3 @c TODO: LilyPond LilyPond LilyPond
10 * First steps:: Music language of LilyPond
11 * Simple legend:: Small table of music language symbols
12 * Running LilyPond:: Printing music
13 * The first real tune:: The first real tune
14 * Lyrics and chords:: Lyrics and chords
15 * More movements :: Joining separate pieces of music
16 * A piano excerpt:: Piano music
17 * An orchestral score:: Conductor's score and individual parts
18 * Other ways to run LilyPond:: Other ways to run LilyPond
19 * Integrating text and music:: Integrating text and music
20 * End of tutorial:: The end
24 The music is described in a text file, using a simple music language.
25 LilyPond reads that text file and generates music that you can print or
28 Therefore, creating music notation with LilyPond is done in two steps.
29 Using a text editor, you write down the notes to print. Then, you run
30 LilyPond to get your printed output.
32 This tutorial starts with a small introduction to the LilyPond music
33 language. After this first contact, we will show you how to run
34 LilyPond to produce printed output; you should then be able to create
35 your first sheets of music.
37 The tutorial continues with a slightly more elaborate example of real music.
38 This piece introduces and explains some finer details of LilyPond.
39 Then, a number of more complex examples follow, that will help you to
40 produce most complex music with LilyPond.
48 @c @node Music language of LilyPond
49 @c @section Music language of LilyPond
51 This section shows how easy writing music with LilyPond actually is. If
52 you have not seen LilyPond input source before, this section is for you.
54 The next section has a table (see @ref{Simple legend}) of all symbols
55 that are introduced here, you may want to keep an eye on that.
57 Writing music with LilyPond is explained below by a number of small
58 examples. Each example has a small piece of text; the LilyPond input
59 that you should type, with the resulting music printed below it.
61 You get a simple note by typing its note name, from @code{a} through
70 \property Score.timing = ##f
71 \property Staff.TimeSignature = \turnOff
72 \transpose c'' { c d e f g a b }
77 The length of a note is specified by adding a number, ``@code{1}'' for a
78 whole note, ``@code{2}'' for a half note, and so on:
85 @c missing clef seems to raise more questions than actual pitch of notes,
86 @c as these are snippets anyway
88 \property Score.timing = ##f
89 \property Staff.TimeSignature = \turnOff
90 \property Staff.noAutoBeaming = ##t
91 %\property Staff.Clef = \turnOff
92 \transpose c'' { a1 a2 a4 a16 a32 }
98 If you don't specify a duration, the previous duration is used:
105 @c missing clef seems to raise more questions than actual pitch of notes,
106 @c as these are snippets anyway
108 \property Score.timing = ##f
109 \property Staff.TimeSignature = \turnOff
110 %\property Staff.Clef = \turnOff
111 \transpose c'' { a a a2 a }
117 A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
118 (@texiflat{}) by adding ``@code{es}'':
126 \property Score.timing = ##f
127 \property Staff.TimeSignature = \turnOff
128 \transpose c'' { cis1 ees fisis aeses }
134 Add a dot ``@code{.}'' after the duration to get a dotted note:
140 @c missing clef seems to raise more questions than actual pitch of notes,
141 @c as these are snippets anyway
143 \property Score.timing = ##f
144 \property Staff.TimeSignature = \turnOff
145 %\property Staff.Clef = \turnOff
146 \transpose c'' { a2. a4 a8. a16 }
152 The meter (or time signature) can be set with the ``@code{\time}'' command:
161 @c a clef here may lead to confusion
163 \property Staff.Clef = \turnOff
174 The clef can be set using the ``@code{\clef}'' command:
176 @c what is more common name treble or violin?
177 @c in Dutch, its violin.
187 \property Score.timing = ##f
188 \property Staff.TimeSignature = \turnOff
201 From these commands and notes, a piece of music can be formed. A piece
202 of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
203 LilyPond then knows that music follows (and not lyrics, for example):
217 At this point, the piece of music is ready to be printed. This is done
218 by combining the music with a printing command.
220 The printing command is the so-called ``@code{\paper}'' block. You will
221 see later that the \paper block is necessary to customize all kinds of
222 printing specifics. The music and the \paper block are combined by
223 enclosing them in ``@code{\score @{ ... @}}''. This is what a full
224 LilyPond source file looks like:
247 \paper { linewidth = 60 * \staffspace }
254 We continue with the introduction of the remaining musical constructs.
256 @c maybe legend here?
258 Rests are entered just like notes with the name ``@code{r}'':
266 \property Score.timing = ##f
267 \property Staff.Clef = \turnOff
268 \property Staff.TimeSignature = \turnOff
275 @c Tim wants to move this quotes example just before the: quotes-don't-work
276 @c score, but we'd need to remove quotes from the other two (key and
279 @c better to have this just before the `octaves are bad' snipped
280 @c but we'd need to remove the ', from \key and tie
281 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
282 the note name, to lower a note one octave, add a ``low quote'' @code{,}
283 (a comma). The central C is @code{c'}:
287 c'4 c'' c''' \clef bass c c,
291 \property Score.timing = ##f
292 \property Staff.TimeSignature = \turnOff
293 c'4 c'' c''' \clef bass c c,
298 A tie is created by entering a tilde ``@code{~}'' between the notes to
299 be tied. A tie between two notes means that the second note must not be
300 played separately, but just makes the first note sound longer:
303 @lilypond[fragment,verbatim]
309 The key signature is set with the command ``@code{\key}'':
319 \property Staff.TimeSignature = \turnOff
328 @c bit on the long/complex/scary taste
329 @c cheating a bit: two lines makes for a friendlier look
330 This example shows notes, ties, octave marks, and rests in action.
331 Don't worry about all the quotes.
340 r4 r8 d''8 cis''4 e''
342 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
355 r4 r8 d''8 cis''4 e''
357 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
360 \paper { linewidth = 50*\staffspace }
366 There are some interesting points to note in this example. Firstly,
367 accidentals (sharps and flats) don't have to be marked explicitly: you
368 just enter the note name, and LilyPond determines whether or not to
369 print an accidental. Secondly, bar lines and beams are drawn
370 automatically. Thirdly, LilyPond calculates line breaks for you; it
371 doesn't matter where you make new lines in the source file.
373 The example also indicates that a piece of music written in a high
374 register needs lots of quotes. This makes the input a bit unreadable,
375 and is therefore also a potential source of errors.
379 The solution is to use ``relative octave'' mode. In practice, most
380 music is entered using this mode.
382 To use relative mode, add @code{\relative} before the piece of music.
383 You must also give a note from which relative starts, in this case
386 @c In relative octave mode, quotes are used to mark large jumps in the
387 @c melody. Without any quotes or commas, the interval between a note and
388 @c its predecessor is assumed to be a fourth or less. Quotes and commas
389 @c add octaves in up and down direction.
391 If you type no octaviation quotes, relative mode chooses the note that
392 is closest to the previous one, which is often just the one you need.
393 @c don't use commas or quotes in this sentence
394 For example: @code{c f} goes up; @code{c g} goes down:
404 \property Score.timing = ##f
405 \property Staff.TimeSignature = \turnOff
413 @c needed better, maybe even redundant explanation
414 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
415 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
416 You can make a large interval by adding octaviation quotes. Note that
417 quotes or commas do not determine the absolute height of a note;
418 the height of a note is relative to the previous one.
419 @c don't use commas or quotes in this sentence
420 For example: @code{c f,} goes down; @code{f, f} are both the same;
421 @code{c c'} are the same; and @code{c g'} goes up:
431 \property Score.timing = ##f
432 \property Staff.TimeSignature = \turnOff
440 A slur is drawn across many notes, and indicates bound articulation
441 (legato). The starting note and ending note are marked with a
442 ``@code{(}'' and a ``@code{)}'' respectively:
445 @lilypond[fragment,relative 1, verbatim]
446 d4( )c16( cis d e c cis d )e( )d4
451 If you need two slurs at the same time (one for articulation, one for
452 phrasing), you can also make a phrasing slur with @code{\(} and
457 @lilypond[fragment,relative 1, verbatim]
458 a8(\( ais b ) c cis2 b'2 a4 cis, \) c
463 Beams are drawn automatically, but if you don't like the choices, you
464 can enter beams by hand. Surround the notes to be grouped with @code{[}
467 @lilypond[fragment,relative 1, verbatim]
473 To print more than one staff, each piece of music that makes up a staff
474 is marked by adding @code{\context Staff} before it. These
475 @code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
479 @lilypond[fragment,verbatim]
481 \context Staff = staffA { \clef violin c'' }
482 \context Staff = staffB { \clef bass c }
487 In this example, @code{staffA} and @code{staffB} are names that are
488 given to the staves. For now, it doesn't matter what names you give, as
489 long as each staff has a unique name.
493 We can typeset a melody with two staves now:
499 < \context Staff = staffA {
502 \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
504 \context Staff = staffB {
515 Notice that the time signature is specified in one melody staff only
516 (the top staff), but is printed on both. LilyPond knows that the time
517 signature should be the same for all staves.
521 Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
523 @lilypond[verbatim,relative 1]
529 Dynamic signs are made by adding the markings to the note:
531 @lilypond[verbatim,relative 1]
537 Crescendi are started with the commands @code{\<} and @code{\>}. The
538 command @code{\!} finishes a crescendo on the following note.
540 @lilypond[verbatim,relative 1]
541 c2\< \!c2-\ff \>c2 \!c2
546 Chords can be made by surrounding notes with @code{<} and @code{>}:
548 @lilypond[relative 0, fragment,verbatim]
556 @c hmm, te losjes, iig
557 In general, @code{ < @var{stuff} > } is used when @var{stuff} all
558 happens at the same time, like in chords, or (like in the two-staff
559 example above) in a bunch of stacked staves.
562 Of course, you can combine beams and ties with chords. Notice that
563 beam and tie markings are placed outside the chord markers:
565 @lilypond[relative 0, fragment,verbatim]
566 r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
570 When you want to combine chords with slurs and dynamics, an annoying
571 technical detail crops up: you have type these commands next to the
572 notes, which means that they have to be inside the @code{< >}:
575 @lilypond[relative 0, fragment,verbatim]
576 r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
581 A nasty technical detail also crops up when you start a score with a
585 @lilypond[verbatim,singleline]
586 \score { \notes <c'1 e'1> }
591 The program can not guess that you want the notes on only one staff. To
592 force the chord on a staff, add @code{\context Staff} like this:
595 @lilypond[verbatim,singleline]
596 \score { \notes \context Staff <c'1 e'1> }
605 [TODO add some more here
616 This is the end of the simple tutorial. You know the basic ingredients
617 of a music file, so this is the right moment to try your at hand at
618 doing it yourself: try to type some simple examples, and experiment a
621 When you're comfortable with the basics, then you might want to read the
622 rest of this chapter. It also a manual in tutorial-style, but it is much
623 more in-depth. It will also be very intimidating if you're not familiar
624 with the basics. It deals with some of the more advanced features of
625 LilyPond. Topics include lyrics, chords, orchestral scores and parts,
626 fine tuning output, polyphonic music, and integrating text and music.
629 @c refer to this section
631 @section Simple legend
634 @c need texinfo-4.0a or later for this
637 @c both Tim and my father came independently with a request for a
638 @c `legend' like this.
640 @c what should be in it?
645 @multitable @columnfractions .10 .20 .40
650 @lilypond[fragment, relative 1]
651 \property Score.timing = ##f
652 \property Staff.TimeSignature = \turnOff
653 \property Staff.noAutoBeaming = ##t
654 \property Staff.Clef = \turnOff
661 @lilypond[fragment, relative 1]
662 \property Score.timing = ##f
663 \property Staff.TimeSignature = \turnOff
664 \property Staff.noAutoBeaming = ##t
665 \property Staff.Clef = \turnOff
672 @lilypond[fragment, relative 1]
673 \property Score.timing = ##f
674 \property Staff.TimeSignature = \turnOff
675 \property Staff.noAutoBeaming = ##t
676 \property Staff.Clef = \turnOff
682 @lilypond[fragment, relative 1]
683 \property Score.timing = ##f
684 \property Staff.TimeSignature = \turnOff
685 \property Staff.noAutoBeaming = ##t
686 \property Staff.Clef = \turnOff
693 @lilypond[fragment, relative 1]
694 \property Score.timing = ##f
695 \property Staff.TimeSignature = \turnOff
696 \property Staff.noAutoBeaming = ##t
697 \property Staff.Clef = \turnOff
704 @lilypond[fragment, relative 1]
705 \property Score.timing = ##f
706 \property Staff.TimeSignature = \turnOff
707 \property Staff.noAutoBeaming = ##t
708 \property Staff.Clef = \turnOff
709 \context Voice { <a c> }
715 @lilypond[fragment, relative 1]
716 \property Score.timing = ##f
717 \property Staff.TimeSignature = \turnOff
718 \property Staff.noAutoBeaming = ##t
719 \property Staff.Clef = \turnOff
726 @lilypond[fragment, relative 1]
727 \property Score.timing = ##f
728 \property Staff.TimeSignature = \turnOff
729 \property Staff.noAutoBeaming = ##t
730 \property Staff.Clef = \turnOff
739 @node Running LilyPond
740 @section Running LilyPond
742 You write music with LilyPond as follows: first you edit a text file
743 containing a description of the notes. Then you run LilyPond on the
744 file. This leaves you with an output file, which you can view or print.
746 In this section we explain how to run LilyPond, and view or print the
747 output. If you have not used LilyPond before, want to test your setup
748 of LilyPond, or try to run an example file yourself, then read this
751 The instructions that follow are for running LilyPond on Unix-like
752 systems. Some additional instructions for running LilyPond on Windows
753 are given at the end of this section.
755 You begin with opening a terminal window, and start up a text editor.
756 For example, open an xterm and execute @code{joe}. In your text editor,
757 enter the following input, and save the file as @file{test.ly}:
762 \notes @{ c'4 e' g' @}
769 @c now this is weird, running ly2dvi to run LilyPond
770 @c (therefore name change proposal)
772 To run LilyPond, you invoke ly2dvi to compile your LilyPond source file:
780 You will see the following on your screen:
785 Now processing: `/home/fred/ly/test.ly'
787 Interpreting music...[1]
788 @emph{ ... more interesting stuff ... }
789 PS output to `test.ps'...
790 DVI output to `test.dvi'...
794 @cindex Viewing music
797 The results of the ly2dvi run are two files, @file{test.dvi} and
798 @file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
799 You can view the PS file using the program ghostview. If a version of
800 ghostview is installed on your system, one of these commands will
801 produce a window with some music notation on your screen:
811 If you are satisfied with the looks of the music displayed on your
812 screen, you can print the PS file by clicking File/Print inside
815 The DVI file (@file{test.dvi}) contains the same sheet music in a
816 different format. DVI files are more easily processed by the computer,
817 so viewing them usually is quicker. Execute @code{xdvi test.dvi}
818 to view the DVI file.
820 If your DVI viewer does not have a "Print" button, you can print the
821 file by executing @code{lpr test.ps}.
823 @c volgende alinea schrappen?
825 If you can't get the examples to print, then you should look into
826 installing and configuring ghostscript. Refer to GhostScript's website
827 at @uref{http://www.ghostscript.com}.
831 @cindex Printing output
834 @unnumberedsubsec Windows users
835 Windows users start the terminal by clicking on the LilyPond icon.
836 Notepad is sufficient for editing the LilyPond file. Viewing the PS file
837 can be done with @code{gsview32 test.ps}. Viewing DVI files can be done
838 with @code{yap test.dvi}. The "print" button in Yap will print files.
839 You can also print from the command line by executing @code{gsview32 /s
843 @node The first real tune
844 @section The first real tune
847 The rest of this tutorial will demonstrate how to use Lilypond by
848 presenting examples of input along with resulting output. We will use
849 English terms for notation. In case you are not familiar with those,
850 you may consult the glossary that is distributed with LilyPond.
852 The examples discussed are included in the distribution, in the
853 subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
854 they are relative to the top directory of the source package. }
856 To demonstrate what LilyPond input looks like, we start off with a
857 full-fledged, yet simple example. It is a convoluted version
858 of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
859 is included in the distribution as @file{minuet.ly}.
860 @cindex Bach, Johann Sebastian
863 % all text after a percent sign is a comment
864 % and is ignored by LilyPond
865 \include "paper16.ly"
868 \relative c'' \sequential {
873 d4 g,8 a b c d4 g, g |
874 e'4 c8 d e fis g4 g, g |
875 c4 d8( )c b a( )b4 c8 b a g |
876 a4 [b8 a] [g fis] g2. |
881 g4 e8 fis g d cis4 b8 cis a4 |
882 a8-. b-. cis-. d-. e-. fis-.
889 % standard settings are too big and wide for a book
896 We will analyse the input, line by line.
899 % all text after a percent sign is a comment
900 % and is ignored by LilyPond
902 Percent signs introduce comments: everything after a percent sign is
903 ignored. You can use this to write down mental notes to yourself. You
904 can also make longer comments by enclosing text in @code{%@{} and
907 @cindex block comment
912 \include "paper16.ly"
915 @cindex @code{\include}
916 @cindex point, printer's
917 @cindex staff size setting
918 By default, LilyPond will typeset the music in a size such that each
919 staff is 20 point (0.7 cm, or 0.27 inch) high. We want smaller output
920 (16 point staff height), so we must import the settings for that size,
928 Music is printed by combining a piece of music with directions for
929 outputting it. This combination is formed in the @code{\score} block.
936 Prepare LilyPond for accepting notes.
937 @cindex octaves, choosing
946 @c removed duplicate introduction to octave marks /MB
947 @c Shorten even more?
949 @c As we will see, each note is described by its note name, duration,
950 @c octave and possibly a chromatic alteration. In this setup, the octave
951 @c is indicated by using high quotes (@code{'}) and ``lowered quotes''
952 @c (commas: @code{,}). The central C is denoted by @code{c'}. The C one
953 @c octave higher is @code{c''}. One and two octaves below the central C is
954 @c denoted by @code{c} and @code{c,} respectively.
956 Even though a piece of music often spans a range of several octaves, it
957 mostly moves in small intervals. LilyPond has a special entry mode to
958 save typing in this situation. In this ``relative'' octave mode,
959 octaves of notes without quotes are chosen such that a note is as close
960 as possible (graphically, on the staff) to the preceding note. If you
961 add a high-quote an extra octave is added. A lowered quote (a comma)
962 will subtract an extra octave.
964 Because the first note has no predecessor,
965 you have to give the (absolute) pitch of the note to start with.
972 What follows is sequential music, i.e.,
973 @cindex sequential music
974 notes that are to be played and printed after each other.
981 @cindex time signature, setting
983 Set (or change) the time signature of the current piece: a 3/4 sign is
984 printed. The time signature setting is also used to generate bar lines
992 @cindex key signature, setting
994 Set (or change) the current key signature to G-major. Although in this
995 example, the @code{\key} command happened to be entered after the
996 @code{\time} command, in the output the time signature will be printed
997 after the key signature; LilyPond knows about music typesetting
1005 The following piece of music is played twice. The first argument
1006 indicates the type of repeat. In this case, @code{"volta"} means that
1007 prima volta/secunda volta brackets are used for the alternative
1008 endings---if there were any.
1015 The subject of the repeat is again sequential music. Since
1016 @code{\sequential} is such a common construct, a shorthand is provided:
1017 just leave off @code{\sequential}, and the result is the same.
1024 Two notes. The first note is a quarter note with relative pitch
1025 @code{d}. The relative music was started with a @code{c''}, so the real
1026 pitch of this note is @code{d''}. The duration of a note is designated
1027 by a number; the @code{4} here represents a quarter note.
1029 The second note is an eight note with relative pitch @code{g,}. The
1030 pitch is taken relative to the previous @code{d''}, making this
1031 note have real pitch @code{g'}. The @code{8} represents an eight note.
1038 Two more notes, with pitch @code{a} and @code{b}. Because their
1039 duration is the same as the @code{g,8}, there is no need to enter the
1040 duration, but you may enter it anyway, i.e., @code{a4 b4}
1049 @cindex errors, finding
1050 Three more notes. The @code{|} character is a ``bar check''. LilyPond
1051 will verify that bar checks are found at the start of a measure. This can
1052 help you track down typing errors.
1054 @cindex alteration, chromatic
1055 @cindex chromatic alteration
1062 So far, no notes were chromatically altered. Here is the first one that
1063 is: @code{fis}. LilyPond by default uses Dutch@footnote{Note names are
1064 available in several languages, but we find the Dutch names quite
1065 convenient.} note names, and ``Fis'' is the Dutch note name for ``F
1066 sharp''. However, there is no sharp sign in the output. The program
1067 keeps track of key signatures, and will only print accidentals if they
1070 For groups of eighth notes and shorter, LilyPond can determine how the
1071 notes should form a beam. In this case, the 4 eights are automatically
1076 c4 d8( )c b a( )b4 c8 b a g |
1079 The beginning and ending notes of a slur are marked with parentheses,
1080 @code{(} and @code{)} for start and end respectively. The line above
1081 indicates two slurs. These slur markers (parentheses) are entered
1082 between the slurred notes.
1089 Automatic beaming can be overridden by inserting beam marks, @code{[}
1090 and @code{]}. These beam markers (brackets) are put around the notes
1098 @cindex augmentation dot
1100 A period adds a dot to the note.
1107 The end of the sequential music to be repeated. LilyPond will typeset a
1115 Accidentals are printed whenever necessary: the first C sharp of the bar
1116 will be printed with an accidental, the second one without.
1120 a8-. b-. cis-. d-. e-. fis-.
1123 @cindex articulation
1124 You can enter articulation signs either in a verbose form or using a
1125 shorthand. Here we demonstrate the shorthand: it is formed by a dash
1126 and the character for the articulation to use, e.g. @code{-.} for
1127 staccato as shown above.
1135 Rests are denoted by the special note name @code{r}.
1142 All articulations have a verbose form, like @code{\fermata}. The
1143 command @code{\fermata} is not part of the core of the language, but it
1144 is a shorthand for a more complicated description of a fermata symbol.
1145 @code{\fermata} names that description and is therefore called an
1148 @cindex @code{\fermata}
1154 Here the music ends. LilyPond does not automatically typeset an end
1155 bar, we must explicitly request one, using @code{"|."}.
1161 % standard settings are too big and wide for a book
1167 The @code{\paper} block specifies how entered music should be converted
1168 to notation output. Most of the details of the conversion (font sizes,
1169 dimensions, etc.) have been taken care of, but to fit the output in this
1170 document, it has to be narrower. We do this by setting the line width
1171 to 14 centimeters (approximately 5.5 inches).
1178 The last brace ends the @code{\score} block.
1183 @node Lyrics and chords
1184 @section Lyrics and chords
1186 In this section we show how to typeset a song. This file is
1187 included as @file{flowing.ly}.
1191 title = "The river is flowing"
1192 composer = "Traditional"
1194 \include "paper16.ly"
1195 melody = \notes \relative c' @{
1199 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1200 c4 c8 d [es () d] c4 | d4 es8 d c4.
1205 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1206 ri -- ver is flo -- wing down to the sea.
1209 accompaniment =\chords @{
1211 c2:3- f:3-.7 d:min es4 c8:min r8
1212 c2:min f:min7 g:7^3.5 c:min @}
1217 \context ChordNames \accompaniment
1220 \context Staff = mel @{
1221 \property Staff.noAutoBeaming = ##t
1222 \property Staff.automaticMelismata = ##t
1225 \context Lyrics \text
1227 \midi @{ \tempo 4=72 @}
1228 \paper @{ linewidth = 10.0\cm @}
1233 The result would look this.@footnote{The titling and font size shown
1234 may differ, since the titling in this document is not generated by
1237 @center @strong{The river is flowing}
1242 title = "The river is flowing"
1243 composer = "Traditional"
1245 \include "paper16.ly"
1246 melody = \notes \relative c' {
1250 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1251 c4 c8 d [es () d] c4 | d4 es8 d c4.
1256 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1257 ri -- ver is flo -- wing down to the sea.
1260 accompaniment =\chords {
1262 c2:3- f:3-.7 d:min es4 c8:min r8
1263 c2:min f:min7 g:7^3.5 c:min }
1268 \context ChordNames \accompaniment
1271 \context Staff = mel {
1272 \property Staff.noAutoBeaming = ##t
1273 \property Staff.automaticMelismata = ##t
1276 \context Lyrics \text
1278 \midi { \tempo 4=72 }
1279 \paper { linewidth = 10.0\cm }
1283 Again, we will dissect the file line by line.
1290 @cindex @code{\header}
1291 Information about the music you are about to typeset goes into a
1292 @code{\header} block. The information in this block is not used by
1293 LilyPond, but it is passed into the output. @file{ly2dvi} uses this
1294 information to print titles above the music.
1298 title = "The river is flowing"
1299 composer = "Traditional (?)"
1302 @cindex identifier assignment
1303 the @code{\header} block contains assignments. In each assignment, a
1304 variable is set to a value. Lexically, both the variable name and the
1305 assigned value are strings. The values have to be quoted here, because
1306 they contain spaces. The variable names could also be put within quotes
1307 but it is not necessary.
1311 \include "paper16.ly"
1314 Smaller size for inclusion in a book.
1318 melody = \notes \relative c' @{
1321 The structure of the file will be the same as the previous one, a
1322 @code{\score} block with music in it. To keep things readable, we will
1323 give names to the different parts of music, and use the names to
1324 construct the music within the score block.
1331 @cindex @code{\partial}
1333 The piece starts with an anacrusis of one eighth.
1338 The key is C minor: we have three flats.
1343 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1344 c4 c8 d [es () d] c4 | d4 es8 d c4.
1349 @cindex manual beaming
1350 @cindex automatic beaming, turning off
1351 We use explicit beaming. Since this is a song, we turn automatic
1352 beams off, and use explicit beaming where needed.
1359 This ends the definition of @code{melody}.
1368 @cindex identifier assignment
1369 @cindex syllables, entering
1370 Another identifier assignment. This one is for the lyrics.
1371 Lyrics are formed by syllables that have duration, and not by
1372 notes. To make LilyPond parse words as syllables, switch it into
1373 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
1374 is a shorthand for @code{\sequential @{}.
1378 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1379 ri- ver is flo- __ wing down to the sea.
1383 @cindex extenders, lyric
1384 @cindex hyphens, lyric
1385 The syllables themselves are separated by spaces. You can get syllable
1386 extenders by entering @code{__}, and centered hyphens with
1387 @code{-}@code{-}. We enter the syllables as if they are all quarter notes
1388 in length (hence the @code{4}), and use a feature to align the
1389 syllables to the music, which obviously isn't all quarter notes.
1393 accompaniment =\chords @{
1397 @cindex mode, chords
1398 We'll put chords over the music. To enter them, there is a special mode
1399 analogous to @code{\lyrics} and @code{\notes} mode, where you can give
1400 the names of the chords you want, instead of listing the notes
1401 comprising the chord.
1408 There is no accompaniment during the anacrusis.
1417 @cindex chord modifier
1418 @cindex modifier, chord
1419 A chord is started by the tonic of the chord. The
1420 first one lasts a half note. An unadorned note creates a major
1421 triad. Since a minor triad is wanted, @code{3-} is added to modify the
1422 third to be small. @code{7} modifies (adds) a seventh, which is small by
1423 default to create the @code{f a c es} chord. Multiple modifiers must be
1432 Some modifiers have predefined names, e.g. @code{min} is the same as
1433 @code{3-}, so @code{d-min} is a minor @code{d} chord.
1437 c2:min f:min7 g:7^3.5 c:min @}
1440 @cindex named modifier
1442 A named modifier @code{min} and a normal modifier @code{7} do not have
1443 to be separated by a dot. Tones from a chord are removed with chord
1444 subtractions. Subtractions are started with a caret, and they are
1445 also separated by dots. In this example, @code{g:7^3.5} produces a
1446 minor seventh. The brace ends the sequential music.
1454 We assemble the music in the @code{\score} block. Melody, lyrics and
1455 accompaniment have to sound at the same time, so they should be
1456 @code{\simultaneous}.
1457 @cindex @code{\simultaneous}
1464 Chord mode generates notes grouped in @code{\simultaneous} music. If
1465 you remove the comment sign, you can see the chords in normal
1466 notation: they will be printed as note heads on a separate
1467 staff. To print them as chords names, they have to be interpreted as
1468 being chords, not notes. This is done with the following command:
1472 \context ChordNames \accompaniment
1476 @cindex interpretation context
1477 @cindex notation context
1480 Normally, the notes that you enter are transformed into note heads.
1481 Note heads alone make no sense, they need surrounding information: a key
1482 signature, a clef, staff lines, etc. They need @emph{context}. In
1483 LilyPond, these symbols are created by objects called `interpretation
1484 contexts'. Interpretation contexts exist for generating notation
1485 (`notation context') and for generating sound (`performance
1486 context'). These objects only exist during a run of LilyPond.
1488 By default, LilyPond will create a Staff context for you. If you would
1489 remove the @code{%} sign in the previous line, you would see that
1490 mechanism in action.
1492 We don't want that default here, because we want chord names. The
1493 command above explicitly creates an interpretation context of
1494 @code{ChordNames} type to interpret the music @code{\accompaniment}.
1501 @cindex @code{\addlyrics}
1502 @cindex lyrics and melody, combining
1503 @cindex combining lyrics and melody
1505 The lyrics should be aligned with the melody. This is done by
1506 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
1507 pieces of music (usually a melody and lyrics, in that order) and
1508 aligns the syllables of the second piece under the notes of the
1509 first piece. If you would reverse the order, the notes would be
1510 aligned on the lyrics, which is not very useful, and looks
1515 \context Staff = mel @{
1519 The first argument of @code{\addlyrics} is the melody. We instantiate
1520 a @code{Staff} context explicitly: should you choose to remove the
1521 comment before the ``note heads'' version of the accompaniment, the
1522 accompaniment will be on a nameless staff. The melody has to be on
1523 staff different from the accompaniment. This is accomplished by giving
1524 the melody and accompaniment staves different names.
1528 \property Staff.noAutoBeaming = ##t
1532 @cindex context variables
1533 @cindex setting context variables
1534 An interpretation context has variables, called properties, that tune
1535 its behavior. One of the variables is @code{noAutoBeaming}. Setting
1536 this @code{Staff}'s property to @code{##t}, which is the boolean value
1537 @var{true}, turns the automatic beaming mechanism off for the current
1541 @cindex accessing Scheme
1542 @cindex evaluating Scheme
1545 LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
1546 language from the LISP family. You can learn more about Scheme at
1547 @uref{http://www.scheme.org}. It is used to represent data throughout
1548 the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
1549 code following the hash-sign is evaluated as Scheme. The boolean value
1550 @var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
1553 If Scheme scares you, don't worry. You don't need to know Scheme to
1554 create beautiful sheet music.
1561 \property Staff.automaticMelismata = ##t
1564 @cindex automaticMelismata
1566 @cindex @code{\addlyrics} and slurs
1567 Similarly, we don't want to print a syllable when there is
1568 a slur. This sets up @code{\addlyrics} to not put lyrics under each
1569 separate note while there is a slur.
1577 Finally, we put the melody on the current staff. Note that the
1578 @code{\property} directives and @code{\melody} are grouped in sequential
1579 music, so the property settings are done before the melody is
1584 \context Lyrics \text
1587 The second argument of @code{\addlyrics} is the text. The text also
1588 should not land on a Staff, but on a interpretation context for
1589 syllables, extenders, hyphens etc. This context is called
1594 \midi @{ \tempo 4=72@}
1597 MIDI (Musical Instrument Digital Interface) is a standard for
1598 connecting and recording digital instruments. So a MIDI file is like a
1599 tape recording of an instrument. The @code{\midi} block makes the
1600 music go to a MIDI file, so you can listen to the music you entered. It
1601 is great for checking the music. Whenever you hear something weird, you
1602 probably hear a typing error.
1604 Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
1605 also specifies an output method. You can specify the tempo using the
1606 @code{\tempo} command, in this case the tempo of quarter notes is set to
1607 72 beats per minute.
1611 \paper @{ linewidth = 10.0\cm @}
1614 We also want notation output. The linewidth is short so the piece
1615 will be set in two lines.
1617 @node More movements
1618 @section More movements
1620 [FIXME: merge here with, or move this to: Other ways to run LilyPond]
1622 You probably ran @file{ly2dvi} on the last example, and ended up with a
1623 viewable @file{.dvi} file. However, between there are a few steps of
1624 which LilyPond is only one. To enhance your understanding of what's
1625 happening under the hood when you run @code{ly2dvi}, we explain what
1628 @code{ly2dvi} is a program that calls a number of programs in sequence.
1629 The first thing it does, is running LilyPond on the input file. After
1630 some calculations, a @file{.tex} is produced. The contents
1631 of this file are very low-level instructions.
1633 For example, consider the following file (@file{miniatures.ly})
1638 title = "Two miniatures"
1639 tagline = "small is beautiful"
1642 #(set! point-and-click line-column-location)
1644 \paper @{ linewidth = -1.0 @}
1647 \notes @{ c'4 d'4 @}
1653 \notes @{ d'4 c'4 @}
1660 The titling in this manual was not generated by ly2dvi, so we can't
1661 exactly show what it would look like, but the result should resemble this:
1663 @center @strong{Two miniatures}
1673 \paper { linewidth = -1.0 }
1685 \paper { linewidth = -1.0 }
1689 This file is produced by ly2dvi in a few stages, with the help of text
1690 formatting tools. LilyPond produces two output files,
1691 @file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
1692 only graphical music notation. @file{ly2dvi} looks at what output
1693 LilyPond produces, and adds page layout and titling to those files. The
1694 result is a DVI file called @file{miniatures.dvi}.
1696 Next, now we'll look at the example line by line to explain new things.
1702 Lilypond and its language are still under development, and occasionally,
1703 details of the syntax are changed. This fragment indicates for which
1704 version the input file was written. When you compile this file, the
1705 version number will be checked, and you will get a warning when the file
1708 This version number is also used by the @code{convert-ly} program (See
1709 @ref{convert-ly}), which is used to update the file to the latest lily
1715 title = "Two miniatures" @}
1717 This sets the titling information for the entire file.
1720 tagline = "small is beautiful"
1722 A signature line is printed at the bottom of the last page.
1723 This signature is produced from the @code{tagline} field of
1724 @code{\header}. Many people find the default "Lily was here,
1725 @var{version number}" too droll. If that is the case, assign
1726 something else to @code{tagline}, as shown above.
1729 #(set! point-and-click line-column-location)
1732 This piece of Scheme code sets the Scheme variable
1733 @code{point-and-click} to the value @var{line-column-location} (which
1734 itself is a Scheme procedure).
1736 Editing input files can be quite complicated if you're working with
1737 large files: if you're digitizing existing music, you have to
1738 synchronize the .ly file, the sheet music on your lap and the sheet
1739 music on the screen. The point-and-click mechanism makes it easy to
1740 find the origin of an error in the LY file: when you view the file with
1741 Xdvi and click on a note, your editor will jump to the spot where that
1742 note was entered. For more information, see @ref{Point and click}.
1749 The @code{\score} blocks that follow in the file don't have
1750 @code{\paper} sections, so the settings of this block are substituted: A
1751 paper block at top level, i.e. not in a @code{\score} block sets the
1752 default page layout.
1761 The variable @code{linewidth} normally sets the length of the systems on
1762 the page. However, a negative value has a special meaning. If
1763 @code{linewidth} is less than 0, no line breaks are inserted into the
1764 score, and the spacing is set to natural length: a short phrase takes up
1765 little space, a longer phrase more space.
1770 \notes @{ c'4 d'4 @}
1773 In previous examples, notes were specified in relative octaves,
1774 i.e. each note was put in the octave that is closest to its
1775 predecessor. Besides relative, there is also absolute octave
1776 specification, which you get when you don't specify @code{\relative}. In
1777 this input mode, the central C is denoted by @code{c'}. Going down, you
1778 get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
1781 When you're copying music from existing sheet music, relative octaves
1782 are probably the easiest to use: it's less typing work and errors are
1783 easily spotted. However, if you write LilyPond input directly, either by
1784 hand (i.e. composing) or by computer, absolute octaves may be easier to use.
1792 The @code{\header} is normally at the top of the file, where it sets
1793 values for the rest of the file. If you want to typeset different pieces
1794 from one file (for example, if there are multiple movements, or if
1795 you're making an exercise book), you can put different @code{\score}
1796 blocks into the input file. ly2dvi will assemble all LilyPond output
1797 files into a big document. The contents of \header blocks specified
1798 within each score, are used for the titling of each movement.
1804 For example, the Opus number is put at the right, and the piece string
1805 will be at the left.
1809 @node A piano excerpt
1810 @section A piano excerpt
1812 Our fourth subject is a piece of piano music. The fragment in the input
1813 file is a piano reduction of the G major Sinfonia by Giovanni Battista
1814 Sammartini. It was composed around 1740. It's in the source package
1815 under the name @file{sammartini.ly}.
1818 \include "paper16.ly"
1820 stemDown = \property Voice.Stem \override #'direction = #-1
1821 stemUp = \property Voice.Stem \override #'direction = #1
1822 stemBoth = \property Voice.Stem \revert #'direction
1824 viola = \notes \relative c' \context Voice = viola {
1825 <c4-\f-\arpeggio g' c>
1831 oboes = \notes \relative c'' \context Voice = oboe {
1832 \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
1833 \grace { <e8( g> } <d4 )f> <c2 e>
1834 \times 2/3 { <d8 \< f> <e g> <f a> }
1836 { \times 2/3 { a8 g c } \! c2 }
1837 \context Voice = oboeTwo {
1840 \property Voice.Stem \override #'direction = #-1
1842 \property Voice.Stem \revert #'direction
1848 \grace { <c,8( e> } <)b8. d8.-\trill> <c16 e> |
1849 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
1850 [<c16( e> < )e8. g>] <c8 e,>
1853 hoomPah = \repeat unfold 8 \notes
1854 \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
1856 bassvoices = \notes \relative c' {
1858 \autochange Staff \hoomPah
1859 \translator Staff = down
1860 \stemDown [c8 c'8] r4
1862 < {\stemUp r2 <e4 c'> <c8 g'> }
1863 \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
1867 \context PianoStaff \notes <
1868 \context Staff = up < \time 2/2
1872 \context Staff = down < \time 2/2 \clef bass
1879 linewidth = 15.0 \cm }
1883 If this looks like incomprehensible gibberish to you, you are right.
1884 This example has been doctored to have as many quirks as possible.
1886 As you can see, this example features multiple voices on one staff. To
1887 make room for those voices, their notes have to be stemmed in opposite
1890 Printed symbols are internally represented by so-called Graphical
1891 Objects (more colloquially: Grobs). These statements concern the
1892 grob called `Stem'. Each grob is described by a bunch of settings. These
1893 setting determine the fonts, offsets, sub-routines to be called on the
1894 grob, etc. The initial values of these settings are set in the Scheme
1895 file @file{scm/grob-description.scm}.
1899 stemDown = \property Voice.Stem \override #'direction = #-1
1902 Set a property for all Stem grobs in the current Voice:
1903 @code{direction} is set to @code{-1}, which encodes down. The setting
1904 remains in effect until it is reverted.
1908 \property Voice.Stem \revert #'direction
1911 Revert the to the previous setting. The effect of precisely one
1912 @code{\stemDown} or @code{\stemUp} is neutralized.
1915 LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
1916 with some other commonly used formatting instructions, but to explain how
1917 it works, we wrote our own here. Of course, you should use predefined
1918 identifiers like these if possible: then you will be affected less by
1919 the implementation changes we occasionally make.
1923 viola = \notes \relative c' \context Voice = viola @{
1925 In this example, you can see multiple parts on a staff. Each part is
1926 associated with one notation context. This notation context handles
1927 stems and dynamics (among others). The type name of this context is
1928 @code{Voice}. For each part we have to make sure that there is
1929 precisely one @code{Voice} context, so we give it a unique name
1934 <c4-\f-\arpeggio g' c>
1936 The delimiters @code{<} and @code{>} are shorthands for
1937 @code{\simultaneous @{} and @code{@}}. The expression enclosed in
1938 @code{<} and @code{>} is a chord.
1945 @code{\f} places a forte symbol under the chord. The forte applies to
1946 the whole chord, but the syntax requires that commands like forte and
1947 arpeggio are attached to a note, so here we attach them to the first
1950 @code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
1963 Relative octaves work a little differently with chords. The starting
1964 point for the note following a chord is the first note of the chord. So
1965 the @code{g} gets an octave up quote: it is a fifth above the starting
1966 note of the previous chord (the central C).
1972 @code{s} is a spacer rest. It does not print anything, but it does have
1973 the duration of a rest. It is useful for filling up voices that
1974 temporarily don't play. In this case, the viola doesn't come until one
1975 and a half measure later.
1979 oboes = \notes \relative c'' \context Voice = oboe @{
1981 Now comes a part for two oboes. They play homophonically, so we
1982 print the notes as one voice that makes chords. Again, we insure that
1983 these notes are indeed processed by precisely one context with
1987 \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
1989 @code{\stemUp} is a reference to the @code{\property \override} command
1993 \grace { <e8 g> } < d4 f> <c2 e>
1995 @cindex @code{\grace}
2000 @code{\grace} introduces grace notes. It takes one argument, in this
2004 The slur started on the @code{e} of the chord
2005 will be attached to the next note.@footnote{LilyPond will squirm
2006 about unended Slurs. In this case, you can ignore the warning}.
2014 Tuplets are made with the @code{\times} keyword. It takes two
2015 arguments: a fraction and a piece of music. The duration of the piece
2016 of music is multiplied by the fraction. Triplets make notes occupy 2/3
2017 of their notated duration, so in this case the fraction is 2/3.
2020 @{ <d8 \< f> <e g> <f a> @}
2022 The piece of music to be `tripletted' is sequential music containing
2023 three notes. On the first chord, a crescendo is started with
2024 @code{\<}. To be precise, the crescendo start is syntactically attached
2025 to the preceding note, the @code{d}.
2035 At this point, the homophonic music splits into two rhythmically
2036 different parts. We can't use a sequence of chords to enter this, so
2037 we make a `chord' of sequences to do it. We start with the upper
2038 voice, which continues with upward stems:
2041 @{ \times 2/3 @{ a8 g c @} \! c2 @}
2046 The crescendo is ended at the half note by the escaped exclamation
2050 \context Voice = oboeTwo @{
2053 We can't share stems with the other voice, so we have to create a new
2054 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
2055 it from the other context. Stems go down in this voice.
2061 @cindex Grace context
2062 When a grace section is processed, a @code{Grace} context is
2063 created. This context acts like a miniature score of its own. It has
2064 its own time bookkeeping, and you can make notes, beams, slurs
2065 etc. Here we fiddle with a property and make a beam. The argument of
2066 @code{\grace} is sequential music.
2070 \property Voice.Stem \override #'direction = #-1
2072 \property Voice.Stem \revert #'direction
2075 Normally, grace notes are always stem up, but in this case, the upper
2076 voice interferes, so we set the stems down here.
2078 As far as relative mode is concerned, the previous note is the
2079 @code{c'''2} of the upper voice, so we have to go an octave down for
2087 This ends the two-part section.
2091 \grace { <c,8( e> } <)b8. d8.-\trill> <c16 e> |
2096 @code{\stemBoth} ends the forced stem directions. From here, stems are
2097 positioned as if it were single part music.
2099 The bass has a little hoom-pah melody to demonstrate parts switching
2100 between staves. Since it is repetitive, we use repeats:
2103 hoomPah = \repeat unfold 8
2105 @cindex unfolded @code{\repeat}
2106 The unfolded repeat prints the notes in its argument as if they were
2107 written out in full eight times.
2110 \notes \transpose c' @{
2113 @cindex relative mode and transposing
2115 Transposing can be done with @code{\transpose}, which takes two arguments.
2116 The first specifies what central C should be transposed to. The second
2117 is the to-be-transposed music. As you can see, in this case, the
2118 transposition has no effect, as central C stays at central C.
2120 The purpose of this no-op is circumventing relative mode. Relative mode
2121 can not be used together with transposition, so @code{\relative} will
2122 leave the contents of @code{\hoomPah} alone. We can use it without
2123 having to worry about getting the motive in a wrong octave.
2126 bassvoices = \notes \relative c' @{
2128 \autochange Staff \hoomPah
2130 @cindex staff switch, automatic
2131 @cindex cross staff voice, automatic
2132 @cindex @code{\autochange}
2134 Voices can switch between staves. The easiest way to get this, is to use
2135 @code{\autochange}. This command looks at the pitch of each note, and if
2136 necessary, will cross to the other staff. For this to work, the two
2137 staves must be called @code{"up"} and @code{"down"}.
2140 \translator Staff = down
2142 @cindex staff switch
2143 @cindex cross staff voice
2144 We want the remaining part of this melody on the lower staff, so we do a
2145 manual staff switch here.
2150 \context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
2154 After skipping some lines, we see @code{~}. This mark makes ties. Note
2155 that ties and slurs are different things. A tie can only connect two
2156 note heads of the same pitch, whereas a slur can connect many chords
2163 A special context is needed to get cross staff beaming right. This
2164 context is called @code{PianoStaff}.
2167 \context Staff = bottom < \time 2/2 \clef bass
2169 The bottom staff must have a different clef.
2174 To make some more room on the line, the first (in this case the only)
2175 line is not indented. The line still looks very cramped, but that is due
2176 to the page layout of this document.
2182 * font-size, multi-stanza.
2184 * Simple part combining in a Hymn
2188 @node An orchestral score
2189 @section An orchestral score
2193 * Extracting an individual part::
2197 Our last two examples show a way to setup the music for an orchestral
2198 score. When typesetting a piece for several instruments, you'll want to
2199 create a conductor's full score, alongside several individual parts.
2201 LilyPond is well suited for this task. We will declare the music for
2202 each instrument individually, giving the music of each instrument its
2203 own name. These pieces of music are then combined in different
2204 @code{\score} blocks to produce different combinations of the score.
2206 This orchestral score example consists of three input files. In the
2207 first file, @file{os-music.ly}, we define the music for all instruments.
2208 This file will be used both for producing the score and the separate
2211 If you were to run LilyPond on this file, no printable output would be
2217 title = "Zo, goed lieverd?"
2218 subtitle = "How's, this babe?"
2227 Key = \notes \key as \major
2228 flautoI = \notes\relative c'' @{
2230 bes as bes as bes as bes as
2232 flautoII = \notes\relative c'' @{
2233 as8 bes as bes R1 d4 ~ d
2235 tromboI = \notes\relative c'' @{
2236 c4. c8 c8 c4. es4 r as, r
2238 tromboII = \notes\relative c'' @{
2239 as4. as8 as8 as4. R1*1/2 as4 es'
2241 timpani = \notes\relative c, @{
2242 \times 2/3 @{ f4 f f @}
2243 \times 4/5 @{ as8 as as as as @}
2246 corno = \notes\relative c' @{
2247 bes4 d f, bes d f, bes d
2251 We will not go through the input line by line, but only indicate and
2252 explain the new elements.
2259 \skip 2*4 \bar "|.";
2263 Declare setting to be used globally. The @code{\skip} command produces
2264 no output, but moves forward in time: in this case, the duration of a
2265 half note (@code{2}), and that four times (@code{*4}). This brings us
2266 to the end of the piece, and we can set the end bar.
2270 Key = \notes \key as \major
2272 Declare the key signature of the piece and assign it to the identifier
2273 @var{Key}. Later on, we'll use @code{\Key} for all staves except those
2274 for transposing instruments.
2276 @node The full score
2277 @subsection The full score
2280 The second file, @file{os-score.ly} reads the definitions of the first
2281 (@file{os-music.ly}), and defines the @code{\score} block for the full
2287 \include "os-music.ly"
2288 \include "paper13.ly"
2290 #(set! point-and-click line-column-location)
2291 #(define text-flat '((font-relative-size . -2)
2292 (music "accidentals--1")))
2297 \property Score.BarNumber \override #'padding = #3
2298 \context StaffGroup = woodwind <
2299 \context Staff = flauti <
2300 \property Staff.midiInstrument = #"flute"
2301 \property Staff.instrument = "2 Flauti"
2302 \property Staff.instr = "Fl."
2304 \context Voice=one @{ \voiceOne \flautoI @}
2305 \context Voice=two @{ \voiceTwo \flautoII @}
2308 \context StaffGroup = timpani <
2309 \context Staff = timpani <
2310 \property Staff.midiInstrument = #"timpani"
2311 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2312 \property Staff.instr = #"Timp."
2318 \context StaffGroup = brass <
2319 \context Staff = trombe <
2320 \property Staff.midiInstrument = #"trumpet"
2321 \property Staff.instrument = #`(lines "2 Trombe" "(C)")
2322 \property Staff.instr = #`(lines "Tbe." "(C)")
2324 \context Voice=one \partcombine Voice
2325 \context Thread=one \tromboI
2326 \context Thread=two \tromboII
2328 \context Staff = corni <
2329 \property Staff.midiInstrument = #"french horn"
2330 \property Staff.instrument = #`(lines "Corno"
2331 (columns "(E" ,text-flat ")"))
2332 \property Staff.instr = #`(lines "Cor."
2333 (columns "(E" ,text-flat ")"))
2334 \property Staff.transposing = #3
2335 \notes \key bes \major
2336 \context Voice=one \corno
2341 indent = 15 * \staffspace
2342 linewidth = 60 * \staffspace
2343 textheight = 90 * \staffspace
2345 \HaraKiriStaffContext
2354 @center @strong{Zo, goed lieverd?}
2356 @center How's, this babe?
2364 @lilypondfile{os-score.ly}
2368 \include "os-music.ly"
2370 First, we need to include the music definitions we made in
2375 #(set! point-and-click line-column-location)
2377 In a large orchestral score like this you're bound to make some small
2378 mistakes, so we enable point and click (See @ref{Point and click})
2383 #(define text-flat '((font-relative-size . -2)
2384 (music "accidentals--1")))
2387 When naming the tuning of the french horn, we'll need a piece of text
2388 with a flat sign. LilyPond has a mechanism for font selection and
2389 kerning called Scheme markup text (See @ref{Text markup}). The flat
2390 sign is taken from the music font, and its name is @code{accidentals--1}
2391 (The sharp sign is called @code{accidentals-1}). The default font is
2392 too big for text, so we select a relative size of @code{-2}.
2399 Of course, all staves are simultaneous and use the same global settings.
2403 \property Score.BarNumber \override #'padding = #3
2405 LilyPond prints bar numbers at the start of each line, but
2406 unfortunately, they end up a bit too close to the staff in this example.
2407 A bar number internally is a Grob called @var{BarNumber}. BarNumber
2408 Grobs can be manipulated through their @var{side-position-interface}. One
2409 of the properties of a @var{side-position-interface} that can be tweaked
2410 is the @var{padding}: the amount of extra space that is put between this
2411 Grob and other Grobs. We set the padding to three staff spaces.
2413 You can find information on all these kind of properties in LilyPond's
2414 automatically generated documentation in
2416 @ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
2419 the online documentation.
2424 \context StaffGroup = woodwind <
2425 \context Staff = flauti <
2427 A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
2428 hold one or more @code{Staff}'s, and will print a big bracket at the
2429 left of the score. Start a new staff group for the woodwind section
2430 (just the flutes in this case). Immediately after that, we start the
2431 staff for the two flutes, that also play simultaneously.
2435 \property Staff.midiInstrument = #"flute"
2437 Specify the instrument for MIDI output (see @ref{MIDI instrument
2442 \property Staff.instrument = "2 Flauti"
2443 \property Staff.instr = "Fl."
2445 And define the instrument names to be printed in the margin,
2446 @code{instrument} for the first line of the score, @code{instr} for the
2453 The flutes play in the default key.
2457 \context Voice=one @{ \voiceOne \flautoI @}
2458 \context Voice=two @{ \voiceTwo \flautoII @}
2460 Last come the actual flute parts. Remember that we're still in
2461 simultaneous mode. We name both voices differently, so that LilyPond
2462 will actually create two Voice contexts. The flute parts are simple, so
2463 we specify manually which voice is which: @code{\voiceOne} forces the
2464 direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
2472 Close the flutes staff and woodwind staff group.
2476 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2478 The timpani staff only shows a new piece of scheme markup, it sets two
2483 \context Voice=one \partcombine Voice
2484 \context Thread=one \tromboI
2485 \context Thread=two \tromboII
2487 You have seen the notation contexts Staff and Voice, but here's a new
2488 one: Thread. One or more Threads can be part of a Voice. The Thread
2489 takes care of note heads and rests, the Voice combine note heads onto a
2492 For the trumpets we use the automatic part combiner (see @ref{Automatic
2493 part combining}) to combine the two simultaneous trumpet parts onto the
2494 trumpet staff. Each trumpet gets its own Thread context, which must be
2495 named @code{one} and @code{two}). The part combiner makes these two
2496 threads share a Voice when they're similar, and splits the threads up
2497 when they're different.
2501 \property Staff.instrument = #`(lines "Corno"
2502 (columns "(E" ,text-flat ")"))
2504 The french horn has the most complex scheme markup name, made up of two
2505 lines of text. The second line has three elements (columns), the @code{(E},
2506 the flat sign @code{text-flat} that we defined before and a final @code{")"}.
2507 Note that we use a backquote instead of an ordinary quote at the
2508 beginning of the Scheme expression to be able to access the
2509 @code{text-flat} identifier, `unquoting' it with a @code{,}.
2513 \property Staff.transposing = #3
2515 The french horn is to be tuned in E-flat, so we tell the MIDI backend to
2516 transpose this staff by three steps.
2518 Note how we can choose different tuning for entering, printing and
2519 playing, using @code{\transpose} and the MIDI Staff property
2524 \notes \key bes \major
2526 Therefore, it has a different key.
2530 indent = 15 * \staffspace
2531 linewidth = 60 * \staffspace
2533 We specify a big indent for the first line and a small linewidth for this
2538 Usually, LilyPond's predefined setup of notation contexts (Thread,
2539 Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
2540 want a different type of Staff context.
2544 \HaraKiriStaffContext
2548 In orchestral scores, it often happens that one instrument has only
2549 rests during one line of the score. The @code{HaraKiriStaffContext} can
2550 be used as a regular @code{StaffContext} drop-in and will take care of
2551 the automatic removing of empty staves.
2553 @node Extracting an individual part
2554 @subsection Extracting an individual part
2556 The third file, @file{os-flute-2.ly} also reads the definitions of the
2557 first (@file{os-music.ly}), and defines the @code{\score} block for the
2561 \include "os-music.ly"
2562 \include "paper16.ly"
2566 \property Score.skipBars = ##t
2567 \property Staff.midiInstrument = #"flute"
2573 instrument = "Flauto II"
2576 linewidth = 80 * \staffspace
2577 textheight = 200 * \staffspace
2585 @center @strong{Zo, goed lieverd?}
2587 @center How's, this babe?
2588 @center @emph{Flauto II}
2595 @lilypondfile{os-flute-2.ly}
2598 Because we separated the music definitions from the @code{\score}
2599 instantiations, we can easily define a second score with the music of
2600 the second flute. This then is the part for the second flute player.
2601 Of course, we make separate parts for all individual instruments.
2607 In this individual part the second flute has a whole staff for itself,
2608 so we don't want to force stem or tie directions.
2613 instrument = "Flauto II"
2616 The @code{\header} definitions were also read from @file{os-music.ly},
2617 but we need to set the instrument for this particular score.
2621 \property Score.skipBars = ##t
2623 In the conductor's full score, all bars with rests are printed, but for
2624 the individual parts, we want to contract pieces of consecutive empty
2625 bars. LilyPond will do this if Score's @var{skipBars} property to
2629 @node Other ways to run LilyPond
2630 @section Other ways to run LilyPond
2632 Until now, you have been using @file{ly2dvi} to invoke LilyPond.
2633 There are three other routes. Firstly, there is a script called
2634 @code{lilypond-book}, that allows you to freely mix LilyPond input with
2635 Texinfo or \LaTeX input. For example, this manual was written using
2636 @code{lilypond-book}. It is discussed below and in @ref{lilypond-book}.
2639 Secondly, you can generate PostScript directly. This is useful if you
2640 can not or do not want to run @TeX{} on your system. To obtain direct
2641 PostScript output, invoke LilyPond as follows:
2642 @cindex PostScript output
2644 lilypond -f ps test.ly
2646 You have to set some environment variables to view or print this output.
2647 More information can be found in @ref{Invoking LilyPond}. Since the
2648 direct Postscript generation has some problems, it is recommended
2649 to use @file{ly2dvi}.
2652 Thirdly, if you want to do special things with your output, you can run
2653 invoke LilyPond directly:
2657 to produce plain @TeX{} output. Note that La@TeX{} will not work on the
2658 resulting @file{test.tex}. You must run plain @TeX{} on it.
2666 @node Integrating text and music
2667 @section Integrating text and music
2669 Sometimes, you might want to use music examples in a text that you are
2670 writing. For example, if you are writing a musicological treatise, a
2671 songbook, or (like us) the LilyPond manual. You can make such texts by
2672 hand, simply by importing a PostScript figure into your wordprocessor.
2673 However, there is a also an automated procedure:
2675 If you use La@TeX{} or texinfo, you can mix text and LilyPond code. A
2676 script called @code{lilypond-book} will extract the music fragments, run
2677 LilyPond on them, and put back the resulting notation. lilypond-book is
2678 described fully in @ref{lilypond-book}, but here we show a small
2679 example. Since the example also contains explanatory text, we won't
2680 comment on the contents.
2683 \documentclass[a4paper]@{article@}
2686 In a lilypond-book document, you can freely mix music and text. For
2689 \score @{ \notes \relative c' @{
2690 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
2693 Notice that the music line length matches the margin settings of the
2696 If you have no \verb+\score+ block in the fragment,
2697 \texttt@{lilypond-book@} will supply one:
2703 In the example you see here, a number of things happened: a
2704 \verb+\score+ block was added, and the line width was set to natural
2705 length. You can specify many more options using \LaTeX style options
2708 \begin[verbatim,11pt,singleline,
2709 fragment,relative,intertext="hi there!"]@{lilypond@}
2713 \texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
2714 the default music size, \texttt@{fragment@} adds a score block,
2715 \texttt@{relative@} uses relative mode for the fragment, and
2716 \texttt@{intertext@} specifies what to print between the
2717 \texttt@{verbatim@} code and the music.
2719 If you include large examples into the text, it may be more convenient
2720 to put the example in a separate file:
2722 \lilypondfile[printfilename]@{sammartini.ly@}
2724 The \texttt@{printfilename@} option adds the file name to the output.
2729 Under Unix, you can view the results as follows.
2732 $ lilypond-book --outdir=out/ lilbook.tex
2733 lilypond-book (GNU LilyPond) 1.3.146
2734 Reading `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/lilbook.tex'
2736 `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/sammartini.ly'
2737 @var{lots of stuff deleted}
2738 Writing `out/lilbook.latex'
2740 $ latex lilbook.latex
2741 @var{lots of stuff deleted}
2745 Notice the @code{outdir} option to lilypond-book. Running lilypond-book
2746 and running latex creates a lot of temporary files, and you wouldn't want
2747 those to clutter up your working directory. Hence, we have them created
2748 in a separate subdirectory.
2750 The result more or less looks like this:
2754 In a lilypond-book document, you can freely mix music and text. For
2757 \score { \notes \relative c' {
2758 c2 g'2 \times 2/3 { f8 e d } c'2 g4
2761 Notice that the music line length matches the margin settings of the
2764 If you have no @code{\score} block in the fragment,
2765 @code{lilypond-book} will supply one:
2771 In the example you see here, a number of things happened: a
2772 @code{\score} block was added, and the line width was set to natural
2773 length. You can specify many more options using La@TeX{} style options
2776 @lilypond[verbatim,11pt,singleline,
2777 fragment,relative,intertext="hi there!"]
2781 @code{verbatim} also shows the LilyPond code, @code{11pt} selects
2782 the default music size, @code{fragment} adds a score block,
2783 @code{relative} uses relative mode for the fragment, and
2784 @code{intertext} specifies what to print between the
2785 @code{verbatim} code and the music.
2787 If you include large examples into the text, it may be more convenient
2788 to put the example in a separate file:
2790 @lilypondfile[printfilename]{sammartini.ly}
2792 The @code{printfilename} option adds the file name to the output.
2793 @node End of tutorial
2794 @section End of tutorial
2796 That's all folks. From here, you can either try fiddling with input
2797 files, or you can read the reference manual. You can find more example
2798 files in @file{input} and @file{input/test}. You can also look at some
2799 real music. The website @uref{http://www.mutopiaproject.org} has many
2800 examples of real music typeset by LilyPond.
2808 this should be on mutopia website.
2813 @c waar deze info? is uiteindelijk wel handig, schat ik.
2816 If you have a big music project, or just a lot of LilyPond input files,
2817 all generated output from LilyPond, @TeX{} and metafont will clutter
2818 your working directory. LilyPond comes with a one-size-fits-all
2819 pre-cooked makefile that helps you manage producing output. It will
2820 produce all output in the directory @file{out} , generate and track
2821 dependencies. Also, it helps in preparing your submission to @ref{Mutopia
2828 cp /usr/share/lilypond/make/ly.make GNUmakefile
2829 cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
2832 Generated out/minuet.ps for target minuet.
2835 Type @samp{make help} to see possible targets.
2838 @file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
2844 [TODO: rewrite completely.]
2847 * Songs with additional verses::