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 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 {
719 \context Lyrics = sopranos { s1 }
720 \context Staff = women <<
722 sopranos { \voiceOne << \global \sopMusic >> }
724 altos { \voiceTwo << \global \altoMusic >> }
726 \context Lyrics = altos { s1 }
727 \context Lyrics = tenors { s1 }
728 \context Staff = men <<
731 tenors { \voiceOne <<\global \tenorMusic >> }
733 basses { \voiceTwo <<\global \bassMusic >> }
735 \context Lyrics = basses { s1 }
736 \context Lyrics = sopranos \lyricsto sopranos \sopWords
737 \context Lyrics = altos \lyricsto altos \altoWords
738 \context Lyrics = tenors \lyricsto tenors \tenorWords
739 \context Lyrics = basses \lyricsto basses \bassWords
744 \context Lyrics = tenors \lyricsto tenors \tenorWords
745 \context Lyrics = basses \lyricsto basses \bassWords
750 \set Staff.printPartCombineTexts = ##f
752 << \global \sopMusic >>
753 << \global \altoMusic >>
757 \set Staff.printPartCombineTexts = ##f
759 << \global \tenorMusic >>
760 << \global \bassMusic >>
767 % a little smaller so lyrics
768 % can be closer to the staff
769 \Staff minimumVerticalExtent = #'(-3 . 3)
776 @c bad node name to avoid node name confict
777 @node Ancient notation templates
778 @section Ancient notation templates
780 @subsection Transcription of mensural music
782 When transcribing mensural music, an incipit at the beginning of the
783 piece is useful to indicate the original key and tempo. While today
784 musicians are used to bar lines in order to faster recognize rhythmic
785 patterns, bar lines where not yet invented during the period of
786 mensural music; in fact, the meter often changed after every few
787 notes. As a compromise, bar lines are often printed between the
788 staves rather than on the staves.
790 @lilypond[quote,verbatim,linewidth=11.0\cm]
795 \once \override Score.SystemStartBracket #'transparent = ##t
798 \once \override Staff.TimeSignature #'style = #'neomensural
799 \override Voice.NoteHead #'style = #'neomensural
800 \override Voice.Rest #'style = #'neomensural
801 \set Staff.printKeyCancellation = ##f
802 \cadenzaOn % turn off bar lines
804 \once \override Staff.BarLine #'transparent = ##f
806 \skip 1*1 % need this extra \skip such that clef change comes
811 \cadenzaOff % turn bar lines on again
812 \once \override Staff.Clef #'full-size-change = ##t
813 \set Staff.forceClef = ##t
816 \override Voice.NoteHead #'style = #'default
817 \override Voice.Rest #'style = #'default
819 % FIXME: setting printKeyCancellation back to #t must not
820 % occur in the first bar after the incipit. Dto. for forceClef.
821 % Therefore, we need an extra \skip.
823 \set Staff.printKeyCancellation = ##t
824 \set Staff.forceClef = ##f
828 % last bar contains a brevis (i.e., spans 2 bars);
829 % therefore do not draw this particular bar
834 % let finis bar go through all staves
835 \override Staff.BarLine #'transparent = ##f
843 \set Staff.instrument = "Discantus "
846 \clef "neomensural-c1"
848 \skip 1*8 % eight bars
858 \once \override NoteHead #'transparent = ##t c'1 |
863 discantusLyrics = \lyricmode {
879 \set Staff.instrument = "Altus "
882 \clef "neomensural-c3"
885 \skip 1*7 % seven bars
890 r2 g2. e4 fis g | % two bars
892 fis g4.( fis16 e fis4) |
894 \once \override NoteHead #'transparent = ##t g1 |
899 altusLyrics = \lyricmode {
904 Ju -- bi -- la -- te | % two bars
913 \set Staff.instrument = "Tenor "
916 \clef "neomensural-c4"
929 r2 d'2. d'4 b e' | % two bars
930 \once \override NoteHead #'transparent = ##t e'1 |
935 tenorLyrics = \lyricmode {
940 Ju -- bi -- la -- te | % two bars
947 \set Staff.instrument = "Bassus "
951 r\maxima % eight bars
962 \once \override NoteHead #'transparent = ##t e1 |
967 bassusLyrics = \lyricmode {
978 \context StaffGroup = choirStaff <<
980 discantusNotes << \global \discantusNotes >>
982 discantusLyrics \lyricsto discantusNotes { \discantusLyrics }
984 altusNotes << \global \altusNotes >>
986 altusLyrics \lyricsto altusNotes { \altusLyrics }
988 tenorNotes << \global \tenorNotes >>
990 tenorLyrics \lyricsto tenorNotes { \tenorLyrics }
992 bassusNotes << \global \bassusNotes >>
994 bassusLyrics \lyricsto bassusNotes { \bassusLyrics }
999 \override BarLine #'transparent = ##t
1000 \remove "System_start_delimiter_engraver"
1004 \override Slur #'transparent = ##t
1015 This is a much more complicated template, for a jazz ensemble. Note that all
1016 instruments are notated in @code{\key c \major}. This refers to the key in
1017 concert pitch; LilyPond will automatically transpose the key if the music
1018 is within a @code{\transpose} section.
1020 @c TODO must clean up this jazz combo example
1021 @c - transpositions stated in names (ie "trumpet in Bb" or whatever)
1022 @c - one global section, instead of "global" (time) and "key"
1023 @c - does it need those wierd macros? sl, nsl, etc.
1024 @c - maybe ask Amelie Zapf to clean it up, or whether I should just
1025 @c make whatever changes I feel like.
1027 @c FIXME: produces a warning ; key change merge.
1028 @c The `linewidth' argument is for the \header.
1030 @lilypond[quote,verbatim,raggedright,linewidth]
1038 tagline = "LilyPond example file by Amelie Zapf,
1040 texidoc = "Jazz tune for combo
1041 (horns, guitar, piano, bass, drums)."
1044 #(set-global-staff-size 16)
1045 \include "english.ly"
1047 %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
1050 \override NoteHead #'style = #'slash
1051 \override Stem #'transparent = ##t
1054 \revert NoteHead #'style
1055 \revert Stem #'transparent
1057 cr = \override NoteHead #'style = #'cross
1058 ncr = \revert NoteHead #'style
1060 %% insert chord name style stuff here.
1065 %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
1071 Key = { \key c \major }
1073 % ############ Horns ############
1075 % ------ Trumpet ------
1076 trpt = \transpose c d \relative c'' {
1080 trpharmony = \transpose c' d {
1085 \set Staff.instrument = #"Trumpet"
1092 % ------ Alto Saxophone ------
1093 alto = \transpose c a \relative c' {
1097 altoharmony = \transpose c' a {
1102 \set Staff.instrument = #"Alto Sax"
1109 % ------ Baritone Saxophone ------
1110 bari = \transpose c a' \relative c {
1112 c1 c \sl d4^"Solo" d d d \nsl
1114 bariharmony = \transpose c' a \chordmode {
1115 \jzchords s1 s d2:maj e:m7
1119 \set Staff.instrument = #"Bari Sax"
1126 % ------ Trombone ------
1127 tbone = \relative c {
1131 tboneharmony = \chordmode {
1136 \set Staff.instrument = #"Trombone"
1143 % ############ Rhythm Section #############
1145 % ------ Guitar ------
1146 gtr = \relative c'' {
1148 c1 \sl b4 b b b \nsl c1
1150 gtrharmony = \chordmode {
1156 \set Staff.instrument = #"Guitar"
1163 %% ------ Piano ------
1164 rhUpper = \relative c'' {
1169 rhLower = \relative c' {
1175 lhUpper = \relative c' {
1180 lhLower = \relative c {
1189 \set Staff.midiInstrument = "acoustic grand"
1191 \context Voice = one \rhUpper
1192 \context Voice = two \rhLower
1198 \set Staff.midiInstrument = "acoustic grand"
1200 \context Voice = one \lhUpper
1201 \context Voice = two \lhLower
1206 \context PianoStaff <<
1207 \set PianoStaff.instrument = #"Piano"
1208 \context Staff = upper \PianoRH
1209 \context Staff = lower \PianoLH
1213 % ------ Bass Guitar ------
1214 Bass = \relative c {
1220 \set Staff.instrument = #"Bass"
1227 % ------ Drums ------
1229 hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
1236 bd4 s bd s bd s bd s bd s bd s
1242 \set DrumStaff.instrument = #"Drums"
1243 \new DrumVoice { \voiceOne \up }
1244 \new DrumVoice { \voiceTwo \down }
1248 %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
1252 \context StaffGroup = horns <<
1253 \context Staff = trumpet \trumpet
1254 \context Staff = altosax \altosax
1255 \context ChordNames = barichords \bariharmony
1256 \context Staff = barisax \barisax
1257 \context Staff = trombone \trombone
1260 \context StaffGroup = rhythm <<
1261 \context ChordNames = chords \gtrharmony
1262 \context Staff = guitar \guitar
1263 \context PianoStaff = piano \piano
1264 \context Staff = bass \bass
1265 \new DrumStaff { \drumContents }
1270 \context { \RemoveEmptyStaffContext }
1273 \override BarNumber #'padding = #3
1274 \override RehearsalMark #'padding = #2
1279 \midi { \tempo 4 = 75 }
1283 @node Other templates
1284 @section Other templates
1285 @subsection All headers
1287 This template displays all available headers. Some of them are only
1288 used in the Mutopia project; they don't affect the printed output at
1289 all. They are used if you want the piece to be listed with different
1290 information in the Mutopia database than you wish to have printed on the
1291 music. For example, Mutopia lists the composer of the famous D major
1292 violin concerto as TchaikovskyPI, whereas perhaps you wish to print
1293 "Petr Tchaikowski" on your music.
1295 @ The `linewidth' is for \header.
1296 @lilypond[quote,verbatim,raggedright,linewidth]
1299 dedication = "dedication"
1301 subtitle = "Subtitle"
1302 subsubtitle = "Subsubtitle"
1303 composer = "Composer (xxxx-yyyy)"
1306 instrument = "Instrument"
1307 arranger = "Arranger"
1309 texttranslator = "Translator"
1310 copyright = "public domain"
1312 % These are headers used by the Mutopia Project
1313 % http://www.mutopiaproject.org/
1315 mutopiacomposer = ""
1317 mutopiainstrument = ""
1318 date = "composer's dates"
1320 maintainer = "your name here"
1321 maintainerEmail = "your email here"
1322 maintainerWeb = "your home page"
1323 lastupdated = "2004/Aug/26"
1343 @subsection Gregorian template
1345 This example demonstrates how to do modern transcriptions of Gregorian
1346 music. Gregorian music has no measure, no stems; it uses only half and
1347 quarter notes, and two types of barlines, a short one indicating a rest,
1348 and a second one indicating a breath mark.
1350 @lilypond[quote,verbatim,raggedright]
1351 barOne = { \once \override Staff.BarLine #'bar-size = #2
1353 barTwo = { \once \override Staff.BarLine #'extra-offset = #'(0 . 2)
1354 \once \override Staff.BarLine #'bar-size = #2
1356 chant = \relative c' {
1357 \set Score.timing = ##f
1358 \override Staff.Stem #'transparent = ##t
1367 \midi { \tempo 4=60 }
1371 @subsection Bagpipe music
1373 Here is an example of bagpipe music. It demonstrates a big strength of
1374 LilyPond, compared to graphical score editors: in LilyPond, you can
1375 very easily reuse small segments of music without writing them out
1376 completely. This template defines a large number of small segments
1377 (@code{taor}, @code{grip}, @code{thrd}, etc), which can be reused easily.
1379 @c TODO - replace Bagpipe template with Andrew McNabb's work?
1380 @c http://www.mcnabbs.org/andrew/linux/lilypond-ghb/
1382 @lilypond[quote,verbatim]
1383 taor = { \grace { g32[ d' g e'] } }
1384 grip = { \grace { g32[ b g ] } }
1385 thrd = { \grace { g32[ d' c'] } }
1386 birl = { \grace { g32[ a g] } }
1387 gstd = { \grace { g'32[ d' g] } }
1388 fgg = { \grace { f32[ g'32] } }
1389 dblb = { \grace { g'32[ b d'] } }
1390 dblc = { \grace { g'32[ c' d'] } }
1391 dble = { \grace { g'32[ e' f'] } }
1392 dblf = { \grace { g'32[ f' g'] } }
1393 dblg = { \grace { g'32[ f'] } }
1394 dbla = { \grace { a'32[ g'] } }
1395 lgg = { \grace { g32 } }
1396 lag = { \grace { a32 } }
1397 cg = { \grace { c'32 } }
1398 eg = { \grace { e'32 } }
1399 gg = { \grace { g'32 } }
1400 dg = { \grace { d'32 } }
1401 hag = { \grace { a'32 } }
1402 gefg = { \grace { g'32[ e' f'] } }
1403 efg = { \grace { e'32[ f'] } }
1404 gdcg = { \grace { g'32[ d' c'] } }
1405 gcdg = { \grace { g'32[ c' d'] } }
1408 #(add-grace-property 'Voice 'Stem 'length 6)
1409 \time 6/8 \partial 4
1414 \gg f'4 e'8 \thrd d'4. |
1416 \gg d'4 f'8 \dble e'4. ( | \noBreak
1417 e'8) d'4 \gg d'4 e'8 |
1421 \dblf f'2.( f'4) d'8 |
1423 \dblg g'4 a'8 \gg a'4. |
1424 \thrd d'4.( d'4) \eg a8 |
1426 \dble e'4 \lag e'8 \gg e'16[ d'8. e'8] \gg f'4 g'8 |
1430 \gg f'4 e'8 \thrd d'4. |
1432 \dblg g'4 a'8 \gg a'4. |
1433 \thrd d'4.( d'4) f'8 |
1436 \dblg g'4 e'8( e'8) \dblf f'8.[ e'16] |
1437 \thrd d'4.( d'4) \cg d'8 |
1438 \gg c'4 e'8 \thrd d'4.( |
1444 @node Lilypond-book templates
1445 @section Lilypond-book templates
1447 These templates are for use with @code{lilypond-book}. If you're not familiar
1448 with this program, please refer to @ref{LilyPond-book}.
1452 You can include LilyPond fragments in a LaTeX document.
1455 \documentclass[]@{article@}
1478 You can include LilyPond fragments in Texinfo; in fact, this entire manual
1479 is written in Texinfo.
1487 @@lilypond[verbatim,fragment,raggedright]
1493 @@lilypond[verbatim,fragment,raggedright]