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]
788 \once \override Score.SystemStartBracket #'transparent = ##t
791 \once \override Staff.TimeSignature #'style = #'neomensural
792 \override Voice.NoteHead #'style = #'neomensural
793 \override Voice.Rest #'style = #'neomensural
794 \set Staff.printKeyCancellation = ##f
795 \cadenzaOn % turn off bar lines
797 \once \override Staff.BarLine #'transparent = ##f
799 \skip 1*1 % need this extra \skip such that clef change comes
804 \cadenzaOff % turn bar lines on again
805 \once \override Staff.Clef #'full-size-change = ##t
806 \set Staff.forceClef = ##t
809 \override Voice.NoteHead #'style = #'default
810 \override Voice.Rest #'style = #'default
812 % FIXME: setting printKeyCancellation back to #t must not
813 % occur in the first bar after the incipit. Dto. for forceClef.
814 % Therefore, we need an extra \skip.
816 \set Staff.printKeyCancellation = ##t
817 \set Staff.forceClef = ##f
821 % last bar contains a brevis (i.e., spans 2 bars);
822 % therefore do not draw this particular bar
827 % let finis bar go through all staves
828 \override Staff.BarLine #'transparent = ##f
836 \set Staff.instrument = "Discantus "
839 \clef "neomensural-c1"
841 \skip 1*8 % eight bars
851 \once \override NoteHead #'transparent = ##t c'1 |
856 discantusLyrics = \lyricmode {
872 \set Staff.instrument = "Altus "
875 \clef "neomensural-c3"
878 \skip 1*7 % seven bars
883 r2 g2. e4 fis g | % two bars
885 fis g4.( fis16 e fis4) |
887 \once \override NoteHead #'transparent = ##t g1 |
892 altusLyrics = \lyricmode {
897 Ju -- bi -- la -- te | % two bars
906 \set Staff.instrument = "Tenor "
909 \clef "neomensural-c4"
922 r2 d'2. d'4 b e' | % two bars
923 \once \override NoteHead #'transparent = ##t e'1 |
928 tenorLyrics = \lyricmode {
933 Ju -- bi -- la -- te | % two bars
940 \set Staff.instrument = "Bassus "
944 r\maxima % eight bars
955 \once \override NoteHead #'transparent = ##t e1 |
960 bassusLyrics = \lyricmode {
971 \context StaffGroup = choirStaff <<
973 discantusNotes << \global \discantusNotes >>
975 discantusLyrics \lyricsto discantusNotes { \discantusLyrics }
977 altusNotes << \global \altusNotes >>
979 altusLyrics \lyricsto altusNotes { \altusLyrics }
981 tenorNotes << \global \tenorNotes >>
983 tenorLyrics \lyricsto tenorNotes { \tenorLyrics }
985 bassusNotes << \global \bassusNotes >>
987 bassusLyrics \lyricsto bassusNotes { \bassusLyrics }
992 \override BarLine #'transparent = ##t
993 \remove "System_start_delimiter_engraver"
997 \override Slur #'transparent = ##t
1008 This is a much more complicated template, for a jazz ensemble. Note that all
1009 instruments are notated in @code{\key c \major}. This refers to the key in
1010 concert pitch; LilyPond will automatically transpose the key if the music
1011 is within a @code{\transpose} section.
1013 @c TODO must clean up this jazz combo example
1014 @c - transpositions stated in names (ie "trumpet in Bb" or whatever)
1015 @c - one global section, instead of "global" (time) and "key"
1016 @c - does it need those wierd macros? sl, nsl, etc.
1017 @c - maybe ask Amelie Zapf to clean it up, or whether I should just
1018 @c make whatever changes I feel like.
1020 @c FIXME: produces a warning ; key change merge.
1021 @c The `linewidth' argument is for the \header.
1023 @lilypond[quote,verbatim,raggedright,linewidth]
1031 tagline = "LilyPond example file by Amelie Zapf,
1033 texidoc = "Jazz tune for combo
1034 (horns, guitar, piano, bass, drums)."
1037 #(set-global-staff-size 16)
1038 \include "english.ly"
1040 %%%%%%%%%%%% Some macros %%%%%%%%%%%%%%%%%%%
1043 \override NoteHead #'style = #'slash
1044 \override Stem #'transparent = ##t
1047 \revert NoteHead #'style
1048 \revert Stem #'transparent
1050 cr = \override NoteHead #'style = #'cross
1051 ncr = \revert NoteHead #'style
1053 %% insert chord name style stuff here.
1058 %%%%%%%%%%%% Keys'n'thangs %%%%%%%%%%%%%%%%%
1064 Key = { \key c \major }
1066 % ############ Horns ############
1068 % ------ Trumpet ------
1069 trpt = \transpose c d \relative c'' {
1073 trpharmony = \transpose c' d {
1078 \set Staff.instrument = #"Trumpet"
1085 % ------ Alto Saxophone ------
1086 alto = \transpose c a \relative c' {
1090 altoharmony = \transpose c' a {
1095 \set Staff.instrument = #"Alto Sax"
1102 % ------ Baritone Saxophone ------
1103 bari = \transpose c a' \relative c {
1105 c1 c \sl d4^"Solo" d d d \nsl
1107 bariharmony = \transpose c' a \chordmode {
1108 \jzchords s1 s d2:maj e:m7
1112 \set Staff.instrument = #"Bari Sax"
1119 % ------ Trombone ------
1120 tbone = \relative c {
1124 tboneharmony = \chordmode {
1129 \set Staff.instrument = #"Trombone"
1136 % ############ Rhythm Section #############
1138 % ------ Guitar ------
1139 gtr = \relative c'' {
1141 c1 \sl b4 b b b \nsl c1
1143 gtrharmony = \chordmode {
1149 \set Staff.instrument = #"Guitar"
1156 %% ------ Piano ------
1157 rhUpper = \relative c'' {
1162 rhLower = \relative c' {
1168 lhUpper = \relative c' {
1173 lhLower = \relative c {
1182 \set Staff.midiInstrument = "acoustic grand"
1184 \context Voice = one \rhUpper
1185 \context Voice = two \rhLower
1191 \set Staff.midiInstrument = "acoustic grand"
1193 \context Voice = one \lhUpper
1194 \context Voice = two \lhLower
1199 \context PianoStaff <<
1200 \set PianoStaff.instrument = #"Piano"
1201 \context Staff = upper \PianoRH
1202 \context Staff = lower \PianoLH
1206 % ------ Bass Guitar ------
1207 Bass = \relative c {
1213 \set Staff.instrument = #"Bass"
1220 % ------ Drums ------
1222 hh4 <hh sn>4 hh <hh sn> hh <hh sn>4
1229 bd4 s bd s bd s bd s bd s bd s
1235 \set DrumStaff.instrument = #"Drums"
1236 \new DrumVoice { \voiceOne \up }
1237 \new DrumVoice { \voiceTwo \down }
1241 %%%%%%%%% It All Goes Together Here %%%%%%%%%%%%%%%%%%%%%%
1245 \context StaffGroup = horns <<
1246 \context Staff = trumpet \trumpet
1247 \context Staff = altosax \altosax
1248 \context ChordNames = barichords \bariharmony
1249 \context Staff = barisax \barisax
1250 \context Staff = trombone \trombone
1253 \context StaffGroup = rhythm <<
1254 \context ChordNames = chords \gtrharmony
1255 \context Staff = guitar \guitar
1256 \context PianoStaff = piano \piano
1257 \context Staff = bass \bass
1258 \new DrumStaff { \drumContents }
1263 \context { \RemoveEmptyStaffContext }
1266 \override BarNumber #'padding = #3
1267 \override RehearsalMark #'padding = #2
1272 \midi { \tempo 4 = 75 }
1276 @node Other templates
1277 @section Other templates
1278 @subsection All headers
1280 This template displays all available headers. Some of them are only
1281 used in the Mutopia project; they don't affect the printed output at
1282 all. They are used if you want the piece to be listed with different
1283 information in the Mutopia database than you wish to have printed on the
1284 music. For example, Mutopia lists the composer of the famous D major
1285 violin concerto as TchaikovskyPI, whereas perhaps you wish to print
1286 "Petr Tchaikowski" on your music.
1288 @ The `linewidth' is for \header.
1289 @lilypond[quote,verbatim,raggedright,linewidth]
1292 dedication = "dedication"
1294 subtitle = "Subtitle"
1295 subsubtitle = "Subsubtitle"
1296 composer = "Composer (xxxx-yyyy)"
1299 instrument = "Instrument"
1300 arranger = "Arranger"
1302 texttranslator = "Translator"
1303 copyright = "public domain"
1305 % These are headers used by the Mutopia Project
1306 % http://www.mutopiaproject.org/
1308 mutopiacomposer = ""
1310 mutopiainstrument = ""
1311 date = "composer's dates"
1313 maintainer = "your name here"
1314 maintainerEmail = "your email here"
1315 maintainerWeb = "your home page"
1316 lastupdated = "2004/Aug/26"
1336 @subsection Gregorian template
1338 This example demonstrates how to do modern transcriptions of Gregorian
1339 music. Gregorian music has no measure, no stems; it uses only half and
1340 quarter notes, and two types of barlines, a short one indicating a rest,
1341 and a second one indicating a breath mark.
1343 @lilypond[quote,verbatim,raggedright]
1344 barOne = { \once \override Staff.BarLine #'bar-size = #2
1346 barTwo = { \once \override Staff.BarLine #'extra-offset = #'(0 . 2)
1347 \once \override Staff.BarLine #'bar-size = #2
1349 chant = \relative c' {
1350 \set Score.timing = ##f
1351 \override Staff.Stem #'transparent = ##t
1360 \midi { \tempo 4=60 }
1364 @subsection Bagpipe music
1366 Here is an example of bagpipe music. It demonstrates a big strength of
1367 LilyPond, compared to graphical score editors: in LilyPond, you can
1368 very easily reuse small segments of music without writing them out
1369 completely. This template defines a large number of small segments
1370 (@code{taor}, @code{grip}, @code{thrd}, etc), which can be reused easily.
1372 @c TODO - replace Bagpipe template with Andrew McNabb's work?
1373 @c http://www.mcnabbs.org/andrew/linux/lilypond-ghb/
1375 @lilypond[quote,verbatim]
1376 taor = { \grace { g32[ d' g e'] } }
1377 grip = { \grace { g32[ b g ] } }
1378 thrd = { \grace { g32[ d' c'] } }
1379 birl = { \grace { g32[ a g] } }
1380 gstd = { \grace { g'32[ d' g] } }
1381 fgg = { \grace { f32[ g'32] } }
1382 dblb = { \grace { g'32[ b d'] } }
1383 dblc = { \grace { g'32[ c' d'] } }
1384 dble = { \grace { g'32[ e' f'] } }
1385 dblf = { \grace { g'32[ f' g'] } }
1386 dblg = { \grace { g'32[ f'] } }
1387 dbla = { \grace { a'32[ g'] } }
1388 lgg = { \grace { g32 } }
1389 lag = { \grace { a32 } }
1390 cg = { \grace { c'32 } }
1391 eg = { \grace { e'32 } }
1392 gg = { \grace { g'32 } }
1393 dg = { \grace { d'32 } }
1394 hag = { \grace { a'32 } }
1395 gefg = { \grace { g'32[ e' f'] } }
1396 efg = { \grace { e'32[ f'] } }
1397 gdcg = { \grace { g'32[ d' c'] } }
1398 gcdg = { \grace { g'32[ c' d'] } }
1401 #(add-grace-property 'Voice 'Stem 'length 6)
1402 \time 6/8 \partial 4
1407 \gg f'4 e'8 \thrd d'4. |
1409 \gg d'4 f'8 \dble e'4. ( | \noBreak
1410 e'8) d'4 \gg d'4 e'8 |
1414 \dblf f'2.( f'4) d'8 |
1416 \dblg g'4 a'8 \gg a'4. |
1417 \thrd d'4.( d'4) \eg a8 |
1419 \dble e'4 \lag e'8 \gg e'16[ d'8. e'8] \gg f'4 g'8 |
1423 \gg f'4 e'8 \thrd d'4. |
1425 \dblg g'4 a'8 \gg a'4. |
1426 \thrd d'4.( d'4) f'8 |
1429 \dblg g'4 e'8( e'8) \dblf f'8.[ e'16] |
1430 \thrd d'4.( d'4) \cg d'8 |
1431 \gg c'4 e'8 \thrd d'4.( |
1437 @node Lilypond-book templates
1438 @section Lilypond-book templates
1440 These templates are for use with @code{lilypond-book}. If you're not familiar
1441 with this program, please refer to @ref{LilyPond-book}.
1445 You can include LilyPond fragments in a LaTeX document.
1448 \documentclass[]@{article@}
1471 You can include LilyPond fragments in Texinfo; in fact, this entire manual
1472 is written in Texinfo.
1480 @@lilypond[verbatim,fragment,raggedright]
1486 @@lilypond[verbatim,fragment,raggedright]