1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @node Example templates
3 @chapter Example templates
5 This section of the manual contains templates with the LilyPond score
6 already set up for you. Just add notes, run LilyPond, and enjoy
7 beautiful printed scores!
9 @c bad node name for ancient notation to avoid confict
11 * Suggestions for writing LilyPond files::
16 * Ancient notation templates::
19 * Lilypond-book templates::
22 @c TODO explain \score{} ? Maybe add a note to the tutorial?
24 @node Suggestions for writing LilyPond files
25 @section Suggestions for writing LilyPond files
27 Now you're ready to begin writing larger LilyPond files -- not just the
28 little examples in the tutorial, but whole pieces. But how should you
31 The best answer is ``however you want to do it.'' As long as LilyPond
32 can understand your files and produces the output that you want, it
33 doesn't matter what your files look like. That said, sometimes we
34 make mistakes when writing files. If LilyPond can't understand your
35 files, or produces output that you don't like, how do you fix the
38 Here are a few suggestions that can help you to avoid or fix
42 @item Include @code{\version} numbers in every file. Note that all
43 templates contain a @code{\version "2.4.0"} string. We
44 highly recommend that you always include the @code{\version}, no matter
45 how small your file is. Speaking from personal experience, it's
46 quite frustrating to try to remember which version of LilyPond you were
47 using a few years ago. @code{convert-ly} requires you to declare
48 which version of LilyPond you used.
50 @item Include checks: See @ref{Bar check} and @ref{Octave check}. If you
51 include checks every so often, then if you make a mistake, you can pinpoint
52 it quicker. How often is ``every so often''? It depends on the complexity
53 of the music. For very simple music, perhaps just once or twice. For
54 very complex music, every bar.
56 @item One bar per line. If there is anything complicated, either in the music
57 itself or in the output you desire, it's often good to write only one bar
58 per line. Saving screen space by cramming eight bars per line just isn't
59 worth it if you have to `debug' your files.
61 @item Comment your files, with either bar numbers (every so often) or
62 references to musical themes (``second theme in violins'', ``fourth
63 variation''). You may not need it when you're writing the piece for
64 the first time, but if you want to go back and change something two
65 or three years later, you won't know how your file is structured if you
66 don't comment the file.
72 @subsection Notes only
74 The first example gives you a staff with notes, suitable for a solo
75 instrument or a melodic fragment. Cut and paste this into a file,
76 add notes, and you're finished!
78 @lilypond[quote,verbatim,raggedright]
80 melody = \relative c' {
95 @subsection Notes and lyrics
97 The next example demonstrates a simple melody with lyrics. Cut and
98 paste, add notes, then words for the lyrics. This example turns off
99 automatic beaming, which is common for vocal parts. If you want to use
100 automatic beaming, you'll have to change or comment out the relevant
103 @lilypond[quote,verbatim,raggedright]
105 melody = \relative c' {
119 \context Voice = one {
123 \lyricsto "one" \new Lyrics \text
126 \midi { \tempo 4=60 }
130 @subsection Notes and chords
132 Want to prepare a lead sheet with a melody and chords? Look no further!
134 @lilypond[quote,verbatim,raggedright]
136 melody = \relative c' {
145 harmonies = \chordmode {
146 c4:m f:min7 g:maj c:aug d2:dim b:sus
151 \context ChordNames {
152 \set chordChanges = ##t
155 \context Staff = one \melody
163 @subsection Notes, lyrics, and chords.
165 This template allows you to prepare a song with melody, words, and chords.
167 @lilypond[quote,verbatim,raggedright]
169 melody = \relative c' {
181 harmonies = \chordmode {
187 \context ChordNames {
188 \set chordChanges = ##t
191 \context Voice = one {
195 \lyricsto "one" \new Lyrics \text
198 \midi { \tempo 4=60 }
202 @node Piano templates
203 @section Piano templates
204 @subsection Solo piano
206 Here is a simple piano staff.
208 @lilypond[quote,verbatim,raggedright]
210 upper = \relative c'' {
218 lower = \relative c {
227 \context PianoStaff <<
228 \set PianoStaff.instrument = "Piano "
229 \context Staff = upper \upper
230 \context Staff = lower \lower
233 \midi { \tempo 4=60 }
237 @subsection Piano and melody with lyrics
239 Here is a typical song format: one staff with the melody and lyrics, with
240 piano accompaniment underneath.
242 @lilypond[quote,verbatim,raggedright]
244 melody = \relative c'' {
256 upper = \relative c'' {
264 lower = \relative c {
274 \context Voice = mel {
278 \lyricsto mel \new Lyrics \text
280 \context PianoStaff <<
281 \context Staff = upper \upper
282 \context Staff = lower \lower
286 \context { \RemoveEmptyStaffContext }
288 \midi { \tempo 4=60 }
293 @subsection Piano centered lyrics
295 Instead of having a full staff for the melody and lyrics, you can place
296 the lyrics between the piano staff (and omit the separate melody staff).
298 @lilypond[quote,verbatim,raggedright]
300 upper = \relative c'' {
308 lower = \relative c {
321 \context GrandStaff <<
322 \context Staff = upper {
323 \context Voice = singer \upper }
324 \lyricsto "singer" \new Lyrics \text
325 \context Staff = lower <<
331 \context { \GrandStaff \accepts "Lyrics" }
332 \context { \Lyrics \consists "Bar_engraver" }
334 \midi { \tempo 4=60 }
339 @subsection Piano centered dynamics
341 Many piano scores have the dynamics centered between the two
342 staffs. This requires a bit of tweaking to implement, but
343 since the template is right here, you don't have to do the
346 @lilypond[quote,verbatim,raggedright]
348 upper = \relative c'' {
356 lower = \relative c {
370 s2\sustainDown s2\sustainUp
374 \context PianoStaff <<
375 \context Staff=upper \upper
376 \context Dynamics=dynamics \dynamics
377 \context Staff=lower <<
381 \context Dynamics=pedal \pedal
385 \type "Engraver_group_engraver"
387 \alias Voice % So that \cresc works, for example.
388 \consists "Output_property_engraver"
390 minimumVerticalExtent = #'(-1 . 1)
391 pedalSustainStrings = #'("Ped." "*Ped." "*")
392 pedalUnaCordaStrings = #'("una corda" "" "tre corde")
394 \consists "Piano_pedal_engraver"
395 \consists "Script_engraver"
396 \consists "Dynamic_engraver"
397 \consists "Text_engraver"
399 \override TextScript #'font-size = #2
400 \override TextScript #'font-shape = #'italic
401 \override DynamicText #'extra-offset = #'(0 . 2.5)
402 \override Hairpin #'extra-offset = #'(0 . 2.5)
404 \consists "Skip_event_swallow_translator"
406 \consists "Axis_group_engraver"
411 \override VerticalAlignment #'forced-distance = #7
416 \context PianoStaff <<
417 \context Staff=upper << \upper \dynamics >>
418 \context Staff=lower << \lower \dynamics >>
419 \context Dynamics=pedal \pedal
423 \type "Performer_group_performer"
425 \consists "Piano_pedal_performer"
437 @section String quartet
438 @subsection String quartet
440 This template demonstrates a string quartet. It also uses a @code{\global}
441 section for time and key signatures.
443 @lilypond[quote,verbatim,raggedright]
451 violinOne = \new Voice { \relative c''{
452 \set Staff.instrument = "Violin 1 "
457 violinTwo = \new Voice { \relative c''{
458 \set Staff.instrument = "Violin 2 "
463 viola = \new Voice { \relative c' {
464 \set Staff.instrument = "Viola "
470 cello = \new Voice { \relative c' {
471 \set Staff.instrument = "Cello "
480 \new Staff << \global \violinOne >>
481 \new Staff << \global \violinTwo >>
482 \new Staff << \global \viola >>
483 \new Staff << \global \cello >>
490 @subsection String quartet parts
492 The previous example produces a nice string quartet, but what if you
493 needed to print parts? This template demonstrates how to use the
494 @code{\tag} feature to easily split a piece into individual parts.
496 You need to split this template into separate files; the filenames
497 are contained in comments at the beginning of each file. @code{piece.ly}
498 contains all the music definitions. The other files -- @code{score.ly},
499 @code{vn1.ly}, @code{vn2.ly}, @code{vla.ly}, and
500 @code{vlc.ly} -- produce the appropiate part.
511 Violinone = \new Voice { \relative c''{
512 \set Staff.instrument = "Violin 1 "
516 \bar "|." }} %*********************************
517 Violintwo = \new Voice { \relative c''{
518 \set Staff.instrument = "Violin 2 "
522 \bar "|." }} %*********************************
523 Viola = \new Voice { \relative c' {
524 \set Staff.instrument = "Viola "
529 \bar "|." }} %*********************************
530 Cello = \new Voice { \relative c' {
531 \set Staff.instrument = "Cello "
536 \bar "|."}} %**********************************
540 \tag #'(score vn1) \new Staff { << \global \Violinone >> }
541 \tag #'(score vn2) \new Staff { << \global \Violintwo>> }
542 \tag #'(score vla) \new Staff { << \global \Viola>> }
543 \tag #'(score vlc) \new Staff { << \global \Cello>> }
552 #(set-global-staff-size 14)
554 \new StaffGroup \keepWithTag #'score \music
556 \midi { \tempo 4 = 60 }
564 \keepWithTag #'vn1 \music
573 \keepWithTag #'vn2 \music
582 \keepWithTag #'vla \music
591 \keepWithTag #'vlc \music
597 @node Vocal ensembles
598 @section Vocal ensembles
600 @subsection SATB vocal score
602 Here is a standard four-part SATB vocal score. With larger ensembles,
603 it's often useful to include a section which is included in all
604 parts. For example, the time signature and key signatures are almost
605 always the same for all parts.
607 @lilypond[quote,verbatim,raggedright]
614 sopMusic = \relative c'' {
617 sopWords = \lyricmode {
621 altoMusic = \relative c' {
624 altoWords =\lyricmode {
628 tenorMusic = \relative c' {
631 tenorWords = \lyricmode {
635 bassMusic = \relative c {
638 bassWords = \lyricmode {
643 \context ChoirStaff <<
644 \context Lyrics = sopranos { s1 }
645 \context Staff = women <<
647 sopranos { \voiceOne << \global \sopMusic >> }
649 altos { \voiceTwo << \global \altoMusic >> }
651 \context Lyrics = altos { s1 }
652 \context Lyrics = tenors { s1 }
653 \context Staff = men <<
656 tenors { \voiceOne <<\global \tenorMusic >> }
658 basses { \voiceTwo <<\global \bassMusic >> }
660 \context Lyrics = basses { s1 }
661 \context Lyrics = sopranos \lyricsto sopranos \sopWords
662 \context Lyrics = altos \lyricsto altos \altoWords
663 \context Lyrics = tenors \lyricsto tenors \tenorWords
664 \context Lyrics = basses \lyricsto basses \bassWords
669 % a little smaller so lyrics
670 % can be closer to the staff
671 \Staff minimumVerticalExtent = #'(-3 . 3)
678 @subsection SATB vocal score and automatic piano reduction
680 This template adds an automatic piano reduction to the SATB vocal
681 score. This demonstrates one of the strengths of LilyPond -- you
682 can use a music definition more than once. If you make any changes
683 to the vocal notes (say, tenorMusic), then the changes will also
684 apply to the piano reduction.
686 @lilypond[quote,verbatim,raggedright]
693 sopMusic = \relative c'' {
696 sopWords = \lyricmode {
700 altoMusic = \relative c' {
703 altoWords =\lyricmode {
707 tenorMusic = \relative c' {
710 tenorWords = \lyricmode {
713 bassMusic = \relative c {
716 bassWords = \lyricmode {
722 % a little smaller so lyrics
723 % can be closer to the staff
725 minimumVerticalExtent = #'(-3 . 3)
732 \context Lyrics = sopranos { s1 }
733 \context Staff = women <<
735 sopranos { \voiceOne << \global \sopMusic >> }
737 altos { \voiceTwo << \global \altoMusic >> }
739 \context Lyrics = altos { s1 }
740 \context Lyrics = tenors { s1 }
741 \context Staff = men <<
744 tenors { \voiceOne <<\global \tenorMusic >> }
746 basses { \voiceTwo <<\global \bassMusic >> }
748 \context Lyrics = basses { s1 }
749 \context Lyrics = sopranos \lyricsto sopranos \sopWords
750 \context Lyrics = altos \lyricsto altos \altoWords
751 \context Lyrics = tenors \lyricsto tenors \tenorWords
752 \context Lyrics = basses \lyricsto basses \bassWords
757 \set Staff.printPartCombineTexts = ##f
759 << \global \sopMusic >>
760 << \global \altoMusic >>
764 \set Staff.printPartCombineTexts = ##f
766 << \global \tenorMusic >>
767 << \global \bassMusic >>
774 @c bad node name to avoid node name confict
775 @node Ancient notation templates
776 @section Ancient notation templates
778 @subsection Transcription of mensural music
780 When transcribing mensural music, an incipit at the beginning of the
781 piece is useful to indicate the original key and tempo. While today
782 musicians are used to bar lines in order to faster recognize rhythmic
783 patterns, bar lines where not yet invented during the period of
784 mensural music; in fact, the meter often changed after every few
785 notes. As a compromise, bar lines are often printed between the
786 staves rather than on the staves.
788 @lilypond[quote,verbatim,linewidth=11.0\cm]
792 \set Score.skipBars = ##t
795 \once \override Score.SystemStartBracket #'transparent = ##t
796 \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing
799 \once \override Staff.TimeSignature #'style = #'neomensural
800 \override Voice.NoteHead #'style = #'neomensural
801 \override Voice.Rest #'style = #'neomensural
802 \set Staff.printKeyCancellation = ##f
803 \cadenzaOn % turn off bar lines
805 \once \override Staff.BarLine #'transparent = ##f
807 \skip 1*1 % need this extra \skip such that clef change comes
812 \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect?
813 \cadenzaOff % turn bar lines on again
814 \once \override Staff.Clef #'full-size-change = ##t
815 \set Staff.forceClef = ##t
818 \override Voice.NoteHead #'style = #'default
819 \override Voice.Rest #'style = #'default
821 % FIXME: setting printKeyCancellation back to #t must not
822 % occur in the first bar after the incipit. Dto. for forceClef.
823 % Therefore, we need an extra \skip.
825 \set Staff.printKeyCancellation = ##t
826 \set Staff.forceClef = ##f
828 \skip 1*7 % the actual music
830 % let finis bar go through all staves
831 \override Staff.BarLine #'transparent = ##f
839 \set Staff.instrument = "Discantus "
842 \clef "neomensural-c1"
844 \skip 1*8 % eight bars
854 \once \override NoteHead #'transparent = ##t c'1 |
859 discantusLyrics = \lyricmode {
875 \set Staff.instrument = "Altus "
878 \clef "neomensural-c3"
881 \skip 1*7 % seven bars
886 r2 g2. e4 fis g | % two bars
888 fis g4.( fis16 e fis4) |
890 \once \override NoteHead #'transparent = ##t g1 |
895 altusLyrics = \lyricmode {
900 Ju -- bi -- la -- te | % two bars
909 \set Staff.instrument = "Tenor "
912 \clef "neomensural-c4"
925 r2 d'2. d'4 b e' | % two bars
926 \once \override NoteHead #'transparent = ##t e'1 |
931 tenorLyrics = \lyricmode {
936 Ju -- bi -- la -- te | % two bars
943 \set Staff.instrument = "Bassus "
947 r\maxima % eight bars
958 \once \override NoteHead #'transparent = ##t e1 |
963 bassusLyrics = \lyricmode {
974 \context StaffGroup = choirStaff <<
976 discantusNotes << \global \discantusNotes >>
978 discantusLyrics \lyricsto discantusNotes { \discantusLyrics }
980 altusNotes << \global \altusNotes >>
982 altusLyrics \lyricsto altusNotes { \altusLyrics }
984 tenorNotes << \global \tenorNotes >>
986 tenorLyrics \lyricsto tenorNotes { \tenorLyrics }
988 bassusNotes << \global \bassusNotes >>
990 bassusLyrics \lyricsto bassusNotes { \bassusLyrics }
995 \override BarLine #'transparent = ##t
996 \remove "System_start_delimiter_engraver"
1000 \override Slur #'transparent = ##t
1011 This is a much more complicated template, for a jazz ensemble. Note that all
1012 instruments are notated in @code{\key c \major}. This refers to the key in
1013 concert pitch; LilyPond will automatically transpose the key if the music
1014 is within a @code{\transpose} section.
1016 @c TODO must clean up this jazz combo example
1017 @c - transpositions stated in names (ie "trumpet in Bb" or whatever)
1018 @c - one global section, instead of "global" (time) and "key"
1019 @c - does it need those wierd macros? sl, nsl, etc.
1020 @c - maybe ask Amelie Zapf to clean it up, or whether I should just
1021 @c make whatever changes I feel like.
1023 @c FIXME: produces a warning ; key change merge.
1024 @c The `linewidth' argument is for the \header.
1026 @lilypond[quote,verbatim,raggedright,linewidth]
1034 tagline = "LilyPond example file by Amelie Zapf,
1036 texidoc = "Jazz tune for combo
1037 (horns, guitar, piano, bass, drums)."
1040 #(set-global-staff-size 16)
1041 \include "english.ly"
1043 %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
1046 \override NoteHead #'style = #'slash
1047 \override Stem #'transparent = ##t
1050 \revert NoteHead #'style
1051 \revert Stem #'transparent
1053 cr = \override NoteHead #'style = #'cross
1054 ncr = \revert NoteHead #'style
1056 %% insert chord name style stuff here.
1061 %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
1067 Key = { \key c \major }
1069 % ############ Horns ############
1071 % ------ Trumpet ------
1072 trpt = \transpose c d \relative c'' {
1076 trpharmony = \transpose c' d {
1081 \set Staff.instrument = #"Trumpet"
1088 % ------ Alto Saxophone ------
1089 alto = \transpose c a \relative c' {
1093 altoharmony = \transpose c' a {
1098 \set Staff.instrument = #"Alto Sax"
1105 % ------ Baritone Saxophone ------
1106 bari = \transpose c a' \relative c {
1108 c1 c \sl d4^"Solo" d d d \nsl
1110 bariharmony = \transpose c' a \chordmode {
1111 \jzchords s1 s d2:maj e:m7
1115 \set Staff.instrument = #"Bari Sax"
1122 % ------ Trombone ------
1123 tbone = \relative c {
1127 tboneharmony = \chordmode {
1132 \set Staff.instrument = #"Trombone"
1139 % ############ Rhythm Section #############
1141 % ------ Guitar ------
1142 gtr = \relative c'' {
1144 c1 \sl b4 b b b \nsl c1
1146 gtrharmony = \chordmode {
1152 \set Staff.instrument = #"Guitar"
1159 %% ------ Piano ------
1160 rhUpper = \relative c'' {
1165 rhLower = \relative c' {
1171 lhUpper = \relative c' {
1176 lhLower = \relative c {
1185 \set Staff.midiInstrument = "acoustic grand"
1187 \context Voice = one \rhUpper
1188 \context Voice = two \rhLower
1194 \set Staff.midiInstrument = "acoustic grand"
1196 \context Voice = one \lhUpper
1197 \context Voice = two \lhLower
1202 \context PianoStaff <<
1203 \set PianoStaff.instrument = #"Piano"
1204 \context Staff = upper \PianoRH
1205 \context Staff = lower \PianoLH
1209 % ------ Bass Guitar ------
1210 Bass = \relative c {
1216 \set Staff.instrument = #"Bass"
1223 % ------ Drums ------
1225 hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
1232 bd4 s bd s bd s bd s bd s bd s
1238 \set DrumStaff.instrument = #"Drums"
1239 \new DrumVoice { \voiceOne \up }
1240 \new DrumVoice { \voiceTwo \down }
1244 %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
1248 \context StaffGroup = horns <<
1249 \context Staff = trumpet \trumpet
1250 \context Staff = altosax \altosax
1251 \context ChordNames = barichords \bariharmony
1252 \context Staff = barisax \barisax
1253 \context Staff = trombone \trombone
1256 \context StaffGroup = rhythm <<
1257 \context ChordNames = chords \gtrharmony
1258 \context Staff = guitar \guitar
1259 \context PianoStaff = piano \piano
1260 \context Staff = bass \bass
1261 \new DrumStaff { \drumContents }
1266 \context { \RemoveEmptyStaffContext }
1269 \override BarNumber #'padding = #3
1270 \override RehearsalMark #'padding = #2
1275 \midi { \tempo 4 = 75 }
1279 @node Other templates
1280 @section Other templates
1281 @subsection All headers
1283 This template displays all available headers. Some of them are only
1284 used in the Mutopia project; they don't affect the printed output at
1285 all. They are used if you want the piece to be listed with different
1286 information in the Mutopia database than you wish to have printed on the
1287 music. For example, Mutopia lists the composer of the famous D major
1288 violin concerto as TchaikovskyPI, whereas perhaps you wish to print
1289 "Petr Tchaikowski" on your music.
1291 @ The `linewidth' is for \header.
1292 @lilypond[quote,verbatim,raggedright,linewidth]
1295 dedication = "dedication"
1297 subtitle = "Subtitle"
1298 subsubtitle = "Subsubtitle"
1299 composer = "Composer (xxxx-yyyy)"
1303 instrument = "Instrument"
1304 arranger = "Arranger"
1306 texttranslator = "Translator"
1307 copyright = "public domain"
1309 % These are headers used by the Mutopia Project
1310 % http://www.mutopiaproject.org/
1312 mutopiacomposer = ""
1314 mutopiainstrument = ""
1315 date = "composer's dates"
1317 maintainer = "your name here"
1318 maintainerEmail = "your email here"
1319 maintainerWeb = "your home page"
1320 lastupdated = "2004/Aug/26"
1340 @subsection Gregorian template
1342 This example demonstrates how to do modern transcriptions of Gregorian
1343 music. Gregorian music has no measure, no stems; it uses only half and
1344 quarter notes, and two types of barlines, a short one indicating a rest,
1345 and a second one indicating a breath mark.
1347 @lilypond[quote,verbatim,raggedright]
1348 barOne = { \once \override Staff.BarLine #'bar-size = #2
1350 barTwo = { \once \override Staff.BarLine #'extra-offset = #'(0 . 2)
1351 \once \override Staff.BarLine #'bar-size = #2
1353 chant = \relative c' {
1354 \set Score.timing = ##f
1355 \override Staff.Stem #'transparent = ##t
1364 \midi { \tempo 4=60 }
1368 @subsection Bagpipe music
1370 Here is an example of bagpipe music. It demonstrates a big strength of
1371 LilyPond, compared to graphical score editors: in LilyPond, you can
1372 very easily reuse small segments of music without writing them out
1373 completely. This template defines a large number of small segments
1374 (@code{taor}, @code{grip}, @code{thrd}, etc), which can be reused easily.
1376 @c TODO - replace Bagpipe template with Andrew McNabb's work?
1377 @c http://www.mcnabbs.org/andrew/linux/lilypond-ghb/
1379 @lilypond[quote,verbatim]
1380 taor = { \grace { g32[ d' g e'] } }
1381 grip = { \grace { g32[ b g ] } }
1382 thrd = { \grace { g32[ d' c'] } }
1383 birl = { \grace { g32[ a g] } }
1384 gstd = { \grace { g'32[ d' g] } }
1385 fgg = { \grace { f32[ g'32] } }
1386 dblb = { \grace { g'32[ b d'] } }
1387 dblc = { \grace { g'32[ c' d'] } }
1388 dble = { \grace { g'32[ e' f'] } }
1389 dblf = { \grace { g'32[ f' g'] } }
1390 dblg = { \grace { g'32[ f'] } }
1391 dbla = { \grace { a'32[ g'] } }
1392 lgg = { \grace { g32 } }
1393 lag = { \grace { a32 } }
1394 cg = { \grace { c'32 } }
1395 eg = { \grace { e'32 } }
1396 gg = { \grace { g'32 } }
1397 dg = { \grace { d'32 } }
1398 hag = { \grace { a'32 } }
1399 gefg = { \grace { g'32[ e' f'] } }
1400 efg = { \grace { e'32[ f'] } }
1401 gdcg = { \grace { g'32[ d' c'] } }
1402 gcdg = { \grace { g'32[ c' d'] } }
1405 #(add-grace-property 'Voice 'Stem 'length 6)
1406 \time 6/8 \partial 4
1411 \gg f'4 e'8 \thrd d'4. |
1413 \gg d'4 f'8 \dble e'4. ( | \noBreak
1414 e'8) d'4 \gg d'4 e'8 |
1418 \dblf f'2.( f'4) d'8 |
1420 \dblg g'4 a'8 \gg a'4. |
1421 \thrd d'4.( d'4) \eg a8 |
1423 \dble e'4 \lag e'8 \gg e'16[ d'8. e'8] \gg f'4 g'8 |
1427 \gg f'4 e'8 \thrd d'4. |
1429 \dblg g'4 a'8 \gg a'4. |
1430 \thrd d'4.( d'4) f'8 |
1433 \dblg g'4 e'8( e'8) \dblf f'8.[ e'16] |
1434 \thrd d'4.( d'4) \cg d'8 |
1435 \gg c'4 e'8 \thrd d'4.( |
1441 @node Lilypond-book templates
1442 @section Lilypond-book templates
1444 These templates are for use with @code{lilypond-book}. If you're not familiar
1445 with this program, please refer to @ref{LilyPond-book}.
1449 You can include LilyPond fragments in a LaTeX document.
1452 \documentclass[]@{article@}
1475 You can include LilyPond fragments in Texinfo; in fact, this entire manual
1476 is written in Texinfo.
1484 @@lilypond[verbatim,fragment,raggedright]
1490 @@lilypond[verbatim,fragment,raggedright]