8 LilyPond prints music from a specification that you, the user, supply.
9 You have to give that specification using a @emph{language}. This
10 chapter is a gentle introduction to that language.
12 This tutorial will demonstrate how to use Lilypond by presenting
13 examples of input along with resulting output. We will use English
14 terms for notation. In case you are not familiar with those, you may
15 consult the glossary that is distributed with LilyPond.
17 @cindex examples, tutorial
19 The examples discussed are included in the distribution, in the
20 subdirectory @file{input/tutorial/}@footnote{When we refer
21 to filenames, they are relative to the top directory of the source
24 }. We recommend that you experiment with writing Lilypond input
25 yourself, to get a feel for how the program behaves.
29 * Running LilyPond:: Getting started
30 * The first tune:: The first tune
31 * Lyrics and chords:: Lyrics and chords
33 * A piano excerpt:: Piano music
34 * An orchestral score::
36 * Latex and texinfo integration::
37 * end of tutorial:: The end
38 * Pre-cooked makefile::
42 @node Running LilyPond
43 @section Running LilyPond
46 [describe all programs involved in one list.]
48 Before we dive into describing the input language of LilyPond, we first
49 show you through the procedure for getting notes on your screen and out
52 The first step is creating an input file. Using your favorite
53 text-editor, create @file{test.ly} containing
61 \notes @{ c'4 e'4 g'4 @}
66 @unnumberedsubsec Unix
68 @cindex Unix, Running lilypond on
70 If you run Unix, proceed as follows: run lilypond on the file, i.e.,
74 You will see the following on your screen:
77 Now processing: `input/tutorial/test.ly'
79 Interpreting music...[1]
80 Preprocessing elements...
81 Calculating column positions... [2]
82 paper output to test.tex...
85 Now, run @TeX{}@footnote{@TeX{} is a text-typesetting system that is
86 especially suited for typesetting mathematics.}. The result should
89 This is TeX, Version 3.14159 (Web2C 7.3.1)
90 (test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
91 (/home/hanwen/usr/share/lilypond/tex/lilypond-plaintex.tex
92 LilyPond Plain TeX settings) (/home/hanwen/usr/src/ ...
93 (/home/hanwen/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty]
94 (/home/hanwen/usr/share/lilypond/tex/fetdefs.tex)) [1] )
95 Output written on test.dvi (1 page, 3716 bytes).
96 Transcript written on test.log.
98 The result of the @TeX{} run is a @TeX{} ``DeVice Independent'' file
103 @cindex Viewing music
105 To view the output, run Xdvi, i.e.
109 You should see the following in a window next to some buttons.
116 \notes { c'4 e'4 g'4 }
121 @cindex postscript, converting to
122 When you're satisfied with the result, you can print it. For printing,
123 you have to generate a postscript file:
125 dvips -o test.ps test.dvi
127 which looks like this:
129 This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
130 ' TeX output 2001.01.27:1806' -> test.ps
131 <texc.pro><special.pro>. [1]
135 @cindex Printing output
138 PostScript is a page description language, similar to PDF. Some printers
139 can understand a postscript file directly, but the cheaper ones need the
140 intervention of GhostScript, an emulator that runs PostScript on your
141 computer instead of your printer. Most Linux distributions nowadays have
142 GhostScript running ``in the background'', so any configured printer
143 will act as a PostScript printer. Assuming this, the following command
148 If this does not make your printer produce a page of music, then you
149 should look into installing and configuring ghostscript. Refer to
150 GhostScript's website at @uref{http://www.ghostscript.com}.
152 There are three other routes: firstly, you can add titling to the
153 output. This is done by a separate program called @file{ly2dvi}: this
154 program first calls LilyPond to process the @file{.ly} file, and then
155 runs @TeX{} on it to produce a @file{.dvi} file with proper margin
156 settings and titling.
158 @cindex titles, adding
164 After some disk-activity, you should end up with a @file{.dvi} file.
165 Ly2dvi is further described in the @ref{ly2dvi}.
167 Secondly, you can generate PostScript directly. This is useful if you
168 can not or do not want to run @TeX{} on your system.
169 To obtain PS output, invoke LilyPond as follows:
170 @cindex PostScript output
172 lilypond -f ps test.ly
175 You have to set some environment variables to view or print this
176 output. More information can be found in the @ref{Invoking
179 Finally, there is a script called @code{lilypond-book}, that allows you
180 to freely mix LilyPond input with Texinfo or LaTeX input. For example,
181 this manual was written using @code{lilypond-book}. It is discussed in
184 @unnumberedsubsec Windows
188 * setting of env vars (TFMINPUTS,MFINPUTS,TEXINPUTS)
190 * dvi viewer doesn't display postscript
194 @section The first tune
197 To demonstrate what LilyPond input looks like, we start off with a
198 full-fledged, yet simple example. It is a convoluted version
199 of the famous menuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
200 is included in the distribution as @file{menuet.ly}.
201 @cindex Bach, Johann Sebastian
204 % lines preceded by a percent are comments which
205 % are ignored by Lilypond.
206 \include "paper16.ly"
209 \relative c'' \sequential{
214 d4 g,8 a b c d4 g, g |
215 e'4 c8 d e fis g4 g, g |
216 c4 d8()c b a( )b4 c8 b a g |
217 a4 [b8 a] [g fis] g2. |
222 g4 e8 fis g d cis4 b8 cis a4 |
223 a8-. b-. cis-. d-. e-. fis-.
230 % standard settings are too wide for a book
231 linewidth = 14.0 \cm;
236 We will analyse the input, line by line.
238 % lines preceded by a percent are comments which
239 % are ignored by Lilypond.
241 The percent sign, @code{%}, introduces a line comment. If you want to
242 make larger comments, you can use block comments. These are delimited
243 by @code{%@{} and @code{%@}}
245 @cindex block comment
250 \include "paper16.ly"
253 @cindex @code{\include}
254 @cindex point, printer's
255 @cindex staff size setting
256 By default, LilyPond will use definitions for a staff that is 20
257 point@footnote{A point is the standard measure of length for printing;
258 one point is 1/72.27 inch.} high. We want smaller
259 output (16 point staff height), so we must import the settings for that
260 size, which is done here.
266 Music is printed by combining a chunk of music with directions for
267 outputting it. This combination is formed in the @code{\score} block.
273 This makes LilyPond ready for accepting notes.
280 @cindex octaves, choosing
282 As we will see, pitches are combinations of octave, note name and
283 chromatic alteration. In this scheme, the octave is indicated by
284 using raised quotes (@code{'}) and ``lowered'' quotes (commas:
285 @code{,}). The central C is denoted by @code{c'}. The C one octave
286 higher is @code{c''}. One and two octaves below the central C is
287 denoted by @code{c} and @code{c,} respectively.
290 For pitches in a long piece you might have to type many quotes. It is
291 easy to make typing errors with this, so LilyPond has a special entry
292 mode to remedy this. In this ``relative'' octave mode, octaves of notes
293 without quotes are chosen such that a note is as close as possible
294 (graphically, on the staff) to the preceding note. If you add a
295 high-quote an extra octave is added. The lowered quote (a comma) will
296 subtract an extra octave. Because the first note has no predecessor,
297 you have to give the (absolute) pitch of the note to start with.
303 What follows is sequential music, i.e.,
304 @cindex sequential music
305 notes that are to be played and printed after each other.
311 @cindex time signature, setting
313 This command changes the time signature of the current piece: a 3/4
314 sign is printed. The time signature setting is also used to generate
315 bar lines in the right spots.
321 @cindex key signature, setting
323 This command changes the current key signature to G-major. Although this
324 command comes after the @code{\time} command, in the output, the key
325 signature comes before the time signature: LilyPond knows about music
326 typesetting conventions.
332 This command tells LilyPond that the following piece of music must be
333 played twice. The first argument indicates the type of repeat. In this
334 case, @code{"volta"} means that volta brackets are be used for
335 alternatives---if there were any.
341 The subject of the repeat is again sequential music. Since
342 @code{\sequential} is such a common construct, a shorthand is provided:
343 just leave off @code{\sequential}, and the result is the same.
349 This is a note with pitch @code{d} (determined up to octaves). The
350 relative music was started with a @code{c''}, so the real pitch of this
351 note is @code{d''}. A number designates the duration of the note, so
352 the @code{4} here represents a quarter note.
358 These are notes with pitch @code{a} and @code{b}. Because their
359 duration is the same as the @code{g}, there is no need to enter the
360 duration, but you may enter it anyway, i.e., @code{a4 b4}
368 @cindex errors, finding
369 Three more notes. The @code{|} character is a `bar check'. When
370 processing the music, LilyPond will verify that bar checks are found at
371 the start of a measure. This can help you track down errors.
373 @cindex alteration, chromatic
374 @cindex chromatic alteration
375 So far, no notes were chromatically altered. Here is the first one
376 that is: @code{fis}. Lilypond by default uses Dutch note names, and
377 ``Fis'' is the Dutch note name for ``F sharp''. However, there is no
378 sharp sign in the output. The program keeps track of key signatures,
379 and will only print accidentals if they are needed.
385 LilyPond guesses were beams can be added to eighth and shorter notes.
386 In this case, a beam over 4 eighths is added.
389 c4 d8( )c b a( )b4 c8 b a g |
392 The next line shows how to make a slur: the beginning and ending note
393 of the slur is marked with an opening and closing parenthesis
394 respectively. In the line shown above, this is done for two slurs.
395 Slur markers (parentheses) are put between the slurred notes.
401 Automatic beaming can be overridden by inserting beam marks
402 (brackets). Brackets are put around the notes you want beamed.
408 @cindex augmentation dot
410 A period adds an augmentation dot to the note.
416 This ends the sequential music to be repeated. LilyPond will typeset
423 This line shows that Lily will print an accidental if that is
424 needed: the first C sharp of the bar will be printed with an accidental,
425 the second one without.
428 a8-. b-. cis-. d-. e-. fis-.
432 You can enter articulation signs either in a verbose form using a
433 shorthand. Here we demonstrate the shorthand: it is formed by a dash
434 and the character for the articulation to use, e.g. @code{-.} for
435 staccato as shown above.
442 Rests are denoted by the special notename @code{r}.
448 All articulations have a verbose form, like @code{\fermata}. The
449 command @code{\fermata} is not part of the core of the language, but it
450 is a shorthand for a more complicated description of a fermata symbol.
451 @code{\fermata} names that description and is therefore called an
454 @cindex @code{\fermata}
469 This specifies a conversion from music to notation output. Most of
470 the details of this conversions (font sizes, dimensions, etc.) have
471 been taken care of, but to fit the output in this document, it has
472 to be smaller. We do this by setting the line width to 14 centimeters
473 (approximately 5.5 inches).
479 The last brace ends the @code{\score} block.
484 @node Lyrics and chords
485 @section Lyrics and chords
487 In this section we show how to typeset a song. This file is
488 included as @file{flowing.ly}.
492 title = "The river is flowing";
493 composer = "Traditional";
495 \include "paper16.ly"
496 melody = \notes \relative c' @{
500 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
501 c4 c8 d [es () d] c4 | d4 es8 d c4.
506 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
507 ri -- ver is flo -- wing down to the sea.
510 accompaniment =\chords @{
512 c2:3- f:3-.7 d:min es4 c8:min r8
513 c2:min f:min7 g:7^3.5 c:min @}
518 \context ChordNames \accompaniment
521 \context Staff = mel @{
522 \property Staff.noAutoBeaming = ##t
523 \property Staff.automaticMelismata = ##t
526 \context Lyrics \text
528 \midi @{ \tempo 4=72;@}
529 \paper @{ linewidth = 10.0\cm; @}
534 The result would look this.@footnote{The titling and font size shown
535 may differ, since the titling in this document is not generated by
538 @center @strong{The river is flowing}
543 title = "The river is flowing";
544 composer = "Traditional";
546 \include "paper16.ly"
547 melody = \notes \relative c' {
551 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
552 c4 c8 d [es () d] c4 | d4 es8 d c4.
557 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
558 ri -- ver is flo -- wing down to the sea.
561 accompaniment =\chords {
563 c2:3- f:3-.7 d:min es4 c8:min r8
564 c2:min f:min7 g:7^3.5 c:min }
569 \context ChordNames \accompaniment
572 \context Staff = mel {
573 \property Staff.noAutoBeaming = ##t
574 \property Staff.automaticMelismata = ##t
577 \context Lyrics \text
579 \midi { \tempo 4=72;}
580 \paper { linewidth = 10.0\cm; }
584 Again, we will dissect the file line by line.
590 @cindex @code{\header}
591 Information about the music you are about to typeset goes into a
592 @code{\header} block. The information in this block is not used by
593 LilyPond, but it is passed into the output. @file{ly2dvi} uses this
594 information to print titles above the music.
597 title = "The river is flowing";
598 composer = "Traditional (?)";
601 @cindex identifier assignment
602 the @code{\header} block contains assignments. An assignment starts
603 with a string. (which is unquoted, in this case). Then comes the
604 equal sign. After the equal sign comes the expression you
605 want to store. In this case, you want to put in strings. The
606 information has to be quoted here, because it contains spaces. Each
607 assignment is finished with a semicolon.
610 \include "paper16.ly"
613 Smaller size for inclusion in a book.
616 melody = \notes \relative c' @{
619 The structure of the file will be the same as the previous one, a
620 @code{\score} block with music in it. To keep things readable, we will
621 give names to the different parts of music, and use the names to
622 construct the music within the score block.
628 @cindex @code{\partial}
630 The piece starts with an anacrusis of one eighth.
634 The key is C minor: we have three flats.
638 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
639 c4 c8 d [es () d] c4 | d4 es8 d c4.
644 @cindex manual beaming
645 @cindex automatic beaming, turning off
646 We use explicit beaming. Since this is a song, we turn automatic
647 beams off, and use explicit beaming where needed.
653 This ends the definition of @code{melody}. Note that there are no
654 semicolons after assignments at top level.
661 @cindex identifier assignment
662 @cindex syllables, entering
663 Another identifier assignment. This one is for the lyrics.
664 Lyrics are formed by syllables that have duration, and not by
665 notes. To make LilyPond parse words as syllables, switch it into
666 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
667 is a shorthand for @code{\sequential @{}.
670 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
671 ri- ver is flo- __ wing down to the sea.
675 @cindex extenders, lyric
676 @cindex hyphens, lyric
677 The syllables themselves are separated by spaces. You can get syllable
678 extenders by entering @code{__}, and centered hyphens with
679 @code{-}@code{-}. We enter the syllables as if they are all quarter notes
680 in length (hence the @code{4}), and use a feature to align the
681 syllables to the music, which obviously isn't all quarter notes.
684 accompaniment =\chords @{
689 We'll put chords over the music. To enter them, there is a special mode
690 analogous to @code{\lyrics} and @code{\notes} mode, where you can give
691 the names of the chords you want, instead of the notes comprising the
698 There is no accompaniment during the anacrusis.
706 @cindex chord modifier
707 @cindex modifier, chord
708 A chord is started by the tonic of the chord. The
709 first one lasts a half note. An unadorned note creates a major
710 triad, while a minor triad is wanted. @code{3-} modifies the third to
711 be small. @code{7} modifies (adds) a seventh, which is small by default
712 to create the @code{f a c es} chord. Multiple modifiers must be
720 Some modifiers have predefined names, eg. @code{min} is the same as
721 @code{3-}, so @code{d-min} is a minor @code{d} chord.
724 c2:min f:min7 g:7^3.5 c:min @}
727 @cindex named modifier
729 A named modifier @code{min} and a normal modifier @code{7} do not have
730 to be separated by a dot. Tones from a chord are removed with chord
731 subtractions. Subtractions are started with a caret, and they are
732 also separated by dots. In this example, @code{g:7^3.5} produces a
733 minor seventh. The brace ends the sequential music.
740 We assemble the music in the @code{\score} block. Melody, lyrics and
741 accompaniment have to sound at the same time, so they should be
742 @code{\simultaneous}.
743 @cindex @code{\simultaneous}
749 Chord mode generates notes grouped in @code{\simultaneous} music. If
750 you remove the comment sign, you can see the chords in normal
751 notation: they will be printed as note heads on a separate
752 staff. To print them as chords names, they have to be interpreted as
753 being chords, not notes. This is done with the following command:
756 \context ChordNames \accompaniment
760 @cindex interpretation context
761 @cindex notation context
764 Normally, the notes that you enter are transformed into note heads.
765 Note heads alone make no sense, they need surrounding information: a key
766 signature, a clef, staff lines, etc. They need @emph{context}. In
767 LilyPond, these symbols are created by objects called `interpretation
768 contexts'. Interpretation contexts (or `Notation contexts') only exist
769 during a run of LilyPond.
771 By default, LilyPond will create a Staff context for you. If you would
772 remove the @code{%} sign in the previous line, you would see that
775 We don't want that default here, because we want chord names. The
776 command above explicitly creates an interpretation context of
777 @code{ChordNames} type to interpret the music @code{\accompaniment}.
783 @cindex @code{\addlyrics}
784 @cindex lyrics and melody, combining
785 @cindex combining lyrics and melody
787 The lyrics need to be aligned with the melody. This is done by
788 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
789 pieces of music (usually a melody and lyrics, in that order) and
790 aligns the syllables of the second piece under the notes of the
791 first piece. If you would reverse the order, the notes would be
792 aligned on the lyrics, which is not very useful, and looks
796 \context Staff = mel @{
800 This is the argument of @code{\addlyrics}. We instantiate a
801 @code{Staff} context explicitly: should you chose to remove the comment
802 before the ``note heads'' version of the accompaniment, the
803 accompaniment will be on a nameless staff. The melody has to be on a
804 different staff as the accompaniment. This is accomplished by giving
805 the melody staff a different name.
808 \property Staff.noAutoBeaming = ##t
812 @cindex context variables
813 @cindex setting context variables
814 An interpretation context has variables that tune its behaviour. One of
815 the variables is @code{noAutoBeaming}. If set to @code{##t}, which is
816 the boolean value @var{true}, LilyPond will not try to put automatic beaming
817 on the current staff.
821 @cindex accessinng Scheme
822 @cindex evaluating Scheme
825 LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
826 language from the LISP family. You can learn more about Scheme at
827 @uref{http://www.scheme.org}. It is used to represent data throughout
828 the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
829 code following the hash-sign is evaluated as Scheme. The boolean value
830 @var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
833 If Scheme scares you, don't worry. You don't need to know Scheme to
834 create beautiful sheet music.
840 \property Staff.automaticMelismata = ##t
843 @cindex automaticMelismata
845 @cindex @code{\addlyrics} and slurs
846 Similarly, we don't want to print a syllable when there is
847 a slur. This sets up @code{\addlyrics} to not put lyrics under notes
848 while there is a slur.
855 Finally, we put the melody on the current staff. Note that the
856 @code{\property} directives and @code{\melody} are grouped in sequential
857 music, so the property settings are done before the melody is
861 \context Lyrics \text
864 The second argument of @code{\addlyrics} is the text. The text also
865 should not land on a Staff, but on a interpretation context for
866 syllables, extenders, hyphens etc. This context is called
873 This ends @code{\simultaneous}.
876 \midi @{ \tempo 4=72;@}
879 MIDI (Musical Instrument Digitial Interface) is a standard for
880 connecting and recording digital instruments. So a MIDI file is like a
881 tape recording of an instrument. The @code{\midi} block causes makes the
882 music go to a MIDI file, so you can listen to the music you entered. It
883 is great for checking the music. Whenever you hear something weird, you
884 probably hear a typing error.
886 Syntactally, @code{\midi} is similar to @code{\paper @{ @}}, since it
887 also specifies an output method. You can specify the tempo using the
888 @code{\tempo} command, in this case the tempo of quarter notes is set to
892 \paper @{ linewidth = 10.0\cm; @}
895 We also want notation output. The linewidth is short so the piece
896 will be set in two lines.
899 @section More movements
901 You probably ran @file{ly2dvi} on the last example, and ended up with a
902 viewable @file{.dvi} file. However, between there are a few steps of
903 which LilyPond is only one. To enhance your understanding of what's
904 happening under the hood when you run @code{ly2dvi}, we explain what
907 @code{ly2dvi} is a program that calls a number of programs in sequence.
908 The first thing it does, is running LilyPond on the input file. After
909 some calculations, a @file{.tex} is produced. The contents
910 of this file are very low-level instructions.
912 For example, the following file (@file{minatures.ly})
916 \header @{ title = "Two miniatures"; @}
918 #(set! point-and-click line-column-location)
937 The titling in this manual was not generated by ly2dvi, so we can't
938 exactly show it would look, but the result should resemble this:
940 @center @strong{Two miniatures}
968 This file is produced by ly2dvi in a few stages, with the help of text
969 formatting tools. LilyPond produces two output files, @file{miniatures.tex}
970 and @file{miniatures-1.tex}. They both look like this:
974 \placebox@{-5 \outputscale @}%
975 @{ 8.7229 \outputscale @}%
976 @{\magfontWXGEomMMBo\char90 @}%
978 \placebox@{-4 \outputscale @}%
979 @{ 81.0647 \outputscale @}%
983 @file{ly2dvi} looks at what output LilyPond produces, and generates a
984 file called @file{ly2dvi.out.tex}. This file contains formatting
985 instructions for the title and page layout. A fragment might look like
989 \def\lilypondopus@{Opus 1.@}
990 \def\lilypondpiece@{Up@}
991 \def\mustmakelilypondtitle@{@}
992 \input miniatures.tex
993 \def\lilypondtitle@{Two miniatures@}
997 @file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
998 built on top of @TeX{}. It's very popular in the academic world. If LaTeX
999 is successful, this will produce a @file{.dvi} file, containing both the
1000 titling and notes. @code{ly2dvi} completes its task by deleting the two
1001 temporary files, leaving only @file{miniatures.dvi}.
1003 Next, now we'll look at the examples line by line to explain new things.
1008 Lilypond and its language are still under development, and occasionally,
1009 details of the syntax are changed. This fragment indicates for which
1010 version the input file was written. When you compile this file, the
1011 version number will be checked, and you will get a warning when the file
1014 This version number is also used by the @code{convert-ly} program (See
1015 @ref{convert-ly}), which uses it update the file to the latest lily
1019 \header @{ title = "Two miniatures"; @}
1021 This sets the titling information for the entire file.
1024 #(set! point-and-click line-column-location)
1027 This is Scheme code. It sets the variable @code{point-and-click} to the
1028 value @var{line-column-location} (which itself is a Scheme procedure).
1030 Editing input files can be quite complicated if you're working with
1031 large files: if you're digitizing existing music, you have to
1032 synchronize the .ly file, the sheet music on your lap and the sheet
1033 music on the screen. The point-and-click mechanism makes it easy to
1034 find the origin of an error in the .ly file: when you view the file with
1035 Xdvi and click on a note , your editor will jump to the spot where that
1036 note was entered. More information is in in @ref{Point and click}
1042 The @code{\score} blocks that follow in the file don't have
1043 @code{\paper} sections, so the settings of this block are substituted: A
1044 paper block, at top-level, i.e. not in a @code{\score} block sets the
1045 default page layout.
1048 linewidth = -1.0; @}
1053 The variable @code{linewidth} normally sets the length of the systems on
1054 the page. However, a negative value has a special meaning. If
1055 @code{linewidth} is less than 0, no line breaks are inserted into the
1056 score, and the spacing is set to natural length: a short phrase takes up
1057 little space, a longer phrase more space.
1061 \notes @{ c'4 d'4 @}
1064 In previous examples, notes were specified in relative octaves,
1065 i.e. each note was put in the octave that would put it closest to its
1066 predecessor. Besides relative, there is also absolute octave
1067 specification, which you get when you don't specify @code{\relative}. In
1068 this input mode, the central C is denoted by @code{c'}. Going down, you
1069 get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
1072 When you're copying music from existing sheet music, relative octaves
1073 are probably the easiest to use: it's less typing work and errors are
1074 easily spotted. However, if you write LilyPond input, either by hand
1075 (ie. composing) or by computer, absolute octaves are probably less work.
1082 The @code{\header} is normally at the top of the file, where it sets
1083 values for the rest of the file. If you want to typeset different pieces
1084 from one file (for example, if there are multiple movements, or if
1085 you're making a excercise book), you can put different @code{\score}
1086 blocks into the input file. ly2dvi will assemble all LilyPond output
1087 files into a big document. The contents of \header blocks specified
1088 within each score, are used for the titling of each movement.
1093 For example, the Opus number is put at the right, and the piece string
1094 will be at the left.
1098 @node A piano excerpt
1099 @section A piano excerpt
1101 Our third subject is a piece of piano music. The fragment in the input
1102 file is a piano reduction of the G major Sinfonia by Giovanni Battista
1103 Sammartini. It was composed around 1740. It's in the source package
1104 under the name @file{sammartini.ly}.
1107 \include "paper16.ly";
1109 stemDown = \property Voice.Stem \override #'direction = #-1
1110 stemUp = \property Voice.Stem \override #'direction = #1
1111 stemBoth = \property Voice.Stem \revert #'direction
1113 viola = \notes \relative c' \context Voice = viola {
1114 <c4-\f-\arpeggio g' c>
1120 oboes = \notes \relative c'' \context Voice = oboe {
1121 \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
1122 \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
1124 { \times 2/3 { a8 g c } \! c2 }
1125 \context Voice = oboeTwo {
1128 \property Grace.Stem \override #'direction = #-1
1133 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
1134 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
1135 [<c16( e> < )e8. g>] <c8 e,>
1138 hoomPah = \repeat unfold 8
1139 \notes \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
1141 bassvoices = \notes \relative c' {
1143 \autochange Staff \hoomPah
1144 \translator Staff = down
1145 \stemDown [c8 c'8] r4
1147 < {\stemUp r2 <e4 c'> <c8 g'> }
1148 \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
1152 \context PianoStaff \notes <
1153 \context Staff = up < \time 2/2;
1157 \context Staff = down < \time 2/2; \clef bass;
1164 linewidth = 15.0 \cm; }
1168 If it looks like incomprehensible gibberish to you, then you are right.
1169 This example has been doctored to have as many quirks as possible.
1172 stemDown = \property Voice.Stem \override #'direction = #-1
1175 As you can see, this example features more voices on one staff. To make
1176 room for those voices, their notes have to be stemmed in opposite
1177 directions. These are the commands to make that happen.
1179 Printed symbols are internally represented by so-called Graphical
1180 Objects (more colloquially: Grobs). These statements concern the
1181 grob called `Stem'. Each grob is described by a bunch of settings. These
1182 setting determine the fonts, offsets, sub-routines to be called on the
1183 grob, etc. The initial values of these settings are set in the Scheme
1184 file @file{scm/grob-description.scm}.
1186 This statement adds a the setting for all Stem grobs in the current
1187 Voice: @code{direction} is set to @code{-1}, which encodes down. The
1188 setting remains in effect until it is reverted.
1191 \property Voice.Stem \revert #'direction
1194 This statement reverts the old setting. If you do this, the effect of
1195 precisely one @code{\stemDown} or @code{\stemUp} is neutralised.
1198 LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
1199 with some more often used formatting instructions, but to explain how it
1200 works, we wrote our own here. Of course, you should use predefined
1201 identifiers like these if possible: then you will be affected less by
1202 the implementation changes we occasionally make.
1205 viola = \notes \relative c' \context Voice = viola @{
1207 In this example, you can see multiple parts on a staff. Each part is
1208 associated with one notation context. This notation context handles
1209 stems and dynamics (among others). The name of this context is
1210 @code{Voice}. For each part we have to make sure that there is
1211 precisely one @code{Voice} context, so we give it an unique name
1215 <c4-\f-\arpeggio g' c>
1217 The delimiters @code{<} and @code{>} are shorthands for
1218 @code{\simultaneous @{} and @code{@}}. The expression enclosed in
1219 @code{<} and @code{>} is a chord.
1226 @code{\f} places a forte symbol under the chord. The forte applies to
1227 the whole chord, but the syntax requires that commands like forte and
1228 arpeggio are attached to a note, so here we attach them to the first
1231 @code{\arpeggio} draws an vertical wavy line before the chord,
1232 signifying an arpeggio.
1242 Relative octaves work a little differently with chords. The starting
1243 point for the note following a chord is the first note of the chord. So
1244 the @code{g} gets an octave up quote: it is a fifth above the starting
1245 note of the previous chord (the central C).
1250 @code{s} is a spacer rest. It does not print anything, but it does have
1251 the duration of a rest. It is useful for filling up voices that
1252 temporarily don't play. In this case, the viola doesn't come until one
1253 and a half measure later.
1256 oboes = \notes \relative c'' \context Voice = oboe @{
1258 Now comes a part for two oboes. They play homophonically, so we
1259 print the notes as one voice that makes chords. Again, we insure that
1260 these notes are indeed processed by precisely one context with
1263 \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
1265 @code{\stemUp} is a reference to the @code{\property \override} command
1268 \grace <e8 g> < d4 f> <c2 e>
1270 @cindex @code{\grace}
1274 @code{\grace} introduces grace notes. It takes one argument, in this
1278 The slur started on the @code{e} of the chord
1279 will be attached to the next note.@footnote{LilyPond will squirm
1280 about unended Slurs. In this case, you can ignore the warning}.
1287 Tuplets are made with the @code{\times} keyword. It takes two
1288 arguments: a fraction and a piece of music. The duration of the piece
1289 of music is multiplied by the fraction. Triplets make notes occupy 2/3
1290 of their notated duration, so in this case the fraction is 2/3.
1292 @{ <d8 \< f> <e g> <f a> @}
1294 The piece of music to be `tripletted' is sequential music containing
1295 three notes. On the first chord, a crescendo is started with
1296 @code{\<}. To be precise, the crescendo start is syntactically attached
1297 to the preceding note, the @code{d}.
1306 At this point, the homophonic music splits into two rhythmically
1307 different parts. We can't use a sequence of chords to enter this, so
1308 we make a `chord' of sequences to do it. We start with the upper
1309 voice, which continues with upward stems:
1311 @{ \times 2/3 @{ a8 g c @} \! c2 @}
1316 The crescendo is ended at the half note by the escaped exclamation
1319 \context Voice = oboeTwo @{
1322 We can't share stems with the other voice, so we have to create a new
1323 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
1324 it from the other context. Stems go down in this voice.
1328 @cindex Grace context
1329 When a grace section is processed, a @code{Grace} context is
1330 created. This context acts like a miniature score of its own. It has
1331 its own time bookkeeping, and you can make notes, beams, slurs
1332 etc. Here we fiddle with a property and make a beam. The argument of
1333 @code{\grace} is sequential music.
1336 \property Grace.Stem \override #'direction = #-1
1340 Normally, grace notes are always stem up, but in this case, the upper
1341 voice interferes. We set the stems down here.
1343 As far as relative mode is concerned, the previous note is the
1344 @code{c'''2} of the upper voice, so we have to go an octave down for
1351 This ends the two-part section.
1354 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
1359 @code{\stemBoth} ends the forced stem directions. From here, stems are
1360 positioned as if it were single part music.
1362 The bass has a little hoom-pah melody to demonstrate parts switching
1363 between staffs. Since it is repetitive, we use repeats:
1365 hoomPah = \repeat unfold 8
1367 @cindex unfolded @code{\repeat}
1368 The unfolded repeat prints the notes in its argument as if they were
1369 written out in full.
1371 \notes \transpose c' @{
1374 @cindex relative mode and transposing
1376 Transposing can be done with @code{\transpose}. It takes two arguments;
1377 the first specifies what central C should be transposed to. The second
1378 is the to-be-transposed music. As you can see, in this case, the
1379 transposition has no effect, as central C stay at central C.
1381 The purpose of this no-op is circumventing relative mode. Relative mode
1382 can not be used together with transposition, so @code{\relative} will
1383 leave the contents of @code{\hoomPah} alone. We can use it without
1384 having to worry about getting the motive in a wrong octave.
1386 bassvoices = \notes \relative c' @{
1388 \autochange Staff \hoomPah
1390 @cindex staff switch, automatic
1391 @cindex cross staff voice, automatic
1392 @cindex @code{\autochange}
1394 Voices can switch between staffs. The easiest way to get this, is to use
1395 @code{\autochange}. This command looks at the pitch of each note, and if
1396 necessary, will cross to the other staff. For this to work, the two
1397 staffs must be called @code{"up"} and @code{"down"}.
1399 \translator Staff = down
1401 @cindex staff switch
1402 @cindex cross staff voice
1403 The rest of this melody must be in the lower staff, so we do a manual
1408 \context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
1412 After skipping some lines, we see @code{~}. This mark makes ties. Note
1413 that ties and slurs are different things. A tie can only connect two
1414 note heads of the same pitch, whereas a slur can connect many chords
1420 A special context is needed to get cross staff beaming right. This
1421 context is called @code{PianoStaff}.
1423 \context Staff = bottom < \time 2/2; \clef bass;
1425 The bottom staff must have a different clef.
1429 To make some more room on the line, the first (in this case the only)
1430 line is not indented. The line still looks very cramped, but that is due
1431 to the page layout of this document.
1437 * font-size, multi-stanza.
1439 * Simple part combining in a Hymn
1442 @node An orchestral score
1443 @section An orchestral score
1445 [explain why declarative nature of lily makes making scores rel. easy]
1447 We will not go through the
1448 input line by line, but only indicate and explain the new elements.
1450 This orchestral score example consists of three input files. In the
1451 first file, @file{os-music.ly}, we define the music for all instruments.
1452 This file will be used both for producing the score and the separate
1453 parts. If you run lilypond on this file, no output will be produced.
1459 title = "Zo, goed lieverd?";
1460 subtitle = "How's, this babe?";
1463 piece = "Laid back";
1467 \skip 2*4; \bar "|.";
1469 Key = \notes \key as \major;
1470 flautoI = \notes\relative c'' @{
1472 bes as bes as bes as bes as
1474 flautoII = \notes\relative c'' @{
1475 as8 bes as bes R1 d4 ~ d
1477 tromboI = \notes\relative c'' @{
1478 c4. c8 c8 c4. es4 R1*1/2 es4
1480 tromboII = \notes\relative c'' @{
1481 as4. as8 as8 as4. R1*1/2 as4 es'
1483 timpani = \notes\relative c, @{
1484 \times 2/3 @{ f4 f f @}
1485 \times 4/5 @{ as8 as as as as @}
1488 corno = \notes\relative c' @{
1489 bes4 d f, bes d f, bes d
1493 Things to note here are the definition of @code{\global} where we define
1494 the time signature, and set the end bar. And the separate definition of
1495 @code{\Key} that we will use all staffs except staffs for transposing
1498 The second file, @file{os-score.ly} reads the definitions of the first
1499 (@file{os-music.ly}), and defines the @code{\score} block for the full
1504 \include "os-music.ly";
1505 \include "paper13.ly";
1507 #(set! point-and-click line-column-location)
1508 #(define text-flat '((font-relative-size . -2)
1509 (music "accidentals--1")))
1514 \context StaffGroup = woodwind <
1515 \context Staff = flauti <
1516 \property Staff.midiInstrument = #"flute"
1517 \property Staff.instrument = "2 Flauti"
1518 \property Staff.instr = "Fl."
1520 \context Voice=one @{ \voiceOne \flautoI @}
1521 \context Voice=two @{ \voiceTwo \flautoII @}
1524 \context StaffGroup = timpani <
1525 \context Staff = timpani <
1526 \property Staff.midiInstrument = #"timpani"
1527 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
1528 \property Staff.instr = #"Timp."
1534 \context StaffGroup = brass <
1535 \context Staff = trombe <
1536 \property Staff.midiInstrument = #"trumpet"
1537 \property Staff.instrument = #`(lines "2 Trombe" "(C)")
1538 \property Staff.instr = #`(lines "Tbe." "(C)")
1540 \context Voice=one \partcombine Voice
1541 \context Thread=one \tromboI
1542 \context Thread=two \tromboII
1544 \context Staff = corni <
1545 \property Staff.midiInstrument = #"french horn"
1546 \property Staff.instrument = #`(lines "Corno"
1547 (rows "(E" ,text-flat ")"))
1548 \property Staff.instr = #`(lines "Cor."
1549 (rows "(E" ,text-flat ")"))
1550 \property Staff.transposing = #3
1551 \notes \key bes \major;
1552 \context Voice=one \corno
1557 indent = 15 * \staffspace;
1558 linewidth = 60 * \staffspace;
1559 textheight = 90 * \staffspace;
1562 \consists "Rest_engraver";
1566 \remove "Rest_engraver";
1567 \consists "Multi_measure_rest_engraver";
1568 \consists "Bar_engraver";
1571 \HaraKiriStaffContext
1572 \remove "Multi_measure_rest_engraver";
1573 \remove "Bar_engraver";
1576 \OrchestralScoreContext
1577 BarNumber \override #'padding = #3
1586 @center @strong{Zo, goed lieverd?}
1588 @center How's, this babe?
1596 @lilypondfile{os-score.ly}
1598 First, we need to include the music definitions we made in
1601 \include "os-music.ly";
1604 In a large orchestral score like this you're bound to make some small
1605 mistakes, so we enable point and click (See @ref{Point and click})
1608 #(set! point-and-click line-column-location)
1611 [what is markup text?]
1613 We need a flat sign in text to name the tuning of the french horn, so we
1614 predefine it with bit of scheme markup text (See @ref{Text markup}).
1616 #(define text-flat '((font-relative-size . -2)
1617 (music "accidentals--1")))
1620 Of course, all staffs are simultaneous and use the same global settings.
1626 Then, we start a new staff group for the woodwind section (just the
1627 flutes in this case). Immediately after that, we start the staff for
1628 the two flutes, that also play simultaneously.
1630 \context StaffGroup = woodwind <
1631 \context Staff = flauti <
1634 We specify the intrument for MIDI output (see @ref{MIDI instrument
1637 \property Staff.midiInstrument = #"flute"
1640 And define the intrument names to be printed in the margin,
1641 @code{instrument} for the first line of the score, @code{instr} for the
1644 \property Staff.instrument = "2 Flauti"
1645 \property Staff.instr = "Fl."
1648 The flutes play in the default key.
1653 Last come the actual flute parts. Remember that we're still in
1654 simultaneous mode. We name both voices differently, so that LilyPond
1655 will actually create two Voice contexts. The flute parts are simple, so
1656 we specify manually which voice is which: @code{\voiceOne} forces the
1657 direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
1660 \context Voice=one @{ \voiceOne \flautoI @}
1661 \context Voice=two @{ \voiceTwo \flautoII @}
1664 We close the flutes staff and woodwind staff group.
1670 The timpani staff only shows a new piece of scheme markup, it sets two
1673 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
1676 [what is thread, why is distinction thread/voice necessary?]
1678 for the trumpets we use the automatic part combiner (see @ref{Automatic
1679 part combining}) to combine the two simultaneous trumpet parts onto the
1680 trumpet staff. Each trumpet gets its own Thread context, which must be
1681 named @code{one} and @code{two}). The part combiner makes these two
1682 threads share a Voice when they're similar, and splits the threads up
1683 when they're different.
1685 \context Voice=one \partcombine Voice
1686 \context Thread=one \tromboI
1687 \context Thread=two \tromboII
1690 The french horn has the most complex scheme markup name, made up of two
1691 lines of text. The second line has two elements (rows), the @code{E}
1692 and the flat sign @code{text-flat} that we defined before.
1694 \property Staff.instrument = #`(lines "Corno"
1695 (rows "(E" ,text-flat ")"))
1698 The french horn is to be tuned in E-flat, so we tell the MIDI backend to
1699 transpose this staff by three steps.
1701 [note how we can choose different tuning for entering, printing and
1702 playing, using \transpose and transposing.]
1705 \property Staff.transposing = #3
1708 Therefore, it has a different key.
1710 \notes \key bes \major;
1713 We specify a big indent for the first line and a small linewith for this
1716 indent = 15 * \staffspace;
1717 linewidth = 60 * \staffspace;
1720 [explain about overriding contexts.]
1722 Because we have a Thread representing one instrument, we need to move
1723 the @code{Rest_engraver} from Voice to Thread level. Similarly, we need
1724 to move the @code{Multi_measure_rest_engraver} from Staff to Voice
1727 [todo: should put Rest_engraver in threadcontext by default.]
1732 \consists "Rest_engraver";
1736 \remove "Rest_engraver";
1737 \consists "Multi_measure_rest_engraver";
1738 \consists "Bar_engraver";
1742 In orchestral scores, it often happens that one instrument has only
1743 rests during one line of the score. The @code{HaraKiriStaffContext} can
1744 be used as a regular @code{StaffContext} drop-in and will take care of
1745 the automatic removing of empty staffs.
1748 \HaraKiriStaffContext
1749 \remove "Multi_measure_rest_engraver";
1750 \remove "Bar_engraver";
1754 We want bar numbering at score level and want to move the bar number a
1755 few staff spaces up.
1758 [note how you can use \override in \translator]
1759 [explain what padding is.]
1761 [note that : (ly/engraver.ly) OrchestralScoreContext is for compatibility.
1763 OrchestralScoreContext= \translator {
1774 \OrchestralScoreContext
1775 BarNumber \override #'padding = #3
1779 @node Part extraction
1780 @section Part extraction
1782 The third file, @file{os-flute-2.ly} also reads the definitions of the
1783 first (@file{os-music.ly}), and defines the @code{\score} block for the
1787 \include "os-music.ly";
1788 \include "paper16.ly";
1792 \property Staff.midiInstrument = #"flute"
1798 instrument = "Flauto II";
1801 linewidth = 80 * \staffspace;
1802 textheight = 200 * \staffspace;
1804 \OrchestralScoreContext %%%%junkme
1814 @center @strong{Zo, goed lieverd?}
1816 @center How's, this babe?
1817 @center @emph{Flauto II}
1824 @lilypondfile{os-flute-2.ly}
1827 Because we separated the music definitions from the @code{\score}
1828 instantiations, we can easily define a second score from the music of
1829 the second flute. This then is the part for the second flute player.
1830 Of course, we make separate parts for all individual instruments.
1832 In this individual part the second flute has a whole staff for itself,
1833 so we don't want to force stem or tie directions.
1838 The @code{\header} definitions were also read from @file{os-music.ly},
1839 but we need to set the instrument for this particular score.
1842 instrument = "Flauto II";
1846 In the conductor's full score, all bars with rests are printed, but for
1847 the individual parts, we want to contract pieces of consecutive empty
1853 [Waarom moet skipBars in \translator, waarom niet \property Score.skipBars]
1857 @node Latex and texinfo integration
1858 @section Latex and texinfo integration
1861 [TODO: rewrite completely.]
1864 * Songs with additional verses::
1868 So what does this look like? Well, here is an example:
1869 @lilypond[veryverbatim, intertext="produces this music:"]
1873 [e16( g b c a g][e a b d] | )e2 d,8 |
1874 [e16( g b c a g][e a b d] | )b2 [a16( f] |
1875 [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
1876 [f( a b d b a][f a b d] | )e2
1880 If you are lucky, the above example show a nice feature of LilyPond
1881 and La@TeX{}. Since LilyPond can output the music as @TeX{} graphics,
1882 La@TeX{} can insert pagebreaks between the lines of music.
1884 Notice that there is no @code{\paper} statement in the example
1885 above. Lilypond-book will insert some code for you that defines the
1886 linewidth and the font to use. If you don't want to change the default,
1887 there is no need to put an empty @code{\paper@{@}} inside the @code{\score}.
1888 In the example above, something like
1889 this might be inserted before your code:
1891 \include "paper16.ly"
1892 \paper@{ \paper_sixteen
1893 linewidth = 390.\pt;
1894 castingalgorithm = \Gourlay;
1897 The actual values for linewidth will differ depending on papersize and
1898 number of columns. Also, if you use a different fontsize for the
1899 music, another file than @code{paper16.ly} will be included.
1901 If you want to make the music not so wide, you can insert a
1902 @code{\paper} statement that set the linewidth:
1904 @lilypond[veryverbatim, intertext="produces this music:"]
1908 [e16( g b c a g][e a b d] | )e2 d,8 |
1909 [e16( g b c a g][e a b d] | )b2 [a16( f] |
1910 [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
1911 [f( a b d b a][f a b d] | )e2
1913 \paper{linewidth = 10.\cm;}
1917 Very often, if you mix music and text, the music is often only a
1918 few notes or at most a few bars. This music should be as short as
1919 possible and not stretched to be aligned to the right margin.
1921 If you only write voice-contents in the lilypond block, @command{lilypond-book}
1922 will set the @code{linewidth} variable to -1, so Lilypond
1923 will make the music as short as possible but without breaking the
1924 line. Here is a well know harmonic progression:
1925 @lilypond[veryverbatim, intertext="produce a well known harmonic progression:"]
1926 \context Voice { <c' e g> <b d g> <c2 e g> }
1929 If you want to place music examples in the text,
1931 \context Voice { <c' e g> <b d g> <c2 e g> }
1933 , you can use the @code{eps} option. This will create the music as
1934 eps graphics and include it into the document with the
1935 @code{\includegraphics} command.
1937 The code used look like this:
1940 \context Voice @{ <c' e g> <b d g> <c2 e g> @}
1944 You can also use the @code{eps} option if the block is a complete
1945 lilypond source. This 5 cm long empty line,
1949 \paper{ linewidth = 5.\cm;}
1952 was created with this code:
1957 \paper@{ linewidth = 5.\cm;@}
1962 To avoid that La@TeX{} places the music on a line of its one, there should
1963 be no empty lines between the normal text and the lilypond
1966 You can also use @code{lilypondfile} (on a separate line, FIXME), to
1967 include another file.
1969 @subsection Fontsize options
1971 You can use all lilypond fontsizes in @command{lilypond-book}. The
1972 default 16pt fontsize is probably to big to be included in the middle of
1973 the text, 11pt or 13pt is probably better.
1975 The code can look like this:
1977 @@lilypond[13pt, eps]
1982 The following options set the fontsize:
1985 @lilypond[11pt, eps]
1987 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
1988 [d16 g, a b][c a b g][d'8 g f-\prall g]
1992 @lilypond[13pt, eps]
1994 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
1995 [d16 g, a b][c a b g][d'8 g f-\prall g]
1999 @lilypond[16pt, eps]
2001 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
2002 [d16 g, a b][c a b g][d'8 g f-\prall g]
2006 @lilypond[20pt, eps]
2008 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
2009 [d16 g, a b][c a b g][d'8 g f-\prall g]
2013 @lilypond[26pt, eps]
2015 r16 [c d e][f d e c] [g'8 c][b-\prall c] |
2021 @subsection More options
2024 @item The @code{singleline} option set @code{linewidth} to -1.0.
2025 @item The @code{multiline} option set @code{linewidth} to a value letting
2026 the music be aligned to the right margin. The music can span several
2030 @subsection Just in case...
2031 The options @code{fragment} and @code{nofragment} will override
2032 @command{lilypond-book} when it scans the lilypond code to see if it is voice
2033 contents or complete code. This might be useful if @command{lilypond-book} choose
2036 Since there is no finder's fee which doubles every year, there is no
2037 need to wait for the price money to grow. So send a bug report today
2038 if you need this one of these options.
2040 @subsection Examples
2042 This was all options to @code{\begin}. The rest of the lilypond
2043 document will show some ways you can use lilypond in
2044 La@TeX{} documents. It will also act as a simple test-suite for
2045 lilypond-book. You can place @code{eps} lilypond in and marginspars just
2046 as any other included eps graphics.
2052 r4-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
2053 [f16-.( )f-. dis8-- gis16-.( )gis-.] cis4.-\fermata |
2055 r4.-\fermata [cis,16 cis g'8 f16 f b8][g16 g f8 b16 b] dis4.-\fermata
2057 \paper{linewidth = 7.\cm;}
2062 To the right you can see some bars from the trumpet fanfara from the
2063 beginning of the fantastic street opera ``Houdini the Great'', by the
2064 Danish composer Andy Pape. The music is put inside a
2065 @code{floatingfigure} environment, and the music will be aligned by
2066 the right marging if you set floatingfigure width and lilypond linewidth
2067 to the same value. The code looks like this:
2073 r4.-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
2074 [f16-.( )f-. dis8-- gis16-.( )gis-.] cis8.-\fermata |
2076 r4.-\fermata [cis,16 cis g'8 f16 f b8]
2077 [g16 g f8 b16 b] dis4.-\fermata
2079 \paper{linewidth = 7.\cm;}
2083 If you have a lot of small music examples like this in the middle of
2084 your text, you might get a nicer look by using ``double'' line
2085 spacing. Put the @code{\linespread@{1.6@}} command into the preamble of
2086 your document. Then the line spacing will not be increased between the
2087 lines where you have music printed with the smallest font size.
2089 Lilypond-book does know about @code{\onecolumn} and @code{\twocolumn}.
2090 So the music will be adjusted to the new linewith:
2092 Verbatim environments will also ignore the page margins. That is
2093 a feature of La@TeX{}. (But you usually put things inside a verbatim
2094 environment when you don't want La@TeX{} to do any linebreaking)
2096 @node Songs with additional verses
2097 @subsection Songs with additional verses
2099 With lilypond-book, you can typeset songs with additional verses. To
2100 make lilypond-book print titles like ly2dvi, add
2102 [TODO: merge with lilypond-book tutorial]
2108 \input titledefs.tex
2109 \def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@}
2112 just before the music fragment.
2114 @c urg: can't show, won't work for .texi docs
2117 % generate standard lilypond titles
2118 \input titledefs.tex
2119 \def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@}
2124 subtitle = "Subtitle";
2125 subsubtitle = "Subsubtitle";
2128 composer = "Composer";
2130 instrument = "instrument";
2132 \paper @{ linewidth = -1.; @}
2134 \notes \relative c'' @{ a b c d @}
2139 \item Verse one. aaa aaa aaa aaa aaa aaa aaa aaa aaa aaa
2140 \item Verse two. bbb bbb bbb bbb bbb bbb bbb bbb bbb bbb
2146 @node end of tutorial
2149 That's all folks. From here, you can either try fiddling with input
2150 files, or you can read the reference manual. You can find more example
2151 files in @file{input} and @file{input/test}. You can also look at Real
2152 Music (TM), have a look at the @ref{Mutopia project}.
2160 this should be on mutopia website.
2165 @node Pre-cooked makefile
2166 @section Pre-cooked makefile
2168 @c waar deze info? is uiteindelijk wel handig, schat ik.
2171 If you have a big music project, or just a lot of LilyPond input files,
2172 all generated output from LilyPond, @TeX{} and metafont will clutter
2173 your working directory. LilyPond comes with a one-size-fits-all
2174 pre-cooked makefile that helps you manage producing ouptut. It will
2175 produce all output in @file{out}, generate and track dependencies.
2176 Also, it helps in preparing your submission to the @ref{Mutopia
2183 cp /usr/share/lilypond/make/ly.make GNUmakefile
2184 cp /usr/share/doc/lilypond/examples/input/tutorial/menuet.ly .
2187 Generated out/menuet.ps for target menuet.
2190 Type @samp{make help} to see possible targets.
2193 @file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}