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.
51 @lilypond[fragment,quote,ragged-right,relative=2]
52 c-\markup { \bold \huge { Click here. } }
55 By cutting and pasting everything from the @qq{Start cut-&-pastable-section}
56 to the end of the file, you have a
57 starting template for experiments. If you like learning in this way,
58 you will probably want to print out or bookmark the
59 @ref{Cheat sheet}, which is a table listing of the most common
60 commands for quick reference.
65 * Single staff notation::
66 * Multiple notes at once::
75 This section gives a basic introduction to working with LilyPond.
80 * Working on text files::
81 * How to read the tutorial::
85 @node Compiling a file
86 @subsection Compiling a file
88 The first example demonstrates how to start working with LilyPond. To
89 create sheet music, we write a text file that specifies the
90 notation. For example, if we write
99 the result looks like this
101 @lilypond[quote,ragged-right]
107 @strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
108 braces @}} placed around the input. The braces should be also be
109 surrounded by a space unless they are at the beginning or end of a
110 line to avoid ambiguities. These may be omitted in some examples in this
111 manual, but don't forget them in your own music!
113 @cindex Case sensitive
114 In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
115 is valid input; @code{ @{ C D E @} } will produce an error message.
119 @subheading Entering music and viewing output
121 In this section we will explain what commands to run
122 and how to view or print the output.
124 @subsubheading MacOS X
126 If you double click LilyPond.app, it will open with an example
127 file. Save it, for example, to @file{test.ly} on your Desktop, and
128 then process it with the menu command @samp{Compile > Typeset File}.
129 The resulting PDF file will be displayed on your screen.
131 Be warned that the first time you ever run lilypond will take a minute
132 or two because all of the system fonts have to be analyzed first.
134 For future use of LilyPond, you should begin by selecting "New"
137 @subsubheading Windows
139 On Windows, start up a text-editor@footnote{Any simple or
140 programmer-oriented editor with UTF-8 support will do, for example
141 Notepad. Do not use a word processor, since these insert formatting
142 codes that will confuse LilyPond.} and enter
150 Save it on the desktop as @file{test.ly} and make sure that it is not
151 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
152 the file and show the resulting PDF file.
157 Begin by opening a terminal window and starting a text editor. For
158 example, you could open an xterm and execute
159 @code{joe}@footnote{There are macro files for VIM addicts, and there
160 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
161 installed already, refer to the file @file{INSTALL.txt}. These
162 easiest editing environment is @file{LilyPondTool}. See
163 @ref{Editor support} for more information.}. In your
164 text editor, enter the following input and save the file as
174 To process @file{test.ly}, proceed as follows
181 You will see something resembling
188 Interpreting music... [1]
189 Preprocessing graphical objects...
190 Calculating line breaks... [2]
191 Layout output to `test.ps'...
192 Converting to `test.pdf'...
196 @cindex Viewing music
199 The result is the file @file{test.pdf} which you can print or view
200 with the standard facilities of your operating system.@footnote{If
201 your system does not have any tools installed, you can try
202 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
203 available package for viewing and printing PDF and PostScript files.}
206 @node Simple notation
207 @subsection Simple notation
209 LilyPond will add some notation elements automatically. In the next
210 example, we have only specified four pitches, but LilyPond has
211 added a clef, time signature, and rhythms.
213 @lilypond[quote,ragged-right,verbatim]
220 This behavior may be altered, but in most cases these automatic values
226 The easiest way to enter notes is by using @code{\relative} mode. In
227 this mode, the @rglos{interval} between the previous note and the
228 current note is assumed to be within a @rglos{fourth}. We begin by
229 entering the most elementary piece of music, a @rglos{scale}.
231 @lilypond[quote,ragged-right,verbatim]
238 The initial note is @rglos{middle C}. Each successive note
239 is within a fourth of the previous note -- in other words, the first
240 @samp{c} is the closest C to middle C. This is followed by the closest
241 D to the previous note. We can create melodies which have larger intervals:
243 @lilypond[quote,ragged-right,verbatim]
251 As you may notice, this example does not start on middle C. The first
252 note -- the @samp{d} -- is the closest D to middle C.
254 To add intervals that are larger than a fourth, we can raise the octave
255 by adding a single quote @code{'} (or apostrophe) to the note name. We can
256 lower the octave by adding a comma @code{,} to the note name.
258 @lilypond[quote,ragged-right,verbatim]
266 To change a note by two (or more!) octaves, we use multiple @code{''} or
267 @code{,,} -- but be careful that you use two single quotes @code{''} and
268 not one double quote @code{"}@tie{}! The initial value in
269 @code{\relative c'} may also be modified like this.
272 @subheading Durations (rhythms)
274 The @rglos{duration} of a note is specified by a number after the note
275 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
276 @samp{4} for a @rglos{quarter note} and so on. Beams are added
279 @lilypond[quote,ragged-right,verbatim]
283 a16 a a a a32 a a a a64 a a a a a a a a2
288 If you do not specify a duration, the previous duration is used
289 for the next note. The duration of the first note defaults to a quarter.
291 To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
293 @lilypond[quote,ragged-right,verbatim]
303 A @rglos{rest} is entered just like a note with the name @samp{r}:
305 @lilypond[quote,ragged-right,verbatim]
313 @subheading Time signature
315 The @rglos{time signature}) can be set with the @code{\time} command:
317 @lilypond[quote,ragged-right,verbatim]
331 The @rglos{clef} can be set using the @code{\clef} command:
333 @lilypond[quote,ragged-right,verbatim]
347 @subheading All together
349 Here is a small example showing all these elements together:
351 @lilypond[quote,ragged-right,verbatim]
363 @item Entering pitches and durations
364 see @ref{Pitches} and @ref{Durations}.
367 @item Time signatures and other timing commands
368 see @ref{Time signature}.
375 @node Working on text files
376 @subsection Working on text files
378 LilyPond input files are treated like files in most programming languages:
379 they are case sensitive, white-space insensitive, expressions are
380 formed with curly braces @{ @}, and comments are denoted with @code{%} or
383 If the previous sentence sounds like nonsense, don't worry! We'll explain
384 what all these terms mean:
388 @cindex Case sensitive
389 @item @strong{Case sensitive}:
390 it matters whether you enter a letter
391 in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
392 @code{A, B, S, T}). Notes are lower case: @code{ @{ c d e @} }
393 is valid input; @code{ @{ C D E @} } will produce an error message.
395 @item @strong{Whitespace insensitive}:
396 it does not matter how many
397 spaces (or new lines) you add. @code{ @{ c d e @}} means the same thing
398 as @code{ @{ c @ @ @ @ @ d e @} } and
406 Of course, the previous example is hard to read. A good rule of thumb
407 is to indent code blocks with either a tab or two spaces:
414 @item @strong{Expressions:}
415 Every piece of LilyPond input needs to have
416 @strong{@{ curly braces @}} placed around the input. These braces tell
417 LilyPond that the input is a single music expression, just like
418 parenthesis @samp{()} in mathematics. The braces should
419 be surrounded by a space unless they are at the beginning or end of a
420 line to avoid ambiguities.
422 A function (such as @code{\relative @{ @}} ) also counts as a single
427 @cindex block comment
428 @item @strong{Comments}:
429 A comment is a remark for the human reader of the music input; it is
430 ignored while parsing, so it has no effect on the printed output.
431 There are two types of comments. The percent symbol @samp{%}
432 introduces a line comment; anything after @samp{%} on that line is
433 ignored. A block comment marks a whole section of music
434 input as a comment. Anything that is enclosed in @code{%@{} and @code{%@}} is
435 ignored. The following fragment shows possible uses for comments
438 % notes for twinkle twinkle follow
442 This line, and the notes below
443 are ignored, since they are in a
452 There are more tips for constructing input files in
453 @ref{Suggestions for writing LilyPond files}.
456 @node How to read the tutorial
457 @subsection How to read the tutorial
459 As we saw in @ref{Working on text files}, LilyPond input must be
460 surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
461 rest of this manual, most examples will omit this.
463 If you are reading the HTML documentation and wish to see the exact
464 exact LilyPond code that was used to create the example, simply click
465 on the picture. If you are not reading the HTML version, you could
466 copy and paste the displayed input, but you @strong{must} add the
467 @code{\relative c'' @{ @}} like this:
471 ... example goes here...
475 Why omit the braces? Most examples
476 in this manual can be inserted into the middle of a longer piece of
477 music. For these examples, it does not make sense to add
478 @code{\relative c'' @{ @}} -- you should not place a @code{\relative}
479 inside another @code{\relative}, so you would not be able to copy
480 a small documentation example and paste it inside a longer piece
484 @node Single staff notation
485 @section Single staff notation
487 This section introduces common notation that is used for one voice
491 * Relative note names::
492 * Accidentals and key signatures::
494 * Articulation and dynamics::
495 * Automatic and manual beams::
496 * Advanced rhythmic commands::
500 @node Relative note names
501 @subsection Relative note names
503 As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
504 each note relative to the previous one@footnote{There is another mode of
505 entering pitches, @ref{Absolute note names}, but in practice relative
506 mode is much easier and safer to use.}. If no extra octave marks
507 (@code{'} and @code{,}) are added, it assumes that each pitch is within
508 a fourth of the previous note.
510 LilyPond examines pitches based on the note names -- in other words,
511 an augmented fourth is @emph{not} the same as a diminished fifth. If we
512 begin at a C, then an F-sharp will be placed a higher than the C, while
513 a G-flat will be placed lower than the C.
515 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
523 @item Relative octaves
524 see @ref{Relative octaves}.
526 see @ref{Octave check}.
532 @node Accidentals and key signatures
533 @subsection Accidentals and key signatures
535 @subheading Accidentals
537 A @rglos{sharp} pitch is made by adding @samp{is} to
538 the name, and a @rglos{flat} pitch by adding @samp{es}. As
539 you might expect, a @rglos{double sharp} or @rglos{double flat} is
540 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
541 derived from note naming conventions in Nordic and Germanic languages,
542 like German and Dutch. To use other names for accidentals, see
543 @ref{Note names in other languages}.}
545 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
546 cis1 ees fisis, aeses
549 @cindex key signature, setting
550 @subheading Key signatures
552 The key signature is set with the command @code{\key} followed by
553 a pitch and @code{\major} or @code{\minor}.
555 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
564 @subheading Warning: key signatures and pitches
566 To determine whether to print an accidental, LilyPond examines the
567 pitches and the key signature. The key signature only effects
568 the @emph{printed} accidentals, not the actual pitches! This is a
569 feature that often causes confusion to newcomers, so let us explain it
572 LilyPond makes a sharp distinction between musical content and
573 layout. The alteration (flat, natural or sharp) of a note is part of
574 the pitch, and is therefore musical content. Whether an accidental (a
575 @emph{printed} flat, natural or sharp sign) is printed in front of the
576 corresponding note is a question of layout. Layout is something that
577 follows rules, so accidentals are printed automatically according to
578 those rules. The pitches in your music are works of art, so they will
579 not be added automatically, and you must enter what you want to hear.
583 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
589 No note has a printed accidental, but you must still add the @samp{is} to
590 @code{cis} and @code{fis}.
592 The code @samp{e} does not mean @qq{print a black dot just below the
593 first line of the staff.} Rather, it means: @qq{there is a note with
594 pitch E-natural.} In the key of A-flat major, it @emph{does} get an
597 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
602 Adding all alterations explicitly might require a little more effort
603 when typing, but the advantage is that transposing is easier, and
604 accidentals can be printed according to different conventions. See
605 @ref{Automatic accidentals} for some examples how accidentals can be printed
606 according to different rules.
612 see @ref{Accidentals} and @ref{Automatic accidentals}.
614 see @ref{Key signature}.
620 @subsection Ties and slurs
624 A @rglos{tie} is created by appending a tilde @samp{~} to the first
627 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
635 A @rglos{slur} is a curve drawn across many notes. The starting note
636 and ending note are marked with @samp{(} and @samp{)} respectively.
638 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
639 d4( c16) cis( d e c cis d) e( d4)
642 @cindex slurs, phrasing
643 @cindex phrasing slurs
644 @subheading Phrasing slurs
646 @cindex phrasing slurs
647 Slurs to indicate longer phrasing can be entered with @code{\(} and
648 @code{\)}. You can have both legato slurs and phrasing slurs at the
649 same time, but you cannot have simultaneous slurs or simultaneous
652 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
653 a8(\( ais b c) cis2 b'2 a4 cis,\)
658 @cindex slurs versus ties
659 @subheading Warnings: slurs vs. ties
661 A slur looks like a @rglos{tie}, but it has a different meaning. A
662 tie simply makes the first note longer, and can only be used on
663 pairs of notes with the same pitch. Slurs indicate the articulations
664 of notes, and can be used on larger groups of notes. Slurs and ties
667 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
668 c2~( c8 fis fis4 ~ fis2 g2)
679 see @ref{Phrasing slurs}.
684 @node Articulation and dynamics
685 @subsection Articulation and dynamics
690 @subheading Articulations
692 @c FIXME: change to @rglos once the term is added (articulations)
693 Common articulations can be added to a note using a dash (@samp{-}) and a
696 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
697 c-. c-- c-> c-^ c-+ c-_
701 @subheading Fingerings
702 Similarly, fingering indications can be added to a note using a dash
703 (@samp{-}) and the digit to be printed:
705 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
709 Articulations and fingerings are usually placed automatically, but you
710 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
711 also use multiple articulations on the same note. However, in most cases
712 it is best to let LilyPond determine the articulation directions.
714 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
715 c_-^1 d^. f^4_2-> e^-_+
719 Dynamic signs are made by adding the markings (with a backslash) to
722 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
730 Crescendi and decrescendi are started with the commands @code{\<} and
731 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
732 (de)crescendo, or the command @code{\!} can be used
734 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
742 see @ref{Articulations}.
744 see @ref{Fingering instructions}.
751 @node Automatic and manual beams
752 @subsection Automatic and manual beams
754 @cindex beams, by hand
755 All @rglos{beam}s are drawn automatically:
757 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
758 a8 ais d ees r d c16 b a8
762 If you do not like the automatic beams, they may be overridden
763 manually. Mark the first note to be beamed with @samp{[} and the last one
766 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
767 a8[ ais] d[ ees r d] a b
773 @item Automatic beams
774 see @ref{Automatic beams}.
776 see @ref{Manual beams}.
781 @node Advanced rhythmic commands
782 @subsection Advanced rhythmic commands
786 @cindex partial measure
787 @subheading Partial measure
789 @c FIXME: glossary "anacrusis".
790 A pickup (or @q{anacrusis}) is entered with the keyword @code{\partial}. It
791 is followed by a duration: @code{\partial 4} is a quarter note pickup
792 and @code{\partial 8} an eighth note.
794 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
803 Tuplets are made with the @code{\times} keyword. It takes two
804 arguments: a fraction and a piece of music. The duration of the piece
805 of music is multiplied by the fraction. Triplets make notes occupy
806 2/3 of their notated duration, so a triplet has 2/3 as its fraction
808 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
809 \times 2/3 { f8 g a }
811 \times 2/3 { f,8 g16 a g a }
818 @subheading Grace notes
820 Grace notes are created with the @code{\grace} command, although they
821 can also be created by prefixing a music expression with the
822 keyword @code{\appoggiatura} or @code{\acciaccatura}
824 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
825 c2 \grace { a32 b} c2
826 c2 \appoggiatura b16 c2
827 c2 \acciaccatura b16 c2
834 see @ref{Grace notes},
838 see @ref{Partial measures}.
843 @node Multiple notes at once
844 @section Multiple notes at once
846 This section introduces having more than one note at the same time:
847 multiple instruments, multiple staves for a single instrument (i.e. piano),
850 Polyphony in music refers to having more than one voice occurring in
851 a piece of music. Polyphony in LilyPond refers to having more than
852 one voice on the same staff.
855 * Music expressions explained::
858 * Single staff polyphony::
859 * Combining notes into chords::
863 @node Music expressions explained
864 @subsection Music expressions explained
866 In LilyPond input files, music is represented by @emph{music
867 expressions}. A single note is a music expression, although it is not
868 valid input all on its own.
870 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
874 Enclosing a group of notes in braces creates a new music expression:
876 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
880 Putting a group of music expressions (e.g. notes) in braces means that
881 are in sequence (i.e. each one follows the previous one). The result
882 is another music expression:
884 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
888 @subheading Simultaneous music expressions: multiple staves
890 This technique is useful for polyphonic music. To enter music
891 with more voices or more staves, we combine expressions in
892 parallel. To indicate that two voices should play at the same time
893 simple enter a simultaneous combination of music expressions. A
894 @q{simultaneous} music expression is formed by enclosing expressions inside
895 @code{<<} and @code{>>}. In the following example, three sequences (all
896 containing two separate notes) are combined simultaneously:
898 @lilypond[quote,ragged-right,verbatim]
908 Note that we have indented each level of the input with a different
909 amount of space. LilyPond does not care how much (or little) space there
910 is at the beginning of a line, but indenting LilyPond code like this makes
911 it much easier for humans to read.
913 @subheading Simultaneous music expressions: single staff
915 To determine the number of staves in a piece, LilyPond looks at the first
916 exression. If it is a single note, there is one staff; if there is a
917 simultaneous expression, there is more than one staff.
919 @lilypond[quote,ragged-right,verbatim]
922 << { e f } { c <<b d>> } >>
927 @cindex music expression
928 @subheading Analogy: mathematical expressions
930 This mechanism is similar to mathematical
931 formulas: a big formula is created by composing small formulas. Such
932 formulas are called expressions, and their definition is recursive so
933 you can make arbitrarily complex and large expressions. For example,
942 ((1 + 2) * 3) / (4 * 5)
945 This is a sequence of expressions, where each expression is contained
946 in the next (larger) one. The simplest expressions are numbers, and larger
947 ones are made by combining expressions with operators (like @samp{+},
948 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
949 music expressions can be nested arbitrarily deep, which is necessary
950 for complex music like polyphonic scores.
953 @node Multiple staves
954 @subsection Multiple staves
956 As we saw in @ref{Music expressions explained}, LilyPond input files
957 are constructed out of music expressions. If the score begins with
958 simultaneous music expressions, LilyPond creates multiples staves. However,
959 it is easier to see what happens if we create each staff explicitly.
961 To print more than one staff, each piece of music that makes up a
962 staff is marked by adding @code{\new Staff} before it. These
963 @code{Staff} elements are then combined in parallel with @code{<<} and
966 @lilypond[quote,ragged-right,verbatim]
969 \new Staff { \clef treble c }
970 \new Staff { \clef bass c,, }
975 The command @code{\new} introduces a @q{notation context.} A notation
976 context is an environment in which musical events (like notes or
977 @code{\clef} commands) are interpreted. For simple pieces, such
978 notation contexts are created automatically. For more complex pieces, it
979 is best to mark contexts explicitly.
981 There are several types of contexts. @code{Score}, @code{Staff},
982 and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
983 texts and @code{ChordNames} prints chord names.
985 In terms of syntax, prepending @code{\new} to a music expression
986 creates a bigger music expression. In this way it resembles the minus
987 sign in mathematics. The formula @math{(4+5)} is an expression, so
988 @math{-(4+5)} is a bigger expression.
990 Time signatures entered in one staff affects all other staves, but
991 the key signature of one staff does @emph{not} affect other
992 staves@footnote{This behavior may be changed if desired; see
993 @ref{Changing defaults} for details.}.
995 @lilypond[quote,ragged-right,verbatim]
998 \new Staff { \clef treble \time 3/4 c }
999 \new Staff { \clef bass \key d \major c,, }
1008 @subsection Piano staves
1010 @cindex staff switch, manual
1011 @cindex cross staff voice, manual
1012 Piano music is typeset in two staves connected by a brace. Printing
1013 such a staff is similar to the polyphonic example in @ref{Multiple staves},
1014 but now this entire expression is inserted inside a @code{PianoStaff}:
1023 Here is a small example
1025 @lilypond[quote,ragged-right,verbatim]
1028 \new Staff { \time 2/4 c4 e g g, }
1029 \new Staff { \clef bass c,, c' e c }
1036 See @ref{Piano music}.
1040 @node Single staff polyphony
1041 @subsection Single staff polyphony
1044 @cindex multiple voices
1045 @cindex voices, more -- on a staff
1046 When different melodic lines are combined on a single staff they are
1047 printed as polyphonic voices; each voice has its own stems, slurs and
1048 beams, and the top voice has the stems up, while the bottom voice has
1051 Entering such parts is done by entering each voice as a sequence (with
1052 @code{@{...@}}) and combining these simultaneously, separating the
1053 voices with @code{\\}
1055 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
1062 For polyphonic music typesetting, spacer rests can also be convenient;
1063 these are rests that do not print. They are useful for filling up
1064 voices that temporarily do not play. Here is the same example with a
1065 spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
1067 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
1075 Again, these expressions can be nested arbitrarily.
1077 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1085 { <c g>1 ~ <c g>4 } \\
1093 See @ref{Basic polyphony}.
1097 @node Combining notes into chords
1098 @subsection Combining notes into chords
1101 Chords can be made by surrounding pitches with single angle brackets. Angle
1102 brackets are the symbols @samp{<} and @samp{>}.
1104 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1105 r4 <c e g>4 <c f a>2
1108 You can combine markings like beams and ties with chords. They must
1109 be placed outside the angled brackets
1111 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1112 r4 <c e g>8[ <c f a>]~ <c f a>2
1115 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1116 r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
1123 This section introduces vocal music and simple song sheets.
1131 @node Printing lyrics
1132 @subsection Printing lyrics
1136 Consider a simple melody:
1138 @lilypond[quote,ragged-right,verbatim]
1145 The lyrics can be set to these notes, combining both with the
1146 @code{\addlyrics} keyword. Lyrics are entered by separating each
1147 syllable with a space.
1149 @lilypond[quote,ragged-right,verbatim]
1155 \addlyrics { One day this shall be free }
1160 @cindex extender line
1161 This melody ends on a @rglos{melisma}, a single syllable (@q{free})
1162 sung to more than one note. This is indicated with an @emph{extender
1163 line}. It is entered as two underscores @code{__}:
1165 @lilypond[quote,ragged-right,verbatim]
1171 \addlyrics { One day this shall be free __ }
1175 Similarly, hyphens between words can be entered as two dashes,
1176 resulting in a centered hyphen between two syllables
1182 @c no ragged-right here because otherwise the hypens get lost.
1183 @lilypond[quote,verbatim]
1189 \addlyrics { A -- le gri -- a }
1195 More options, such as putting multiple stanzas below a melody, are
1196 discussed in @ref{Vocal music}.
1201 @subsection A lead sheet
1207 @c TODO: revise this, \chords { } is shorter and more intuitive.
1208 @c I need help for this. -gp
1210 In popular music it is common to denote accompaniment with chord names.
1211 Such chords can be entered like notes,
1213 @lilypond[quote,ragged-right,verbatim]
1214 \chordmode { c2 f4. g8 }
1218 Now each pitch is read as the root of a chord instead of a note.
1219 This mode is switched on with @code{\chordmode}
1221 Other chords can be created by adding modifiers after a colon. The
1222 following example shows a few common modifiers
1224 @lilypond[quote,verbatim,ragged-right]
1225 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1228 For lead sheets, chords are not printed on staves, but as names on a
1229 line for themselves. This is achieved by using @code{\chords} instead
1230 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1231 but renders the notes in a @code{ChordNames} context, with the
1234 @lilypond[quote,verbatim,ragged-right]
1235 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1239 When put together, chord names, lyrics and a melody form
1240 a lead sheet, for example,
1242 @lilypond[quote,verbatim,ragged-right]
1243 % this melody needs to be changed. See my new example in 2.4.1. -gp
1245 \chords { r2 c:sus4 f }
1247 r4 c' \times 2/3 { f g g }
1248 \times 2/3 { g4( a2) }
1250 \addlyrics { I want to break free __ }
1254 A complete list of modifiers and other options for layout can be found
1259 @section Final touches
1261 This is the final section of the tutorial; it demonstrates how to add the
1262 final touches to simple pieces, and provides an introduction to the rest
1268 * Absolute note names::
1269 * Organizing pieces with identifiers::
1270 * After the tutorial::
1271 * How to read the manual::
1275 @node Version number
1276 @subsection Version number
1279 The @code{\version} statement marks for which version of LilyPond the file
1280 was written. To mark a file for version 2.10.1, place
1287 at the top of your LilyPond file.
1289 These annotations make future upgrades of LilyPond go more
1290 smoothly. Changes in the syntax are handled with a special program,
1291 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
1292 @code{\version} to determine what rules to apply.
1296 @subsection Adding titles
1298 The title, composer, opus number, and similar information are entered
1299 in the @code{\header} block. This exists outside of the main
1300 music expression; the @code{\header} block is usually placed underneath
1301 the @ref{Version number}.
1312 @dots{} music @dots{}
1316 When the file is processed, the title and composer are printed above
1317 the music. More information on titling can be found in @ref{Creating
1321 @node Absolute note names
1322 @subsection Absolute note names
1324 So far we have always used @code{\relative} to define pitches. This is
1325 the easiest way to enter most music, but another way of defining pitches
1326 exists: absolute mode.
1328 If you omit the @code{\relative}, LilyPond treats all pitches as
1329 absolute values. A @code{c'} will always mean middle C, a @code{b} will
1330 always mean the note one step below middle C, and a @code{g,} will
1331 always mean the note on the bottom staff of the bass clef.
1333 @lilypond[quote,verbatim,ragged-right]
1341 Here is a four-octave scale:
1343 @lilypond[quote,verbatim,ragged-right]
1358 As you can see, writing a melody in the treble clef involves a lot of
1359 quote ' marks. Consider this fragment from Mozart:
1361 @lilypond[quote,verbatim,ragged-right]
1365 cis''8. d''16 cis''8 e''4 e''8
1366 b'8. cis''16 b'8 d''4 d''8
1370 All these quotes makes the input less readable and it is a source of
1371 errors. With @code{\relative}, the previous example is much easier
1374 @lilypond[quote,verbatim,ragged-right]
1378 cis8. d16 cis8 e4 e8
1383 If you make a mistake with an octave mark (@code{'} or @code{,}) while
1384 working in @code{\relative} mode, it is very obvious -- many notes will
1385 be in the wrong octave. When working in absolute mode, a single mistake
1386 will not be as visible, and will not be as easy to find.
1388 However, absolute mode is useful for music which has large intervals, and
1389 is extremely useful for computer-generated LilyPond files.
1392 @node Organizing pieces with identifiers
1393 @subsection Organizing pieces with identifiers
1395 When all of the elements discussed earlier are combined to produce
1396 larger files, the music expressions get a lot bigger. In polyphonic
1397 music with many staves, the input files can become very confusing. We can
1398 reduce this confusion by using @emph{identifiers}.
1400 Identifiers (also known as variables or macros), we can break up
1401 complex music expressions. An identifier is assigned as follows
1404 namedMusic = @{ @dots{} @}
1407 The contents of the music expression @code{namedMusic} can be used
1408 later by placing a backslash in front of the name
1409 (@code{\namedMusic}, just like a normal LilyPond command). Identifiers
1410 must be defined @emph{before} the main music expression.
1412 @lilypond[quote,verbatim,ragged-right]
1413 violin = \new Staff { \relative c'' {
1416 cello = \new Staff { \relative c {
1429 The name of an identifier should have alphabetic characters only: no
1430 numbers, underscores, or dashes.
1432 It is possible to use variables for many other types of objects in the
1438 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1441 Depending on its contents, the identifier can be used in different
1442 places. The following example uses the above variables:
1453 @node After the tutorial
1454 @subsection After the tutorial
1456 After finishing the tutorial, you should probably try writing a
1457 piece or two. Start with one of the @ref{Templates} and
1458 add notes. If you need any notation that was not covered in the
1459 tutorial, look at the Notation Reference, starting with
1460 @ref{Basic notation}. If you want to write for an instrument
1461 ensemble which is not covered in the templates,
1462 take a look at @ref{Extending the templates}.
1464 Once you have written a few short pieces, read the rest of
1465 the Learning Manual (chapters 3-5). There's nothing wrong
1466 with reading them now, of course! However, the rest of the
1467 Learning Manual assumes that you are familiar with
1468 LilyPond input. You may wish to skim these chapters right
1469 now, and come back to them after you have more experience.
1472 @node How to read the manual
1473 @subsection How to read the manual
1475 As we saw in @ref{How to read the tutorial}, many examples in the
1476 tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
1479 In the rest of the manual, we are much more lax about the
1480 printed examples: sometimes they may have omitted a
1481 @code{\relative c'' @{ ... @}}, but in other times a different initial
1482 pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
1483 the whole example is in absolute note mode! However, ambiguities like
1484 this only exist where the pitches are not important. In any example
1485 where the pitch matters, we have explicitly stated our @code{\relative}
1486 our our absolute-mode @code{@{ @}}.
1488 If you are still confused about the exact LilyPond input that was
1489 used in an example, read the HTML version (if you are not already doing
1490 so) and click on the picture of the music. This will display the exact
1491 input that LilyPond used to generate this manual.