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 @c bad node name to avoid node name confict
674 @node Ancient notation templates
675 @section Ancient notation templates
677 @subsection Transcription of mensural music
679 When transcribing mensural music, an incipit at the beginning of the
680 piece is useful to indicate the original key and tempo. While today
681 musicians are used to bar lines in order to faster recognize rhythmic
682 patterns, bar lines where not yet invented during the period of
683 mensural music; in fact, the meter often changed after every few
684 notes. As a compromise, bar lines are often printed between the
685 staves rather than on the staves.
687 @lilypond[quote,verbatim,linewidth=11.0\cm]
692 \once \override Score.SystemStartBracket #'transparent = ##t
695 \once \override Staff.TimeSignature #'style = #'neomensural
696 \override Voice.NoteHead #'style = #'neomensural
697 \override Voice.Rest #'style = #'neomensural
698 \set Staff.printKeyCancellation = ##f
699 \cadenzaOn % turn off bar lines
701 \once \override Staff.BarLine #'transparent = ##f
703 \skip 1*1 % need this extra \skip such that clef change comes
708 \cadenzaOff % turn bar lines on again
709 \once \override Staff.Clef #'full-size-change = ##t
710 \set Staff.forceClef = ##t
713 \override Voice.NoteHead #'style = #'default
714 \override Voice.Rest #'style = #'default
716 % FIXME: setting printKeyCancellation back to #t must not
717 % occur in the first bar after the incipit. Dto. for forceClef.
718 % Therefore, we need an extra \skip.
720 \set Staff.printKeyCancellation = ##t
721 \set Staff.forceClef = ##f
725 % last bar contains a brevis (i.e., spans 2 bars);
726 % therefore do not draw this particular bar
731 % let finis bar go through all staves
732 \override Staff.BarLine #'transparent = ##f
740 \set Staff.instrument = "Discantus "
743 \clef "neomensural-c1"
745 \skip 1*8 % eight bars
755 \once \override NoteHead #'transparent = ##t c'1 |
760 discantusLyrics = \lyricmode {
776 \set Staff.instrument = "Altus "
779 \clef "neomensural-c3"
782 \skip 1*7 % seven bars
787 r2 g2. e4 fis g | % two bars
789 fis g4.( fis16 e fis4) |
791 \once \override NoteHead #'transparent = ##t g1 |
796 altusLyrics = \lyricmode {
801 Ju -- bi -- la -- te | % two bars
810 \set Staff.instrument = "Tenor "
813 \clef "neomensural-c4"
826 r2 d'2. d'4 b e' | % two bars
827 \once \override NoteHead #'transparent = ##t e'1 |
832 tenorLyrics = \lyricmode {
837 Ju -- bi -- la -- te | % two bars
844 \set Staff.instrument = "Bassus "
848 r\maxima % eight bars
859 \once \override NoteHead #'transparent = ##t e1 |
864 bassusLyrics = \lyricmode {
875 \context StaffGroup = choirStaff <<
877 discantusNotes << \global \discantusNotes >>
879 discantusLyrics \lyricsto discantusNotes { \discantusLyrics }
881 altusNotes << \global \altusNotes >>
883 altusLyrics \lyricsto altusNotes { \altusLyrics }
885 tenorNotes << \global \tenorNotes >>
887 tenorLyrics \lyricsto tenorNotes { \tenorLyrics }
889 bassusNotes << \global \bassusNotes >>
891 bassusLyrics \lyricsto bassusNotes { \bassusLyrics }
896 \override BarLine #'transparent = ##t
897 \remove "System_start_delimiter_engraver"
901 \override Slur #'transparent = ##t
912 This is a much more complicated template, for a jazz ensemble. Note that all
913 instruments are notated in @code{\key c \major}. This refers to the key in
914 concert pitch; LilyPond will automatically transpose the key if the music
915 is within a @code{\transpose} section.
917 @c TODO must clean up this jazz combo example
918 @c - transpositions stated in names (ie "trumpet in Bb" or whatever)
919 @c - one global section, instead of "global" (time) and "key"
920 @c - does it need those wierd macros? sl, nsl, etc.
921 @c - maybe ask Amelie Zapf to clean it up, or whether I should just
922 @c make whatever changes I feel like.
924 @c FIXME: produces a warning ; key change merge.
925 @c The `linewidth' argument is for the \header.
927 @lilypond[quote,verbatim,raggedright,linewidth]
935 tagline = "LilyPond example file by Amelie Zapf,
937 texidoc = "Jazz tune for combo
938 (horns, guitar, piano, bass, drums)."
941 #(set-global-staff-size 16)
942 \include "english.ly"
944 %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
947 \override NoteHead #'style = #'slash
948 \override Stem #'transparent = ##t
951 \revert NoteHead #'style
952 \revert Stem #'transparent
954 cr = \override NoteHead #'style = #'cross
955 ncr = \revert NoteHead #'style
957 %% insert chord name style stuff here.
962 %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
968 Key = { \key c \major }
970 % ############ Horns ############
972 % ------ Trumpet ------
973 trpt = \transpose c d \relative c'' {
977 trpharmony = \transpose c' d {
982 \set Staff.instrument = #"Trumpet"
989 % ------ Alto Saxophone ------
990 alto = \transpose c a \relative c' {
994 altoharmony = \transpose c' a {
999 \set Staff.instrument = #"Alto Sax"
1006 % ------ Baritone Saxophone ------
1007 bari = \transpose c a' \relative c {
1009 c1 c \sl d4^"Solo" d d d \nsl
1011 bariharmony = \transpose c' a \chordmode {
1012 \jzchords s1 s d2:maj e:m7
1016 \set Staff.instrument = #"Bari Sax"
1023 % ------ Trombone ------
1024 tbone = \relative c {
1028 tboneharmony = \chordmode {
1033 \set Staff.instrument = #"Trombone"
1040 % ############ Rhythm Section #############
1042 % ------ Guitar ------
1043 gtr = \relative c'' {
1045 c1 \sl b4 b b b \nsl c1
1047 gtrharmony = \chordmode {
1053 \set Staff.instrument = #"Guitar"
1060 %% ------ Piano ------
1061 rhUpper = \relative c'' {
1066 rhLower = \relative c' {
1072 lhUpper = \relative c' {
1077 lhLower = \relative c {
1086 \set Staff.midiInstrument = "acoustic grand"
1088 \context Voice = one \rhUpper
1089 \context Voice = two \rhLower
1095 \set Staff.midiInstrument = "acoustic grand"
1097 \context Voice = one \lhUpper
1098 \context Voice = two \lhLower
1103 \context PianoStaff <<
1104 \set PianoStaff.instrument = #"Piano"
1105 \context Staff = upper \PianoRH
1106 \context Staff = lower \PianoLH
1110 % ------ Bass Guitar ------
1111 Bass = \relative c {
1117 \set Staff.instrument = #"Bass"
1124 % ------ Drums ------
1126 hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
1133 bd4 s bd s bd s bd s bd s bd s
1139 \set DrumStaff.instrument = #"Drums"
1140 \new DrumVoice { \voiceOne \up }
1141 \new DrumVoice { \voiceTwo \down }
1145 %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
1149 \context StaffGroup = horns <<
1150 \context Staff = trumpet \trumpet
1151 \context Staff = altosax \altosax
1152 \context ChordNames = barichords \bariharmony
1153 \context Staff = barisax \barisax
1154 \context Staff = trombone \trombone
1157 \context StaffGroup = rhythm <<
1158 \context ChordNames = chords \gtrharmony
1159 \context Staff = guitar \guitar
1160 \context PianoStaff = piano \piano
1161 \context Staff = bass \bass
1162 \new DrumStaff { \drumContents }
1167 \context { \RemoveEmptyStaffContext }
1170 \override BarNumber #'padding = #3
1171 \override RehearsalMark #'padding = #2
1176 \midi { \tempo 4 = 75 }
1180 @node Other templates
1181 @section Other templates
1182 @subsection All headers
1184 This template displays all available headers. Some of them are only
1185 used in the Mutopia project; they don't affect the printed output at
1186 all. They are used if you want the piece to be listed with different
1187 information in the Mutopia database than you wish to have printed on the
1188 music. For example, Mutopia lists the composer of the famous D major
1189 violin concerto as TchaikovskyPI, whereas perhaps you wish to print
1190 "Petr Tchaikowski" on your music.
1192 @ The `linewidth' is for \header.
1193 @lilypond[quote,verbatim,raggedright,linewidth]
1196 dedication = "dedication"
1198 subtitle = "Subtitle"
1199 subsubtitle = "Subsubtitle"
1200 composer = "Composer (xxxx-yyyy)"
1203 instrument = "Instrument"
1204 arranger = "Arranger"
1206 texttranslator = "Translator"
1207 copyright = "public domain"
1209 % These are headers used by the Mutopia Project
1210 % http://www.mutopiaproject.org/
1212 mutopiacomposer = ""
1214 mutopiainstrument = ""
1215 date = "composer's dates"
1217 maintainer = "your name here"
1218 maintainerEmail = "your email here"
1219 maintainerWeb = "your home page"
1220 lastupdated = "2004/Aug/26"
1240 @subsection Gregorian template
1242 This example demonstrates how to do modern transcriptions of Gregorian
1243 music. Gregorian music has no measure, no stems; it uses only half and
1244 quarter notes, and two types of barlines, a short one indicating a rest,
1245 and a second one indicating a breath mark.
1247 @lilypond[quote,verbatim,raggedright]
1248 barOne = { \once \override Staff.BarLine #'bar-size = #2
1250 barTwo = { \once \override Staff.BarLine #'extra-offset = #'(0 . 2)
1251 \once \override Staff.BarLine #'bar-size = #2
1253 chant = \relative c' {
1254 \set Score.timing = ##f
1255 \override Staff.Stem #'transparent = ##t
1264 \midi { \tempo 4=60 }
1268 @subsection Bagpipe music
1270 Here is an example of bagpipe music. It demonstrates a big strength of
1271 LilyPond, compared to graphical score editors: in LilyPond, you can
1272 very easily reuse small segments of music without writing them out
1273 completely. This template defines a large number of small segments
1274 (@code{taor}, @code{grip}, @code{thrd}, etc), which can be reused easily.
1276 @c TODO - replace Bagpipe template with Andrew McNabb's work?
1277 @c http://www.mcnabbs.org/andrew/linux/lilypond-ghb/
1279 @lilypond[quote,verbatim]
1280 taor = { \grace { g32[ d' g e'] } }
1281 grip = { \grace { g32[ b g ] } }
1282 thrd = { \grace { g32[ d' c'] } }
1283 birl = { \grace { g32[ a g] } }
1284 gstd = { \grace { g'32[ d' g] } }
1285 fgg = { \grace { f32[ g'32] } }
1286 dblb = { \grace { g'32[ b d'] } }
1287 dblc = { \grace { g'32[ c' d'] } }
1288 dble = { \grace { g'32[ e' f'] } }
1289 dblf = { \grace { g'32[ f' g'] } }
1290 dblg = { \grace { g'32[ f'] } }
1291 dbla = { \grace { a'32[ g'] } }
1292 lgg = { \grace { g32 } }
1293 lag = { \grace { a32 } }
1294 cg = { \grace { c'32 } }
1295 eg = { \grace { e'32 } }
1296 gg = { \grace { g'32 } }
1297 dg = { \grace { d'32 } }
1298 hag = { \grace { a'32 } }
1299 gefg = { \grace { g'32[ e' f'] } }
1300 efg = { \grace { e'32[ f'] } }
1301 gdcg = { \grace { g'32[ d' c'] } }
1302 gcdg = { \grace { g'32[ c' d'] } }
1305 #(add-grace-property 'Voice 'Stem 'length 6)
1306 \time 6/8 \partial 4
1311 \gg f'4 e'8 \thrd d'4. |
1313 \gg d'4 f'8 \dble e'4. ( | \noBreak
1314 e'8) d'4 \gg d'4 e'8 |
1318 \dblf f'2.( f'4) d'8 |
1320 \dblg g'4 a'8 \gg a'4. |
1321 \thrd d'4.( d'4) \eg a8 |
1323 \dble e'4 \lag e'8 \gg e'16[ d'8. e'8] \gg f'4 g'8 |
1327 \gg f'4 e'8 \thrd d'4. |
1329 \dblg g'4 a'8 \gg a'4. |
1330 \thrd d'4.( d'4) f'8 |
1333 \dblg g'4 e'8( e'8) \dblf f'8.[ e'16] |
1334 \thrd d'4.( d'4) \cg d'8 |
1335 \gg c'4 e'8 \thrd d'4.( |
1341 @node Lilypond-book templates
1342 @section Lilypond-book templates
1344 These templates are for use with @code{lilypond-book}. If you're not familiar
1345 with this program, please refer to @ref{LilyPond-book}.
1349 You can include LilyPond fragments in a LaTeX document.
1352 \documentclass[]@{article@}
1375 You can include LilyPond fragments in Texinfo; in fact, this entire manual
1376 is written in Texinfo.
1384 @@lilypond[verbatim,fragment,raggedright]
1390 @@lilypond[verbatim,fragment,raggedright]