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 \type "Performer_group_performer"
418 \consists "Piano_pedal_performer"
419 \consists "Span_dynamic_performer"
420 \consists "Dynamic_performer"
432 @section String quartet
433 @subsection String quartet
435 This template demonstrates a string quartet. It also uses a @code{\global}
436 section for time and key signatures.
438 @lilypond[quote,verbatim,raggedright]
446 violinOne = \new Voice { \relative c''{
447 \set Staff.instrument = "Violin 1 "
452 violinTwo = \new Voice { \relative c''{
453 \set Staff.instrument = "Violin 2 "
458 viola = \new Voice { \relative c' {
459 \set Staff.instrument = "Viola "
465 cello = \new Voice { \relative c' {
466 \set Staff.instrument = "Cello "
475 \new Staff << \global \violinOne >>
476 \new Staff << \global \violinTwo >>
477 \new Staff << \global \viola >>
478 \new Staff << \global \cello >>
485 @subsection String quartet parts
487 The previous example produces a nice string quartet, but what if you
488 needed to print parts? This template demonstrates how to use the
489 @code{\tag} feature to easily split a piece into individual parts.
491 You need to split this template into separate files; the filenames
492 are contained in comments at the beginning of each file. @code{piece.ly}
493 contains all the music definitions. The other files -- @code{score.ly},
494 @code{vn1.ly}, @code{vn2.ly}, @code{vla.ly}, and
495 @code{vlc.ly} -- produce the appropiate part.
506 Violinone = \new Voice { \relative c''{
507 \set Staff.instrument = "Violin 1 "
511 \bar "|." }} %*********************************
512 Violintwo = \new Voice { \relative c''{
513 \set Staff.instrument = "Violin 2 "
517 \bar "|." }} %*********************************
518 Viola = \new Voice { \relative c' {
519 \set Staff.instrument = "Viola "
524 \bar "|." }} %*********************************
525 Cello = \new Voice { \relative c' {
526 \set Staff.instrument = "Cello "
531 \bar "|."}} %**********************************
535 \tag #'(score vn1) \new Staff { << \global \Violinone >> }
536 \tag #'(score vn2) \new Staff { << \global \Violintwo>> }
537 \tag #'(score vla) \new Staff { << \global \Viola>> }
538 \tag #'(score vlc) \new Staff { << \global \Cello>> }
547 #(set-global-staff-size 14)
549 \new StaffGroup \keepWithTag #'score \music
551 \midi { \tempo 4 = 60 }
559 \keepWithTag #'vn1 \music
568 \keepWithTag #'vn2 \music
577 \keepWithTag #'vla \music
586 \keepWithTag #'vlc \music
592 @node Vocal ensembles
593 @section Vocal ensembles
595 @subsection SATB vocal score
597 Here is a standard four-part SATB vocal score. With larger ensembles,
598 it's often useful to include a section which is included in all
599 parts. For example, the time signature and key signatures are almost
600 always the same for all parts.
602 @lilypond[quote,verbatim,raggedright]
609 sopMusic = \relative c'' {
612 sopWords = \lyricmode {
616 altoMusic = \relative c' {
619 altoWords =\lyricmode {
623 tenorMusic = \relative c' {
626 tenorWords = \lyricmode {
630 bassMusic = \relative c {
633 bassWords = \lyricmode {
638 \context ChoirStaff <<
639 \context Lyrics = sopranos { s1 }
640 \context Staff = women <<
642 sopranos { \voiceOne << \global \sopMusic >> }
644 altos { \voiceTwo << \global \altoMusic >> }
646 \context Lyrics = altos { s1 }
647 \context Lyrics = tenors { s1 }
648 \context Staff = men <<
651 tenors { \voiceOne <<\global \tenorMusic >> }
653 basses { \voiceTwo <<\global \bassMusic >> }
655 \context Lyrics = basses { s1 }
656 \context Lyrics = sopranos \lyricsto sopranos \sopWords
657 \context Lyrics = altos \lyricsto altos \altoWords
658 \context Lyrics = tenors \lyricsto tenors \tenorWords
659 \context Lyrics = basses \lyricsto basses \bassWords
664 % a little smaller so lyrics
665 % can be closer to the staff
666 \Staff minimumVerticalExtent = #'(-3 . 3)
673 @subsection SATB vocal score and automatic piano reduction
675 This template adds an automatic piano reduction to the SATB vocal
676 score. This demonstrates one of the strengths of LilyPond -- you
677 can use a music definition more than once. If you make any changes
678 to the vocal notes (say, tenorMusic), then the changes will also
679 apply to the piano reduction.
681 @lilypond[quote,verbatim,raggedright]
688 sopMusic = \relative c'' {
691 sopWords = \lyricmode {
695 altoMusic = \relative c' {
698 altoWords =\lyricmode {
702 tenorMusic = \relative c' {
705 tenorWords = \lyricmode {
708 bassMusic = \relative c {
711 bassWords = \lyricmode {
717 % a little smaller so lyrics
718 % can be closer to the staff
720 minimumVerticalExtent = #'(-3 . 3)
727 \context Lyrics = sopranos { s1 }
728 \context Staff = women <<
730 sopranos { \voiceOne << \global \sopMusic >> }
732 altos { \voiceTwo << \global \altoMusic >> }
734 \context Lyrics = altos { s1 }
735 \context Lyrics = tenors { s1 }
736 \context Staff = men <<
739 tenors { \voiceOne <<\global \tenorMusic >> }
741 basses { \voiceTwo <<\global \bassMusic >> }
743 \context Lyrics = basses { s1 }
744 \context Lyrics = sopranos \lyricsto sopranos \sopWords
745 \context Lyrics = altos \lyricsto altos \altoWords
746 \context Lyrics = tenors \lyricsto tenors \tenorWords
747 \context Lyrics = basses \lyricsto basses \bassWords
752 \set Staff.printPartCombineTexts = ##f
754 << \global \sopMusic >>
755 << \global \altoMusic >>
759 \set Staff.printPartCombineTexts = ##f
761 << \global \tenorMusic >>
762 << \global \bassMusic >>
769 @c bad node name to avoid node name confict
770 @node Ancient notation templates
771 @section Ancient notation templates
773 @subsection Transcription of mensural music
775 When transcribing mensural music, an incipit at the beginning of the
776 piece is useful to indicate the original key and tempo. While today
777 musicians are used to bar lines in order to faster recognize rhythmic
778 patterns, bar lines where not yet invented during the period of
779 mensural music; in fact, the meter often changed after every few
780 notes. As a compromise, bar lines are often printed between the
781 staves rather than on the staves.
783 @lilypond[quote,verbatim,linewidth=11.0\cm]
787 \set Score.skipBars = ##t
790 \once \override Score.SystemStartBracket #'transparent = ##t
791 \override Score.SpacingSpanner #'spacing-increment = #1.0 % tight spacing
794 \once \override Staff.TimeSignature #'style = #'neomensural
795 \override Voice.NoteHead #'style = #'neomensural
796 \override Voice.Rest #'style = #'neomensural
797 \set Staff.printKeyCancellation = ##f
798 \cadenzaOn % turn off bar lines
800 \once \override Staff.BarLine #'transparent = ##f
802 \skip 1*1 % need this extra \skip such that clef change comes
807 \revert Score.SpacingSpanner #'spacing-increment % CHECK: no effect?
808 \cadenzaOff % turn bar lines on again
809 \once \override Staff.Clef #'full-size-change = ##t
810 \set Staff.forceClef = ##t
813 \override Voice.NoteHead #'style = #'default
814 \override Voice.Rest #'style = #'default
816 % FIXME: setting printKeyCancellation back to #t must not
817 % occur in the first bar after the incipit. Dto. for forceClef.
818 % Therefore, we need an extra \skip.
820 \set Staff.printKeyCancellation = ##t
821 \set Staff.forceClef = ##f
823 \skip 1*7 % the actual music
825 % let finis bar go through all staves
826 \override Staff.BarLine #'transparent = ##f
834 \set Staff.instrument = "Discantus "
837 \clef "neomensural-c1"
839 \skip 1*8 % eight bars
849 \once \override NoteHead #'transparent = ##t c'1 |
854 discantusLyrics = \lyricmode {
870 \set Staff.instrument = "Altus "
873 \clef "neomensural-c3"
876 \skip 1*7 % seven bars
881 r2 g2. e4 fis g | % two bars
883 fis g4.( fis16 e fis4) |
885 \once \override NoteHead #'transparent = ##t g1 |
890 altusLyrics = \lyricmode {
895 Ju -- bi -- la -- te | % two bars
904 \set Staff.instrument = "Tenor "
907 \clef "neomensural-c4"
920 r2 d'2. d'4 b e' | % two bars
921 \once \override NoteHead #'transparent = ##t e'1 |
926 tenorLyrics = \lyricmode {
931 Ju -- bi -- la -- te | % two bars
938 \set Staff.instrument = "Bassus "
942 r\maxima % eight bars
953 \once \override NoteHead #'transparent = ##t e1 |
958 bassusLyrics = \lyricmode {
969 \context StaffGroup = choirStaff <<
971 discantusNotes << \global \discantusNotes >>
973 discantusLyrics \lyricsto discantusNotes { \discantusLyrics }
975 altusNotes << \global \altusNotes >>
977 altusLyrics \lyricsto altusNotes { \altusLyrics }
979 tenorNotes << \global \tenorNotes >>
981 tenorLyrics \lyricsto tenorNotes { \tenorLyrics }
983 bassusNotes << \global \bassusNotes >>
985 bassusLyrics \lyricsto bassusNotes { \bassusLyrics }
990 \override BarLine #'transparent = ##t
991 \remove "System_start_delimiter_engraver"
995 \override Slur #'transparent = ##t
1006 This is a much more complicated template, for a jazz ensemble. Note that all
1007 instruments are notated in @code{\key c \major}. This refers to the key in
1008 concert pitch; LilyPond will automatically transpose the key if the music
1009 is within a @code{\transpose} section.
1011 @c TODO must clean up this jazz combo example
1012 @c - transpositions stated in names (ie "trumpet in Bb" or whatever)
1013 @c - one global section, instead of "global" (time) and "key"
1014 @c - does it need those wierd macros? sl, nsl, etc.
1015 @c - maybe ask Amelie Zapf to clean it up, or whether I should just
1016 @c make whatever changes I feel like.
1018 @c FIXME: produces a warning ; key change merge.
1019 @c The `linewidth' argument is for the \header.
1021 @lilypond[quote,verbatim,raggedright,linewidth]
1029 tagline = "LilyPond example file by Amelie Zapf,
1031 texidoc = "Jazz tune for combo
1032 (horns, guitar, piano, bass, drums)."
1035 #(set-global-staff-size 16)
1036 \include "english.ly"
1038 %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
1041 \override NoteHead #'style = #'slash
1042 \override Stem #'transparent = ##t
1045 \revert NoteHead #'style
1046 \revert Stem #'transparent
1048 cr = \override NoteHead #'style = #'cross
1049 ncr = \revert NoteHead #'style
1051 %% insert chord name style stuff here.
1056 %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
1062 Key = { \key c \major }
1064 % ############ Horns ############
1066 % ------ Trumpet ------
1067 trpt = \transpose c d \relative c'' {
1071 trpharmony = \transpose c' d {
1076 \set Staff.instrument = #"Trumpet"
1083 % ------ Alto Saxophone ------
1084 alto = \transpose c a \relative c' {
1088 altoharmony = \transpose c' a {
1093 \set Staff.instrument = #"Alto Sax"
1100 % ------ Baritone Saxophone ------
1101 bari = \transpose c a' \relative c {
1103 c1 c \sl d4^"Solo" d d d \nsl
1105 bariharmony = \transpose c' a \chordmode {
1106 \jzchords s1 s d2:maj e:m7
1110 \set Staff.instrument = #"Bari Sax"
1117 % ------ Trombone ------
1118 tbone = \relative c {
1122 tboneharmony = \chordmode {
1127 \set Staff.instrument = #"Trombone"
1134 % ############ Rhythm Section #############
1136 % ------ Guitar ------
1137 gtr = \relative c'' {
1139 c1 \sl b4 b b b \nsl c1
1141 gtrharmony = \chordmode {
1147 \set Staff.instrument = #"Guitar"
1154 %% ------ Piano ------
1155 rhUpper = \relative c'' {
1160 rhLower = \relative c' {
1166 lhUpper = \relative c' {
1171 lhLower = \relative c {
1180 \set Staff.midiInstrument = "acoustic grand"
1182 \context Voice = one \rhUpper
1183 \context Voice = two \rhLower
1189 \set Staff.midiInstrument = "acoustic grand"
1191 \context Voice = one \lhUpper
1192 \context Voice = two \lhLower
1197 \context PianoStaff <<
1198 \set PianoStaff.instrument = #"Piano"
1199 \context Staff = upper \PianoRH
1200 \context Staff = lower \PianoLH
1204 % ------ Bass Guitar ------
1205 Bass = \relative c {
1211 \set Staff.instrument = #"Bass"
1218 % ------ Drums ------
1220 hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
1227 bd4 s bd s bd s bd s bd s bd s
1233 \set DrumStaff.instrument = #"Drums"
1234 \new DrumVoice { \voiceOne \up }
1235 \new DrumVoice { \voiceTwo \down }
1239 %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
1243 \context StaffGroup = horns <<
1244 \context Staff = trumpet \trumpet
1245 \context Staff = altosax \altosax
1246 \context ChordNames = barichords \bariharmony
1247 \context Staff = barisax \barisax
1248 \context Staff = trombone \trombone
1251 \context StaffGroup = rhythm <<
1252 \context ChordNames = chords \gtrharmony
1253 \context Staff = guitar \guitar
1254 \context PianoStaff = piano \piano
1255 \context Staff = bass \bass
1256 \new DrumStaff { \drumContents }
1261 \context { \RemoveEmptyStaffContext }
1264 \override BarNumber #'padding = #3
1265 \override RehearsalMark #'padding = #2
1270 \midi { \tempo 4 = 75 }
1274 @node Other templates
1275 @section Other templates
1276 @subsection All headers
1278 This template displays all available headers. Some of them are only
1279 used in the Mutopia project; they don't affect the printed output at
1280 all. They are used if you want the piece to be listed with different
1281 information in the Mutopia database than you wish to have printed on the
1282 music. For example, Mutopia lists the composer of the famous D major
1283 violin concerto as TchaikovskyPI, whereas perhaps you wish to print
1284 "Petr Tchaikowski" on your music.
1286 @ The `linewidth' is for \header.
1287 @lilypond[quote,verbatim,raggedright,linewidth]
1290 dedication = "dedication"
1292 subtitle = "Subtitle"
1293 subsubtitle = "Subsubtitle"
1294 composer = "Composer (xxxx-yyyy)"
1298 instrument = "Instrument"
1299 arranger = "Arranger"
1301 texttranslator = "Translator"
1302 copyright = "public domain"
1304 % These are headers used by the Mutopia Project
1305 % http://www.mutopiaproject.org/
1307 mutopiacomposer = ""
1309 mutopiainstrument = ""
1310 date = "composer's dates"
1312 maintainer = "your name here"
1313 maintainerEmail = "your email here"
1314 maintainerWeb = "your home page"
1315 lastupdated = "2004/Aug/26"
1335 @subsection Gregorian template
1337 This example demonstrates how to do modern transcriptions of Gregorian
1338 music. Gregorian music has no measure, no stems; it uses only half and
1339 quarter notes, and two types of barlines, a short one indicating a rest,
1340 and a second one indicating a breath mark.
1342 @lilypond[quote,verbatim,raggedright]
1343 barOne = { \once \override Staff.BarLine #'bar-size = #2
1345 barTwo = { \once \override Staff.BarLine #'extra-offset = #'(0 . 2)
1346 \once \override Staff.BarLine #'bar-size = #2
1348 chant = \relative c' {
1349 \set Score.timing = ##f
1350 \override Staff.Stem #'transparent = ##t
1359 \midi { \tempo 4=60 }
1363 @subsection Bagpipe music
1365 Here is an example of bagpipe music. It demonstrates a big strength of
1366 LilyPond, compared to graphical score editors: in LilyPond, you can
1367 very easily reuse small segments of music without writing them out
1368 completely. This template defines a large number of small segments
1369 (@code{taor}, @code{grip}, @code{thrd}, etc), which can be reused easily.
1371 @c TODO - replace Bagpipe template with Andrew McNabb's work?
1372 @c http://www.mcnabbs.org/andrew/linux/lilypond-ghb/
1374 @lilypond[quote,verbatim]
1375 taor = { \grace { g32[ d' g e'] } }
1376 grip = { \grace { g32[ b g ] } }
1377 thrd = { \grace { g32[ d' c'] } }
1378 birl = { \grace { g32[ a g] } }
1379 gstd = { \grace { g'32[ d' g] } }
1380 fgg = { \grace { f32[ g'32] } }
1381 dblb = { \grace { g'32[ b d'] } }
1382 dblc = { \grace { g'32[ c' d'] } }
1383 dble = { \grace { g'32[ e' f'] } }
1384 dblf = { \grace { g'32[ f' g'] } }
1385 dblg = { \grace { g'32[ f'] } }
1386 dbla = { \grace { a'32[ g'] } }
1387 lgg = { \grace { g32 } }
1388 lag = { \grace { a32 } }
1389 cg = { \grace { c'32 } }
1390 eg = { \grace { e'32 } }
1391 gg = { \grace { g'32 } }
1392 dg = { \grace { d'32 } }
1393 hag = { \grace { a'32 } }
1394 gefg = { \grace { g'32[ e' f'] } }
1395 efg = { \grace { e'32[ f'] } }
1396 gdcg = { \grace { g'32[ d' c'] } }
1397 gcdg = { \grace { g'32[ c' d'] } }
1400 #(add-grace-property 'Voice 'Stem 'length 6)
1401 \time 6/8 \partial 4
1406 \gg f'4 e'8 \thrd d'4. |
1408 \gg d'4 f'8 \dble e'4. ( | \noBreak
1409 e'8) d'4 \gg d'4 e'8 |
1413 \dblf f'2.( f'4) d'8 |
1415 \dblg g'4 a'8 \gg a'4. |
1416 \thrd d'4.( d'4) \eg a8 |
1418 \dble e'4 \lag e'8 \gg e'16[ d'8. e'8] \gg f'4 g'8 |
1422 \gg f'4 e'8 \thrd d'4. |
1424 \dblg g'4 a'8 \gg a'4. |
1425 \thrd d'4.( d'4) f'8 |
1428 \dblg g'4 e'8( e'8) \dblf f'8.[ e'16] |
1429 \thrd d'4.( d'4) \cg d'8 |
1430 \gg c'4 e'8 \thrd d'4.( |
1436 @node Lilypond-book templates
1437 @section Lilypond-book templates
1439 These templates are for use with @code{lilypond-book}. If you're not familiar
1440 with this program, please refer to @ref{LilyPond-book}.
1444 You can include LilyPond fragments in a LaTeX document.
1447 \documentclass[]@{article@}
1470 You can include LilyPond fragments in Texinfo; in fact, this entire manual
1471 is written in Texinfo.
1479 @@lilypond[verbatim,fragment,raggedright]
1485 @@lilypond[verbatim,fragment,raggedright]