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?
14 Using LilyPond comes down to encoding music in an input file. After
15 entering the music, the program is run on the file producing output
16 which can be viewed or printed. In this tutorial, we will show step
17 by step how to enter such files, and illustrate the process with
18 fragments of input and the corresponding output. At the end of every
19 section, a paragraph will list where to find further information on
22 Many people learn programs by trying and fiddling around with the
23 program. This is also possible with LilyPond. If you click on a
24 picture in the HTML version of this manual, you will see the exact
25 LilyPond input that was used to generate that image.
27 For example, consider the following input:
29 c'^\markup @{ \bold \huge @{ Click on this image! @} @}
31 @c @lily pond[relative=1,raggedright,with the following output:]
32 with the following output:
33 @lilypond[relative=1,raggedright]
34 c'^\markup { \bold \huge { Click on this image! } }
38 By cutting and pasting the full input into a test file, you have a
39 starting template for experiments. If you like learning in this way,
40 you will probably want to print out or bookmark
44 @ref{Cheat sheet}, which is a table listing all commands for quick
48 This tutorial starts with a short introduction to the LilyPond music
49 language. After this first contact, we will show you how to to
50 produce printed output. You should then be able to create and print
51 your first sheets of music.
56 * More about pitches::
58 * Automatic and manual beams::
60 * Music expressions explained::
62 * Adding articulation marks to notes::
63 * Combining notes into chords::
64 * Basic rhythmical commands::
65 * Commenting input files::
68 * Listening to output::
70 * Single staff polyphony::
72 * Organizing larger pieces::
73 * An orchestral part::
74 * Integrating text and music::
81 The first example demonstrates how to enter the very simple piece of
82 music, a scale. A note can be entered by typing its name, from
83 @samp{a} through @samp{g}. So, if you enter
90 the result looks like this:
92 @lilypond[notime,relative]
96 The duration of a note is specfied by a number after the note name.
97 @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
105 \set Score.timing = ##f
106 \set Staff.autoBeaming = ##f
107 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
110 If you do not specify a @rglos{duration}, then the duration last
111 entered is used, and the first note will be a quarter
118 \set Score.timing = ##f
119 \transpose c c' { a a8 a a2 a s16_" " }
123 Rests are entered just like notes, but with the name ``@code{r}'':
132 \set Score.timing = ##f
133 \set Staff.Clef = \turnOff
134 \set Staff.TimeSignature = \turnOff
142 Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
149 \set Score.timing = ##f
150 \transpose c c' { a2. a4 a8. a16 s16_" " }
154 The @rglos{meter} (or @rglos{time signature}) can be set with the
155 @code{\time} command:
163 @c a clef here may lead to confusion
165 \override Staff.Clef #'transparent = ##t
175 The @rglos{clef} can be set using the @code{\clef} command:
177 @c what is more common name treble or violin?
178 @c in Dutch, it is violin.
179 @c in English it is definitely treble.
188 \set Score.timing = ##f
199 To recognize names like @code{c} and @code{d} as pitches, they have to
200 be entered inside a so-called @code{\notes} block. This block is
201 formed by enclosing notes and commands are enclosed in curly braces,
211 and adding the keyword @code{\notes} before the opening brace
212 @code{@{}, for example,
223 Now the piece of music is almost ready to be printed. When this
224 enclosed a @code{\score} block, i.e. braces @code{@{ @dots{} @}} with
225 keyword @code{\score} in front, like
238 then the music will be converted to printable output:
249 linewidth = 55 * \staffspace
254 In many examples in this manual, both @code{\score} and @code{\notes}
255 and accompanying braces are left out for brevity. However, they must
256 be present when feeding the file to LilyPond.
258 For more elaborate information on
261 @item Entering pitches and durations
263 @ref{Pitches} and @ref{Durations}.
268 @item Time signatures and other timing commands
269 see @ref{Time signature}.
272 @node Running LilyPond
273 @section Running LilyPond
275 In the last section we explained what kind of things you could enter
276 in a LilyPond file. In this section we will explain what commands to run
277 and how to view or print the output. If you have not used LilyPond
278 before, want to test your setup, or want to run an example file
279 yourself, read this section. The instructions that follow are for
280 Unix-like systems. Some additional instructions for Microsoft Windows
281 are given at the end of this section.
283 Begin by opening a terminal window and starting a text editor. For
284 example, you could open an xterm and execute
285 @code{joe}.@footnote{There are macro files for VIM addicts, and there
286 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
287 installed already, then refer to the file @file{INSTALL.txt}}. In
288 your text editor, enter the following input and save the file as
294 \notes @{ c'4 e' g' @}
299 To process @file{test.ly}, proceed as follows:
307 You will see something resembling:
312 Now processing: `/home/fred/ly/test.ly'
314 Interpreting music...[1]
315 @emph{ ... more interesting stuff ... }
316 PDF output to `test.pdf'...
317 DVI output to `test.dvi'...
321 @cindex Viewing music
324 The result is the file @file{test.pdf}@footnote{For @TeX{}
325 afficionados: there is also a @file{test.dvi} file. It can be viewed
326 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
327 not show up in the magnifying glass. The specials also mean that the
328 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
333 } which you can print or with the standard facilities of your
334 operating system.@footnote{If your system does not have any tools
335 installed, you can try @uref{Ghostscript,
336 http://www.cs.wisc.edu/~ghost/}, a freely available package for
337 viewing and printing PDF and PostScript files.}
339 On Windows, start up a text-editor@footnote{Any programmer-oriented
340 editor will do, for example NotePad. Do not use word processor. Its
341 formatting codes will confuse LilyPond} and enter
347 \notes @{ c'4 e' g' @}
352 Save it on the desktop as @file{test.ly} and make sure that it is not
353 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
354 the file and show the resulting PDF file.
357 @node More about pitches
358 @section More about pitches
360 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
361 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
362 you might expect, a @rglos{double sharp} or @rglos{double flat} is
363 made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
364 derived from note naming conventions in Nordic and Germanic languages,
365 like German and Dutch.}
372 \set Score.timing = ##f
373 \transpose c c' { cis1 ees fisis aeses s16_" " }
377 @cindex key signature, setting
379 The key signature is set with the command ``@code{\key}'', followed by
380 a pitch and @code{\major} or @code{\minor}:
390 \set Staff.TimeSignature = \turnOff
399 Key signatures together with the pitches (including alterations) are
400 used together to determine when to print accidentals. This is a
401 feature that often causes confusion to newcomers, so let us explain it
405 LilyPond makes a sharp distinction between musical content and
406 layout. The alteration (flat, natural or sharp) of a note is part of
407 the pitch, and is therefore musical content. Whether an accidental (a
408 flat, natural or sharp @emph{sign}) is a printed in front of the
409 corresponding note is a question of layout. Layout is something that
410 follows rules, so accidentals are printed automatically according to
411 those rules. The pitches in your music are works of art, so they will
412 not be added automatically, and you must enter what you want to hear.
417 \set Staff.TimeSignature = \turnOff
423 no note gets an explicit accidental, but still you enter
430 The code @code{d} does not mean ``print a black dot just below the
431 staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
432 of A-flat, it does get an accidental:
435 \set Staff.TimeSignature = \turnOff
446 Adding all alterations explicitly might require a little more effort
447 when typing, but the advantage is that transposing is easier, and
448 music can be printed according to different conventions. See
449 @ref{Accidentals} for some examples how accidentals can be printed
450 according to different rules.
453 For more information on
457 see @ref{Accidentals}
460 see @ref{Key signature}
464 @section Entering ties
467 A tie is created by adding a tilde ``@code{~}'' to the first note
470 @lilypond[fragment,verbatim,relative=2]
477 For more information on Ties, see @ref{Ties}.
481 @node Automatic and manual beams
482 @section Automatic and manual beams
484 @cindex beams, by hand
485 Beams are drawn automatically
489 @lilypond[fragment,relative=1,verbatim]
495 If you do not like where beams are put, they can be entered by
496 hand. Mark the first note to be beamed with @code{[} and the last one
501 @lilypond[fragment,relative=1,verbatim]
507 For more information on beams, see @ref{Beaming}.
510 Here are key signatures, accidentals and ties in action:
521 fis4 fis8 fis8 eis4 a8 gis~
529 \notes { \transpose c c' {
535 fis4 fis8 fis8 eis4 a8 gis~
538 \paper { linewidth = #(* 50 staffspace) }
544 There are some interesting points to note in this example. Bar lines
545 and beams are drawn automatically. Line breaks are calculated
546 automatically; it does not matter where the line breaks are in the
547 source file. Finally, the order in which time, key and clef changes
548 are entered is not relevant: in the printout, these are ordered
549 according to standard notation conventions.
554 @section Octave entry
557 @c Tim wants to move this quotes example just before the: quotes-do not-work
558 @c score, but we'd need to remove quotes from the other two (key and
561 @c better to have this just before the `octaves are bad' snipped
562 @c but we'd need to remove the ', from \key and tie
563 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
564 the note name, to lower a note one octave, add a ``low quote'' @code{,}
565 (a comma). Middle C is @code{c'}:
569 c'4 c'' c''' \clef bass c c,
573 \set Score.timing = ##f
574 \set Staff.TimeSignature = \turnOff
575 c'4 c'' c''' \clef bass c c,
580 An example of the use of quotes is in the following Mozart fragment:
581 @lilypond[raggedright,fragment,verbatim]
584 cis''8. d''16 cis''8 e''4 e''8
585 b'8. cis''16 b'8 d''4 d''8
588 This example shows that music in a high register needs lots of quotes.
589 This makes the input less readable, and it is a source of errors. The
590 solution is to use ``relative octave'' mode. In practice, this is the
591 most convenient way to copy existing music. To use relative mode, add
592 @code{\relative} before the piece of music. You must also give a note
593 from which relative starts, in this case @code{c''}. If you do not
594 use octavation quotes (i.e. do not add @code{'} or @code{,} after a
595 note), relative mode chooses the note that is closest to the previous
596 one. For example, @code{c f} goes up while @code{c g} goes down:
606 \set Score.timing = ##f
607 \set Staff.TimeSignature = \turnOff
616 Since most music has small intervals, pieces can be written almost
617 without octavation quotes in relative mode. The previous example is
620 @lilypond[raggedright,fragment,verbatim]
630 @c needed better, maybe even redundant explanation
631 @c added another example below.
632 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
633 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
634 Larger intervals are made by adding octavation quotes.
643 \set Score.timing = ##f
644 \set Staff.TimeSignature = \turnOff
652 In @code{\relative} mode, quotes or commas no longer determine the
653 absolute height of a note. Rather, the height of a note is relative to
654 the previous one, and changing the octave of a single note shifts all
655 following notes an octave up or down.
657 For more information on Relative octaves see @ref{Relative octaves}
658 and @ref{Octave check}.
661 @node Music expressions explained
662 @section Music expressions explained
665 In input files, music is represent by so-called @emph{music
666 expression}. We have already seen in the previous examples;
667 a single note is a music expression:
669 @lilypond[verbatim,relative=2]
673 Enclosing group of notes in braces creates a new music
676 @lilypond[verbatim,relative=2]
680 Putting a bunch of music expressions (notes) in braces, means that
681 they should be played in sequence. The result again is a music
682 expression, which can be grouped with other expressions sequentially.
683 Here, the expression from the previous example is combined with two
686 @lilypond[verbatim,relative=2]
690 This technique becomes useful for non-monophonic music. To enter music
691 with more voices or more staves, we also combine expressions in
692 parallel. Two voices that should play at the same time, are entered as
693 a simultaneous combination of two sequences. A ``simultaneous'' music
694 expression is formed by enclosing expressions in @code{<<} and
695 @code{>>}. In the following example, three sequences (all contaning
696 two notes) are combined simultaneously:
698 @lilypond[verbatim,relative=2]
706 This mechanism is similar to mathematical
707 formulas: a big formula is created by composing small formulas. Such
708 formulas are called expressions, and their definition is recursive, so
709 you can make arbitrarily complex and large expressions. For example,
718 ((1 + 2) * 3) / (4 * 5)
721 @cindex music expression
722 This example shows a sequence of expressions, where each expression is
723 contained in the next one. The simplest expressions are numbers and
724 operators (like +, * and /). Parentheses are used to group
727 Like mathematical expressions, music expressions can be nested
728 arbitrarily deep, e.g.
729 @lilypond[verbatim,relative=1]
731 << { e f } { c <<b d>> }
739 When spreading expressions over multiple lines, it is customary to use
740 an indent that indicates the nesting level. Formatting music like this
741 eases reading, and helps you insert the right number of closing
742 braces at the end of an expression. For example,
757 Some editors have special support for entering LilyPond, and can help
758 indenting source files. See @ref{Editor support} for more information.
765 To print more than one staff, each piece of music that makes up a
766 staff is marked by adding @code{\new Staff} before it. These
767 @code{Staff}'s are then combined parallel with @code{<<} and
768 @code{>>}, as demonstrated here:
771 @lilypond[fragment,verbatim]
773 \new Staff { \clef violin c'' }
774 \new Staff { \clef bass c }
780 The command @code{\new} introduces a ``notation context.'' A notation
781 context is an environment in which musical events (like notes or
782 @code{\clef} commands) are interpreted. For simple pieces, such
783 notation contexts are created implicitly. For more complex pieces, it
784 is best to mark contexts explicitly. This ensures that each fragment
787 There are several types of contexts: @code{Staff}, @code{Voice} and
788 @code{Score} handle normal music notation. Other staves are also
789 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
790 printing chord names).
793 In terms of syntax, prepending @code{\new} to a music expression
794 creates a bigger music expression. In this way it resembles the minus
795 sign in mathematics. The formula (4+5) is an expression, so -(4+5) is a bigger
798 We can now typeset a melody with two staves:
800 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
804 @lilypond[verbatim,raggedright]
824 For more information on context see the description in
825 @ref{Interpretation context}.
829 @node Adding articulation marks to notes
830 @section Adding articulation marks to notes
836 Common accents can be added to a note using a dash (`@code{-}') and a
839 @lilypond[verbatim,relative=1]
840 c-. c-- c-> c-^ c-+ c-_
846 Similarly, fingering indications can be added to a note using a dash
847 (`@code{-}') and the digit to be printed:
849 @lilypond[verbatim,relative=1]
854 Dynamic signs are made by adding the markings (with a backslash) to
857 @lilypond[verbatim,relative=1]
867 Crescendi and decrescendi are started with the commands @code{\<} and
868 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
869 crescendo, or the command @code{\!} can be used:
871 @lilypond[verbatim,relative=1]
881 A slur is a curve drawn across many notes, and indicates legato
882 articulation. The starting note and ending note are marked with a
883 ``@code{(}'' and a ``@code{)}'' respectively:
886 @lilypond[fragment,relative=1,verbatim]
887 d4( c16)( cis d e c cis d e)( d4)
891 @cindex slurs versus ties
892 A slur looks like a tie, but it has a different meaning. A tie simply
893 makes the first note sound longer, and can only be used on pairs of
894 notes with the same pitch. Slurs indicate the articulations of notes,
895 and can be used on larger groups of notes. Slurs and ties are also
898 @lilypond[fragment,relative=1]
899 c2~( c8 fis fis4 ~ fis2 g2)
902 @cindex phrasing slurs
903 Slurs to indicate phrasing can be entered with @code{\(} and
904 @code{\)}, so you can have both legato slurs and phrasing slurs at the
908 @lilypond[fragment,relative=1,verbatim]
909 a8(\( ais b c) cis2 b'2 a4 cis, c\)
914 For more information on
917 see @ref{Fingering instructions}
919 see @ref{Articulations}
923 see @ref{Phrasing slurs}
929 @node Combining notes into chords
930 @section Combining notes into chords
933 Chords can be made by surrounding pitches with angled brackets.
934 Angled brackets are the symbols @code{<} and @code{>}.
937 @lilypond[relative,fragment,verbatim]
944 You can combine markings like beams and ties with chords. They must
945 be placed outside the angled brackets:
947 @lilypond[relative,fragment,verbatim]
948 r4 <c e g>8[ <c f a>]~ <c f a>
954 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
956 @lilypond[relative,fragment]
958 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
966 @node Basic rhythmical commands
967 @section Basic rhythmical commands
971 @cindex partial measure
972 A pickup is entered with the keyword @code{\partial}. It
973 is followed by a duration: @code{\partial 4} is a quarter note upstep
974 and @code{\partial 8} an eighth note:
975 @lilypond[relative=1,verbatim,fragment]
982 Tuplets are made with the @code{\times} keyword. It takes two
983 arguments: a fraction and a piece of music. The duration of the piece
984 of music is multiplied by the fraction. Triplets make notes occupy
985 2/3 of their notated duration, so a triplet has 2/3 as its fraction:
987 @lilypond[relative,verbatim,fragment]
988 \times 2/3 { f8 g a }
994 Grace notes are also made by prefixing a music expression with the
995 keyword @code{\appoggiatura} or @code{\acciaccatura}
999 @lilypond[relative=1,verbatim,fragment]
1000 c4 \appoggiatura b16 c4
1001 c4 \acciaccatura b16 c4
1006 For more information on
1009 see @ref{Grace notes},
1013 see @ref{Partial measures}.
1018 @node Commenting input files
1019 @section Commenting input files
1022 @cindex line comment
1023 @cindex block comment
1024 Comments are pieces of the input that are ignored. There are two
1025 types of comments. The percent symbol @code{%} introduces a line
1026 comment; the rest of the line is ignored. Block comments span larger
1027 sections of input. Anything that is enclosed in @code{%@{} and
1028 @code{%@}} is ignored too. The following fragment shows possible uses
1032 % notes for twinkle twinkle follow:
1037 This line, and the notes below
1038 are ignored, since they are in a
1048 @node Printing lyrics
1049 @section Printing lyrics
1052 @c TODO: (c) status of the Queen fragment.
1056 Lyrics are entered by separating each syllable with a space,
1059 I want to break free
1062 To prevent certain words (for example ``as'') as being read as a
1063 pitch, the input-mode must be switched. This is done with
1064 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
1067 \lyrics @{ I want to break free @}
1071 Again, the braces @code{@{@}} signify that the syllables are sung in
1074 By default, music expressions are interpreted in @code{Staff} context. For
1075 lyrics, this is obviously not desirable, so it is necessary
1076 to explicitly specify a @code{Lyrics} context,
1079 \new Lyrics \lyrics @{ I want to break free @}
1082 The melody for this song is as follows:
1084 @lilypond[fragment,relative=1]
1086 \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
1089 The lyrics can be set to these notes, combining both with the
1090 @code{\lyricsto} keyword:
1092 \lyricsto "@var{name}" \new Lyrics @dots{}
1094 where @var{name} identifies to which melody the lyrics should be
1095 aligned. In this case, there is only one melody, so we can leave it
1099 @lilypond[verbatim,fragment,raggedright]
1105 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1107 \lyricsto "" \new Lyrics \lyrics { I want to break free }
1113 @cindex extender line
1115 This melody ends on a @rglos{melisma}, a single syllable (``free'')
1116 sung to more than one note. This is indicated with an @emph{extender
1117 line}. It is entered as two underscores, i.e.
1119 \lyrics @{ I want to break free __ @}
1121 @lilypond[raggedright]
1124 \relative c' \new Voice {
1127 \times 2/3 { f g g } \times 2/3 { g4( a2) } }
1128 \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
1133 Similarly, hyphens between words can be entered as two dashes,
1134 resulting in a centered hyphen between two syllables:
1136 Twin -- kle twin -- kle
1138 @lilypond[raggedright]
1140 << \notes \relative f'
1141 \context Voice = bla { \time 2/4
1143 \new Lyrics \lyrics \lyricsto "bla" { Twin -- kle twin -- kle }
1145 \paper { raggedright = ##t }
1149 More options, like putting multiple lines of lyrics below a melody are
1150 discussed in @ref{Vocal music}.
1155 @section A lead sheet
1161 In popular music, it is common to denote accompaniment as chord-names.
1162 Such chords can be entered like notes,
1169 but now, each pitch is read as the root of a chord instead of a note.
1170 This mode is switched on with @code{\chords}:
1174 \chords { c2 f4. g8 }
1178 Other chords can be created by adding modifiers after a colon. The
1179 following example shows a few common modifiers:
1182 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1185 For leadsheets, chords are not printed on staves, but as names on a
1186 line of themselves. Hence, we have to override the context with
1187 @code{\new}, rendering the music expression in a @code{ChordNames}
1191 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1196 When put together, chord names, lyrics and a melody form
1197 a lead sheet, for example,
1202 \new ChordNames \chords @{ @emph{chords} @}
1203 \notes @emph{the melody}
1204 \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
1212 \new ChordNames \chords { r8 c2:sus4 f }
1213 \notes \relative c' {
1215 \times 2/3 { f g g } \times 2/3 { g4( a2) } }
1216 \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
1218 \paper{ raggedright = ##t }
1223 A complete list of modifiers and other options for layout are in the
1224 reference manual section @ref{Chords}.
1226 @node Listening to output
1227 @section Listening to output
1232 MIDI (Musical Instrument Digital Interface) is a standard for
1233 connecting and controlling digital instruments. A MIDI file is like a
1234 tape recording of a MIDI instrument.
1236 To create a MIDI from a music piece of music, add a
1237 @code{\midi} block causes LilyPond to create a MIDI file, so you
1238 can listen to the music you entered. It is great for checking the
1239 music: octaves that are off or accidentals that were mistyped stand
1240 out very much when listening to the musical transcription.
1242 The @code{\midi} block is added to @code{\score}, for example,
1246 \midi @{ \tempo 4=72 @}
1250 Here, the tempo is specified using the @code{\tempo} command. In this
1251 case the tempo of quarter notes is set to 72 beats per minute. More
1252 information on auditory output is in the @ref{Sound} section in the
1255 If there is a @code{\midi} command in a @code{\score}, then only MIDI
1256 will be produced. If notation is needed too, then a @code{\paper}
1257 block must be added too:
1262 \midi @{ \tempo 4=72 @}
1272 Bibliographic information is entered in a separate block, the
1273 @code{\header} block. The name of the piece, its composer, etc. are
1274 entered as an assignment, within @code{\header @{ @dots{} @}}. For
1278 title = "Eight miniatures"
1279 composer = "Igor Stravinsky"
1280 tagline = "small is beautiful"
1283 \score @{ @dots{} @}
1286 @cindex bibliographic information
1289 @cindex Engraved by LilyPond
1291 When the file is processed the title and composer are printed above
1292 the music. The `tagline' is a short line printed at bottom of the last
1293 page which normally says ``Engraved by LilyPond, version @dots{}''. In
1294 the example above it is replaced by the line ``small is
1295 beautiful.''@footnote{Nicely printed parts are good PR for us, so
1296 please leave the tagline if you can.}
1298 Normally, the @code{\header} is put at the top of the file. However,
1299 for a document that contains multiple pieces (e.g. an etude book, or
1300 an orchestral part with multiple movements), the header can be
1301 put in the @code{\score} block as follows; in this case, the name of
1302 each piece will be printed before each movement:
1305 @cindex Engraved by LilyPond
1306 @cindex signature line
1311 title = "Eight miniatures"
1312 composer = "Igor Stravinsky"
1313 tagline = "small is beautiful"
1317 \header @{ piece = "Adagio" @}
1320 \header @{ piece = "Menuetto" @}
1324 More information on titling can be found in @ref{Invoking lilypond}.
1327 @node Single staff polyphony
1328 @section Single staff polyphony
1331 @cindex multiple voices
1332 @cindex voices, more -- on a staff
1334 When different melodic lines are combined on a single staff they are
1335 printed as polyphonic voices: each voice has its own stems, slurs and
1336 beams, and the top voice has the stems up, while the bottom voice has
1339 Entering such parts is done by entering each voice as a sequence (with
1340 @code{@{ .. @}}), and combining those simultaneously, separating the
1341 voices with @code{\\}:
1343 @lilypond[verbatim,relative=1]
1344 << { a4 g2 f4~ f4 } \\
1348 For polyphonic music typesetting, spacer rests can also be convenient: these
1349 are rests that do not print. It is useful for filling up voices that
1350 temporarily do not play. Here is the same example with a spacer rest
1351 instead of a normal rest
1352 @lilypond[relative=1]
1353 << { a4 g2 f4~ f4 } \\
1357 Again, these expressions can be nested arbitrarily:
1359 @lilypond[fragment,relative=2]
1362 << { a4 g2 f4~ f4 } \\
1367 { <c, g>1 ~ <c g>4 } \\
1374 More features of polyphonic typesetting are in the notation manual
1378 @section Piano staves
1380 @cindex staff switch, manual
1381 @cindex cross staff voice, manual
1382 @cindex @code{\context}
1384 Piano music is always typeset in two staves connected by a brace.
1385 Printing such a staff is similar to the polyphonic example in
1388 << \new Staff @{ @dots{} @}
1389 \new Staff @{ @dots{} @}
1392 but now this entire expression must be interpreted as a
1395 \new PianoStaff << \new Staff @dots{} >>
1398 Here is a full-fledged example:
1400 @lilypond[relative,fragment]
1402 << \new Staff { \time 2/4
1405 \clef bass c,, c' e c }
1409 More information on formatting piano music is in @ref{Piano music}.
1411 @node Organizing larger pieces
1412 @section Organizing larger pieces
1414 When all of the elements discussed earlier are combined to produce
1415 larger files, the @code{\score} blocks get a lot bigger, because the
1416 music expressions are longer, and, in the case of polyphonic pieces,
1417 more deeply nested. Such large expressions can become unwieldy.
1419 By using variables, also known as identifiers, it is possible to break
1420 up complex music expressions. An identifier is assigned as follows:
1423 namedMusic = \notes @{ @dots{}
1426 The contents of the music expression @code{namedMusic}, can be used
1427 later by preceding the name with a backslash, i.e. @code{\namedMusic}.
1428 In the next example, a two note motive is repeated two times by using
1429 variable substitution:
1431 @lilypond[raggedright,verbatim]
1440 The name of an identifier should have alphabetic characters only;
1441 no numbers, underscores or dashes. The assignment should be outside of
1442 the @code{\score} block.
1444 It is possible to use variables for many other types of objects in the
1449 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1451 Depending on its contents, the identifier can be used in different
1452 places. The following example uses the above variables:
1455 \notes @{ c4^\name @}
1463 More information on the possible uses of identifiers is in the
1464 technical manual, in TODO.
1467 @node An orchestral part
1468 @section An orchestral part
1470 In orchestral music, all notes are printed twice: both in a part for
1471 the musicians, and in a full score for the conductor. Identifiers can
1472 be used to avoid double work: the music is entered once, and stored in
1473 a variable. The contents of that variable is then used to generate
1474 both the part and the score.
1476 It is convenient to define the notes in a special file, for example,
1477 suppose that the @file{horn-music.ly} contains the following part of a
1480 hornNotes = \notes \relative c @{
1486 Then, an individual part is made by putting the following in a file
1489 \include "horn-music.ly"
1491 instrument = "Horn in F"
1494 \notes \transpose f c' \hornNotes
1501 \include "horn-music.ly"
1505 substitutes the contents of @file{horn-music.ly} at this position in
1506 the file, so @code{hornNotes} is defined afterwards. The command
1507 @code{\transpose f c'} indicates that the argument, being
1508 @code{\hornNotes}, should be transposed by a fifth downwards: sounding
1509 @code{f} is denoted by notated @code{c'}, which corresponds with
1510 tuning of a normal French Horn in F. The transposition can be seen in
1511 the following output:
1513 @lilypond[raggedright]
1515 \notes \transpose f c' \notes \relative c {
1522 In ensemble pieces, one of the voices often does not play for many
1523 measures. This is denoted by a special rest, the multi-measure
1524 rest. It is entered with a capital @code{R} followed by a duration (1
1525 for a whole note, 2 for a half note, etc.) By multiplying the
1526 duration, longer rests can be constructed. For example, this rest
1527 takes 3 measures in 2/4 time:
1532 When printing the part, multi-rests
1533 must be condensed. This is done by setting a run-time variable:
1535 \set Score.skipBars = ##t
1539 This commands sets the property @code{skipBars} property in the
1540 @code{Score} context to true (@code{##t}). Prepending the rest and
1541 this option to the music above, leads to the following result:
1543 @lilypond[raggedright]
1544 \score {\notes { \transpose f c' \relative c { \time 2/4
1545 \set Score.skipBars = ##t
1547 r4 f8 a cis4 f e d } }}
1551 The score is made by combining all of the music in a @code{\score}
1552 block. Assuming that the other voice is in @code{bassoonNotes} in the
1553 file @file{bassoon-music.ly}, a score is made with
1556 \include "bassoon-music.ly"
1557 \include "horn-music.ly"
1561 \new Staff \hornNotes
1562 \new Staff \bassoonNotes
1568 @lilypond[raggedright]
1570 \notes \relative c \simultaneous {
1571 \new Staff { \time 2/4
1573 r4 f8 a cis4 f e d }
1574 \new Staff { \clef bass
1575 r4 d,8 f | gis4 c | b bes |
1576 a8 e f4 | g d | gis f }
1580 More in-depth information on preparing parts and scores is in the
1581 notation manual, in @ref{Orchestral music}.
1583 Setting run-time variables (``properties'') is discussed in ref-TODO.
1585 @node Integrating text and music
1586 @section Integrating text and music
1588 @cindex La@TeX{}, music in
1589 @cindex HTML, music in
1590 @cindex Texinfo, music in
1592 Some texts include music examples. Examples are musicological
1593 treatises, songbooks or manuals like this. Such texts can be made by
1594 hand, simply by importing a PostScript figure into the word processor.
1595 However, there is an automated procedure to reduce the amount of work
1596 involved HTML, La@TeX{}, and Texinfo documents.
1599 A script called @code{lilypond-book} will extract the music fragments,
1600 run format them, and put back the resulting notation. This program is
1601 fully described in @ref{lilypond-book manual}. Here we show a small
1602 example. The example also contains explanatory text, so we will not
1603 comment on it further:
1606 \documentclass[a4paper]@{article@}
1609 Documents for lilypond-book may freely mix music and text. For
1613 \score @{ \notes \relative c' @{
1614 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1618 If there is no \verb+\score+ block in the fragment,
1619 \texttt@{lilypond-book@} will supply one
1625 In this example two things happened: a
1626 \verb+\score+ block was added, and the line width was set to natural
1629 Options are put in brackets.
1631 \begin[staffsize=26,verbatim]@{lilypond@}
1636 Larger examples can be put in a separate file, and introduced with
1637 \verb+\lilypondfile+.
1639 \lilypondfile@{screech-boink.ly@}
1644 Under Unix, you can view the results as follows:
1648 $ lilypond-book --output=out/ lilybook.tex
1649 lilypond-book (GNU LilyPond) 2.1.19
1650 Reading `input/tutorial/lilybook.tex'
1651 Reading `input/screech-boink.ly'
1652 @var{lots of stuff deleted}
1653 Writing `out/lilybook.tex'
1656 @var{lots of stuff deleted}
1660 To convert the file into a nice PDF document, run the following
1663 $ dvips -Ppdf -u +lilypond lilybook
1664 $ ps2pdf lilybook.ps
1668 Running lilypond-book and running latex creates a lot of temporary
1669 files, which would clutter up the working directory. To remedy this,
1670 use the @code{output} option. It will create the files in a separate
1671 subdirectory @file{out}.
1673 The result looks more or less like
1677 Documents for lilypond-book may freely mix music and text. For
1682 \notes \relative c' {
1683 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1691 If you have no @code{\score} block in the fragment,
1692 @code{lilypond-book} will supply one:
1698 In this example two things happened: a
1699 @code{score} block was added, and the line width was set to natural
1702 Options are put in brackets.
1704 @lilypond[staffsize=26,verbatim]
1708 Larger examples can be put in a separate file, and introduced with
1709 @code{\lilypondfile}.
1711 @lilypondfile{screech-boink.ly}