrics and chords
391 In this section we show how to typeset a song of unknown
392 origin.@footnote{The author would welcome information about the origin
397 title = "The river is flowing";
398 composer = "Traditional (?)";
400 \include "paper16.ly"
401 melody = \notes \relative c' @{
404 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
405 c4 c8 d [es () d] c4 | d4 es8 d c4.
410 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
411 ri -- ver is flo -- wing down to the sea.
414 accompaniment =\chords @{
416 c2-3- f-3-.7 d-min es4 c8-min r8
417 c2-min f-min7 g-7^3.5 c-min @}
422 \context ChordNames \accompaniment
425 \context Staff = mel @{
426 \property Staff.noAutoBeaming = "1"
427 \property Staff.automaticMelismata = "1"
430 \context Lyrics \text
433 \paper @{ linewidth = 10.0\cm; @}
438 The result would look this@footnote{The titling and font size shown
439 may differ, since the titling in this document is not generated by
442 @center @strong{The river is flowing}
447 title = "The river is flowing";
448 composer = "Traditional (?)";
450 \include "paper16.ly"
451 melody = \notes \relative c' {
454 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
455 c4 c8 d [es () d] c4 | d4 es8 d c4.
460 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
461 ri -- ver is flo -- wing down to the sea.
464 accompaniment =\chords {
466 c2-3- f-3-.7 d-min es4 c8-min r8
467 c2-min f-min7 g-7^3.5 c-min }
472 \context ChordNames \accompaniment
475 \context Staff = mel {
476 \property Staff.noAutoBeaming = "1"
477 \property Staff.automaticMelismata = "1"
480 \context Lyrics \text
483 \paper { linewidth = 10.0\cm; }
487 Again, we will dissect the file line by line.@example
492 Information about the music you are about to typeset goes into a
493 @code{\header} block. The information in this block is not used by
494 LilyPond, but it is included in the output. @file{ly2dvi} uses this
495 information to print titles above the music.
498 title = "The river is flowing";
499 composer = "Traditional (?)";
501 the @code{\header} block contains assignments. An assignment starts
502 with a string. (which is unquoted, in this case). Then comes the
503 equal sign `@code{=}'. After the equal sign comes the expression you
504 want to store. In this case, you want to put in strings. The
505 information has to be quoted here, because it contains spaces. The
506 assignment is finished with a semicolon.@example
508 \include "paper16.ly"
511 Smaller size for inclusion in a book.@example
513 melody = \notes \relative c' @{
516 The structure of the file will be the same as the previous one, a
517 @code{\score} block with music in it. To keep things readable, we will
518 give names to the different parts of music, and use the names to
519 construct the music within the score block.
527 The piece starts with an anacrusis of one eighth. @example
529 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
530 c4 c8 d [es () d] c4 | d4 es8 d c4.
534 We use explicit beaming. Since this is a song, we will turn automatic
535 beams off, and use explicit beaming where needed.@example
540 This ends the definition of @code{melody}. Note that there are no
541 semicolons after assignments at top level.@example
546 Another identifier assignment. This one is for the lyrics.
547 Lyrics are formed by syllables that have duration, and not by
548 notes. To make LilyPond parse words as syllables, switch it into
549 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
550 is a shorthand for @code{\sequential @{}. @example
552 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
553 ri- ver is flo- __ wing down to the sea.
557 The syllables themselves are separated by spaces. You can get syllable
558 extenders by entering `@code{__}', and centered hyphens with
559 `@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
560 in length (hence the @code{4}), and use a feature to align the
561 syllables to the music (which obviously isn't all quarter notes.)
564 accompaniment =\chords @{
567 We'll put chords over the music. There is a special mode (analogous
568 to @code{\lyrics} and @code{\notes} mode) where you can give the names
569 of the chords you want, instead of the notes comprising the chord.
575 There is no accompaniment during the anacrusis.@example
580 A chord is started by the tonic of the chord. The
581 first one lasts a half note. An unadorned note creates a major
582 triad, while a minor triad is wanted. @code{3-} modifies the third to
583 be small. @code{7} modifies (adds) a seventh, which is small by default
584 to create the @code{f a c es} chord. Multiple modifiers must be
585 separated by a dot.@example
590 Some modifiers have predefined names, eg. @code{min} is the same as
591 @code{3-}, so @code{d-min} is a minor @code{d} chord.@example
593 c2-min f-min7 g-7^3.5 c-min @}
596 A named modifier @code{min} and a normal modifier @code{7} do not have
597 to be separated by a dot. Tones from a chord are removed with chord
598 subtractions. Subtractions are started with a caret, and they are
599 also separated by dots. In this example, @code{g-7^3.5} produces a
600 minor seventh. The brace ends the sequential music. @example
606 We assemble the music in the @code{\score} block. Melody, lyrics and
607 accompaniment have to sound at the same time, so they should be
608 @code{\simultaneous}.@example
613 Chord mode generates notes grouped in @code{\simultaneous} music. If
614 you remove the comment sign, you can see the chords in normal
615 notation: they will be printed as note heads on a separate
618 \context ChordNames \accompaniment
621 Normally, the notes that you enter are transformed into note heads.
622 The note heads alone make no sense, they need surrounding information:
623 a key signature, a clef, staff lines, etc. They need @emph{context}. In
624 LilyPond, these symbols are created by objects called `interpretation
625 context'. Interpretation contexts only exist during a run of
626 LilyPond. Interpretation contexts that are for printing music (as
627 opposed to playing music) are called `notation context'.
629 By default, LilyPond will create a Staff contexts for you. If you
630 would remove the @code{%} sign in the previous line, you can see that
633 We don't want default contexts here, because we want names, not note
634 heads. An interpretation context can also created upon explicit
635 request. The keyword for such a request is @code{\context}. It takes
636 two arguments. The first is the name of a interpretation context.
637 The name is a string, it can be quoted with double quotes). The
638 second argument is the music that should be interpreted in this
639 context. For the previous line, we could have written @code{\context
640 Staff \accompaniment}, and get the same effect.@example
645 The lyrics need to be aligned with the melody. This is done by
646 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
647 pieces of music (usually a melody and lyrics, in that order) and
648 aligns the syllables of the second piece under the notes of the
649 first piece. If you would reverse the order, the notes would be
650 aligned on the lyrics, which is not very useful. (Besides, it looks
653 \context Staff = mel @{
656 This is the argument of @code{\addlyrics}. We instantiate a
657 @code{Staff} context explicitly: should you chose to remove comment
658 before the ``note heads'' version of the accompaniment, the
659 accompaniment will be on a nameless staff. The melody has to be on a
660 different staff as the accompaniment. This is accomplished by giving
661 the melody staff a different name.@example
663 \property Staff.noAutoBeaming = "1"
666 An interpretation context has variables that tune its behaviour. One
667 of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
668 true) LilyPond will not try to put automatic beaming on the current
671 \property Staff.automaticMelismata = "1"
674 Similarly, we don't want to print a syllable when there is
675 a slur. This sets up the Staff context to signal slurs while
676 @code{\addlyrics} is processed. @example
682 Finally, we put the melody on the current staff. Note that the
683 @code{\property} directives and @code{\melody} are grouped in sequential
684 music, so the property settings are done before the melody is
687 \context Lyrics \text
690 The second argument of @code{\addlyrics} is the text. The text also
691 should not land on a Staff, but on a interpretation context for
692 syllables, extenders, hyphens etc. This context is called
698 This ends @code{\simultaneous}.@example
703 This makes the music go to a MIDI file. MIDI is great for
704 checking music you enter. You listen to the MIDI file: if you hear
705 something unexpected, it's probably a typing error. @code{\midi} is an
706 `output definition', a declaration that specifies how to output music
707 analogous to @code{\paper @{ @}}.@example
709 \paper @{ linewidth = 10.0\cm; @}
712 We also want notation output. The linewidth is short so the piece
713 will be set in two lines. @example
720 @node Piano music, The end, Lyrics and chords, Typesetting music with LilyPond
723 Our third subject is a piece piano music. The fragment in the input
724 file is a piano reduction of the G major Sinfonia by Giovanni Battista
725 Sammartini. It was composed around 1740.
729 \include "paper16.ly";
731 viola = \notes \relative c' \context Voice = viola {
733 \property Voice.verticalDirection = \down g'8. b,16
738 oboes = \notes \relative c'' \context Voice = oboe {
739 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
740 \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
742 { \times 2/3 { a8 g c } \! c2 }
743 \context Voice = oboeTwo {
746 \property Grace.verticalDirection = \down
751 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
752 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
753 [<c16( e> < )e8. g>] <c8 e,>
756 hoomPah = \notes \transpose c' {
757 c8 \translator Staff = top \stemdown
758 c'8 \translator Staff = bottom \stemup }
760 hoomPahHoomPah = { [\hoomPah \hoomPah] }
762 bassvoices = \notes \relative c' {
764 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
765 \stemdown [c8 c'8] r4
767 < {\stemup r2 <e4 c'> <c8 g'> }
768 \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
772 \context PianoStaff \notes <
773 \context Staff = top < \time 2/2;
774 \context Voice = viola \viola
777 \context Staff = bottom < \time 2/2; \clef bass;
784 linewidth = 15.0 \cm; }
788 If it looks like incomprehensible gibberish to you... Then you are
789 right. The author has doctored this example to have as many quirks in
790 one system as possible.@example
791 viola = \notes \relative c' \context Voice = viola @{
793 In this example, you can see multiple parts on a staff. Each part is
794 associated with one notation context. This notation context handles
795 stems and dynamics (among others). The name of this context is
796 @code{Voice}. For each part we have to make sure that there is
797 precisely one Voice context@footnote{If @code{\context} would not
798 have been specified explicitly, three @code{Voice} contexts would be
799 created: one for each note in the first chord.}.@example
802 @code{<} and @code{>} are short hands for @code{\simultaneous @{} and
803 @code{@}}. So the expression enclosed in @code{<} and @code{>} is a
804 chord. @code{\f} places a forte symbol under the chord.@example
805 \property Voice.verticalDirection = \down
807 @code{verticalDirection} is a property of the voice context. It
808 controls the directions of stems, articulations marks and other
810 If @code{verticalDirection} is set to @code{\down}
811 (identifier for the integer -1) the stems go down,
812 @code{\up} (identifier for the integer 1) makes the stems go up.@example
815 Relative octaves work a little differently with chords. The starting
816 point for the note following a chord is the first note of the chord. So
817 the @code{g} gets an octave up quote: it is a fifth above the starting
818 note of the previous chord (the central C).
823 @code{s} is a `spacer' rest. It does not print anything, but it does
824 have the duration of a rest. @example
825 oboes = \notes \relative c'' \context Voice = oboe @{
827 Now comes a part for two oboes. They play homophonically, so we
828 print the notes as one voice that makes chords. Again, we insure that
829 these notes are indeed processed by precisely one context with
830 @code{\context}.@example
831 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
833 @code{\stemup} is an identifier reference. It is shorthand for
834 @code{\property Voice.verticalDirection = \up}. If possible, you
835 should use predefined identifiers like these for setting properties.
836 Your input will be less dependent upon the implementation of LilyPond.
838 \grace <e8( g> < )d4 f> <c2 e>
840 @code{\grace} introduces grace notes. It takes one argument, in this
841 case a chord. The slur started on the @code{e} of the chord
842 will be attached to the next note.@footnote{LilyPond will squirm
843 about unended Slurs. In this case, you can ignore the warning}.
847 Tuplets are made with the @code{\times} keyword. It takes two
848 arguments: a fraction and a piece of music. The duration of the
849 second argument is multiplied by the first argument. Triplets make
850 notes occupy 2/3 of their notated duration, so in this case the
851 fraction is 2/3. @example
852 @{ <d8 \< f> <e g> <f a> @}
854 The piece of music to be `tripletted' is sequential music containing
855 three notes. On the first chord (the @code{d}), a crescendo is started
856 with @code{\<}.@example
859 At this point, the homophonic music splits into two rhythmically
860 different parts. We can't use a sequence of chords to enter this, so
861 we make a `chord' of sequences to do it. We start with the upper
862 voice, which continues with upward stems: @example
863 @{ \times 2/3 @{ a8 g c @} \! c2 @}
865 The crescendo is ended at the half note by the escaped exclamation
866 mark `@code{\!}'. @example
867 \context Voice = oboeTwo @{
870 We can't share stems with the other voice, so we have to create a new
871 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
872 it from the other context. Stems go down in this voice. @example
875 When a grace section is processed, a @code{Grace} context is
876 created. This context acts like a miniature score of its own. It has
877 its own time bookkeeping, and you can make notes, beams, slurs
878 etc. Here fiddle with a property and make a beam. The argument of
879 @code{\grace} is sequential music.@example
880 \property Grace.verticalDirection = \down
883 Normally, grace notes are always stem up, but in this case, the upper
884 voice interferes. We set the stems down here.
886 As far as relative mode is concerned, the previous note is the
887 @code{c'''2} of the upper voice, so we have to go an octave down for
894 This ends the two-part section. @example
896 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
898 @code{\stemboth} ends the forced stem directions. From here, stems are
899 positioned as if it were single part music.
901 The bass has a little hoom-pah melody to demonstrate parts switching
902 between staffs. Since it is repetitive, we use identifiers:@example
903 hoomPah = \notes \transpose c' @{
905 Transposing can be done with @code{\transpose}. It takes two
906 arguments; the first specifies what central C should be transposed to.
907 The second is the to-be-transposed music. As you can see, in this
908 case, the transposition is a no-op. Central C is transposed to
911 The purpose of this no-op is circumventing relative mode. Relative
912 mode can not be used in conjunction with transposition, so relative
913 mode will leave the contents of @code{\hoomPah} alone. We can use it
914 without having to worry about getting the motive in a wrong
915 octave@footnote{@code{hoomPah = \relative ...} would be more
916 intuitive to use, but that would not let me plug @code{\transpose}
918 c8 \translator Staff = top \stemdown
920 We assume that the first note will be put in the lower staff. After
921 that note we switch to the upper staff with @code{\translator}. To be
922 precise, this @code{\translator} entry switches the current voice to a
923 @code{Staff} named @code{top}. So we have to name the upper staff
924 `@code{top}'. Stem directions are set to avoid interfering with the
925 oboe voices. @example
926 c'8 \translator Staff = bottom \stemup @}
928 Then a note is put on the upper staff, and we switch again. We have
929 to name the lower staff `@code{bottom}'. @example
930 hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
932 Put two of these fragments in sequence, and beam them.@example
933 bassvoices = \notes \relative c' @{
935 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
938 Entering the bass part is easy: the hoomPahHoomPah variable is
939 referenced four times.@example
940 \context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
942 After skipping some lines, we see @code{~}. This mark makes ties.@example
945 For piano music, a special context is needed to get cross staff
946 beaming right. It is called @code{PianoStaff}.@example
947 \context Staff = bottom < \time 2/2; \clef bass;
949 The bottom staff must have a different clef.@example
952 To make some more room on the line, the first (in this case the only)
953 line is not indented. The line still looks is very cramped, but that is due
954 to the format of this tutorial.
956 This example shows a lot of features, but the organisation isn't
957 perfect. For example, it would be less confusing to use a chord
958 containing sequential music than a sequence of chords for the oboe
961 [TODO: demonstrate Hara-Kiri with scores and part extraction.]
963 @node The end, Top, Piano music, Typesetting music with LilyPond
966 That's all folks. From here, you can either try fiddling with input
967 files, or you can read the reference manual.