1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 - unless you have a really good reason, use either
13 @l ilypond[quote,ragged-right,verbatim]
15 @l ilypond[quote,ragged-right,verbatim,fragment,relative=2]
17 Don't use any other relative=X commands (make it a non-fragment
18 example), and don't use fragment without relative=2.
19 - use "aes" and "ees" instead of "as" and "aes". I know it's not
20 correct Dutch naming, but let's not confuse people with this until
21 we get to the Basic notation chapter.
26 @c old info that will probably be removed.
28 @c * more details about running lilypond; error messages,
29 @c compiling/viewing (emacs?)
30 @c * where to go from First steps+More basics?
32 @c wherever possible, do not include index entries here; the
33 @c index should point to stuff in the reference manual. -gp
35 @c Your first LilyPond score in 10 minutes?
40 This tutorial starts with an introduction to the LilyPond music
41 language and how to produce printed music. After this first contact we
42 will explain how to create common musical notation.
45 Many people learn programs by trying and fiddling around with the
46 program. This is also possible with LilyPond. If you click on a
47 picture in the HTML version of this manual, you will see the exact
48 LilyPond input that was used to generate that image.
52 @lilypond[quote,ragged-right]
54 c-\markup { \bold \huge { Click here. } }
58 By cutting and pasting everything in the @qq{ly snippet} section, you have a
59 starting template for experiments. If you like learning in this way,
60 you will probably want to print out or bookmark the
61 @ref{Cheat sheet}, which is a table listing of the most common
62 commands for quick reference.
67 * Single staff notation::
68 * Multiple notes at once::
77 This section gives a basic introduction to working with LilyPond.
82 * Working on text files::
83 * How to read the tutorial::
87 @node Compiling a file
88 @subsection Compiling a file
90 The first example demonstrates how to start working with LilyPond. To
91 create sheet music, we write a text file that specifies the
92 notation. For example, if we write
101 the result looks like this
103 @c in this case we don't want verbatim
104 @lilypond[quote,ragged-right]
110 @strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
111 braces @}} placed around the input. The braces should also be
112 surrounded by a space unless they are at the beginning or end of a
113 line to avoid ambiguities. These may be omitted in some examples in this
114 manual, but don't forget them in your own music!
116 @cindex Case sensitive
117 In addition, LilyPond input is @strong{case sensitive}. @code{ @{c d e @}}
118 is valid input; @code{@{ C D E @}} will produce an error message.
122 @subheading Entering music and viewing output
124 In this section we will explain what commands to run
125 and how to view or print the output.
127 @subsubheading MacOS X
129 If you double click @code{LilyPond.app}, it will open with an example
130 file. Save it, for example, to @file{test.ly} on your Desktop, and
131 then process it with the menu command @samp{Compile > Typeset File}.
132 The resulting PDF file will be displayed on your screen.
134 Be warned that the first time you ever run LilyPond, it will take a minute
135 or two because all of the system fonts have to be analyzed first.
137 For future use of LilyPond, you should begin by selecting @q{New}
138 or @q{Open}. You must save your file before typesetting it. If any errors
139 occur in processing, please see the log window.
141 @subsubheading Windows
143 On Windows, if you double-click in the LilyPond icon on the Desktop, it
144 will open a simple text editor with an example file. Save it, for
145 example, to @file{test.ly} on your Desktop and then double-click on the
146 file to process it (the file icon looks like a note). After some
147 seconds, you will get a file @file{test.pdf}
148 on your desktop. Double-click on this PDF file to view the typeset
149 score. An alternative method to process the @file{test.ly} file
150 is to drag and drop it onto the LilyPond icon using your mouse pointer.
152 To edit an existing @file{.ly} file, right-click on it and select
153 @qq{Edit source}. To get an empty file to start from, run the editor
154 as described above and use @qq{New} in the @qq{File} menu.
156 Double-clicking the file does not only result in a PDF file, but also
157 produces a @file{.log} file that contains some information on what LilyPond
158 has done to the file. If any errors occur, please examine this file.
160 Note that there are several other text editors available, with better
161 support for LilyPond, see @ref{Editor support}, for more information.
165 Begin by opening a terminal window and starting a text editor. For
166 example, you could open an xterm and execute
167 @code{joe}@footnote{There are macro files for VIM addicts, and there
168 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
169 installed already, refer to the file @file{INSTALL.txt}. The
170 easiest editing environment is @file{LilyPondTool}. See
171 @ref{Editor support}, for more information.}. In your
172 text editor, enter the following input and save the file as
182 To process @file{test.ly}, proceed as follows
189 You will see something resembling
196 Interpreting music... [1]
197 Preprocessing graphical objects...
198 Calculating line breaks... [2]
199 Layout output to `test.ps'...
200 Converting to `test.pdf'...
204 @cindex Viewing music
207 The result is the file @file{test.pdf} which you can print or view
208 with the standard facilities of your operating system.@footnote{If
209 your system does not have any such tools installed, you can try
210 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
211 available package for viewing and printing PDF and PostScript files.}
214 @node Simple notation
215 @subsection Simple notation
217 LilyPond will add some notation elements automatically. In the next
218 example, we have only specified four pitches, but LilyPond has
219 added a clef, time signature, and rhythms.
221 @lilypond[quote,ragged-right,verbatim]
228 This behavior may be altered, but in most cases these automatic values
234 The easiest way to enter notes is by using @code{\relative} mode. In
235 this mode, the @rglos{interval} between the previous note and the
236 current note is assumed to be within a @rglos{fourth}. We begin by
237 entering the most elementary piece of music, a @rglos{scale}.
239 @lilypond[quote,ragged-right,verbatim]
246 The initial note is @rglos{middle C}. Each successive note
247 is within a fourth of the previous note -- in other words, the first
248 @samp{c} is the closest C to middle C. This is followed by the closest
249 D to the previous note. We can create melodies which have larger intervals:
251 @lilypond[quote,ragged-right,verbatim]
259 As you may notice, this example does not start on middle C. The first
260 note -- the @samp{d} -- is the closest D to middle C.
262 To add intervals that are larger than a fourth, we can raise the octave
263 by adding a single quote @code{'} (or apostrophe) to the note name. We can
264 lower the octave by adding a comma @code{,} to the note name.
266 @lilypond[quote,ragged-right,verbatim]
274 To change a note by two (or more!) octaves, we use multiple @code{''} or
275 @code{,,} -- but be careful that you use two single quotes @code{''} and
276 not one double quote @code{"}@tie{}! The initial value in
277 @code{\relative c'} may also be modified like this.
280 @subheading Durations (rhythms)
282 The @rglos{duration} of a note is specified by a number after the note
283 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
284 @samp{4} for a @rglos{quarter note} and so on. Beams are added
287 @lilypond[quote,ragged-right,verbatim]
291 a16 a a a a32 a a a a64 a a a a a a a a2
296 If you do not specify a duration, the previous duration is used
297 for the next note. The duration of the first note defaults to a quarter.
299 To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
301 @lilypond[quote,ragged-right,verbatim]
311 A @rglos{rest} is entered just like a note with the name @samp{r}:
313 @lilypond[quote,ragged-right,verbatim]
321 @subheading Time signature
323 The @rglos{time signature}) can be set with the @code{\time} command:
325 @lilypond[quote,ragged-right,verbatim]
339 The @rglos{clef} can be set using the @code{\clef} command:
341 @lilypond[quote,ragged-right,verbatim]
355 @subheading All together
357 Here is a small example showing all these elements together:
359 @lilypond[quote,ragged-right,verbatim]
371 @item Entering pitches and durations
372 see @ref{Pitches}, and @ref{Durations}.
375 @item Time signatures and other timing commands
376 see @ref{Time signature}.
383 @node Working on text files
384 @subsection Working on text files
386 LilyPond input files are treated like files in most programming languages:
387 they are case sensitive, white-space insensitive, expressions are
388 formed with curly braces @{ @}, and comments are denoted with @code{%} or
391 If the previous sentence sounds like nonsense, don't worry! We'll explain
392 what all these terms mean:
396 @cindex Case sensitive
397 @item @strong{Case sensitive}:
398 it matters whether you enter a letter
399 in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
400 @code{A, B, S, T}). Notes are lower case: @code{@{ c d e @}}
401 is valid input; @code{@{ C D E @}} will produce an error message.
403 @item @strong{Whitespace insensitive}:
404 it does not matter how many
405 spaces (or new lines) you add. @code{@{ c d e @}} means the same thing
406 as @code{@{ c @tie{} @tie{} @tie{} d e @}} and
414 Of course, the previous example is hard to read. A good rule of thumb
415 is to indent code blocks with either a tab or two spaces:
422 @item @strong{Expressions:}
423 Every piece of LilyPond input needs to have
424 @strong{@{ curly braces @}} placed around the input. These braces tell
425 LilyPond that the input is a single music expression, just like
426 parenthesis @samp{()} in mathematics. The braces should
427 be surrounded by a space unless they are at the beginning or end of a
428 line to avoid ambiguities.
430 A function (such as @code{\relative @{ @}}) also counts as a single
435 @cindex block comment
436 @item @strong{Comments}:
437 A comment is a remark for the human reader of the music input; it is
438 ignored while parsing, so it has no effect on the printed output.
439 There are two types of comments. The percent symbol @samp{%}
440 introduces a line comment; anything after @samp{%} on that line is
441 ignored. A block comment marks a whole section of music
442 input as a comment. Anything that is enclosed in @code{%@{} and @code{%@}} is
443 ignored. The following fragment shows possible uses for comments
446 % notes for twinkle twinkle follow
450 This line, and the notes below
451 are ignored, since they are in a
460 There are more tips for constructing input files in
461 @ref{Suggestions for writing LilyPond files}.
464 @node How to read the tutorial
465 @subsection How to read the tutorial
467 As we saw in @ref{Working on text files}, LilyPond input must be
468 surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
469 rest of this manual, most examples will omit this.
471 If you are reading the HTML documentation and wish to see the exact
472 exact LilyPond code that was used to create the example, simply click
473 on the picture. If you are not reading the HTML version, you could
474 copy and paste the displayed input, but you @strong{must} add the
475 @code{\relative c'' @{ @}} like this:
479 ... example goes here...
483 Why omit the braces? Most examples
484 in this manual can be inserted into the middle of a longer piece of
485 music. For these examples, it does not make sense to add
486 @code{\relative c'' @{ @}} -- you should not place a @code{\relative}
487 inside another @code{\relative}, so you would not be able to copy
488 a small documentation example and paste it inside a longer piece
492 @node Single staff notation
493 @section Single staff notation
495 This section introduces common notation that is used for one voice
499 * Relative note names::
500 * Accidentals and key signatures::
502 * Articulation and dynamics::
503 * Automatic and manual beams::
504 * Advanced rhythmic commands::
508 @node Relative note names
509 @subsection Relative note names
511 As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
512 each note relative to the previous one@footnote{There is another mode of
513 entering pitches, @ref{Absolute note names}, but in practice relative
514 mode is much easier and safer to use.}. If no extra octave marks
515 (@code{'} and @code{,}) are added, it assumes that each pitch is within
516 a fourth of the previous note.
518 LilyPond examines pitches based on the note names -- in other words,
519 an augmented fourth is @emph{not} the same as a diminished fifth. If we
520 begin at a C, then an F-sharp will be placed a higher than the C, while
521 a G-flat will be placed lower than the C.
523 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
531 @item Relative octaves
532 see @ref{Relative octaves}.
534 see @ref{Octave check}.
540 @node Accidentals and key signatures
541 @subsection Accidentals and key signatures
543 @subheading Accidentals
545 A @rglos{sharp} pitch is made by adding @samp{is} to
546 the name, and a @rglos{flat} pitch by adding @samp{es}. As
547 you might expect, a @rglos{double sharp} or @rglos{double flat} is
548 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
549 derived from note naming conventions in Nordic and Germanic languages,
550 like German and Dutch. To use other names for accidentals, see
551 @ref{Note names in other languages}.}
553 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
554 cis1 ees fisis, aeses
557 @cindex key signature, setting
558 @subheading Key signatures
560 The key signature is set with the command @code{\key} followed by
561 a pitch and @code{\major} or @code{\minor}.
563 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
572 @subheading Warning: key signatures and pitches
574 To determine whether to print an accidental, LilyPond examines the
575 pitches and the key signature. The key signature only effects
576 the @emph{printed} accidentals, not the actual pitches! This is a
577 feature that often causes confusion to newcomers, so let us explain it
580 LilyPond makes a sharp distinction between musical content and
581 layout. The alteration (flat, natural or sharp) of a note is part of
582 the pitch, and is therefore musical content. Whether an accidental (a
583 @emph{printed} flat, natural or sharp sign) is printed in front of the
584 corresponding note is a question of layout. Layout is something that
585 follows rules, so accidentals are printed automatically according to
586 those rules. The pitches in your music are works of art, so they will
587 not be added automatically, and you must enter what you want to hear.
591 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
597 No note has a printed accidental, but you must still add the @samp{is} to
598 @code{cis} and @code{fis}.
600 The code @samp{e} does not mean @qq{print a black dot just below the
601 first line of the staff.} Rather, it means: @qq{there is a note with
602 pitch E-natural.} In the key of A-flat major, it @emph{does} get an
605 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
610 Adding all alterations explicitly might require a little more effort
611 when typing, but the advantage is that transposing is easier, and
612 accidentals can be printed according to different conventions. See
613 @ref{Automatic accidentals}, for some examples how accidentals can be printed
614 according to different rules.
620 see @ref{Accidentals}, and @ref{Automatic accidentals}.
622 see @ref{Key signature}.
628 @subsection Ties and slurs
632 A @rglos{tie} is created by appending a tilde @samp{~} to the first
635 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
643 A @rglos{slur} is a curve drawn across many notes. The starting note
644 and ending note are marked with @samp{(} and @samp{)} respectively.
646 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
647 d4( c16) cis( d e c cis d) e( d4)
650 @cindex slurs, phrasing
651 @cindex phrasing slurs
652 @subheading Phrasing slurs
654 @cindex phrasing slurs
655 Slurs to indicate longer phrasing can be entered with @code{\(} and
656 @code{\)}. You can have both legato slurs and phrasing slurs at the
657 same time, but you cannot have simultaneous slurs or simultaneous
660 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
661 a8(\( ais b c) cis2 b'2 a4 cis,\)
666 @cindex slurs versus ties
667 @subheading Warnings: slurs vs. ties
669 A slur looks like a @rglos{tie}, but it has a different meaning. A
670 tie simply makes the first note longer, and can only be used on
671 pairs of notes with the same pitch. Slurs indicate the articulations
672 of notes, and can be used on larger groups of notes. Slurs and ties
675 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
676 c2~( c8 fis fis4 ~ fis2 g2)
687 see @ref{Phrasing slurs}.
692 @node Articulation and dynamics
693 @subsection Articulation and dynamics
698 @subheading Articulations
700 Common @rglos{articulations} can be added to a note using a dash @samp{-}
701 and a single character:
703 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
704 c-. c-- c-> c-^ c-+ c-_
708 @subheading Fingerings
709 Similarly, fingering indications can be added to a note using a dash
710 (@samp{-}) and the digit to be printed:
712 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
716 Articulations and fingerings are usually placed automatically, but you
717 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
718 also use multiple articulations on the same note. However, in most cases
719 it is best to let LilyPond determine the articulation directions.
721 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
722 c_-^1 d^. f^4_2-> e^-_+
726 Dynamic signs are made by adding the markings (with a backslash) to
729 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
737 Crescendi and decrescendi are started with the commands @code{\<} and
738 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
739 (de)crescendo, or the command @code{\!} can be used
741 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
749 see @ref{Articulations}.
751 see @ref{Fingering instructions}.
758 @node Automatic and manual beams
759 @subsection Automatic and manual beams
761 @cindex beams, by hand
762 All @rglos{beam}s are drawn automatically:
764 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
765 a8 ais d ees r d c16 b a8
769 If you do not like the automatic beams, they may be overridden
770 manually. Mark the first note to be beamed with @samp{[} and the last one
773 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
774 a8[ ais] d[ ees r d] a b
780 @item Automatic beams
781 see @ref{Automatic beams}.
783 see @ref{Manual beams}.
788 @node Advanced rhythmic commands
789 @subsection Advanced rhythmic commands
793 @cindex partial measure
794 @subheading Partial measure
796 A pickup (or @rglos{anacrusis}) is entered with the keyword
797 @code{\partial}. It is followed by a duration: @code{\partial 4} is
798 a quarter note pickup and @code{\partial 8} an eighth note.
800 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
809 Tuplets are made with the @code{\times} keyword. It takes two
810 arguments: a fraction and a piece of music. The duration of the piece
811 of music is multiplied by the fraction. Triplets make notes occupy
812 2/3 of their notated duration, so a triplet has 2/3 as its fraction
814 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
815 \times 2/3 { f8 g a }
817 \times 2/3 { f,8 g16[ a g a] }
824 @subheading Grace notes
826 Grace notes are created with the @code{\grace} command, although they
827 can also be created by prefixing a music expression with the
828 keyword @code{\appoggiatura} or @code{\acciaccatura}
830 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
831 c2 \grace { a32[ b] } c2
832 c2 \appoggiatura b16 c2
833 c2 \acciaccatura b16 c2
840 see @ref{Grace notes},
844 see @ref{Partial measures}.
849 @node Multiple notes at once
850 @section Multiple notes at once
852 This section introduces having more than one note at the same time:
853 multiple instruments, multiple staves for a single instrument (i.e. piano),
856 Polyphony in music refers to having more than one voice occurring in
857 a piece of music. Polyphony in LilyPond refers to having more than
858 one voice on the same staff.
861 * Music expressions explained::
864 * Single staff polyphony::
865 * Combining notes into chords::
869 @node Music expressions explained
870 @subsection Music expressions explained
872 In LilyPond input files, music is represented by @emph{music
873 expressions}. A single note is a music expression, although it is not
874 valid input all on its own.
876 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
880 Enclosing a group of notes in braces creates a new music expression:
882 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
886 Putting a group of music expressions (e.g. notes) in braces means that
887 they are in sequence (i.e. each one follows the previous one). The result
888 is another music expression:
890 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
894 @subheading Simultaneous music expressions: multiple staves
896 This technique is useful for polyphonic music. To enter music
897 with more voices or more staves, we combine expressions in
898 parallel. To indicate that two voices should play at the same time,
899 simply enter a simultaneous combination of music expressions. A
900 @q{simultaneous} music expression is formed by enclosing expressions inside
901 @code{<<} and @code{>>}. In the following example, three sequences (all
902 containing two separate notes) are combined simultaneously:
904 @lilypond[quote,ragged-right,verbatim]
914 Note that we have indented each level of the input with a different
915 amount of space. LilyPond does not care how much (or little) space there
916 is at the beginning of a line, but indenting LilyPond code like this makes
917 it much easier for humans to read.
919 @strong{Warning}: each note is relative to the
920 previous note in the input, not relative to the @code{c''} in the
921 initial @code{\relative} command.
924 @subheading Simultaneous music expressions: single staff
926 To determine the number of staves in a piece, LilyPond looks at the first
927 expression. If it is a single note, there is one staff; if there is a
928 simultaneous expression, there is more than one staff.
930 @lilypond[quote,ragged-right,verbatim]
933 << { e f } { c <<b d>> } >>
938 @cindex music expression
939 @subheading Analogy: mathematical expressions
941 This mechanism is similar to mathematical
942 formulas: a big formula is created by composing small formulas. Such
943 formulas are called expressions, and their definition is recursive so
944 you can make arbitrarily complex and large expressions. For example,
953 ((1 + 2) * 3) / (4 * 5)
956 This is a sequence of expressions, where each expression is contained
957 in the next (larger) one. The simplest expressions are numbers, and larger
958 ones are made by combining expressions with operators (like @samp{+},
959 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
960 music expressions can be nested arbitrarily deep, which is necessary
961 for complex music like polyphonic scores.
964 @node Multiple staves
965 @subsection Multiple staves
967 As we saw in @ref{Music expressions explained}, LilyPond input files
968 are constructed out of music expressions. If the score begins with
969 simultaneous music expressions, LilyPond creates multiples staves. However,
970 it is easier to see what happens if we create each staff explicitly.
972 To print more than one staff, each piece of music that makes up a
973 staff is marked by adding @code{\new Staff} before it. These
974 @code{Staff} elements are then combined in parallel with @code{<<} and
977 @lilypond[quote,ragged-right,verbatim]
980 \new Staff { \clef treble c }
981 \new Staff { \clef bass c,, }
986 The command @code{\new} introduces a @q{notation context.} A notation
987 context is an environment in which musical events (like notes or
988 @code{\clef} commands) are interpreted. For simple pieces, such
989 notation contexts are created automatically. For more complex pieces, it
990 is best to mark contexts explicitly.
992 There are several types of contexts. @code{Score}, @code{Staff},
993 and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
994 texts and @code{ChordNames} prints chord names.
996 In terms of syntax, prepending @code{\new} to a music expression
997 creates a bigger music expression. In this way it resembles the minus
998 sign in mathematics. The formula @math{(4+5)} is an expression, so
999 @math{-(4+5)} is a bigger expression.
1001 Time signatures entered in one staff affects all other staves, but
1002 the key signature of one staff does @emph{not} affect other
1003 staves@footnote{This behavior may be changed if desired; see
1004 @ref{Changing defaults}, for details.}.
1006 @lilypond[quote,ragged-right,verbatim]
1009 \new Staff { \clef treble \time 3/4 c }
1010 \new Staff { \clef bass \key d \major c,, }
1019 @subsection Piano staves
1021 @cindex staff switch, manual
1022 @cindex cross staff voice, manual
1023 Piano music is typeset in two staves connected by a brace. Printing
1024 such a staff is similar to the polyphonic example in @ref{Multiple staves},
1025 but now this entire expression is inserted inside a @code{PianoStaff}:
1034 Here is a small example
1036 @lilypond[quote,ragged-right,verbatim]
1039 \new Staff { \time 2/4 c4 e g g, }
1040 \new Staff { \clef bass c,, c' e c }
1047 See @ref{Piano music}.
1051 @node Single staff polyphony
1052 @subsection Single staff polyphony
1055 @cindex multiple voices
1056 @cindex voices, more -- on a staff
1057 When different melodic lines are combined on a single staff they are
1058 printed as polyphonic voices; each voice has its own stems, slurs and
1059 beams, and the top voice has the stems up, while the bottom voice has
1062 Entering such parts is done by entering each voice as a sequence (with
1063 @code{@{...@}}) and combining these simultaneously, separating the
1064 voices with @code{\\}
1066 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
1073 For polyphonic music typesetting, spacer rests can also be convenient;
1074 these are rests that do not print. They are useful for filling up
1075 voices that temporarily do not play. Here is the same example with a
1076 spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
1078 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
1086 Again, these expressions can be nested arbitrarily.
1088 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1096 { <c g>1 ~ <c g>4 } \\
1104 See @ref{Basic polyphony}.
1108 @node Combining notes into chords
1109 @subsection Combining notes into chords
1112 Chords can be made by surrounding pitches with single angle brackets. Angle
1113 brackets are the symbols @samp{<} and @samp{>}.
1115 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1116 r4 <c e g>4 <c f a>2
1119 You can combine markings like beams and ties with chords. They must
1120 be placed outside the angle brackets
1122 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1123 r4 <c e g>8[ <c f a>]~ <c f a>2
1126 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1127 r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
1134 This section introduces vocal music and simple song sheets.
1142 @node Printing lyrics
1143 @subsection Printing lyrics
1147 Consider a simple melody:
1149 @lilypond[quote,ragged-right,verbatim]
1156 The lyrics can be set to these notes, combining both with the
1157 @code{\addlyrics} keyword. Lyrics are entered by separating each
1158 syllable with a space.
1160 @lilypond[quote,ragged-right,verbatim]
1166 \addlyrics { One day this shall be free }
1171 @cindex extender line
1172 This melody ends on a @rglos{melisma}, a single syllable (@q{free})
1173 sung to more than one note. This is indicated with an @emph{extender
1174 line}. It is entered as two underscores @code{__}:
1176 @lilypond[quote,ragged-right,verbatim]
1182 \addlyrics { One day this shall be free __ }
1186 Similarly, hyphens between words can be entered as two dashes,
1187 resulting in a centered hyphen between two syllables
1189 @c no ragged-right here because otherwise the hypens get lost.
1190 @lilypond[quote,verbatim]
1196 \addlyrics { A -- le -- gri -- a }
1202 More options, such as putting multiple stanzas below a melody, are
1203 discussed in @ref{Vocal music}.
1208 @subsection A lead sheet
1214 In popular music it is common to denote accompaniment with chord names.
1215 Such chords can be entered like notes,
1217 @lilypond[quote,ragged-right,verbatim]
1218 \chordmode { c2 f4. g8 }
1221 Now each pitch is read as the root of a chord instead of a note.
1222 This mode is switched on with @code{\chordmode}. Other chords can be
1223 created by adding modifiers after a colon. The
1224 following example shows a few common modifiers:
1226 @lilypond[quote,verbatim,ragged-right]
1227 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1230 For lead sheets, chords are not printed on staves, but as names on a
1231 line for themselves. This is achieved by using @code{\chords} instead
1232 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1233 but renders the notes in a @code{ChordNames} context, with the
1236 @lilypond[quote,verbatim,ragged-right]
1237 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1241 When put together, chord names, lyrics and a melody form
1244 @lilypond[quote,verbatim,ragged-right]
1246 \chords { c2 g:sus4 f e }
1251 \addlyrics { One day this shall be free __ }
1258 A complete list of modifiers and other options for layout can be found
1264 @section Final touches
1266 This is the final section of the tutorial; it demonstrates how to add the
1267 final touches to simple pieces, and provides an introduction to the rest
1273 * Absolute note names::
1274 * Organizing pieces with identifiers::
1275 * After the tutorial::
1276 * How to read the manual::
1280 @node Version number
1281 @subsection Version number
1284 The @code{\version} statement marks for which version of LilyPond the file
1285 was written. To mark a file for version 2.10.1, place
1292 at the top of your LilyPond file.
1294 These annotations make future upgrades of LilyPond go more
1295 smoothly. Changes in the syntax are handled with a special program,
1296 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
1297 @code{\version} to determine what rules to apply.
1301 @subsection Adding titles
1303 The title, composer, opus number, and similar information are entered
1304 in the @code{\header} block. This exists outside of the main
1305 music expression; the @code{\header} block is usually placed underneath
1306 the @ref{Version number}.
1317 @dots{} music @dots{}
1321 When the file is processed, the title and composer are printed above
1322 the music. More information on titling can be found in @ref{Creating
1326 @node Absolute note names
1327 @subsection Absolute note names
1329 So far we have always used @code{\relative} to define pitches. This is
1330 the easiest way to enter most music, but another way of defining pitches
1331 exists: absolute mode.
1333 If you omit the @code{\relative}, LilyPond treats all pitches as
1334 absolute values. A @code{c'} will always mean middle C, a @code{b} will
1335 always mean the note one step below middle C, and a @code{g,} will
1336 always mean the note on the bottom staff of the bass clef.
1338 @lilypond[quote,verbatim,ragged-right]
1346 Here is a four-octave scale:
1348 @lilypond[quote,verbatim,ragged-right]
1363 As you can see, writing a melody in the treble clef involves a lot of
1364 quote ' marks. Consider this fragment from Mozart:
1366 @lilypond[quote,verbatim,ragged-right]
1370 cis''8. d''16 cis''8 e''4 e''8
1371 b'8. cis''16 b'8 d''4 d''8
1375 All these quotes makes the input less readable and it is a source of
1376 errors. With @code{\relative}, the previous example is much easier
1379 @lilypond[quote,verbatim,ragged-right]
1383 cis8. d16 cis8 e4 e8
1388 If you make a mistake with an octave mark (@code{'} or @code{,}) while
1389 working in @code{\relative} mode, it is very obvious -- many notes will
1390 be in the wrong octave. When working in absolute mode, a single mistake
1391 will not be as visible, and will not be as easy to find.
1393 However, absolute mode is useful for music which has large intervals, and
1394 is extremely useful for computer-generated LilyPond files.
1397 @node Organizing pieces with identifiers
1398 @subsection Organizing pieces with identifiers
1400 When all of the elements discussed earlier are combined to produce
1401 larger files, the music expressions get a lot bigger. In polyphonic
1402 music with many staves, the input files can become very confusing. We can
1403 reduce this confusion by using @emph{identifiers}.
1405 With identifiers (also known as variables or macros), we can break up
1406 complex music expressions. An identifier is assigned as follows
1409 namedMusic = @{ @dots{} @}
1412 The contents of the music expression @code{namedMusic} can be used
1413 later by placing a backslash in front of the name
1414 (@code{\namedMusic}, just like a normal LilyPond command). Identifiers
1415 must be defined @emph{before} the main music expression.
1417 @lilypond[quote,verbatim,ragged-right]
1418 violin = \new Staff { \relative c'' {
1421 cello = \new Staff { \relative c {
1434 The name of an identifier must have alphabetic characters only: no
1435 numbers, underscores, or dashes.
1437 It is possible to use variables for many other types of objects in the
1443 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1446 Depending on its contents, the identifier can be used in different
1447 places. The following example uses the above variables:
1458 @node After the tutorial
1459 @subsection After the tutorial
1461 After finishing the tutorial, you should probably try writing a
1462 piece or two. Start with one of the @ref{Templates}, and
1463 add notes. If you need any notation that was not covered in the
1464 tutorial, look at the Notation Reference, starting with
1465 @ref{Basic notation}. If you want to write for an instrument
1466 ensemble which is not covered in the templates,
1467 take a look at @ref{Extending the templates}.
1469 Once you have written a few short pieces, read the rest of
1470 the Learning Manual (chapters 3-5). There's nothing wrong
1471 with reading them now, of course! However, the rest of the
1472 Learning Manual assumes that you are familiar with
1473 LilyPond input. You may wish to skim these chapters right
1474 now, and come back to them after you have more experience.
1477 @node How to read the manual
1478 @subsection How to read the manual
1480 As we saw in @ref{How to read the tutorial}, many examples in the
1481 tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
1484 In the rest of the manual, we are much more lax about the
1485 printed examples: sometimes they may have omitted a
1486 @code{\relative c'' @{ ... @}}, but in other times a different initial
1487 pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
1488 the whole example is in absolute note mode! However, ambiguities like
1489 this only exist where the pitches are not important. In any example
1490 where the pitch matters, we have explicitly stated our @code{\relative}
1491 our our absolute-mode @code{@{ @}}.
1493 If you are still confused about the exact LilyPond input that was
1494 used in an example, read the HTML version (if you are not already doing
1495 so) and click on the picture of the music. This will display the exact
1496 input that LilyPond used to generate this manual.