1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
5 @c * more details about running lilypond; error messages,
6 @c compiling/viewing (emacs?)
7 @c * where to go from First steps+More basics?
9 @c Your first LilyPond score in 10 minutes?
14 This tutorial starts with a short introduction to the LilyPond music
15 language. After this first contact we will show you how to produce
16 printed output. Then you will be able to create and print your own
20 Many people learn programs by trying and fiddling around with the
21 program. This is also possible with LilyPond. If you click on a
22 picture in the HTML version of this manual, you will see the exact
23 LilyPond input that was used to generate that image.
26 @lilypond[fragment,quote,raggedright,relative=2]
27 c-\markup { \bold \huge { Click here. } }
31 By cutting and pasting the full input into a test file, you have a
32 starting template for experiments. If you like learning in this way,
33 you will probably want to print out or bookmark
37 @ref{Cheat sheet}, which is a table listing all commands for quick
42 * Running LilyPond for the first time::
43 * More about pitches::
45 * Automatic and manual beams::
47 * Music expressions explained::
49 * Adding articulation marks to notes::
50 * Combining notes into chords::
51 * Advanced rhythmic commands::
52 * Commenting input files::
56 * Single staff polyphony::
58 * Organizing larger pieces::
59 * An orchestral part::
66 The first example demonstrates how to enter the most elementary piece
67 of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
68 name, from @samp{a} through @samp{g}. So, if you enter
75 the result looks like this
77 @lilypond[fragment,quote,notime,relative=1]
81 The @rglos{duration} of a note is specified by a number after the note
82 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
83 @samp{4} for a @rglos{quarter note} and so on
89 @c FIXME: have NOTIME also remove Score.timing?
90 @lilypond[fragment,quote,notime,relative=2]
91 \set Score.timing = ##f
92 \set Staff.autoBeaming = ##f
93 { a1 a2 a4 a16 a32 s16_" " }
96 If you do not specify a duration, the duration last entered is used
97 for the next notes. The duration of the first note in input defaults
104 @lilypond[fragment,quote,notime,relative=2]
105 \set Score.timing = ##f
106 { a a8 a a2 a s16_" " }
110 A @rglos{rest} is entered just like a note, but with the name @samp{r}
117 @lilypond[fragment,quote,notime]
118 \set Score.timing = ##f
122 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
128 @lilypond[fragment,quote,notime,relative=1]
129 \set Score.timing = ##f
130 { a2. a4 a8. a16 s16_" " }
133 The (or @rglos{time signature}) can be set with the @code{\time}
142 @c A clef here may lead to confusion, remove it.
143 @lilypond[fragment,quote]
144 \override Staff.Clef #'transparent = ##t
153 The @rglos{clef} can be set using the @code{\clef} command
162 @lilypond[fragment,quote,notime]
163 \set Score.timing = ##f
175 Remember to enclose the notes and commands in curly braces
176 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
178 @lilypond[fragment,quote,noindent,linewidth=55\staffspace]
185 For more elaborate information on
189 @item Entering pitches and durations
191 @ref{Pitches}, and @ref{Durations}.
196 @item Time signatures and other timing commands
197 see @ref{Time signature}.
202 @node Running LilyPond for the first time
203 @section Running LilyPond for the first time
205 @c cheesy title to avoid clash with chapter name.
207 In the last section we explained what kind of things you can enter
208 in a LilyPond file. In this section we will explain what commands to
209 run and how to view or print the output. If you have not used
210 LilyPond before, want to test your setup, or want to run an example
211 file yourself, read this section. The instructions that follow are
212 for Unix-like systems. Some additional instructions for Microsoft
213 Windows are given at the end of this section.
215 Begin by opening a terminal window and starting a text editor. For
216 example, you could open an xterm and execute
217 @code{joe}.@footnote{There are macro files for VIM addicts, and there
218 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
219 installed already, refer to
220 @c FIXME lousy reference.
221 the file @file{INSTALL.txt}.} In your text editor, enter the following
222 input and save the file as @file{test.ly}
229 To process @file{test.ly}, proceed as follows
236 You will see something resembling
243 Interpreting music... [1]
244 Preprocessing graphical objects...
245 Calculating line breaks... [2]
246 Layout output to `test.tex'...
247 Converting to `test.dvi'...
248 Converting to `test.ps'...
249 Converting to `test.pdf'...
253 @cindex Viewing music
256 The result is the file @file{test.pdf}@footnote{For @TeX{}
257 aficionados: there is also a @file{test.dvi} file. It can be viewed
258 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
259 not show up in the magnifying glass. The specials also mean that the
260 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
265 } which you can print or view with the standard facilities of your
266 operating system.@footnote{If your system does not have any tools
267 installed, you can try
268 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
269 available package for viewing and printing PDF and PostScript files.}
271 On Windows, start up a text-editor@footnote{Any simple or
272 programmer-oriented editor will do, for example Notepad. Do not use a
273 word processor, since these insert formatting codes that will confuse
280 Save it on the desktop as @file{test.ly} and make sure that it is not
281 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
282 the file and show the resulting PDF file.
285 @node More about pitches
286 @section More about pitches
288 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
289 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
290 you might expect, a @rglos{double sharp} or @rglos{double flat} is
291 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
292 derived from note naming conventions in Nordic and Germanic languages,
293 like German and Dutch.}
299 @lilypond[fragment,quote,notime]
300 \set Score.timing = ##f
301 \transpose c c' { cis1 ees fisis aeses s16_" " }
304 @cindex key signature, setting
305 The key signature is set with the command @code{\key}, followed by
306 a pitch and @code{\major} or @code{\minor}
315 @lilypond[fragment,quote,notime,fragment]
323 Key signatures together with the pitches (including alterations) are
324 used to determine when to print accidentals. This is a
325 feature that often causes confusion to newcomers, so let us explain it
329 LilyPond makes a sharp distinction between musical content and
330 layout. The alteration (flat, natural or sharp) of a note is part of
331 the pitch, and is therefore musical content. Whether an accidental (a
332 flat, natural or sharp @emph{sign}) is printed in front of the
333 corresponding note is a question of layout. Layout is something that
334 follows rules, so accidentals are printed automatically according to
335 those rules. The pitches in your music are works of art, so they will
336 not be added automatically, and you must enter what you want to hear.
340 @lilypond[quote,notime,fragment]
346 no note has an explicit accidental, but you still must enter
354 The code @samp{d} does not mean `print a black dot just below the
355 staff.' Rather, it means: `a note with pitch D-natural.' In the key
356 of A-flat major, it does get an accidental
358 @lilypond[quote,notime,fragment,relative=1,verbatim]
363 Adding all alterations explicitly might require a little more effort
364 when typing, but the advantage is that transposing is easier, and
365 accidentals can be printed according to different conventions. See
366 @ref{Automatic accidentals}, for some examples how accidentals can be printed
367 according to different rules.
370 For more information on
375 see @ref{Automatic accidentals}.
378 see @ref{Key signature}.
383 @section Entering ties
386 A @rglos{tie} is created by appending a tilde @samp{~} to the first
389 @lilypond[quote,notime,fragment,verbatim,relative=3]
393 For more information on Ties see @ref{Ties}.
397 @node Automatic and manual beams
398 @section Automatic and manual beams
400 @cindex beams, by hand
401 All @rglos{beam}s are drawn automatically
403 @lilypond[quote,fragment,relative=2,verbatim]
408 If you do not like where beams are put, they can be entered by
409 hand. Mark the first note to be beamed with @samp{[} and the last one
412 @lilypond[quote,fragment,relative=2,verbatim]
416 For more information on beams, see @ref{Manual beams}.
419 Here are key signatures, accidentals and ties in action
421 @lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
428 fis4 fis8 fis8 eis4 a8 gis~
437 There are some interesting points to note in this example. Bar lines
438 and beams are drawn automatically. Line breaks are calculated
439 automatically; it does not matter where the line breaks are in the
440 source file. Finally, the order in which time, key, and clef changes
441 are entered is not relevant: in the printout, these are ordered
442 according to standard notation conventions.
447 @section Octave entry
450 @c Tim wants to move this quotes example just before the: quotes-do not-work
451 @c score, but we'd need to remove quotes from the other two (key and
454 @c better to have this just before the `octaves are bad' snipped
455 @c but we'd need to remove the ', from \key and tie
456 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
457 the note name, to lower a note one octave, add a `low quote' @code{,}
458 (comma). Middle C is @code{c'}
460 @lilypond[quote,notime,fragment,verbatim]
461 c'4 c'' c''' \clef bass c c,
464 An example of the use of quotes is in the following Mozart fragment
466 @lilypond[quote,raggedright,fragment,verbatim]
469 cis''8. d''16 cis''8 e''4 e''8
470 b'8. cis''16 b'8 d''4 d''8
474 This example shows that music in a high register needs lots of quotes.
475 This makes the input less readable, and it is a source of errors. The
476 solution is to use `relative octave' mode. This is the
477 most convenient way to copy existing music.
479 In relative mode, a note without octavation quotes (i.e. the @code{'}
480 or @code{,} after a note) is chosen so that it is closest to the
481 previous one. For example, @samp{c f} goes up while @samp{c g} goes
484 To use relative mode, add @code{\relative} before the piece of
485 music. The first note is taken relative to the middle C
486 @c no , for this sentence
491 @lilypond[quote,notime,fragment,verbatim]
498 Since most music has small intervals, pieces can be written almost
499 without octavation quotes in relative mode. The previous example is
502 @lilypond[quote,raggedright,verbatim]
506 cis'8. d16 cis8 e4 e8
511 @c needed better, maybe even redundant explanation
512 @c added another example below.
513 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
514 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
515 Larger intervals are made by adding octavation quotes.
517 @lilypond[quote,notime,verbatim,fragment]
523 In summary, quotes or commas no longer determine the absolute height
524 of a note in @code{\relative} mode. Rather, the height of a note is
525 relative to the previous one, and changing the octave of a single note
526 shifts all following notes an octave up or down.
528 For more information on relative octaves see @ref{Relative octaves},
529 and @ref{Octave check}.
532 @node Music expressions explained
533 @section Music expressions explained
536 In input files, music is represent by so-called @emph{music
537 expression}s. We have already seen some in the previous examples;
538 a single note is a music expression
540 @lilypond[fragment,quote,verbatim,relative=3]
544 Enclosing a group of notes in braces creates a new music
547 @lilypond[fragment,quote,verbatim,relative=3]
551 Putting a bunch of music expressions (e.g., notes) in braces, means that
552 they should be played in sequence. The result again is a music
553 expression, which can be grouped with other expressions sequentially.
554 Here, the expression from the previous example is combined with two
557 @lilypond[fragment,quote,verbatim,relative=3]
561 This technique is useful for non-monophonic music. To enter music
562 with more voices or more staves, we also combine expressions in
563 parallel. Two voices that should play at the same time, are entered
564 as a simultaneous combination of two sequences. A `simultaneous'
565 music expression is formed by enclosing expressions in @code{<<} and
566 @code{>>}. In the following example, three sequences (all containing
567 two separate notes) are combined simultaneously
569 @lilypond[fragment,quote,verbatim,relative=3]
577 This mechanism is similar to mathematical
578 formulas: a big formula is created by composing small formulas. Such
579 formulas are called expressions, and their definition is recursive, so
580 you can make arbitrarily complex and large expressions. For example,
589 ((1 + 2) * 3) / (4 * 5)
593 @cindex music expression
594 This is a sequence of expressions, where each expression is contained
595 in the next one. The simplest expressions are numbers, and larger
596 ones are made by combining expressions with operators (like @samp{+},
597 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
598 music expressions can be nested arbitrarily deep, which is necessary
599 for complex music like polyphonic scores.
601 Note that this example only has one staff, whereas
602 the previous example had three separate staves. That is because this
603 example begins with a single note. To determine the number of staves,
604 LilyPond looks at the first element. If it is a single note, there is one
605 staff; if there is a simultaneous expression, there is more than one staff.
607 @lilypond[fragment,quote,verbatim,relative=2]
610 << { e f } { c <<b d>> } >>
614 Music files with deep nesting can be confusing to enter and
615 maintain. One convention that helps against this confusion is
616 indenting. When entering a file with deep nesting of braces and
617 angles, it is customary to use an indent that indicates the nesting
618 level. Formatting music like this eases reading and helps you insert
619 the right number of closing braces at the end of an expression. For
633 Some editors have special support for entering LilyPond, and can help
634 indenting source files. See @ref{Editor support} for more information.
639 To print more than one staff, each piece of music that makes up a
640 staff is marked by adding @code{\new Staff} before it. These
641 @code{Staff} elements are then combined in parallel with @code{<<} and
642 @code{>>}, as demonstrated here
644 @lilypond[quote,fragment,verbatim]
646 \new Staff { \clef treble c'' }
647 \new Staff { \clef bass c }
652 The command @code{\new} introduces a `notation context.' A notation
653 context is an environment in which musical events (like notes or
654 @code{\clef} commands) are interpreted. For simple pieces, such
655 notation contexts are created automatically. For more complex pieces, it
656 is best to mark contexts explicitly. This ensures that each fragment
659 There are several types of contexts. @code{Staff}, @code{Voice} and
660 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
661 texts and @code{ChordNames} prints chord names.
663 In terms of syntax, prepending @code{\new} to a music expression
664 creates a bigger music expression. In this way it resembles the minus
665 sign in mathematics. The formula @math{(4+5)} is an expression, so
666 @math{-(4+5)} is a bigger expression.
668 We can now typeset a melody with two staves
670 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
672 @lilypond[fragment,quote,verbatim,raggedright]
689 For more information on contexts see the description in
690 @ref{Interpretation contexts}.
694 @node Adding articulation marks to notes
695 @section Adding articulation marks to notes
701 Common accents can be added to a note using a dash (@samp{-}) and a
704 @lilypond[fragment,quote,verbatim,relative=2]
705 c-. c-- c-> c-^ c-+ c-_
709 Similarly, fingering indications can be added to a note using a dash
710 (@samp{-}) and the digit to be printed
712 @lilypond[fragment,quote,verbatim,relative=2]
716 Articulations and fingerings are usually placed automatically, but you
717 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
718 also use multiple articulations on the same note. In most cases, however,
719 it is best to let LilyPond determine the articulation directions.
721 @lilypond[fragment,quote,verbatim,relative=2]
722 c_-^1 d^. f^4_2-> e^-_+
725 Dynamic signs are made by adding the markings (with a backslash) to
728 @lilypond[fragment,quote,verbatim,relative=2]
736 Crescendi and decrescendi are started with the commands @code{\<} and
737 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
738 (de)crescendo, or the command @code{\!} can be used
740 @lilypond[fragment,quote,verbatim,relative=2]
748 A @rglos{slur} is a curve drawn across many notes, and indicates
749 legato articulation. The starting note and ending note are marked
750 with @samp{(} and @samp{)}, respectively
752 @lilypond[fragment,quote,fragment,relative=2,verbatim]
753 d4( c16) cis( d e c cis d) e( d4)
756 @cindex slurs versus ties
757 A slur looks like a @rglos{tie}, but it has a different meaning. A
758 tie simply makes the first note sound longer, and can only be used on
759 pairs of notes with the same pitch. Slurs indicate the articulations
760 of notes, and can be used on larger groups of notes. Slurs and ties
763 @lilypond[quote,fragment,relative=2]
764 c2~( c8 fis fis4 ~ fis2 g2)
767 @cindex phrasing slurs
768 Slurs to indicate phrasing can be entered with @code{\(} and
769 @code{\)}, so you can have both legato slurs and phrasing slurs at the
770 same time. You cannot have simultaneous slurs or simultaneous
773 @lilypond[quote,fragment,relative=2,verbatim]
774 a8(\( ais b c) cis2 b'2 a4 cis, c\)
778 For more information on
783 see @ref{Fingering instructions}.
785 see @ref{Articulations}.
789 see @ref{Phrasing slurs}.
796 @node Combining notes into chords
797 @section Combining notes into chords
800 Chords can be made by surrounding pitches with angle brackets.
801 Angle brackets are the symbols @samp{<} and @samp{>}.
803 @lilypond[quote,relative=1,fragment,verbatim]
808 You can combine markings like beams and ties with chords. They must
809 be placed outside the angled brackets
811 @lilypond[quote,relative=1,fragment,verbatim]
812 r4 <c e g>8[ <c f a>]~ <c f a>
816 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
819 @lilypond[quote,relative=1,fragment]
821 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
825 @node Advanced rhythmic commands
826 @section Advanced rhythmic commands
830 @cindex partial measure
831 A pickup is entered with the keyword @code{\partial}. It
832 is followed by a duration: @code{\partial 4} is a quarter note upstep
833 and @code{\partial 8} an eighth note
835 @lilypond[quote,relative=2,verbatim,fragment]
842 Tuplets are made with the @code{\times} keyword. It takes two
843 arguments: a fraction and a piece of music. The duration of the piece
844 of music is multiplied by the fraction. Triplets make notes occupy
845 2/3 of their notated duration, so a triplet has 2/3 as its fraction
847 @lilypond[quote,relative=1,verbatim,fragment]
848 \times 2/3 { f8 g a }
854 Grace notes are also made by prefixing a music expression with the
855 keyword @code{\appoggiatura} or @code{\acciaccatura}
859 @lilypond[quote,relative=2,verbatim,fragment]
860 c4 \appoggiatura b16 c4
861 c4 \acciaccatura b16 c4
866 For more information on
871 see @ref{Grace notes},
875 see @ref{Partial measures}.
880 @node Commenting input files
881 @section Commenting input files
885 @cindex block comment
886 A comment is a remark for the human reader of the music input; it is
887 ignored while parsing, so it has no effect on the printed output.
888 There are two types of comments. The percent symbol @samp{%}
889 introduces a line comment; after @code{%} the rest of the line is
890 ignored. A block comment marks a whole section of music
891 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
892 ignored. The following fragment shows possible uses for comments
895 % notes for twinkle twinkle follow
899 This line, and the notes below
900 are ignored, since they are in a
907 @c TODO post-2.4 reorg
908 @c This is good info, but I wouldn't call it a comment. IMO it should
909 @c be moved somewhere else.
913 There is a special statement that is a kind of comment. The @code{\version}
914 statement marks for which version of LilyPond the file was written.
915 To mark a file for version 2.4.0, use
922 These annotations make future upgrades of LilyPond go more
923 smoothly. Changes in the syntax are handled with a special program,
924 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
925 @code{\version} to determine what rules to apply.
928 @node Printing lyrics
929 @section Printing lyrics
932 @c TODO: (c) status of the Queen fragment.
936 Lyrics are entered by separating each syllable with a space
944 @lilypond[quote,verbatim,fragment,raggedright]
946 r4 c \times 2/3 { f g g }
947 \times 2/3 { g4( a2) }
951 The lyrics can be set to these notes, combining both with the
952 @code{\addlyrics} keyword
954 @lilypond[quote,verbatim,fragment,raggedright]
957 r4 c \times 2/3 { f g g }
958 \times 2/3 { g4( a2) }
960 \addlyrics { I want to break free }
965 @cindex extender line
967 This melody ends on a @rglos{melisma}, a single syllable (`free')
968 sung to more than one note. This is indicated with an @emph{extender
969 line}. It is entered as two underscores, i.e.,
972 @{ I want to break free __ @}
975 @lilypond[fragment,quote,raggedright]
978 r4 c \times 2/3 { f g g }
979 \times 2/3 { g4( a2) }
981 \addlyrics { I want to break free __ }
985 Similarly, hyphens between words can be entered as two dashes,
986 resulting in a centered hyphen between two syllables
989 Twin -- kle twin -- kle
992 @lilypond[fragment,quote,raggedright]
998 \addlyrics { Twin -- kle twin -- kle }
1002 More options, like putting multiple lines of lyrics below a melody are
1003 discussed in @ref{Vocal music}.
1007 @section A lead sheet
1013 @c TODO: revise this, \chords { } is shorter and more intuitive.
1015 In popular music, it is common to denote accompaniment with chord names.
1016 Such chords can be entered like notes,
1018 @lilypond[quote,verbatim,raggedright]
1019 \chordmode { c2 f4. g8 }
1023 Now each pitch is read as the root of a chord instead of a note.
1024 This mode is switched on with @code{\chordmode}
1026 Other chords can be created by adding modifiers after a colon. The
1027 following example shows a few common modifiers
1029 @lilypond[quote,verbatim,raggedright]
1030 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1033 For lead sheets, chords are not printed on staves, but as names on a
1034 line for themselves. This is achieved by using @code{\chords} instead
1035 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1036 but renders the notes in a @code{ChordNames} context, with the
1039 @lilypond[quote,verbatim,raggedright]
1040 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1044 When put together, chord names, lyrics and a melody form
1045 a lead sheet, for example,
1049 \chords @{ @emph{chords} @}
1051 \addlyrics @{ @emph{the text} @}
1056 @lilypond[quote,raggedright]
1058 \chords { r2 c:sus4 f }
1060 r4 c' \times 2/3 { f g g }
1061 \times 2/3 { g4( a2) }
1063 \addlyrics { I want to break free __ }
1067 A complete list of modifiers and other options for layout can be found
1072 @section Adding titles
1074 Bibliographic information is entered in a separate block, the
1075 @code{\header} block. The name of the piece, its composer, etc., are
1076 entered as an assignment, within @code{\header
1077 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1078 the top of the file. For example,
1083 composer = "Igor Stravinsky"
1090 When the file is processed, the title and composer are printed above
1091 the music. More information on titling can be found in @ref{Creating
1095 @node Single staff polyphony
1096 @section Single staff polyphony
1099 @cindex multiple voices
1100 @cindex voices, more -- on a staff
1101 When different melodic lines are combined on a single staff they are
1102 printed as polyphonic voices; each voice has its own stems, slurs and
1103 beams, and the top voice has the stems up, while the bottom voice has
1106 Entering such parts is done by entering each voice as a sequence (with
1107 @code{@{...@}}), and combining these simultaneously, separating the
1108 voices with @code{\\}
1110 @lilypond[quote,verbatim,relative=2,fragment]
1111 << { a4 g2 f4~ f4 } \\
1115 For polyphonic music typesetting, spacer rests can also be convenient;
1116 these are rests that do not print. They are useful for filling up
1117 voices that temporarily do not play. Here is the same example with a
1118 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1120 @lilypond[quote,verbatim,relative=2,fragment]
1121 << { a4 g2 f4~ f4 } \\
1126 Again, these expressions can be nested arbitrarily
1128 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1136 { <c, g>1 ~ <c g>4 } \\
1142 More features of polyphonic typesetting are described in this manual
1143 in section @ref{Polyphony}.
1147 @section Piano staves
1149 @cindex staff switch, manual
1150 @cindex cross staff voice, manual
1151 @cindex @code{\context}
1152 Piano music is typeset in two staves connected by a brace. Printing
1153 such a staff is similar to the polyphonic example in @ref{More staves},
1156 << \new Staff @{ @dots{} @}
1157 \new Staff @{ @dots{} @} >>
1161 but now this entire expression must be interpreted as a
1165 \new PianoStaff << \new Staff @dots{} >>
1168 Here is a small example
1170 @lilypond[quote,verbatim,relative=1,fragment]
1172 \new Staff { \time 2/4 c4 c g' g }
1173 \new Staff { \clef bass c,, c' e c }
1177 More information on formatting piano music is given in @ref{Piano music}.
1180 @node Organizing larger pieces
1181 @section Organizing larger pieces
1183 When all of the elements discussed earlier are combined to produce
1184 larger files, the @code{\score} blocks get a lot bigger, because the
1185 music expressions are longer, and, in the case of polyphonic pieces,
1186 more deeply nested. Such large expressions can become unwieldy.
1188 By using variables, also known as identifiers, it is possible to break
1189 up complex music expressions. An identifier is assigned as follows
1192 namedMusic = @{ @dots{} @}
1196 The contents of the music expression @code{namedMusic}, can be used
1197 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1198 In the next example, a two-note motive is repeated two times by using
1199 variable substitution
1201 @lilypond[quote,raggedright,verbatim,nofragment]
1205 { \seufzer \seufzer }
1208 The name of an identifier should have alphabetic characters only; no
1209 numbers, underscores or dashes. The assignment should be outside of
1212 It is possible to use variables for many other types of objects in the
1218 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1221 Depending on its contents, the identifier can be used in different
1222 places. The following example uses the above variables
1232 More information on the possible uses of identifiers is given in the
1233 technical manual, in @ref{Input variables and Scheme}.
1234 @c fixme: the ref is too technical.
1237 @node An orchestral part
1238 @section An orchestral part
1240 In orchestral music, all notes are printed twice. Once in a part for
1241 the musicians, and once in a full score for the conductor. Identifiers can
1242 be used to avoid double work. The music is entered once, and stored in
1243 a variable. The contents of that variable is then used to generate
1244 both the part and the full score.
1246 It is convenient to define the notes in a special file. For example,
1247 suppose that the file @file{horn-music.ly} contains the following part
1248 of a horn/@/bassoon duo
1251 hornNotes = \relative c @{
1258 Then, an individual part is made by putting the following in a file
1261 \include "horn-music.ly"
1263 instrument = "Horn in F"
1267 \transpose f c' \hornNotes
1274 \include "horn-music.ly"
1278 substitutes the contents of @file{horn-music.ly} at this position in
1279 the file, so @code{hornNotes} is defined afterwards. The command
1280 @code{\transpose f@tie{}c'} indicates that the argument, being
1281 @code{\hornNotes}, should be transposed by a fifth downwards. Sounding
1282 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1283 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1284 in the following output
1286 @lilypond[quote,raggedright]
1287 \transpose f c' \relative c {
1293 In ensemble pieces, one of the voices often does not play for many
1294 measures. This is denoted by a special rest, the multi-measure
1295 rest. It is entered with a capital @samp{R} followed by a duration
1296 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1297 duration, longer rests can be constructed. For example, this rest
1298 takes 3@tie{}measures in 2/4 time
1304 When printing the part, multi-rests
1305 must be condensed. This is done by setting a run-time variable
1308 \set Score.skipBars = ##t
1312 This command sets the property @code{skipBars} in the
1313 @code{Score} context to true (@code{##t}). Prepending the rest and
1314 this option to the music above, leads to the following result
1316 @lilypond[quote,raggedright]
1317 \transpose f c' \relative c {
1319 \set Score.skipBars = ##t
1326 The score is made by combining all of the music together. Assuming
1327 that the other voice is in @code{bassoonNotes} in the file
1328 @file{bassoon-music.ly}, a score is made with
1331 \include "bassoon-music.ly"
1332 \include "horn-music.ly"
1335 \new Staff \hornNotes
1336 \new Staff \bassoonNotes
1343 @lilypond[quote,raggedright]
1351 r4 d,8 f | gis4 c | b bes |
1352 a8 e f4 | g d | gis f
1357 More in-depth information on preparing parts and scores can be found
1358 in the notation manual; see @ref{Orchestral music}.
1360 Setting run-time variables (`properties') is discussed in
1361 @ref{Changing context properties on the fly}.
1368 * discuss expectations (?)
1372 * overview of chapters?