1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond-learning.tely
4 @node Fundamental concepts
5 @chapter Fundamental concepts
7 You've seen in the Tutorial how to produce beautifully printed
8 music from a simple text file. This section introduces the
9 concepts and techniques required to produce equally beautiful
10 but more complex scores.
13 * How LilyPond files work::
14 * Voices contain music::
15 * Contexts and engravers::
16 * Extending the templates::
20 @node How LilyPond files work
21 @section How LilyPond files work
23 The LilyPond input format is quite free-form, giving experienced
24 users a lot of flexibility to structure their files however they
25 wish. But this flexibility can make things confusing for new
26 users. This section will explain some of this structure, but may
27 gloss over some details in favor of simplicity. For a complete
28 description of the input format, see @ruser{File structure}.
31 * Introduction to the LilyPond file structure::
32 * Score is a (single) compound musical expression::
33 * Nesting music expressions::
34 * On the un-nestedness of brackets and ties::
37 @node Introduction to the LilyPond file structure
38 @subsection Introduction to the LilyPond file structure
40 A basic example of a lilypond input file is
45 @var{...compound music expression...} % all the music goes here!
53 There are many variations of this basic pattern, but this
54 example serves as a useful starting place.
56 Up to this point none of the examples you have seen have used a
57 @code{\score@{@}} command. This is because LilyPond automatically
58 adds the extra commands which are needed when you give it simple
59 input. LilyPond treats input like this:
68 as shorthand for this:
85 In other words, if the input contains a single music expression,
86 LilyPond will interpret the file as though the music expression
87 was wrapped up inside the commands shown above. For now, though,
88 let us return to the first example and examine the @code{\score}
89 command, leaving the others to default.
91 A @code{\score} block must always contain just one music
93 this must appear first within the @code{\score @{..@}} block.
94 Remember that a music expression could be anything from a single
95 note to a huge compound expression like
100 @var{...insert the whole score of a Wagner opera in here...}
106 Since everything is inside @code{@{ ... @}}, it counts
107 as one music expression.
109 As we saw previously, the @code{\score} can contain other things,
122 Some people put some of those commands outside the @code{\score}
123 block -- for example, @code{\header} is often placed above the
124 @code{\score}. That's just another shorthand that LilyPond
127 Two more commands you have not previously seen are
128 @code{\layout @{ @}} and @code{\midi @{@}}. If these appear as
129 shown they will cause LilyPond to produce a printed output and a
130 MIDI out respectively. They are described fully in the
131 Notation Reference -- @ruser{Score layout} and
132 @ruser{Creating MIDI files}.
134 The @code{\book} command allows
135 several @code{\score} blocks to be combined into one output.
136 If there are several @code{\book} blocks each one produces a
137 separate output file. For details see @ruser{Multiple scores
142 Another great shorthand is the ability to define variables. All
143 the templates use this
146 melody = \relative c' @{
155 When LilyPond looks at this file, it takes the value of
156 @code{melody} (everything after the equals sign) and inserts it
157 whenever it sees @code{\melody}. There's nothing special about
158 the names -- it could be @code{melody}, @code{global},
160 @code{pianorighthand}, or @code{foofoobarbaz}. For more details,
161 see @ruser{Saving typing with variables and functions}.
162 Remember that you can use almost any name you like as long
163 as it contains just alphabetic characters and is distinct from
164 LilyPond command names. The exact
165 limitations on variable names are detailed in
166 @ruser{File structure}.
172 For a complete definition of the input format, see
173 @ruser{File structure}.
175 @node Score is a (single) compound musical expression
176 @subsection Score is a (single) compound musical expression
178 @cindex Compound music expression
179 @cindex Music expression, compound
181 We saw the general organization of LilyPond input files in the
182 previous section, @ref{How LilyPond files work}. But we seemed to
183 skip over the most important part: how do we figure out what to
184 write after @code{\score}?
186 We didn't skip over it at all. The big mystery is simply that
187 there @emph{is} no mystery. This line explains it all:
190 @emph{A @code{\score} must begin with a compound music expression.}
194 You may find it useful to review
195 @ref{Music expressions explained}. In that section, we saw how to
196 build big music expressions from small pieces -- we started from
197 notes, then chords, etc. Now we're going to start from a big
198 music expression and work our way down.
202 @{ % this brace begins the overall compound music expression
204 @var{...insert the whole score of a Wagner opera in here...}
206 @} % this brace ends the overall compound music expression
211 A whole Wagner opera would easily double the length of this
212 manual, so let's just add a singer and piano. We don't need a
213 @code{GrandStaff} for this ensemble, which simply groups a number
214 of staves together with a brace at the left, so we shall remove
215 it. We @emph{do} need a singer and a piano, though.
221 \new Staff = "singer" <<
223 \new PianoStaff = piano <<
231 Remember that we use @code{<<} and @code{>>} to show simultaneous
232 music. And we definitely want to show the vocal part and piano
233 part at the same time, not one after the other! However, the
234 @code{<< .. >>} construct is not really necessary for the Singer
235 staff, as it contains only one music expression, but Staves often
236 do require simultaneous Voices within them, so using @code{<< .. >>}
237 rather than braces is a good habit to adopt.
243 \new Staff = "singer" <<
244 \new Voice = "vocal" @{ @}
247 \new PianoStaff = "piano" <<
248 \new Staff = "upper" @{ @}
249 \new Staff = "lower" @{ @}
257 Now we have a lot more details. We have the singer's staff: it
258 contains a @code{Voice} (in LilyPond, this term refers to a set of
259 notes, not necessarily vocal notes -- for example, a violin
260 generally plays one voice) and some lyrics. We also have a piano
261 staff: it contains an upper staff (right hand) and a lower staff
264 At this stage, we could start filling in notes. Inside the curly
265 braces next to @code{\new Voice = vocal}, we could start writing
273 But if we did that, the @code{\score} section would get pretty
274 long, and it would be harder to understand what was happening. So
275 let's use variables instead.
278 melody = \relative c'' @{ @}
279 text = \lyricmode @{ @}
280 upper = \relative c'' @{ @}
281 lower = \relative c @{ @}
285 \new Staff = "singer" <<
286 \new Voice = "vocal" @{ \melody @}
287 \addlyrics @{ \text @}
289 \new PianoStaff = "piano" <<
290 \new Staff = "upper" @{ \upper @}
291 \new Staff = "lower" @{ \lower @}
299 Be careful about the difference between notes, which are introduced
300 with @code{\relative}, and lyrics, which are introduced with
301 @code{\lyricmode}. These are essential to tell LilyPond
302 to interpret the following content as music and text
305 When writing (or reading) a @code{\score} section, just take it
306 slowly and carefully. Start with the outer layer, then work on
307 each smaller layer. It also really helps to be strict with
308 indentation -- make sure that each item on the same layer starts
309 on the same horizontal position in your text editor.
312 @node Nesting music expressions
313 @subsection Nesting music expressions
315 It is not essential to declare all staves at the beginning;
316 they may be introduced temporarily at any point. This is
317 particularly useful for creating ossia sections
318 (see @rglos{ossia}). Here is a simple example showing how
319 to introduce a new staff temporarily for the duration of
322 @lilypond[verbatim,quote,ragged-right]
339 Note that the size of the clef is the same as a clef printed
340 following a clef change -- slightly smaller than the clef
341 at the begining of the line. This is usual for clefs printed
342 in the middle of a line.
344 The ossia section may be placed above the staff
347 @lilypond[verbatim,quote,ragged-right]
355 alignAboveContext = "main" }
363 This example uses @code{\with}, which will be explained more
364 fully later. It is a means of modifying the default behaviour
365 of a Staff. Here it says that the new staff should be placed
366 above the staff called @qq{main} instead of the default position
369 Ossia are often written without clef and without
370 time signature and are usually in a smaller font.
371 These require further commands which
372 have not yet been introduced. See @ref{Size of objects}
374 @node On the un-nestedness of brackets and ties
375 @subsection On the un-nestedness of brackets and ties
377 You have already met a number of different types of bracket in
378 writing the input file to LilyPond. These obey different rules
379 which can be confusing at first. Before we explain the rules
380 let's first review the different types of bracket.
382 @c attempt to force this onto a new page
384 @multitable @columnfractions .3 .7
385 @headitem Bracket Type
387 @item @code{@{ .. @}}
388 @tab Encloses a sequential segment of music
390 @tab Encloses the notes of a chord
391 @item @code{<< .. >>}
392 @tab Encloses concurrent or simultaneous sections
394 @tab Marks the start and end of a slur
395 @item @code{\( .. \)}
396 @tab Marks the start and end of a phrase mark
398 @tab Marks the start and end of a manual beam
401 To these we should add other constructs which generate lines
402 between or across notes: ties (marked by a tilde, @code{~}),
403 tuplets written as @code{\times x/y @{..@}}, and grace notes
404 written as @code{\grace@{..@}}.
406 Outside LilyPond, the conventional use of brackets requires
407 the different types to be properly nested, like this,
408 @code{<< [ @{ ( .. ) @} ] >>}, with the closing brackets being
409 encountered in exactly the opposite order to the opening
410 brackets. This @strong{is} a requirement for the three types of
411 bracket described by the word @q{Encloses} in the table above --
412 they must nest properly.
413 However, the remaining brackets, described with the word
414 @q{Marks} in the table above together with ties and tuplets,
415 do @strong{not} have to nest
416 properly with any of the brackets. In fact, these are not
417 brackets in the sense that
418 they enclose something -- they are simply markers to indicate
419 where something starts and ends.
421 So, for example, a phrasing slur can start before a manually
422 inserted beam and end before the end of the beam -- not very
423 musical, perhaps, but possible:
425 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
426 { g8\( a b[ c b\) a] }
429 In general, different kinds of brackets, and those implied by
430 tuplets, ties and grace notes, may be mixed freely.
431 This example shows a beam extending into a tuplet (line 1),
432 a slur extending into a tuplet (line 2),
433 a beam and a slur extending into a tuplet, a tie crossing
434 two tuplets, and a phrasing slur extending out of a tuplet
437 @lilypond[quote,verbatim,fragment,ragged-right]
439 r16[ g16 \times 2/3 {r16 e'8] }
440 g16( a \times 2/3 {b d) e' }
441 g8[( a \times 2/3 {b d') e'~]}
442 \times 4/5 {e'32\( a b d' e'} a'4.\)
447 @node Voices contain music
448 @section Voices contain music
450 Singers need voices to sing, and so does LilyPond.
451 The actual music for all instruments in a score
452 is contained in Voices -- the most fundamental
453 of all LilyPond's concepts.
456 * I'm hearing Voices::
457 * Explicitly instantiating voices::
458 * Voices and vocals::
461 @node I'm hearing Voices
462 @subsection I'm hearing Voices
466 @cindex Voice context
468 The lowest, most fundamental or innermost layers in a LilyPond
469 score are called @q{Voice contexts} or just @q{Voices} for short.
470 Voices are sometimes called @q{layers} in other notation
473 In fact, a Voice layer or context is the only one which can
474 contain music. If a Voice context is not explicitly declared
475 one is created automatically, as we saw at the beginning of
476 this chapter. Some instruments such as an
477 Oboe can play only one note at a time. Music written for
478 such instruments is monophonic and requires just a single
479 voice. Instruments which can play more than one note at a
480 time like the piano will often require multiple voices to
481 encode the different concurrent notes and rhythms they are
484 A single voice can contain many notes in a chord, of course,
485 so when exactly are multiple voices needed?
486 Let us analyse a short piece of music to see how many voices
487 are required. Here are the notes from the first two bars
488 of the second of Chopin's Deux Nocturnes, Op 32.
490 @c The following should appear as music without code
491 @lilypond[quote,ragged-right]
492 \new Staff \relative c'' {
500 \once \override NoteColumn #'force-hshift = #0 <ees c>2
501 \once \override NoteColumn #'force-hshift = #0.5 des2 }
507 The direction of the stems is often used to indicate the
508 continuity of two simultaneous melodic lines. Here the
509 stems of the highest notes are all pointing up and the
510 stems of the lower notes are all pointing down.
511 This is the first indication that more than one voice
514 But the real need for multiple voices arises when notes
515 which start at the same time have different durations.
516 Look at the notes which start at beat three in the first
517 bar. The a-flat is a dotted quarter note, the f is a
518 quarter note and the d-flat is a half note. These
519 cannot be written as a chord as all the notes in a chord
520 must have the same duration. Neither can they be written
521 as sequential notes, as they must start at the same time.
522 This section of the bar requires three voices, and the
523 normal practice would be to write the whole bar as three
524 voices, as shown here, where we have used different noteheads
525 and colors for the three voices.
527 @c The following should appear as music without code
528 @c The three voice styles should be defined in -init
529 @lilypond[quote,ragged-right]
530 \new Staff \relative c'' {
541 \once \override NoteColumn #'force-hshift = #0 <ees c>2
542 \once \override NoteColumn #'force-hshift = #0.5 des2 }
548 Let us see how this is done.
553 The easiest way to enter fragments with more than one voice on a
554 staff is to enter each voice as a sequence (with @code{@{...@}}),
555 and combine them simultaneously with angle brackets, @code{<<...>>}.
556 The fragments must also be separated with double backward slashes,
557 @code{\\}, to place them in separate voices. Without these, the
558 notes would be entered into a single voice, which would usually
559 cause errors. This technique is particularly suited to pieces of
560 music which are largely monophonic with occasional short sections
561 of polyphony. Here's a simple example:
563 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
565 % Voice "1" Voice "2"
566 << { r4 g g4. a8 } \\ { d,2 d4 g } >> |
567 << { bes4 bes c bes } \\ { g4 g g8( a) g4 } >> |
568 << { a2. r4 } \\ { fis2. s4 } >>
571 It is not necessary to use a separate @code{<< \\ >>} construct
572 for each bar. For music with few notes in each bar this layout
573 can help the legibility of the code, but if there are many
574 notes in each bar it may be better to split out each voice
575 separately, like this:
577 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
593 This example has just two voices, but the same contruct may be
594 used to encode three or more voices by adding more back-slash
597 The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
598 In each of these contexts, the vertical direction of slurs,
599 stems, ties, dynamics etc., is set appropriately.
601 @lilypond[quote,verbatim,fragment]
602 \new Staff \relative c' {
605 % Voice "1" Voice "2" Voice "3"
606 << { g4 f e } \\ { r8 e4 d c8 ~ } >> |
607 << { d2 e2 } \\ { c8 b16 a b8 g ~ g2 } \\ { s4 b4 c2 } >> |
611 These voices are all separate from the main voice that contains
612 the notes just outside the @code{<< .. >>} construct. Let's call
613 this the @emph{simultaneous construct}. Slurs and ties may only
614 connect notes within the same voice, so slurs and ties cannot go
615 into or out of a simultaneous construct. Conversely,
616 parallel voices from separate simultaneous constructs on the same
617 staff are the same voice. Other voice-related properties also
618 carry across simultaneous constructs. Here is the same example,
619 with different colors and noteheads for each voice. Note that
620 changes in one Voice do not affect other voices, but they do
621 persist in the same Voice later. Note also that tied notes may be
622 split across the same voices in two constructs, shown here in the
625 @lilypond[quote,verbatim]
626 \new Staff \relative c' {
638 { c8 b16 a b8 g ~ g2 } \\
647 The commands @code{\voiceXXXStyle} are mainly intended for use in
648 educational documents such as this one. They modify the color
649 of the notehead, the stem and the beams, and the style of the
650 notehead, so that the voices may be easily distinguished.
651 Voice one is set to red diamonds, voice two to blue triangles,
652 voice three to green crossed circles, and voice four (not used
653 here) to magenta crosses. We shall see later how commands like
654 these may be created by the user.
655 See @ref{Visibility and color of objects}
656 TODO Add link to using variables for tweaks
658 Polyphony does not change the relationship of notes within a
659 @code{\relative @{ @}} block. Each note is still calculated
660 relative to the note immediately preceding it, or to the first
661 note of the preceding chord. So in
664 \relative c' @{ noteA << < noteB noteC > \\ noteD >> noteE @}
668 @code{noteB} is relative to @code{noteA} @*
669 @code{noteC} is relative to @code{noteB}, not @code{noteA}; @*
670 @code{noteD} is relative to @code{noteB}, not @code{noteA} or
672 @code{noteE} is relative to @code{noteD}, not @code{noteA}
674 We are now in a position to return to the first example from
675 the Chopin Nocturne to see how this might be encoded. As we
676 shall see, this encounters some difficulties. We begin as
677 we have learnt, using the @code{<< \\ >>} construct to
678 enter the music of the first bar in three voices:
680 @lilypond[quote,verbatim,fragment,ragged-right]
681 \new Staff \relative c'' {
684 { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 }
694 @funindex \voiceThree
697 The stem directions are automatically assigned with the
698 odd-numbered voices taking upward stems and the even-numbered
699 voices downward ones. The stems for voices 1 and 2 are right,
700 but the stems in voice 3 should go down in this particular piece
701 of music. We can correct this
702 by telling LilyPond that this third voice is really a fourth
703 voice, with stems going down, using the @code{\voiceFour}
704 command. There are also corresponding @code{\voiceOne},
705 @code{\voiceTwo}, and @code{\voiceThree}
706 commands. This results in the following:
708 @lilypond[quote,verbatim,fragment,ragged-right]
709 \new Staff \relative c'' {
714 { \voiceFour <ees c>2 des2 }
721 and exposes a problem commonly encountered with multiple
722 voices: the stems of notes can collide with noteheads
723 in other voices. In laying out the notes, LilyPond allows the
724 notes or chords from two voices to occupy the same vertical
725 note column provided the stems are in opposite directions, but
726 the notes from a third voice are displaced to avoid the stems
727 colliding. This often works well, but in this example the
728 notes of the third voice are clearly not well placed by default.
729 LilyPond provides several ways to adjust the horizontal placing
730 of notes. We are not quite ready yet to see how to correct this,
731 so we shall leave this problem until a later section (see ... )
735 @node Explicitly instantiating voices
736 @subsection Explicitly instantiating voices
738 Voice contexts can also be created manually
739 inside a @code{<< >>} block to create polyphonic music, using
740 @code{\voiceOne} ... @code{\voiceFour} to indicate the required
741 directions of stems, slurs, etc. In longer scores this method
742 is clearer, as it permits the voices to be separated and to be
743 given more descriptive names.
745 Specifically, the construct @code{<< \\ >>} which we used in
746 the previous section:
751 << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
761 \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
762 \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
766 Both of the above would produce
768 @c The following example should not display the code
769 FIXME: weird compiling bug! Leave for gp.
770 @c @lilypond{ragged-right,quote]
772 @c % << { e4 f g a } \\ { c,4 d e f } >>
776 The @code{\voiceXXX} commands set the direction of stems, slurs,
777 ties, articulations, text annotations, augmentation dots of dotted
778 notes, and fingerings. @code{\voiceOne} and @code{\voiceThree}
779 make these objects point upwards, while @code{\voiceTwo} and
780 @code{\voiceFour} make them point downwards. These commands also
781 generate a horizontal shift for each voice when this is required
782 to avoid clashes of note heads. The command @code{\oneVoice}
783 reverts the settings back to the normal values for a single voice.
785 Let us see in some simple examples exactly what effect
786 @code{\oneVoice}, @code{\voiceOne} and @code{voiceTwo} have on
787 markup, ties, slurs, and dynamics:
789 @lilypond[quote,ragged-right,verbatim]
791 c-"default" d8 ~ d e4 ( f g a ) b-> c
795 @lilypond[quote,ragged-right,verbatim]
798 c d8 ~ d e4 ( f g a ) b-> c
800 c, d8 ~ d e4 ( f g a ) b-> c
804 @lilypond[quote,ragged-right,verbatim]
807 c d8 ~ d e4 ( f g a ) b-> c
809 c, d8 ~ d e4 ( f g a ) b-> c
813 An expression that appears directly inside a @code{<< >>} belongs
814 to the main voice (but, note, @strong{not} in a @code{<< \\ >>}
815 construct). This is useful when extra voices appear while the
816 main voice is playing. Here is a more correct rendition of the
817 example from the previous section. The red diamond-shaped notes
818 demonstrate that the main melody is now in a single voice context,
819 permitting a phrasing slur to be drawn over them.
821 @lilypond[quote,ragged-right,verbatim]
822 \new Staff \relative c' {
824 c16^( d e f % These notes are monophonic
825 << % Start simultaneous section of three voices
826 { g4 f e | d2 e2) } % Continue the main voice in parallel
827 \new Voice { % Initiate second voice
828 \voiceTwo % Set stems, etc, down
829 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
831 \new Voice { % Initiate third voice
832 \voiceThree % Set stems, etc, up
839 @cindex nesting music expressions
840 @cindex nesting simultaneous constructs
842 More deeply nested polyphony constructs are possible, and if a
843 voice appears only briefly this might be a more natural way to
846 @lilypond[quote,ragged-right,verbatim]
847 \new Staff \relative c' {
867 This method of nesting new voices briefly is useful
868 when only small sections of the music
869 are polyphonic, but when the whole staff is largely polyphonic
870 it can be clearer to use multiple voices throughout, using
871 spacing notes to step over sections where the voice is silent,
874 @lilypond[quote,ragged-right,verbatim]
875 \new Staff \relative c' <<
876 \new Voice { % Initiate first voice
878 c16^( d e f g4 f e | d2 e2) |
880 \new Voice { % Initiate second voice
881 \voiceTwo % set stems, etc down
882 s4 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 |
884 \new Voice { % Initiate third voice
885 \voiceThree % set stems, etc up
892 @node Voices and vocals
893 @subsection Voices and vocals
895 Vocal music presents a special difficulty: we need to combine two
896 expressions -- notes and lyrics.
898 You have already seen the @code{\addlyrics@{@}} command, which
899 handles simple scores well. However, this technique is
900 quite limited. For more complex music, you must introduce the
901 lyrics in a @code{Lyrics} context using @code{\new Lyrics} and
903 the lyrics to the notes with @code{\lyricsto@{@}}, using the
904 name assigned to the Voice.
906 @lilypond[quote,verbatim,fragment]
908 \new Voice = "one" \relative c'' {
911 c4 b8. a16 g4. f8 e4 d c2
913 \new Lyrics \lyricsto "one" {
914 No more let sins and sor -- rows grow.
919 The automatic beaming which LilyPond uses by default works well
920 for instrumental music, but not so well for music with lyrics,
921 where beaming is either not required at all or is used to indicate
922 melismata in the lyrics. In the example above we use the command
923 @code{\autoBeamOff} to turn off the automatic beaming.
925 Let us reuse the earlier example from Judas Maccabæus to
926 illustrate this more flexible technique. We first recast
927 it to use variables so the music and lyrics can be separated
928 from the staff structure. We also introduce a ChoirStaff
929 bracket. The lyrics themselves must be introduced with
930 @code{\lyricmode} to ensure they are interpreted as lyrics
933 @lilypond[quote,verbatim]
934 global = { \time 6/8 \partial 8 \key f \major}
935 SopOneMusic = \relative c'' {
936 c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 }
937 SopTwoMusic = \relative c' {
938 r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' }
939 SopOneLyrics = \lyricmode {
940 Let | flee -- cy flocks the | hills a -- dorn, __ }
941 SopTwoLyrics = \lyricmode {
942 Let | flee -- cy flocks the | hills a -- dorn, }
947 \new Voice = "SopOne" {
951 \new Lyrics \lyricsto "SopOne" {
956 \new Voice = "SopTwo" {
959 \new Lyrics \lyricsto "SopTwo" {
967 This is the basic structure of all vocal scores. More staves may
968 be added as required, more voices may be added to the staves,
969 more verses may be added to the lyrics,
970 and the variables containing the music can easily be placed
971 in separate files should they become too long.
973 Here is a final example of the first line of a hymn with four
974 verses, set for SATB. In this case the words for all four
977 @lilypond[quote,verbatim]
978 TimeKey = { \time 4/4 \partial 4 \key c \major}
979 SopMusic = \relative c' { c4 | e4. e8 g4 g | a a g }
980 AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e }
981 TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
982 BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
983 VerseOne = \lyricmode {
984 E -- | ter -- nal fa -- ther, | strong to save, }
985 VerseTwo = \lyricmode {
986 O | Christ, whose voice the | wa -- ters heard, }
987 VerseThree = \lyricmode {
988 O | Ho -- ly Spi -- rit, | who didst brood }
989 VerseFour = \lyricmode {
990 O | Tri -- ni -- ty of | love and pow'r }
996 \new Voice = "Sop" { \voiceOne \TimeKey \SopMusic }
997 \new Voice = "Alto" { \voiceTwo \AltoMusic }
998 \new Lyrics \lyricsto "Sop" { \VerseOne }
999 \new Lyrics \lyricsto "Sop" { \VerseTwo }
1000 \new Lyrics \lyricsto "Sop" { \VerseThree }
1001 \new Lyrics \lyricsto "Sop" { \VerseFour }
1005 \new Voice = "Tenor" { \voiceOne \TenorMusic }
1006 \new Voice = "Bass" { \voiceTwo \BassMusic }
1012 @node Contexts and engravers
1013 @section Contexts and engravers
1015 Contexts and engravers have been mentioned informally
1016 in earlier sections; we now must look at
1017 these concepts in more detail, as they are important
1018 in the fine-tuning of LilyPond output.
1022 * Contexts explained::
1023 * Creating contexts::
1024 * Engravers explained::
1025 * Modifying context properties::
1026 * Adding and removing engravers::
1029 @node Contexts explained
1030 @subsection Contexts explained
1032 When music is printed, many notational elements which do not
1033 appear explicitly in the input file must be added to the
1034 output. For example, compare the input and output of the
1037 @lilypond[quote,verbatim,relative=2,fragment]
1041 The input is rather sparse, but in the output, bar lines,
1042 accidentals, clef, and time signature have been added. When
1043 LilyPond @emph{interprets} the input the musical information
1044 is inspected in time order, similar to reading a score from left
1045 to right. While reading the input, the program remembers where
1046 measure boundaries are, and which pitches require explicit
1047 accidentals. This information must be held on several levels.
1048 For example, the effect of an accidental is limited
1049 to a single staff, while a bar line must be synchronized across
1052 Within LilyPond, these rules and bits of information are grouped
1053 in @emph{Contexts}. We have already met the
1054 @code{Voice} context.
1055 Others are the @code{Staff} and @code{Score} contexts.
1056 Contexts are hierarchical to reflect the heirarchical nature of
1058 For example: a @code{Staff} context can contain many
1059 @code{Voice} contexts, and a @code{Score} context can
1060 contain many @code{Staff} contexts.
1063 @image{context-example,5cm,,}
1066 Each context has the responsibility for enforcing some notation rules,
1067 creating some notation objects and maintaining the associated
1068 properties. For example, the @code{Voice} context may introduce an
1069 accidental and then the @code{Staff} context maintains the rule to
1070 show or suppress the accidental for the remainder of the measure.
1072 As another example, the synchronization of bar lines is, by default,
1073 handled in the @code{Score} context.
1074 However, in some music we may not want the bar lines to be
1075 synchronized -- consider a polymetric score in 4/4 and 3/4 time.
1076 In such cases, we must modify the default settings of the
1077 @code{Score} and @code{Staff} contexts.
1079 For very simple scores, contexts are created implicitly, and you need
1080 not be aware of them. For larger pieces, such as anything with more
1081 than one staff, they must be
1082 created explicitly to make sure that you get as many staves as you
1083 need, and that they are in the correct order. For typesetting pieces
1084 with specialized notation, it is usual to modify existing, or
1085 even to define totally new, contexts.
1087 In addition to the @code{Score,} @code{Staff} and
1088 @code{Voice} contexts there are contexts which fit between
1089 the score and staff levels to control staff groups, such as the
1090 @code{PianoStaff} and @code{ChoirStaff} contexts. There
1091 are also alternative staff and voice contexts, and contexts for
1092 lyrics, percussion, fret boards, figured bass, etc. A complete
1093 list is shown in the Notation Reference.
1096 The names of all context types are formed from one or more
1097 words, each word being capitalised and joined immediately to the
1098 preceding word with no hyphen or underscore, e.g.,
1099 @code{GregorianTranscriptionStaff}.
1101 @node Creating contexts
1102 @subsection Creating contexts
1104 There can be only one top level context: the
1106 context. This is created with the @code{\score} command,
1107 or, in simple scores, it is created automatically.
1109 For scores with only one voice and one staff, the
1110 @code{Voice} and @code{Staff} contexts may be left to be
1111 created automatically, but for more complex scores it is
1112 necessary to create them by hand.
1113 The simplest command that does this is @code{\new}.
1114 It is prepended to a music expression, for example
1117 @cindex new contexts
1118 @cindex Context, creating
1121 \new @var{type} @var{music-expression}
1125 where @var{type} is a context name (like @code{Staff} or
1126 @code{Voice}). This command creates a new context, and starts
1127 interpreting the @var{music-expression} within that context.
1129 Note that there is no @code{\new Score} command;
1130 the single top-level @code{Score} context is introduced
1133 The @code{\new} command may also give a identifying name to the
1134 context to distinguish it from other contexts of the same type,
1137 \new @var{type} = @var{id} @var{music-expression}
1140 Note the distinction between the name of the context type,
1141 @code{Staff}, @code{Voice}, etc, and
1142 the identifying name of a particular instance of that type,
1143 which can be any sequence of letters invented by the user.
1144 The identifying name is used to refer back to that particular
1145 instance of a context. We saw this in use in the section on
1146 lyrics in @ref{Voices and vocals}.
1149 @node Engravers explained
1150 @subsection Engravers explained
1154 Every mark on the printed output of a score produced by LilyPond
1155 is produced by an @code{Engraver}. Thus there is an engraver
1156 to print staves, one to print noteheads, one for stems, one for
1157 beams, etc, etc. In total there are over 120 such engravers!
1158 Fortunately, for most scores it is not necessary to know about
1159 more than a few, and for simple scores you do not need to know
1162 Engravers live and operate in Contexts.
1163 Engravers such as the @code{Metronome_mark_engraver}, whose
1164 action and output applies to the score as a whole, operate in
1165 the highest level context -- the @code{Score} context.
1167 The @code{Clef_engraver} and @code{Key_engraver} are to be
1168 found in every Staff Context, as different staves may require
1169 different clefs and keys.
1171 The @code{Note_heads_engraver} and @code{Stem_engraver} live
1172 in each @code{Voice} context, the lowest level context of all.
1174 Each engraver processes the particular objects associated
1175 with its function, and maintains the properties that relate
1176 to that function. These properties, like the properties
1177 associated with contexts, may be modified to change the
1178 operation of the engraver or the appearance of those elements
1179 in the printed score.
1181 Engravers all have compound names formed from words which
1182 describe their function. Just the first word is capitalised,
1183 and the remainder are joined to it with underscores. Thus
1184 the @code{Staff_symbol_engraver} is responsible for creating the
1185 lines of the staff, the @code{Clef_engraver} determines and sets
1186 the pitch reference point on the staff by drawing a clef symbol.
1188 Here are some of the most common engravers together with their
1189 function. You will see it is easy to guess the function from
1190 the name, or vice versa.
1192 @multitable @columnfractions .3 .7
1195 @item Accidental_engraver
1196 @tab Makes accidentals, cautionary and suggested accidentals
1201 @item Dynamic_engraver
1202 @tab Creates hairpins and dynamic texts
1204 @tab Creates the key signature
1205 @item Metronome_mark_engraver
1206 @tab Engraves metronome marking
1207 @item Note_heads_engraver
1208 @tab Engraves noteheads
1211 @item Staff_symbol_engraver
1212 @tab Engraves the five (by default) lines of the staff
1214 @tab Creates stems and single-stem tremulos
1215 @item Time_signature_engraver
1216 @tab Creates time signatures
1221 We shall see later how the output of LilyPond can be changed
1222 by modifying the action of Engravers.
1225 @node Modifying context properties
1226 @subsection Modifying context properties
1228 @cindex context properties
1232 Contexts are responsible for holding the values of a number of
1233 context @emph{properties}. Many of them can be changed to
1234 influence the interpretation of the input and so change the
1235 appearance of the output. They are changed by the
1236 @code{\set} command. This takes the form
1239 \set @emph{ContextName}.@emph{propertyName} = #@emph{value}
1242 Where the @emph{ContextName} is usually @code{Score},
1243 @code{Staff} or @code{Voice}. It may be omitted,
1244 in which case @code{Voice} is assumed.
1246 The names of context properties consist of words joined
1247 together with no hyphens or underscores, all except the
1248 first having a capital letter. Here are a few examples
1249 of some commonly used ones. There are many more.
1251 @c attempt to force this onto a new page
1253 @multitable @columnfractions .25 .2 .4 .15
1254 @headitem propertyName
1260 @tab If true, set extra natural signs before accidentals
1261 @tab @code{#t}, @code{#f}
1262 @item currentBarNumber
1264 @tab Set the current bar number
1268 @tab If true, print slurs both above and below notes
1269 @tab @code{#t}, @code{#f}
1270 @item instrumentName
1272 @tab Set the name to be placed at the start of the staff
1273 @tab @code{"Cello I"}
1276 @tab Increase or decrease the font size
1280 @tab Set the text to print before the start of a verse
1284 where a Boolean is either True (@code{#t}) or False (@code{#f}),
1285 an Integer is a positive whole number, a Real is a positive
1286 or negative decimal number, and text is enclosed in double
1287 apostrophes. Note the occurrence of hash signs,
1288 (@code{#}), in two different places -- as part of the Boolean
1289 value before the @code{t} or @code{f}, and before @emph{value}
1290 in the @code{\set} statement. So when a Boolean is being
1291 entered you need to code two hash signs, e.g., @code{##t}.
1295 Before we can set any of these properties we need to know
1296 in which context they operate. Sometimes this is obvious,
1297 but occasionally it can be tricky. If the wrong context
1298 is specified, no error message is produced, but the expected
1299 action will not be taken. For example, the
1300 @code{instrumentName} clearly lives in the Staff context, since
1301 it is the staff that is to be named.
1302 In this example the first staff is labelled, but not the second,
1303 because we omitted the context name.
1305 @lilypond[quote,verbatim,ragged-right]
1307 \new Staff \relative c'' {
1308 \set Staff.instrumentName = "Soprano"
1311 \new Staff \relative c' {
1312 \set instrumentName = "Alto" % Wrong!
1318 Remember the default context name is Voice, so the second
1319 @code{\set} command set the property @code{instrumentName} in the
1320 Voice context to @qq{Alto}, but as LilyPond does not look
1321 for any such property in the @code{Voice} context, no
1322 further action took place. This is not an error, and no error
1323 message is logged in the log file.
1325 Similarly, if the property name is mis-spelt no error message
1326 is produced, and clearly the expected action cannot be performed.
1327 If fact, you can set any (fictitious) @q{property} using any
1328 name you like in any context that exists by using the
1329 @code{\set} command. But if the name is not
1330 known to LilyPond it will not cause any action to be taken.
1331 This is one of the reasons why it is highly recommended to
1332 use a context-sensitive editor with syntax highlighting for
1333 editing LilyPond files, such as Vim, Jedit, ConTEXT or Emacs,
1334 since unknown property names will be highlighted differently.
1336 The @code{instrumentName} property will take effect only
1337 if it is set in the @code{Staff} context, but
1338 some properties can be set in more than one context.
1339 For example, the property @code{extraNatural} is by
1340 default set to ##t (true) for all staves.
1341 If it is set to ##f (false) in the @code{Staff} context
1342 it applies just to the accidentals on that staff.
1343 If it is set to false in the @code{Score} context
1344 it applies to all staves.
1346 So this turns off extra naturals in one staff:
1348 @lilypond[quote,verbatim,ragged-right]
1350 \new Staff \relative c'' {
1353 \new Staff \relative c'' {
1354 \set Staff.extraNatural = ##f
1361 and this turns them off in all staves:
1363 @lilypond[quote,verbatim,ragged-right]
1365 \new Staff \relative c'' {
1368 \new Staff \relative c'' {
1369 \set Score.extraNatural = ##f
1375 The value of every property set in this way can be reset
1376 to its original value with the @code{\unset} command.
1378 The @code{\set} and @code{\unset} commands can appear anywhere
1379 in the input file and will take effect from the time they are
1380 encountered until the end of the score or until the property is
1381 @code{\set} or @code{\unset} again. Let's try changing the
1382 font size, which affects the size of the note heads (among
1383 other things) several times.
1385 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1387 \set fontSize = #-4 % make noteheads smaller
1389 \set fontSize = #2.5 % make noteheads larger
1391 \unset fontSize % return to original size
1395 We have now seen how to set the values of several different
1396 types of property. Note that integers and numbers are alway
1397 preceded by a hash sign, @code{#}, while a true or false value
1398 is specified by ##t and ##f, with two hash signs. A text
1399 property should be enclosed in double quotation signs, as above,
1400 although we shall see later that text can actually be specified
1401 in a much more general way by using the very powerful
1402 @code{markup} command.
1407 Context properties may also be set at the time the context is
1408 created. Sometimes this is a clearer way of specifying a
1409 property value if it is to remain fixed for the duration of
1410 the context. When a context is created with a @code{\new}
1411 command it may be immediately followed by a
1412 @code{\with @{ .. @}} block in which the property values are
1413 set. For example, if we wish to suppress the printing of
1414 extra naturals for the duration of a staff we would write:
1416 @lilypond[quote,verbatim,ragged-right]
1425 In effect this overrides the default value of the property. It
1426 may still be changed dynamically using @code{\set} and
1429 @node Adding and removing engravers
1430 @subsection Adding and removing engravers
1432 @cindex Engravers, adding
1433 @cindex Engravers, removing
1438 We have seen that contexts each contain several engravers, each
1439 of which is responsible for producing a particular part of the
1440 output, like barlines, staves, note heads, stems, etc. If an
1441 engraver is removed from a context it can no longer produce its
1442 output. This is a crude way of modifying the output, but it
1443 can sometimes be useful.
1445 To remove an engraver we can use the @code{\with} command placed
1446 immediately after the context creation command, as in the
1450 illustration let's repeat an example from the previous
1451 section with the staff lines removed. Remember that the
1452 staff lines are produced by the Staff_symbol_engraver.
1454 @lilypond[quote,verbatim,ragged-right]
1456 \remove Staff_symbol_engraver
1460 \set fontSize = #-4 % make noteheads smaller
1462 \set fontSize = #2.5 % make noteheads larger
1464 \unset fontSize % return to original size
1469 @cindex ambitus engraver
1471 Engravers can also be added to contexts. The command
1474 @code{\consists @emph{Engraver_name}},
1476 placed inside a @code{\with} block. Some vocal scores
1477 have an @rglos{ambitus} placed at the beginning of a
1478 staff to indicate the range of notes in that staff.
1479 The ambitus is produced by the @code{Ambitus_engraver},
1480 which is not normally included in any context. If
1481 we add it to the @code{Voice} context it calculates
1482 the range from that voice only:
1484 @lilypond[quote,verbatim,ragged-right]
1487 \consists Ambitus_engraver
1502 but if we add the Ambitus engraver to the
1503 @code{Staff} context it calculates the range from all
1504 the notes in all the voices on that staff:
1506 @lilypond[quote,verbatim,ragged-right]
1508 \consists Ambitus_engraver
1525 @node Extending the templates
1526 @section Extending the templates
1528 You've read the tutorial, you know how to write music, you
1529 understand the fundamental concepts. But how can you
1530 get the staves that you want? Well, you can find lots of
1531 templates (see @ref{Templates}) which may give you a start.
1533 if you want something that isn't covered there? Read on.
1535 TODO Add links to templates after they have been moved to LSR
1538 * Soprano and cello::
1539 * Four-part SATB vocal score::
1540 * Building a score from scratch::
1543 @node Soprano and cello
1544 @subsection Soprano and cello
1546 Start off with the template that seems closest to what you want to end
1547 up with. Let's say that you want to write something for soprano and
1548 cello. In this case, we would start with @q{Notes and lyrics} (for the
1553 melody = \relative c' @{
1561 text = \lyricmode @{
1567 \new Voice = "one" @{
1571 \new Lyrics \lyricsto "one" \text
1578 Now we want to add a cello part. Let's look at the @q{Notes only} example:
1582 melody = \relative c' @{
1597 We don't need two @code{\version} commands. We'll need the @code{melody}
1598 section. We don't want two @code{\score} sections -- if we had two
1599 @code{\score}s, we'd get the two parts separately. We want them together,
1600 as a duet. Within the @code{\score} section, we don't need two
1601 @code{\layout} or @code{\midi}.
1603 If we simply cut and paste the @code{melody} section, we would end up with
1604 two @code{melody} sections. So let's rename them. We'll call the section
1605 for the soprano @code{sopranoMusic} and the section for the cello
1606 @code{celloMusic}. While we're doing this, let's rename @code{text}
1607 to be @code{sopranoLyrics}. Remember to rename both instances of all
1608 these names -- both the initial definition (the
1609 @code{melody = relative c' @{ } part) and the name's use (in the
1610 @code{\score} section).
1612 While we're doing this, let's change the cello part's staff -- celli
1613 normally use bass clef. We'll also give the cello some different
1618 sopranoMusic = \relative c' @{
1626 sopranoLyrics = \lyricmode @{
1630 celloMusic = \relative c @{
1640 \new Voice = "one" @{
1644 \new Lyrics \lyricsto "one" \sopranoLyrics
1651 This is looking promising, but the cello part won't appear in the
1652 score -- we haven't used it in the @code{\score} section. If we
1653 want the cello part to appear under the soprano part, we need to add
1656 \new Staff \celloMusic
1660 underneath the soprano stuff. We also need to add @code{<<} and
1661 @code{>>} around the music -- that tells LilyPond that there's
1662 more than one thing (in this case, two @code{Staves}) happening
1663 at once. The @code{\score} looks like this now
1665 @c Indentation in this example is deliberately poor
1670 \new Voice = "one" @{
1674 \new Lyrics \lyricsto "one" \sopranoLyrics
1676 \new Staff \celloMusic
1684 This looks a bit messy; the indentation is messed up now. That is
1685 easily fixed. Here's the complete soprano and cello template.
1687 @lilypond[quote,verbatim,ragged-right]
1689 sopranoMusic = \relative c' {
1697 sopranoLyrics = \lyricmode {
1701 celloMusic = \relative c {
1712 \new Voice = "one" {
1716 \new Lyrics \lyricsto "one" \sopranoLyrics
1718 \new Staff \celloMusic
1726 @node Four-part SATB vocal score
1727 @subsection Four-part SATB vocal score
1729 Most vocal scores of music written for four-part mixed choir
1730 with orchestral accompaniment such as Mendelssohn's Elijah or
1731 Handel's Messiah have the choral music and words on four
1732 staves, one for each of SATB, with a piano reduction of the
1733 orchestral accompaniment underneath. Here's an example
1734 from Handel's Messiah:
1736 @c The following should appear as music without code
1737 @lilypond[quote,ragged-right]
1739 global = { \key d \major \time 4/4 }
1740 sopMusic = \relative c'' {
1742 r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
1744 sopWords = \lyricmode {
1745 Wor -- thy is the lamb that was slain
1747 altoMusic = \relative a' {
1749 r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
1751 altoWords = \sopWords
1752 tenorMusic = \relative c' {
1754 r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
1756 tenorWords = \sopWords
1757 bassMusic = \relative c' {
1759 r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
1761 bassWords = \sopWords
1762 upper = \relative a' {
1765 r4 <a d fis>2 <a e' a>4 |
1766 <d fis d'>4. <d fis d'>8 <a d a'>2 |
1767 <g cis g'>4 <a d fis> <a cis e>2 |
1769 lower = \relative c, {
1772 <d d'>4 <d d'>2 <cis cis'>4 |
1773 <b b'>4. <b' b'>8 <fis fis'>2 |
1774 <e e'>4 <d d'> <a' a'>2 |
1778 << % combine ChoirStaff and PianoStaff in parallel
1780 \new Staff = "sopranos" <<
1781 \set Staff.instrumentName = "Soprano"
1782 \new Voice = "sopranos" { \global \sopMusic }
1784 \new Lyrics \lyricsto "sopranos" { \sopWords }
1785 \new Staff = "altos" <<
1786 \set Staff.instrumentName = "Alto"
1787 \new Voice = "altos" { \global \altoMusic }
1789 \new Lyrics \lyricsto "altos" { \altoWords }
1790 \new Staff = "tenors" <<
1791 \set Staff.instrumentName = "Tenor"
1792 \new Voice = "tenors" { \global \tenorMusic }
1794 \new Lyrics \lyricsto "tenors" { \tenorWords }
1795 \new Staff = "basses" <<
1796 \set Staff.instrumentName = "Bass"
1797 \new Voice = "basses" { \global \bassMusic }
1799 \new Lyrics \lyricsto "basses" { \bassWords }
1803 \set PianoStaff.instrumentName = "Piano "
1804 \new Staff = "upper" \upper
1805 \new Staff = "lower" \lower
1811 None of the templates provides this layout exactly. The
1812 nearest is @q{SATB vocal score and automatic piano reduction},
1813 but we shall need to change the layout and add a piano
1814 accompaniment which is not derived automatically from the
1815 vocal parts. The variables holding the music and words for
1816 the vocal parts are fine, but we shall need to add variables for
1817 the piano reduction.
1819 The order in which the contexts appear in the ChoirStaff of
1820 the template do not correspond with the order in the vocal
1821 score shown above. We need to rearrange them so there are
1822 four staves with the words written directly underneath the
1823 notes for each part.
1824 All the voices should be @code{\voiceOne}, which is
1825 the default, so the @code{\voiceXXX} commands can be removed.
1826 We also need to specify the tenor clef for the tenors.
1827 The way in which lyrics are specified has also been simplified
1828 as we have not yet encountered the method used in the template.
1829 We've also added the names of each staff.
1831 Doing this gives for our ChoirStaff:
1835 \new Staff = "sopranos" <<
1836 \set Staff.instrumentName = "Soprano"
1837 \new Voice = "sopranos" @{ \global \sopMusic @}
1839 \new Lyrics \lyricsto "sopranos" @{ \sopWords @}
1840 \new Staff = "altos" <<
1841 \set Staff.instrumentName = "Alto"
1842 \new Voice = "altos" @{ \global \altoMusic @}
1844 \new Lyrics \lyricsto "altos" @{ \altoWords @}
1845 \new Staff = "tenors" <<
1846 \set Staff.instrumentName = "Tenor"
1847 \new Voice = "tenors" @{ \global \tenorMusic @}
1849 \new Lyrics \lyricsto "tenors" @{ \tenorWords @}
1850 \new Staff = "basses" <<
1851 \set Staff.instrumentName = "Bass"
1852 \new Voice = "basses" @{ \global \bassMusic @}
1854 \new Lyrics \lyricsto "basses" @{ \bassWords @}
1858 Next we must work out the piano part. This is
1859 easy - we just pull out the piano part from the
1860 @q{Solo piano} template:
1864 \set PianoStaff.instrumentName = "Piano "
1865 \new Staff = "upper" \upper
1866 \new Staff = "lower" \lower
1870 and add the variable definitions for @code{upper}
1873 The ChoirStaff and PianoStaff must be combined
1874 using angle brackets as we want them to be
1875 stacked one above the other:
1878 << % combine ChoirStaff and PianoStaff one above the other
1880 \new Staff = "sopranos" <<
1881 \new Voice = "sopranos" @{ \global \sopMusic @}
1883 \new Lyrics \lyricsto "sopranos" @{ \sopWords @}
1884 \new Staff = "altos" <<
1885 \new Voice = "altos" @{ \global \altoMusic @}
1887 \new Lyrics \lyricsto "altos" @{ \altoWords @}
1888 \new Staff = "tenors" <<
1889 \clef "G_8" % tenor clef
1890 \new Voice = "tenors" @{ \global \tenorMusic @}
1892 \new Lyrics \lyricsto "tenors" @{ \tenorWords @}
1893 \new Staff = "basses" <<
1895 \new Voice = "basses" @{ \global \bassMusic @}
1897 \new Lyrics \lyricsto "basses" @{ bassWords @}
1901 \set PianoStaff.instrumentName = "Piano "
1902 \new Staff = "upper" \upper
1903 \new Staff = "lower" \lower
1908 Combining all these together and adding the music
1909 for the three bars of the example above gives:
1911 @lilypond[quote,verbatim,ragged-right]
1913 global = { \key d \major \time 4/4 }
1914 sopMusic = \relative c'' {
1916 r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
1918 sopWords = \lyricmode {
1919 Wor -- thy is the lamb that was slain
1921 altoMusic = \relative a' {
1923 r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
1925 altoWords = \sopWords
1926 tenorMusic = \relative c' {
1928 r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
1930 tenorWords = \sopWords
1931 bassMusic = \relative c' {
1933 r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
1935 bassWords = \sopWords
1936 upper = \relative a' {
1939 r4 <a d fis>2 <a e' a>4 |
1940 <d fis d'>4. <d fis d'>8 <a d a'>2 |
1941 <g cis g'>4 <a d fis> <a cis e>2 |
1943 lower = \relative c, {
1946 <d d'>4 <d d'>2 <cis cis'>4 |
1947 <b b'>4. <b' b'>8 <fis fis'>2 |
1948 <e e'>4 <d d'> <a' a'>2 |
1952 << % combine ChoirStaff and PianoStaff in parallel
1954 \new Staff = "sopranos" <<
1955 \set Staff.instrumentName = "Soprano"
1956 \new Voice = "sopranos" { \global \sopMusic }
1958 \new Lyrics \lyricsto "sopranos" { \sopWords }
1959 \new Staff = "altos" <<
1960 \set Staff.instrumentName = "Alto"
1961 \new Voice = "altos" { \global \altoMusic }
1963 \new Lyrics \lyricsto "altos" { \altoWords }
1964 \new Staff = "tenors" <<
1965 \set Staff.instrumentName = "Tenor"
1966 \new Voice = "tenors" { \global \tenorMusic }
1968 \new Lyrics \lyricsto "tenors" { \tenorWords }
1969 \new Staff = "basses" <<
1970 \set Staff.instrumentName = "Bass"
1971 \new Voice = "basses" { \global \bassMusic }
1973 \new Lyrics \lyricsto "basses" { \bassWords }
1977 \set PianoStaff.instrumentName = "Piano "
1978 \new Staff = "upper" \upper
1979 \new Staff = "lower" \lower
1986 @node Building a score from scratch
1987 @subsection Building a score from scratch
1989 After gaining some facility with writing LilyPond code you
1990 may find that it is easier to build a score from scratch
1991 rather than modifying one of the templates. You can also
1992 develop your own style this way to suit the sort of music you
1993 like. Let's see how to put together the score for an organ
1994 prelude as an example.
1996 We begin with a header section. Here go the title, name
1997 of composer, etc, then come any variable definitions, and
1998 finally the score block. Let's start with these in outline
1999 and fill in the details later.
2001 We'll use the first two bars of Bach's prelude
2002 based on @emph{Jesu, meine Freude} which is written for two
2003 manuals and pedal organ. The top manual part has two voices,
2004 the lower and pedal organ one each. So we need four
2005 music definitions and one to define the time signature
2011 title = "Jesu, meine Freude"
2012 composer = "J S Bach"
2014 TimeKey = @{ \time 4/4 \key c \minor @}
2015 ManualOneVoiceOneMusic = @{s1@}
2016 ManualOneVoiceTwoMusic = @{s1@}
2017 ManualTwoMusic = @{s1@}
2018 PedalOrganMusic = @{s1@}
2024 For now we've just used a spacer note, @code{s1},
2025 instead of the real music. We'll add that later.
2027 Next let's see what should go in the score block.
2028 We simply mirror the staff structure we want.
2029 Organ music is usually written on three staves,
2030 one for each manual and one for the pedals. The
2031 manual staves should be bracketed together so we
2032 need to use a PianoStaff for them. The first
2033 manual part needs two voices and the second manual
2038 \new Staff = "ManualOne" <<
2039 \new Voice @{ \ManualOneVoiceOneMusic @}
2040 \new Voice @{ \ManualOneVoiceTwoMusic @}
2041 >> % end ManualOne Staff context
2042 \new Staff = "ManualTwo" <<
2043 \new Voice @{ \ManualTwoMusic @}
2044 >> % end ManualTwo Staff context
2045 >> % end PianoStaff context
2048 Next we need to add a staff for the pedal organ.
2049 This goes underneath the PianoStaff, but it must
2050 be simultaneous with it, so we need angle brackets
2051 round the two. Missing these out would generate
2052 an error in the log file. It's a common mistake
2053 which you'll make sooner or later! Try copying
2054 the final example at the end of this section,
2055 remove these angle brackets, and compile it to
2056 see what errors it generates.
2059 << % PianoStaff and Pedal Staff must be simultaneous
2061 \new Staff = "ManualOne" <<
2062 \new Voice @{ \ManualOneVoiceOneMusic @}
2063 \new Voice @{ \ManualOneVoiceTwoMusic @}
2064 >> % end ManualOne Staff context
2065 \new Staff = "ManualTwo" <<
2066 \new Voice @{ \ManualTwoMusic @}
2067 >> % end ManualTwo Staff context
2068 >> % end PianoStaff context
2069 \new Staff = "PedalOrgan" <<
2070 \new Voice @{ \PedalOrganMusic @}
2075 It is not strictly necessary to use the simultaneous construct
2076 @code{<< >>} for the manual two staff and the pedal organ staff,
2077 since they contain only one music expression, but it does no harm
2078 and always using angle brackets after @code{\new Staff} is a good
2079 habit to cultivate in case there are multiple voices.
2081 Let's add this structure to the score block, and adjust the
2082 indenting. We also add the appropriate clefs, ensure the
2083 second voice stems point down with @code{\voiceTwo} and
2084 enter the time signature and key to each staff using our
2085 predefined variable, @code{\TimeKey}.
2089 << % PianoStaff and Pedal Staff must be simultaneous
2091 \new Staff = "ManualOne" <<
2092 \TimeKey % set time signature and key
2094 \new Voice @{ \ManualOneVoiceOneMusic @}
2095 \new Voice @{ \voiceTwo \ManualOneVoiceTwoMusic @}
2096 >> % end ManualOne Staff context
2097 \new Staff = "ManualTwo" <<
2100 \new Voice @{ \ManualTwoMusic @}
2101 >> % end ManualTwo Staff context
2102 >> % end PianoStaff context
2103 \new Staff = "PedalOrgan" <<
2106 \new Voice @{ \PedalOrganMusic @}
2107 >> % end PedalOrgan Staff
2109 @} % end Score context
2112 That completes the structure. Any three-staff organ music
2113 will have a similar structure, although the number of voices
2114 may vary. All that remains now
2115 is to add the music, and combine all the parts together.
2117 @lilypond[quote,verbatim,ragged-right]
2120 title = "Jesu, meine Freude"
2121 composer = "J S Bach"
2123 TimeKey = { \time 4/4 \key c \minor }
2124 ManualOneVoiceOneMusic = \relative g' {
2125 g4 g f ees | d2 c2 |
2127 ManualOneVoiceTwoMusic = \relative c' {
2128 ees16 d ees8~ ees16 f ees s c8 d~ d c~ |
2129 c c4 b8 c8. g16 c b c d |
2131 ManualTwoMusic = \relative c' {
2132 c16 b c8~ c16 b c g a8 g~ g16 g aes ees |
2133 f ees f d g aes g f ees d e8~ ees16 f ees d |
2135 PedalOrganMusic = \relative c {
2136 r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
2137 r16 g ees f g f g8 c,2 |
2141 << % PianoStaff and Pedal Staff must be simultaneous
2143 \new Staff = "ManualOne" <<
2144 \TimeKey % set time signature and key
2146 \new Voice { \ManualOneVoiceOneMusic }
2147 \new Voice { \voiceTwo \ManualOneVoiceTwoMusic }
2148 >> % end ManualOne Staff context
2149 \new Staff = "ManualTwo" <<
2152 \new Voice { \ManualTwoMusic }
2153 >> % end ManualTwo Staff context
2154 >> % end PianoStaff context
2155 \new Staff = "PedalOrgan" <<
2158 \new Voice { \PedalOrganMusic }
2159 >> % end PedalOrgan Staff
2161 } % end Score context