1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
5 @c * more details about running lilypond; error messages,
6 @c compiling/viewing (emacs?)
7 @c * where to go from First steps+More basics?
9 @c wherever possible, do not include index entries here; the
10 @c index should point to stuff in the reference manual. -gp
12 @c Your first LilyPond score in 10 minutes?
17 This tutorial starts with a short introduction to the LilyPond music
18 language. After this first contact we will show you how to produce
19 printed output. Then you will be able to create and print your own
23 Many people learn programs by trying and fiddling around with the
24 program. This is also possible with LilyPond. If you click on a
25 picture in the HTML version of this manual, you will see the exact
26 LilyPond input that was used to generate that image.
29 @lilypond[fragment,quote,ragged-right,relative=2]
30 c-\markup { \bold \huge { Click here. } }
34 By cutting and pasting the full input into a test file, you have a
35 starting template for experiments. If you like learning in this way,
36 you will probably want to print out or bookmark
40 @ref{Cheat sheet}, which is a table listing all commands for quick
45 * Running LilyPond for the first time::
46 * More about pitches::
48 * Automatic and manual beams::
50 * Music expressions explained::
52 * Adding articulation marks to notes::
53 * Combining notes into chords::
54 * Advanced rhythmic commands::
55 * Commenting input files::
59 * Single staff polyphony::
61 * Organizing larger pieces::
62 * An orchestral part::
63 * After the tutorial::
70 The first example demonstrates how to enter the most elementary piece
71 of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
72 name, from @samp{a} through @samp{g}. So, if you enter
81 the result looks like this
83 @lilypond[fragment,quote,notime,relative=1]
87 Every piece of LilyPond input needs to have @{curly braces@} placed
88 around the input. For the rest of this manual, most examples will
89 omit these braces, but don't forget them in your own music!
91 In addition, many examples use @code{relative} mode. This is explained
92 in @ref{Octave entry}; for now simply be aware that some examples
93 should be placed inside @code{\relative @{ @emph{...music...} @}}.
94 Many example have also been compressed horizontally to save
95 space, using @code{\paper @{ ragged-right = ##t @}}.
97 @cindex Case sensitive
98 Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
99 valid input; @code{ @{ C D E @} } will produce an error message.
101 The @rglos{duration} of a note is specified by a number after the note
102 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
103 @samp{4} for a @rglos{quarter note} and so on
109 @lilypond[fragment,quote,notime,relative=2]
110 \set Staff.autoBeaming = ##f
111 { a1 a2 a4 a16 a32 s16_" " }
114 If you do not specify a duration, the duration last entered is used
115 for the next notes. The duration of the first note in input defaults
122 @lilypond[fragment,quote,notime,relative=2]
123 { a a8 a a2 a s16_" " }
127 A @rglos{rest} is entered just like a note, but with the name @samp{r}
133 @lilypond[fragment,quote,notime]
137 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
143 @lilypond[fragment,quote,notime,relative=1]
144 { a2. a4 a8. a16 s16_" " }
147 The (or @rglos{time signature}) can be set with the @code{\time}
156 @c A clef here may lead to confusion, remove it.
157 @lilypond[fragment,quote]
158 \override Staff.Clef #'transparent = ##t
167 The @rglos{clef} can be set using the @code{\clef} command
176 @lilypond[fragment,quote,notime]
187 Remember to enclose the notes and commands in curly braces
188 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
190 @c @li lypond[fragment,quote,noindent,line-width=55\staff-space]
191 @lilypond[fragment,quote,noindent,verbatim]
198 For more information on
202 @item Entering pitches and durations
204 @ref{Pitches}, and @ref{Durations}.
209 @item Time signatures and other timing commands
210 see @ref{Time signature}.
215 @node Running LilyPond for the first time
216 @section Running LilyPond for the first time
218 @c cheesy title to avoid clash with chapter name.
220 In the last section we explained what kind of things you can enter in
221 a LilyPond file. In this section we will explain what commands to run
222 and how to view or print the output. If you have not used LilyPond
223 before, want to test your setup, or want to run an example file
224 yourself, read this section.
226 @unnumberedsubsec MacOS X
228 If you double click LilyPond.app, it will open with an example
229 file. Save it, for example, to @file{test.ly} on your Desktop, and
230 then process it with the menu command @samp{Compile > Typeset File}.
231 The resulting PDF file will be displayed on your screen.
233 Be warned that the first-ever run will take a minute or two, because
234 all of the system fonts have to be analyzed first.
236 @unnumberedsubsec Windows
238 On Windows, start up a text-editor@footnote{Any simple or
239 programmer-oriented editor will do, for example Notepad. Do not use a
240 word processor, since these insert formatting codes that will confuse
247 Save it on the desktop as @file{test.ly} and make sure that it is not
248 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
249 the file and show the resulting PDF file.
252 @unnumberedsubsec Unix
254 Begin by opening a terminal window and starting a text editor. For
255 example, you could open an xterm and execute
256 @code{joe}.@footnote{There are macro files for VIM addicts, and there
257 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
258 installed already, refer to the file @file{INSTALL.txt}.} In your
259 text editor, enter the following input and save the file as
267 To process @file{test.ly}, proceed as follows
274 You will see something resembling
281 Interpreting music... [1]
282 Preprocessing graphical objects...
283 Calculating line breaks... [2]
284 Layout output to `test.ps'...
285 Converting to `test.pdf'...
289 @cindex Viewing music
292 The result is the file @file{test.pdf} which you can print or view
293 with the standard facilities of your operating system.@footnote{If
294 your system does not have any tools installed, you can try
295 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
296 available package for viewing and printing PDF and PostScript files.}
298 @node More about pitches
299 @section More about pitches
301 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
302 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
303 you might expect, a @rglos{double sharp} or @rglos{double flat} is
304 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
305 derived from note naming conventions in Nordic and Germanic languages,
306 like German and Dutch.}
312 @lilypond[fragment,quote,notime]
313 \set Score.timing = ##f
314 \transpose c c' { cis1 ees fisis aeses s16_" " }
317 @cindex key signature, setting
318 The key signature is set with the command @code{\key}, followed by
319 a pitch and @code{\major} or @code{\minor}
328 @lilypond[fragment,quote,notime,fragment]
336 Key signatures together with the pitches (including alterations) are
337 used to determine when to print accidentals. This is a
338 feature that often causes confusion to newcomers, so let us explain it
342 LilyPond makes a sharp distinction between musical content and
343 layout. The alteration (flat, natural or sharp) of a note is part of
344 the pitch, and is therefore musical content. Whether an accidental (a
345 flat, natural or sharp @emph{sign}) is printed in front of the
346 corresponding note is a question of layout. Layout is something that
347 follows rules, so accidentals are printed automatically according to
348 those rules. The pitches in your music are works of art, so they will
349 not be added automatically, and you must enter what you want to hear.
353 @lilypond[quote,notime,fragment]
359 no note has an explicit accidental, but you still must enter
367 The code @samp{d} does not mean `print a black dot just below the
368 staff.' Rather, it means: `a note with pitch D-natural.' In the key
369 of A-flat major, it does get an accidental
371 @lilypond[quote,notime,fragment,relative=1,verbatim]
376 Adding all alterations explicitly might require a little more effort
377 when typing, but the advantage is that transposing is easier, and
378 accidentals can be printed according to different conventions. See
379 @ref{Automatic accidentals}, for some examples how accidentals can be printed
380 according to different rules.
383 For more information on
388 see @ref{Automatic accidentals}.
391 see @ref{Key signature}.
396 @section Entering ties
399 A @rglos{tie} is created by appending a tilde @samp{~} to the first
402 @lilypond[quote,notime,fragment,verbatim,relative=3]
406 For more information on Ties see @ref{Ties}.
410 @node Automatic and manual beams
411 @section Automatic and manual beams
413 @cindex beams, by hand
414 All @rglos{beam}s are drawn automatically
416 @lilypond[quote,fragment,relative=2,verbatim]
421 If you do not like where beams are put, they can be entered by
422 hand. Mark the first note to be beamed with @samp{[} and the last one
425 @lilypond[quote,fragment,relative=2,verbatim]
429 For more information on beams, see @ref{Manual beams}.
432 Here are key signatures, accidentals and ties in action
434 @lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
441 fis4 fis8 fis8 eis4 a8 gis~
450 There are some interesting points to note in this example. Bar lines
451 and beams are drawn automatically. Line breaks are calculated
452 automatically; it does not matter where the line breaks are in the
453 source file. Finally, the order in which time, key, and clef changes
454 are entered is not relevant: in the printout, these are ordered
455 according to standard notation conventions.
460 @section Octave entry
463 @c Tim wants to move this quotes example just before the: quotes-do not-work
464 @c score, but we'd need to remove quotes from the other two (key and
467 @c better to have this just before the `octaves are bad' snipped
468 @c but we'd need to remove the ', from \key and tie
469 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
470 the note name, to lower a note one octave, add a `low quote' @code{,}
471 (comma). Middle C is @code{c'}
473 @lilypond[quote,notime,fragment,verbatim]
474 c'4 c'' c''' \clef bass c c,
477 An example of the use of quotes is in the following Mozart fragment
479 @lilypond[quote,ragged-right,fragment,verbatim]
482 cis''8. d''16 cis''8 e''4 e''8
483 b'8. cis''16 b'8 d''4 d''8
487 This example shows that music in a high register needs lots of quotes.
488 This makes the input less readable, and it is a source of errors. The
489 solution is to use `relative octave' mode. This is the
490 most convenient way to copy existing music.
492 In relative mode, a note without octavation quotes (i.e. the @code{'}
493 or @code{,} after a note) is chosen so that it is closest to the
494 previous one. For example, @samp{c f} goes up while @samp{c g} goes
497 To use relative mode, add @code{\relative} before the piece of
498 music. The first note is taken relative to the middle C
499 @c no , for this sentence
504 @lilypond[quote,notime,fragment,verbatim]
511 Since most music has small intervals, pieces can be written almost
512 without octavation quotes in relative mode. The previous example is
515 @lilypond[quote,ragged-right,verbatim]
519 cis'8. d16 cis8 e4 e8
524 @c needed better, maybe even redundant explanation
525 @c added another example below.
526 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
527 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
528 Larger intervals are made by adding octavation quotes.
530 @lilypond[quote,notime,verbatim,fragment]
536 In summary, quotes or commas no longer determine the absolute height
537 of a note in @code{\relative} mode. Rather, the height of a note is
538 relative to the previous one, and changing the octave of a single note
539 shifts all following notes an octave up or down.
541 For more information on relative octaves see @ref{Relative octaves},
542 and @ref{Octave check}.
545 @node Music expressions explained
546 @section Music expressions explained
549 In input files, music is represent by so-called @emph{music
550 expression}s. We have already seen some in the previous examples;
551 a single note is a music expression
553 @lilypond[fragment,quote,verbatim,relative=3]
557 Enclosing a group of notes in braces creates a new music
560 @lilypond[fragment,quote,verbatim,relative=3]
564 Putting a bunch of music expressions (e.g., notes) in braces, means that
565 they should be played in sequence. The result again is a music
566 expression, which can be grouped with other expressions sequentially.
567 Here, the expression from the previous example is combined with two
570 @lilypond[fragment,quote,verbatim,relative=3]
574 This technique is useful for non-monophonic music. To enter music
575 with more voices or more staves, we also combine expressions in
576 parallel. Two voices that should play at the same time, are entered
577 as a simultaneous combination of two sequences. A `simultaneous'
578 music expression is formed by enclosing expressions in @code{<<} and
579 @code{>>}. In the following example, three sequences (all containing
580 two separate notes) are combined simultaneously
582 @lilypond[fragment,quote,verbatim,relative=3]
590 This mechanism is similar to mathematical
591 formulas: a big formula is created by composing small formulas. Such
592 formulas are called expressions, and their definition is recursive, so
593 you can make arbitrarily complex and large expressions. For example,
602 ((1 + 2) * 3) / (4 * 5)
606 @cindex music expression
607 This is a sequence of expressions, where each expression is contained
608 in the next (larger) one. The simplest expressions are numbers, and larger
609 ones are made by combining expressions with operators (like @samp{+},
610 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
611 music expressions can be nested arbitrarily deep, which is necessary
612 for complex music like polyphonic scores.
614 Note that this example only has one staff, whereas
615 the previous example had three separate staves. That is because this
616 example begins with a single note. To determine the number of staves,
617 LilyPond looks at the first element. If it is a single note, there is one
618 staff; if there is a simultaneous expression, there is more than one staff.
620 @lilypond[fragment,quote,verbatim,relative=2]
623 << { e f } { c <<b d>> } >>
627 Music files with deep nesting can be confusing to enter and
628 maintain. One convention that helps against this confusion is
629 indenting. When entering a file with deep nesting of braces and
630 angles, it is customary to use an indent that indicates the nesting
631 level. Formatting music like this eases reading and helps you insert
632 the right number of closing braces at the end of an expression. For
646 Some editors have special support for entering LilyPond, and can help
647 indenting source files. See @ref{Editor support} for more information.
652 To print more than one staff, each piece of music that makes up a
653 staff is marked by adding @code{\new Staff} before it. These
654 @code{Staff} elements are then combined in parallel with @code{<<} and
655 @code{>>}, as demonstrated here
657 @lilypond[quote,fragment,verbatim]
659 \new Staff { \clef treble c'' }
660 \new Staff { \clef bass c }
665 The command @code{\new} introduces a `notation context.' A notation
666 context is an environment in which musical events (like notes or
667 @code{\clef} commands) are interpreted. For simple pieces, such
668 notation contexts are created automatically. For more complex pieces, it
669 is best to mark contexts explicitly. This ensures that each fragment
672 There are several types of contexts. @code{Staff}, @code{Voice} and
673 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
674 texts and @code{ChordNames} prints chord names.
676 In terms of syntax, prepending @code{\new} to a music expression
677 creates a bigger music expression. In this way it resembles the minus
678 sign in mathematics. The formula @math{(4+5)} is an expression, so
679 @math{-(4+5)} is a bigger expression.
681 We can now typeset a melody with two staves
683 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
685 @lilypond[fragment,quote,verbatim,ragged-right]
702 For more information on contexts see the description in
703 @ref{Interpretation contexts}.
707 @node Adding articulation marks to notes
708 @section Adding articulation marks to notes
714 Common accents can be added to a note using a dash (@samp{-}) and a
717 @lilypond[fragment,quote,verbatim,relative=2]
718 c-. c-- c-> c-^ c-+ c-_
722 Similarly, fingering indications can be added to a note using a dash
723 (@samp{-}) and the digit to be printed
725 @lilypond[fragment,quote,verbatim,relative=2]
729 Articulations and fingerings are usually placed automatically, but you
730 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
731 also use multiple articulations on the same note. In most cases, however,
732 it is best to let LilyPond determine the articulation directions.
734 @lilypond[fragment,quote,verbatim,relative=2]
735 c_-^1 d^. f^4_2-> e^-_+
738 Dynamic signs are made by adding the markings (with a backslash) to
741 @lilypond[fragment,quote,verbatim,relative=2]
749 Crescendi and decrescendi are started with the commands @code{\<} and
750 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
751 (de)crescendo, or the command @code{\!} can be used
753 @lilypond[fragment,quote,verbatim,relative=2]
761 A @rglos{slur} is a curve drawn across many notes, and indicates
762 legato articulation. The starting note and ending note are marked
763 with @samp{(} and @samp{)}, respectively
765 @lilypond[fragment,quote,fragment,relative=2,verbatim]
766 d4( c16) cis( d e c cis d) e( d4)
769 @cindex slurs versus ties
770 A slur looks like a @rglos{tie}, but it has a different meaning. A
771 tie simply makes the first note sound longer, and can only be used on
772 pairs of notes with the same pitch. Slurs indicate the articulations
773 of notes, and can be used on larger groups of notes. Slurs and ties
776 @lilypond[quote,fragment,relative=2]
777 c2~( c8 fis fis4 ~ fis2 g2)
780 @cindex phrasing slurs
781 Slurs to indicate phrasing can be entered with @code{\(} and
782 @code{\)}, so you can have both legato slurs and phrasing slurs at the
783 same time. You cannot have simultaneous slurs or simultaneous
786 @lilypond[quote,fragment,relative=2,verbatim]
787 a8(\( ais b c) cis2 b'2 a4 cis, c\)
791 For more information on
796 see @ref{Fingering instructions}.
798 see @ref{Articulations}.
802 see @ref{Phrasing slurs}.
809 @node Combining notes into chords
810 @section Combining notes into chords
813 Chords can be made by surrounding pitches with angle brackets.
814 Angle brackets are the symbols @samp{<} and @samp{>}.
816 @lilypond[quote,relative=1,fragment,verbatim]
821 You can combine markings like beams and ties with chords. They must
822 be placed outside the angled brackets
824 @lilypond[quote,relative=1,fragment,verbatim]
825 r4 <c e g>8[ <c f a>]~ <c f a>
829 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
832 @lilypond[quote,relative=1,fragment]
834 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
838 @node Advanced rhythmic commands
839 @section Advanced rhythmic commands
843 @cindex partial measure
844 A pickup is entered with the keyword @code{\partial}. It
845 is followed by a duration: @code{\partial 4} is a quarter note upstep
846 and @code{\partial 8} an eighth note
848 @lilypond[quote,relative=2,verbatim,fragment]
855 Tuplets are made with the @code{\times} keyword. It takes two
856 arguments: a fraction and a piece of music. The duration of the piece
857 of music is multiplied by the fraction. Triplets make notes occupy
858 2/3 of their notated duration, so a triplet has 2/3 as its fraction
860 @lilypond[quote,relative=1,verbatim,fragment]
861 \times 2/3 { f8 g a }
867 Grace notes are also made by prefixing a music expression with the
868 keyword @code{\appoggiatura} or @code{\acciaccatura}
872 @lilypond[quote,relative=2,verbatim,fragment]
873 c4 \appoggiatura b16 c4
874 c4 \acciaccatura b16 c4
879 For more information on
884 see @ref{Grace notes},
888 see @ref{Partial measures}.
893 @node Commenting input files
894 @section Commenting input files
898 @cindex block comment
899 A comment is a remark for the human reader of the music input; it is
900 ignored while parsing, so it has no effect on the printed output.
901 There are two types of comments. The percent symbol @samp{%}
902 introduces a line comment; after @code{%} the rest of the line is
903 ignored. A block comment marks a whole section of music
904 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
905 ignored. The following fragment shows possible uses for comments
908 % notes for twinkle twinkle follow
912 This line, and the notes below
913 are ignored, since they are in a
920 @c TODO post-2.6 reorg
921 @c This is good info, but I wouldn't call it a comment. IMO it should
922 @c be moved somewhere else.
926 There is a special statement that is a kind of comment. The @code{\version}
927 statement marks for which version of LilyPond the file was written.
928 To mark a file for version 2.6.0, use
935 These annotations make future upgrades of LilyPond go more
936 smoothly. Changes in the syntax are handled with a special program,
937 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
938 @code{\version} to determine what rules to apply.
941 @node Printing lyrics
942 @section Printing lyrics
945 @c TODO: (c) status of the Queen fragment.
949 Lyrics are entered by separating each syllable with a space
957 @lilypond[quote,verbatim,fragment,ragged-right]
959 r4 c \times 2/3 { f g g }
960 \times 2/3 { g4( a2) }
964 The lyrics can be set to these notes, combining both with the
965 @code{\addlyrics} keyword
967 @lilypond[quote,verbatim,fragment,ragged-right]
970 r4 c \times 2/3 { f g g }
971 \times 2/3 { g4( a2) }
973 \addlyrics { I want to break free }
978 @cindex extender line
980 This melody ends on a @rglos{melisma}, a single syllable (`free')
981 sung to more than one note. This is indicated with an @emph{extender
982 line}. It is entered as two underscores, i.e.,
985 @{ I want to break free __ @}
988 @lilypond[fragment,quote,ragged-right]
991 r4 c \times 2/3 { f g g }
992 \times 2/3 { g4( a2) }
994 \addlyrics { I want to break free __ }
998 Similarly, hyphens between words can be entered as two dashes,
999 resulting in a centered hyphen between two syllables
1002 Twin -- kle twin -- kle
1005 @lilypond[fragment,quote,ragged-right]
1011 \addlyrics { Twin -- kle twin -- kle }
1015 More options, like putting multiple lines of lyrics below a melody are
1016 discussed in @ref{Vocal music}.
1020 @section A lead sheet
1026 @c TODO: revise this, \chords { } is shorter and more intuitive.
1028 In popular music, it is common to denote accompaniment with chord names.
1029 Such chords can be entered like notes,
1031 @lilypond[quote,verbatim,ragged-right]
1032 \chordmode { c2 f4. g8 }
1036 Now each pitch is read as the root of a chord instead of a note.
1037 This mode is switched on with @code{\chordmode}
1039 Other chords can be created by adding modifiers after a colon. The
1040 following example shows a few common modifiers
1042 @lilypond[quote,verbatim,ragged-right]
1043 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1046 For lead sheets, chords are not printed on staves, but as names on a
1047 line for themselves. This is achieved by using @code{\chords} instead
1048 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1049 but renders the notes in a @code{ChordNames} context, with the
1052 @lilypond[quote,verbatim,ragged-right]
1053 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1057 When put together, chord names, lyrics and a melody form
1058 a lead sheet, for example,
1062 \chords @{ @emph{chords} @}
1064 \addlyrics @{ @emph{the text} @}
1069 @lilypond[quote,ragged-right]
1071 \chords { r2 c:sus4 f }
1073 r4 c' \times 2/3 { f g g }
1074 \times 2/3 { g4( a2) }
1076 \addlyrics { I want to break free __ }
1080 A complete list of modifiers and other options for layout can be found
1085 @section Adding titles
1087 Bibliographic information is entered in a separate block, the
1088 @code{\header} block. The name of the piece, its composer, etc., are
1089 entered as an assignment, within @code{\header
1090 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1091 the top of the file. For example,
1096 composer = "Igor Stravinsky"
1103 When the file is processed, the title and composer are printed above
1104 the music. More information on titling can be found in @ref{Creating
1108 @node Single staff polyphony
1109 @section Single staff polyphony
1112 @cindex multiple voices
1113 @cindex voices, more -- on a staff
1114 When different melodic lines are combined on a single staff they are
1115 printed as polyphonic voices; each voice has its own stems, slurs and
1116 beams, and the top voice has the stems up, while the bottom voice has
1119 Entering such parts is done by entering each voice as a sequence (with
1120 @code{@{...@}}), and combining these simultaneously, separating the
1121 voices with @code{\\}
1123 @lilypond[quote,verbatim,relative=2,fragment]
1124 << { a4 g2 f4~ f4 } \\
1128 For polyphonic music typesetting, spacer rests can also be convenient;
1129 these are rests that do not print. They are useful for filling up
1130 voices that temporarily do not play. Here is the same example with a
1131 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1133 @lilypond[quote,verbatim,relative=2,fragment]
1134 << { a4 g2 f4~ f4 } \\
1139 Again, these expressions can be nested arbitrarily
1141 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1149 { <c g>1 ~ <c g>4 } \\
1155 More features of polyphonic typesetting are described in this manual
1156 in section @ref{Polyphony}.
1160 @section Piano staves
1162 @cindex staff switch, manual
1163 @cindex cross staff voice, manual
1164 Piano music is typeset in two staves connected by a brace. Printing
1165 such a staff is similar to the polyphonic example in @ref{More staves},
1168 << \new Staff @{ @dots{} @}
1169 \new Staff @{ @dots{} @} >>
1173 but now this entire expression must be interpreted as a
1177 \new PianoStaff << \new Staff @dots{} >>
1180 Here is a small example
1182 @lilypond[quote,verbatim,relative=1,fragment]
1184 \new Staff { \time 2/4 c4 c g' g }
1185 \new Staff { \clef bass c,, c' e c }
1189 More information on formatting piano music is given in @ref{Piano music}.
1192 @node Organizing larger pieces
1193 @section Organizing larger pieces
1195 When all of the elements discussed earlier are combined to produce
1196 larger files, the @code{\score} blocks get a lot bigger because the
1197 music expressions are longer, and, in the case of polyphonic music,
1198 more deeply nested. Such large expressions can become unwieldy.
1200 By using variables, also known as identifiers, it is possible to break
1201 up complex music expressions. An identifier is assigned as follows
1204 namedMusic = @{ @dots{} @}
1208 The contents of the music expression @code{namedMusic}, can be used
1209 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1210 In the next example, a two-note motive is repeated two times by using
1211 variable substitution
1213 @lilypond[quote,ragged-right,verbatim,nofragment]
1217 { \seufzer \seufzer }
1220 The name of an identifier should have alphabetic characters only: no
1221 numbers, underscores, or dashes. The assignment should be outside of
1224 It is possible to use variables for many other types of objects in the
1230 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1233 Depending on its contents, the identifier can be used in different
1234 places. The following example uses the above variables
1244 More information on the possible uses of identifiers is given in the
1245 technical manual, in @ref{Input variables and Scheme}.
1246 @c fixme: the ref is too technical.
1249 @node An orchestral part
1250 @section An orchestral part
1252 In orchestral music, all notes are printed twice. Once in a part for
1253 the musicians, and once in a full score for the conductor. Identifiers can
1254 be used to avoid double work. The music is entered once, and stored in
1255 a variable. The contents of that variable is then used to generate
1256 both the part and the full score.
1258 It is convenient to define the notes in a special file. For example,
1259 suppose that the file @file{horn-music.ly} contains the following part
1260 of a horn/@/bassoon duo
1263 hornNotes = \relative c @{
1270 Then, an individual part is made by putting the following in a file
1273 \include "horn-music.ly"
1275 instrument = "Horn in F"
1279 \transpose f c' \hornNotes
1286 \include "horn-music.ly"
1290 substitutes the contents of @file{horn-music.ly} at this position in
1291 the file, so @code{hornNotes} is defined afterwards. The command
1292 @code{\transpose f@tie{}c'} indicates that the argument, being
1293 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1294 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1295 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1296 in the following output
1298 @lilypond[quote,ragged-right]
1299 \transpose f c' \relative c {
1305 In ensemble pieces, one of the voices often does not play for many
1306 measures. This is denoted by a special rest, the multi-measure
1307 rest. It is entered with a capital @samp{R} followed by a duration
1308 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1309 etc.). By multiplying the
1310 duration, longer rests can be constructed. For example, this rest
1311 takes 3@tie{}measures in 2/4 time
1317 When printing the part, multi-rests
1318 must be condensed. This is done by setting a run-time variable
1321 \set Score.skipBars = ##t
1325 This command sets the property @code{skipBars} in the
1326 @code{Score} context to true (@code{##t}). Prepending the rest and
1327 this option to the music above, leads to the following result
1329 @lilypond[quote,ragged-right]
1330 \transpose f c' \relative c {
1332 \set Score.skipBars = ##t
1339 The score is made by combining all of the music together. Assuming
1340 that the other voice is in @code{bassoonNotes} in the file
1341 @file{bassoon-music.ly}, a score is made with
1344 \include "bassoon-music.ly"
1345 \include "horn-music.ly"
1348 \new Staff \hornNotes
1349 \new Staff \bassoonNotes
1356 @lilypond[quote,ragged-right]
1364 r4 d,8 f | gis4 c | b bes |
1365 a8 e f4 | g d | gis f
1370 More in-depth information on preparing parts and scores can be found
1371 in the notation manual; see @ref{Orchestral music}.
1373 Setting run-time variables (`properties') is discussed in
1374 @ref{Changing context properties on the fly}.
1377 @node After the tutorial
1378 @section After the tutorial
1380 After finishing the tutorial, you should probably try writing a
1381 piece or two. Start with one of the @ref{Example templates} and
1382 add notes. If you need any notation that was not covered in the
1383 tutorial, look at the Notation Reference, starting with
1384 @ref{Basic notation}. If you want to write for an instrument
1385 ensemble which is not covered in the @ref{Example templates},
1386 take a look at @ref{Extending the templates}.
1388 Once you have written a few short pieces, read the rest of
1389 the Learning Manual (chapters 3-5). There's nothing wrong
1390 with reading them now, of course! However, the rest of the
1391 Learning Manual assumes that you are familiar with
1392 LilyPond input. You may wish to skim these chapters right
1393 now, and come back to them after you have more experience.