4 @c * more details about running lilypond; error messages,
5 @c compiling/viewing (emacs?)
6 @c * where to go from First steps+More basics?
12 <!--- @@WEB-TITLE@@=Tutorial --->
16 Using LilyPond comes down to encoding music in an input file. After
17 entering the music, the program is run on the file producing output
18 which can be viewed or printed. In this tutorial, we will show step
19 by step how to enter such files, by showing fragments of input and the
20 corresponding output. At the end of every section, a paragraph will
21 list where to find further information on the topics discussed.
23 Many people learn programs by trying and fiddling around with the
24 program. This is also possible with LilyPond. If you click on a
25 picture in the HTML version of this manual, you will see the exact
26 LilyPond input that was used to generate that image.
28 For example, consider the following input:
29 @c TODO: intertext fixme
30 @lilypond[relative 1,singleline,verbatim,intertext="with the following output:"]
31 c'^\markup { \bold \huge { Click on this image! } }
35 By cutting and pasting the full input into a test file, you have a
36 starting template for experiments. If you like learning in this way,
37 you will probably want to print out or bookmark
41 @ref{Cheat sheet}, which is a table listing all commands for quick
45 This tutorial starts with a short introduction to the LilyPond music
46 language. After this first contact, we will show you how to to
47 produce printed output, normally using the program @code{ly2dvi}. You
48 should then be able to create and print your first sheets of music.
51 * First steps:: Music language of LilyPond.
52 * Running LilyPond:: Printing music.
53 * More about pitches and accidentals::
55 * Relative octave entry::
56 * Combining music into compound expressions::
57 * Adding articulation marks to notes::
58 * Combining notes into chords::
61 * Listening to output::
63 * Single staff polyphony::
66 * Fine tuning layout::
67 * Organizing larger pieces::
68 * An orchestral part::
69 * Integrating text and music:: Integrating text and music.
76 We start off by showing how very simple music is entered in LilyPond:
77 you get a note simply by typing its @htmlref{note name}, from @samp{a}
78 through @samp{g}. So if you enter
85 then the result looks like this:
88 @c \transpose c c' { c d e f g a b }
90 @c \property Score.timing = ##f
91 @lilypond[notime, relative=2]
95 The length of a note is specified by adding a number, @samp{1} for a
96 @rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
103 \property Score.timing = ##f
104 \property Staff.autoBeaming = ##f
105 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
108 If you do not specify a @rglos{duration}, the previous one is used:
115 \property Score.timing = ##f
116 \transpose c c' { a a a2 a s16_" " }
120 Rests are entered just like notes, but with the name ``@code{r}'':
129 \property Score.timing = ##f
130 \property Staff.Clef = \turnOff
131 \property Staff.TimeSignature = \turnOff
139 Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
146 \property Score.timing = ##f
147 \transpose c c' { a2. a4 a8. a16 s16_" " }
151 The @rglos{meter} (or @rglos{time signature}) can be set with the
152 @code{\time} command:
160 @c a clef here may lead to confusion
162 \property Staff.Clef \set #'transparent = ##t
172 The @rglos{clef} can be set using the @code{\clef} command:
174 @c what is more common name treble or violin?
175 @c in Dutch, its violin.
176 @c in English its definitely treble.
185 \property Score.timing = ##f
196 Notes and commands like @code{\clef} and @code{\time} , are enclosed
197 in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
198 to @rglos{lyrics}) follows:
208 Now the piece of music is almost ready to be printed. The final step is to
209 combine the music with a printing command.
211 The printing command is the so-called @code{\paper} block. The
212 @code{\paper} block is used to customize printing specifics, but we
213 accept the defaults for now. The music and the @code{\paper} block
214 are combined by enclosing them in @code{\score @{ ... @}}. The
215 following is a complete and valid input file.
238 linewidth = 55 * \staffspace
243 During the rest of the tutorial, we will often leave out @code{\score}
244 and @code{\paper}, for clarity. However, both must be present when
245 feeding the file to LilyPond.
247 More elaborate information on entering pitches and durations is in
248 @ref{Pitches} and @ref{Durations}. Clefs are fully explained in
249 @ref{Clef}. Time signatures and other timing commands are described
250 in @ref{Time signature}.
253 @node Running LilyPond
254 @section Running LilyPond
256 In the last section we explained what kind of things you could enter
257 in a LilyPond file. In this section we explain what commands to run
258 and how to view or print the output. If you have not used LilyPond
259 before, want to test your setup, or want to run an example file
260 yourself, read this section. The instructions that follow are for
261 Unix-like systems. Some additional instructions for Microsoft Windows
262 are given at the end of this section.
264 Begin by opening a terminal window and starting a text editor. For
265 example, you could open an xterm and execute
266 @code{joe}.@footnote{There are macro files for VIM addicts, and there
267 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
268 installed already, then refer to the file @file{INSTALL.txt}}. In
269 your text editor, enter the following input and save the file as
275 \notes @{ c'4 e' g' @}
282 @c now this is weird, running ly2dvi to run LilyPond
283 @c (therefore name change proposal)
285 LilyPond is the program that computes the sheet music. All other
286 things, such as adding titles, page breaking and other page layout,
287 are done by a small wrapper program called
288 @code{ly2dvi}. @code{ly2dvi} calls LilyPond to render the music, and
289 then adds the titling and page layout instructions. To process
290 @file{test.ly} with @code{ly2dvi}, proceed as follows:
298 You will see something resembling:
303 Now processing: `/home/fred/ly/test.ly'
305 Interpreting music...[1]
306 @emph{ ... more interesting stuff ... }
307 PDF output to `test.pdf'...
308 DVI output to `test.dvi'...
312 @cindex Viewing music
315 The result of the ly2dvi is the file @file{test.pdf}.@footnote{ For
316 @TeX{} afficionados, there is also a (@file{test.dvi}) file. It can be
317 viewed with @code{xdvi}. The DVI uses a lot of PostScript specials,
318 which do not show up in the magnifying glass. The specials also mean
319 that the DVI file cannot be processed with @code{dvilj}. Use
320 @code{dvips} for printing.
324 } One of the following commands should put the PDF on your
338 If the music on your screen looks good, you can print it by clicking
339 File/Print inside your viewing program.
343 @cindex Printing output
348 On Windows, the terminal is started by clicking on the LilyPond or
349 Cygwin icon. Any text editor (such as NotePad, Emacs or Vim) may be
350 used to edit the LilyPond file. If you have a PDF viewer installed,
351 use that for viewing the PDF
352 @c where on file system for double-click people?
353 If you have no viewer, then you can download @code{GSView} from
354 @uref{http://www.cs.wisc.edu/~ghost}. With @code{GSView},
355 the PDF file can viewed with
358 @code{gsview32 test.pdf}
361 Printing may be done with
364 @code{gsview32 /s test.pdf}
368 The commands for formatting and printing music are detailed in
369 @ref{Invoking LilyPond}.
371 @node More about pitches and accidentals
372 @section More about pitches and accidentals
374 A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
375 @rglos{flat} (@texiflat{}) by adding @samp{es}. As you might expect,
376 a @rglos{double sharp} or @rglos{double flat} is made by adding
377 @samp{isis} or @samp{eses}:@footnote{This syntax derived from note
378 naming conventions in Nordic and Germanic languages, like German and
386 \property Score.timing = ##f
387 \transpose c c' { cis1 ees fisis aeses s16_" " }
391 @cindex key signature, setting
393 The key signature is set with the command ``@code{\key}'', followed by
394 a pitch and @code{\major} or @code{\minor}:
404 \property Staff.TimeSignature = \turnOff
414 A tie is created by adding a tilde ``@code{~}'' to the first note
417 @lilypond[fragment,verbatim,relative 2]
423 This example shows the key signature, accidentals and ties in action:
434 fis4 fis8 fis8 eis4 a8 gis-~
443 \notes { \transpose c c' {
449 fis4 fis8 fis8 eis4 a8 gis-~
452 \paper { linewidth = #(* 50 staffspace) }
458 There are some interesting points to note in this example. Bar lines
459 and beams are drawn automatically. Line breaks are calculated
460 automatically; it does not matter where the lines breaks are in the
461 source file. Finally, the order of time, key and clef changes is not
462 relevant: in the printout, these are ordered according to standard
463 notation conventions.
465 Accidentals (sharps and flats) do not have to be marked explicitly:
466 you just enter the pitch of the note, and an accidental is printed
467 only when necessary. The flip side of this mechanism, is that you have
468 to mark notes as sharp or flat, even when they do not get accidentals.
469 For example, in this example:
472 \property Staff.TimeSignature = #'()
474 cis dis eis fis gis ais bis
476 no note gets an explicit accidental, but still you enter
480 cis dis eis fis gis ais bis
483 Adding all alterations explicitly might require some more effort when
484 typing, but the advantage is that transposing is easier. It also makes
485 it possible to use different conventions for when to print
489 @section Octave entry
492 @c Tim wants to move this quotes example just before the: quotes-do not-work
493 @c score, but we'd need to remove quotes from the other two (key and
496 @c better to have this just before the `octaves are bad' snipped
497 @c but we'd need to remove the ', from \key and tie
498 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
499 the note name, to lower a note one octave, add a ``low quote'' @code{,}
500 (a comma). Middle C is @code{c'}:
504 c'4 c'' c''' \clef bass c c,
508 \property Score.timing = ##f
509 \property Staff.TimeSignature = \turnOff
510 c'4 c'' c''' \clef bass c c,
515 An example of the use of quotes is in the following Mozart fragment:
516 @lilypond[singleline,fragment,verbatim]
519 cis''8. d''16 cis''8 e''4 e''8
520 b'8. cis''16 b'8 d''4 d''8
523 This example shows that music in a high register needs lots of quotes.
524 This makes the input less readable, and it is a source of errors. The
525 solution is to use ``relative octave'' mode. In practice, this is the
526 most convenient way to copy existing music. To use relative mode, add
527 @code{\relative} before the piece of music. You must also give a note
528 from which relative starts, in this case @code{c''}. If you do not
529 use octavation quotes (i.e. do not add ' or , after a note), relative
530 mode chooses the note that is closest to the previous one.
531 For example, @code{c f} goes up while @code{c g} goes down:
541 \property Score.timing = ##f
542 \property Staff.TimeSignature = \turnOff
551 Since most music has small intervals, in relative mode pieces can be
552 written almost without using octavation quotes. In relative mode, the
553 Mozart example is entered as
555 @lilypond[singleline,fragment,verbatim]
565 @c needed better, maybe even redundant explanation
566 @c added another example below.
567 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
568 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
569 Larger intervals are made by adding octavation quotes. Quotes or
570 commas do not determine the absolute height of a note; the height of a
571 note is relative to the previous one.
572 @c do not use commas or quotes in this sentence
573 For example: @code{c f,} goes down; @code{f, f} are both the same;
574 @code{c' c} are the same; and @code{c g'} goes up:
584 \property Score.timing = ##f
585 \property Staff.TimeSignature = \turnOff
594 Here is an example of the difference between relative mode and
595 ``normal'' (non-relative) mode:
606 \property Score.timing = ##f
607 \property Staff.TimeSignature = \turnOff
623 \property Score.timing = ##f
624 \property Staff.TimeSignature = \turnOff
634 @node Relative octave entry
635 @section Relative octave entry
639 @c fragment of 1st hrn in Adams' The Chairman Dances, with creative
640 @c chromatic thing pasted in front. (admittedly the original does not
641 @c have a phrasing slur. The problem is that we do not want the slur
642 @c and the Phrasing slur to collide. We are trying to make a good
646 @lilypond[fragment,relative 1, verbatim]
647 a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
652 @cindex beams, by hand
653 Beams are drawn automatically, but if you do not like where they are
654 put, they can be entered by hand. Mark the first note to be beamed
655 with @code{[} and the last one with @code{]}:
657 @lilypond[fragment,relative 1, verbatim]
658 a8-[ ais-] d-[ es r d-]
663 Rests are described in full detail in @ref{Rests}.
665 The notation manual discusses ties in @ref{Ties}.
670 @node Combining music into compound expressions
671 @section Combining music into compound expressions
673 To print more than one staff, each piece of music that makes up a
674 staff is marked by adding @code{\context Staff} before it. These
675 @code{Staff}'s are then grouped inside @code{\simultaneous @{} and
676 @code{@}}, as is demonstrated here:
679 @lilypond[fragment,verbatim]
681 \context Staff = staffA { \clef violin c'' }
682 \context Staff = staffB { \clef bass c }
688 In this example, @code{\simultaneous } indicates that both music
689 fragments happen at the same time, and must be printed stacked
690 vertically. The notation @code{< .. >} can also be used as a
691 shorthand for @code{\simultaneous @{ .. @}}.
693 @code{\context} introduces a ``notation context''. To understand this
694 concept, imagine that you are performing a piece of music. When you
695 perform the music, you combine the symbols printed at a certain point
696 with contextual information. For example, without knowing the current
697 clef, and the accidentals in the last measure, it would be impossible
698 to determine the pitch of a note. In other words, this information
699 forms context that helps you decipher a score. LilyPond produces
700 notation from music, so in effect, it does the inverse of reading
701 scores. Therefore, it also needs to keep track of contextual
702 information. This information is maintained in ``notation contexts.''
703 There are several types of contexts, e.g. @code{Staff}, @code{Voice}
704 and @code{Score}, but also @code{Lyrics} and
705 @code{ChordNames}. Prepending @code{\context} to a chunk of music
706 indicates what kind of context to use for interpreting it.
708 By specifying different names (in this case @code{staffA} and
709 @code{staffB}), two different contexts are created, leading to two
710 staves. It does not matter which names they are given, as long as they
711 are different. If they get the same name, the chunks of music are
712 assumed to belong on the same staff, and will be printed like that.
716 We can now typeset a melody with two staves:
719 @lilypond[verbatim,singleline]
722 < \context Staff = staffA {
726 e2-( d4 c2 b4 a8-[ a-]
727 b-[ b-] g-[ g-] a2.-) }
729 \context Staff = staffB {
740 The example shows how small chunks of music, for example, the notes
741 @code{c2}, @code{e4}, etc. of the second staff, are combined to form a
742 larger chunk by enclosing it in braces. Again, a larger chunk is
743 formed by prefix @code{\context Staff} to it, and that chunk is
744 combined with @code{< >}. This mechanism is similar with mathematical
745 formulas: in a formula, a so-called expression is formed by combining
746 simpler expressions into larger expressions. For example,
755 ((1 + 2) * 3) / (4 * 5)
758 @cindex music expression
759 is a sequence of expressions, where each expression is contained in
760 the next one. The simplest expressions are numbers and operators
761 (like +, * and /). Parentheses are used to group expressions. In
762 LilyPond input, a similar mechanism is used. Here, the simplest
763 expressions are notes and rests. By enclosing expressions in @code{<
764 >} and @code{@{ @}}, more complex music is formed. The @code{\context}
765 also forms new expressions; prepending it to a music expression yields
768 Like mathematical expressions, music expressions can be nested
769 arbitrarily deep, e.g.
770 @lilypond[verbatim,relative 1]
772 < { e f } { c <b d> }
779 When spreading expressions over multiple lines, it is customary to use
780 an indent that indicates the nesting level. Formatting music like this
781 eases reading, and helps you insert the right amount of closing
782 braces at the end of an expression. For example,
799 @node Adding articulation marks to notes
800 @section Adding articulation marks to notes
806 Common accents can be added to a note using a dash (`@code{-}') and a
809 @lilypond[verbatim,relative 1]
810 c-. c-- c-> c-^ c-+ c-_
816 Similarly, fingering indications can be added to a note using a dash
817 (`@code{-}') and the digit to be printed:
819 @lilypond[verbatim,relative 1]
824 Dynamic signs are made by adding the markings to the note:
826 @lilypond[verbatim,relative 1]
836 Crescendi and decrescendi are started with the commands @code{\<} and
837 @code{\>}. The command @code{\!} finishes a crescendo on the note it
840 @lilypond[verbatim,relative 1]
841 c2-\< c2-\!-\ff c2-\> c2-\!
850 A slur is drawn across many notes, and indicates bound articulation
851 (legato). The starting note and ending note are marked with a
852 ``@code{(}'' and a ``@code{)}'' respectively:
855 @lilypond[fragment,relative 1, verbatim]
856 d4-( c16-)-( cis d e c cis d e-)-( d4-)
860 @cindex slurs versus ties
861 A slur is different from a tie. A tie simply makes the first note
862 sound longer, and can only be used on pairs of notes with the same
863 pitch. Slurs indicate the articulations of notes, and can be used on
864 larger groups of notes. Slurs and ties are also nested in practice:
865 @lilypond[fragment, relative=1]
866 c2-~-( c8 fis fis4 ~ fis2 g2-)
869 @cindex phrasing slurs
870 If you need two slurs at the same time (one for articulation, one for
871 phrasing), you can also make a phrasing slur with @code{\(} and
874 More information on fingering, articulation, slurs, phrasing slurs,
875 and dynamics can be found in @ref{Fingering instructions},
876 @ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs}, and @ref{Dynamics},
879 @node Combining notes into chords
880 @section Combining notes into chords
883 Chords can be made by
884 surrounding pitches with @code{<<} and @code{>}>:
886 @lilypond[relative 0, fragment,verbatim]
887 r4 <<c e g>>4 <<c f a>>8
893 You can combine beams and ties with chords. Beam and tie markings
894 must be placed outside the chord markers:
896 @lilypond[relative 0, fragment,verbatim]
897 r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
903 r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
905 @lilypond[relative 0, fragment]
907 r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
915 * Basic rhythmical commands::
916 * Commenting input files::
919 @node Basic rhythmical commands
920 @subsection Basic rhythmical commands
925 @cindex partial measure
926 A pickup (or upstep) is entered with the keyword @code{\partial}. It
927 is followed by a duration: @code{\partial 4} is a quarter note upstep
928 and @code{\partial 8} an eighth note:
929 @lilypond[relative 1,verbatim,fragment]
936 Tuplets are made with the @code{\times} keyword. It takes two
937 arguments: a fraction and a piece of music. The duration of the piece
938 of music is multiplied by the fraction. Triplets make notes occupy
939 2/3 of their notated duration, so a triplet has 2/3 as its fraction:
941 @lilypond[relative 0,verbatim,fragment]
942 \times 2/3 { f8 g a }
948 Grace notes are also made by prefixing a note, or a set of notes with
949 a keyword. In this case, the keyword is @code{\grace}:
950 @lilypond[relative 1, verbatim,fragment]
952 \grace { d16-( e } d4-)
956 More information on grace notes, tuplets and upsteps are in @ref{Grace
957 notes}, @ref{Tuplets} and @ref{Partial measures}.
961 @node Commenting input files
962 @subsection Commenting input files
966 @cindex block comment
967 Comments are pieces of the input that are ignored. There are two
968 types of comments. A line comments is introduced by @code{%}: after
969 that, the rest of that line is ignored. Block comments span larger
970 sections of input. Anything that is enclosed in @code{%@{} and
971 @code{%@}} is ignored too. The following fragment shows possible uses
975 % notes for twinkle twinkle follow:
980 This line, and the notes below
981 are ignored, since they are in a
991 @node Printing lyrics
992 @section Printing lyrics
997 Lyrics are entered by separating each syllable with a space, and
998 surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
1000 \lyrics @{ I want to break free @}
1003 Like notes, lyrics are also a form of music, but they must not be
1004 printed on a staff, which is the default way to print music. To print
1005 them as lyrics, they must be marked with @code{ \context Lyrics}:
1007 \context Lyrics \lyrics @{ I want to break free @}
1009 The melody for this song is as follows:
1011 @lilypond[fragment,relative=1]
1014 \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
1017 The lyrics can be set to these notes, combining both with the
1018 @code{\addlyrics} keyword:
1021 \notes @{ @dots{} @}
1022 \context Lyrics @dots{}
1026 @lilypond[verbatim,linewidth=6.0cm]
1033 \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
1035 \context Lyrics \lyrics { I want to break free }
1042 @cindex extender line
1044 This melody ends on a @rglos{melisma}, a single syllable (``free'')
1045 sung to more than one note. This is indicated with a @emph{extender
1046 line}. It is entered as two underscores, i.e.
1048 \lyrics @{ I want to break free __ @}
1057 \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
1059 %% ugh, this is to deal with bugs in the extender implementation
1063 \context Lyrics \lyrics { I want to break free __ }
1065 \paper{ linewidth = 9.0 \cm }
1069 Similarly, hyphens between words can be entered as two dashes,
1070 resulting in a centered hyphen between two syllables:
1072 Twin -- kle twin -- kle
1074 @lilypond[singleline]
1076 \addlyrics \notes \relative f' { \time 2/4
1078 \context Lyrics \lyrics { Twin -- kle twin -- kle
1080 \paper { linewidth = 6.0 \cm }
1085 More options, like putting multiple lines of lyrics below a melody are
1086 discussed in @ref{Vocal music}.
1091 @section A lead sheet
1097 In popular music, it is common to denote accompaniment as chord-names.
1098 Using them in LilyPond has two parts, just like lyrics: entering the
1099 chords (with @code{\chords}), and printing them (with @code{\context
1102 Chord names are entered by starting chords mode (with @code{\chords}).
1103 In chords mode, you can enter chords with a letter (indicating the
1104 root of the chord), and a durations following that:
1107 \chords { c2 f4. g8 }
1111 The result of @code{\chords} is a list of chords, and is equivalent
1112 to entering chords with @code{<<@dots{}>>}.
1114 Other chords can be created by adding modifiers, after a colon. The
1115 following example shows a few common modifiers:
1118 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1121 Printing chords is done by adding @code{\context ChordNames}
1122 before the chords thus entered:
1125 \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1129 When put together, chord names, lyrics and a melody form
1130 a lead sheet, for example,
1135 \context ChordNames \chords @{ @emph{chords} @}
1137 \notes @emph{the melody}
1138 \context Lyrics \lyrics @{ @emph{the text} @}
1146 \context ChordNames \chords { r8 c2:sus4 f }
1148 \notes \relative c' {
1151 \times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
1152 \context Lyrics \lyrics { I want to break free __ }
1154 \paper{ raggedright = ##t }
1159 A complete list of modifiers, and other options for layout are in the
1160 reference manual section @ref{Chords}.
1162 @node Listening to output
1163 @section Listening to output
1168 MIDI (Musical Instrument Digital Interface) is a standard for
1169 connecting and recording digital instruments. A MIDI file is like a
1170 tape recording of a MIDI instrument. The @code{\midi} block makes the
1171 music go to a MIDI file, so you can listen to the music you entered.
1172 It is great for checking the music: octaves that are off, or
1173 accidentals that were mistyped, stand out very much when listening to
1174 the musical transcription.
1176 @code{\midi} can be used in similarly to @code{\paper @{ @}}, for
1181 \midi @{ \tempo 4=72 @}
1186 Here, the tempo is specified using the @code{\tempo} command. In this
1187 case the tempo of quarter notes is set to 72 beats per minute. More
1188 information on auditory output is in the @ref{Sound} section in the
1196 Bibliographic information is entered in a separate block, the
1197 @code{\header} block. The name of the piece, its composer, etc. are
1198 entered as assignment, within @code{\header @{ @dots{} @}}. For
1202 title = "Eight miniatures"
1203 composer = "Igor Stravinsky"
1204 tagline = "small is beautiful"
1207 \score @{ @dots{} @}
1210 @cindex bibliographic information
1216 When the file is processed by @code{ly2dvi}, the title and composer
1217 specified are printed above the music. The `tagline' is a short line
1218 printed at bottom of the last page, which normally says ``Lily was
1219 here, version @dots{}''. In the example above, it is replaced by the
1220 line ``small is beautiful''.
1222 Normally, the @code{\header} is put at the top of the file. However,
1223 for a document that contains multiple pieces (e.g. a etude book, or
1224 part with multiple movements), then the header can be put into the
1225 @code{\score} block as follows; in this case, the name of each piece
1226 will be printed before each movement:
1229 @cindex Lily was here
1230 @cindex signature line
1235 title = "Eight miniatures"
1236 composer = "Igor Stravinsky"
1237 tagline = "small is beautiful"
1241 \header @{ piece = "Adagio" @}
1244 \header @{ piece = "Menuetto" @}
1248 More information on titling can be found in @ref{Invoking ly2dvi}.
1251 @node Single staff polyphony
1252 @section Single staff polyphony
1255 @cindex multiple voices
1256 @cindex voices, more -- on a staff
1258 When different melodic lines are combined on a single staff, these are
1259 printed as polyphonic voices: each voice has its own stems, slurs
1260 and beams, and the top voice has the stems up, while the bottom voice
1263 Entering such parts is done by entering each voice as a sequence (with
1264 @code{@{ .. @}}), and combining those simultaneously, separating the
1265 voices with @code{\\}:
1268 < @{ a4 g2 f4-~ f4 @} \\
1271 @lilypond[relative 1]
1272 \context Staff < { a4 g2 f4-~ f4 } \\
1276 For polyphonic music typesetting, spacer rests can also be convenient: these
1277 are rests that do not print. It is useful for filling up voices that
1278 temporarily do not play:
1280 < @{ a4 g2 f4-~ f4 @} \\
1283 @lilypond[relative 1]
1284 \context Staff < { a4 g2 f4-~ f4 } \\
1288 Again, these expressions can be nested arbitrarily:
1292 \context Staff = staffA
1294 < { a4 g2 f4-~ f4 } \\
1296 \context Staff = staffB
1297 < { \clef bass <<c g>>1 } \\
1304 More features of polyphonic typesetting are in the notation manual
1308 @section Piano staffs
1310 @cindex staff switch, manual
1311 @cindex cross staff voice, manual
1312 @cindex @code{\translator}
1314 Piano music is always typeset in two staffs connected by a brace.
1315 Printing such a staff is done similar to the polyphonic example in
1316 @ref{Combining music into compound expressions}:
1318 < \context Staff = up @{ @dots{} @}
1319 \context Staff = down @{ @dots{} @}
1322 but now this entire expression must be interpreted as a
1325 \context PianoStaff < \context Staff @dots{} >
1328 Here is a full-fledged example:
1330 @lilypond[relative 0,fragment]
1332 < \context Staff = up { \time 2/4
1334 \context Staff = down {
1335 \clef bass c,, c' e c }
1339 More information on formatting piano music is in @ref{Piano music}.
1341 @node Setting variables
1342 @section Setting variables
1344 When the music is converted from notes to print, it is interpreted
1345 from left-to-right order, similar to what happens when we read
1346 music. During this step, context-sensitive information, such as the
1347 accidentals to print, and where barlines must be placed, are stored in
1348 variables. These variables are called @emph{translation properties}.
1349 The properties can also be manipulated from input files. Consider this input:
1351 \property Staff.autoBeaming = ##f
1353 It sets the property named @code{autoBeaming} in the current staff to
1354 @code{##f}, which means `false'. This property controls whether beams
1355 are printed automatically:
1356 @lilypond[relative 1,fragment,verbatim]
1358 \property Staff.autoBeaming = ##f
1363 LilyPond includes a built-in programming language, namely, a dialect
1364 of Scheme. The argument to @code{\property}, @code{##f}, is an
1365 expression in that language. The first hash-mark signals that a piece
1366 of Scheme code follows. The second hash character is part of the
1367 boolean value true (@code{#t}). Values of other types may be
1370 @item a string, enclosed in double quotes, for example,
1372 \property Staff.instrument = #"French Horn"
1374 @item a boolean: either @code{#t} or @code{#f}, for true and false
1377 \property Voice.autoBeaming = ##f
1378 \property Score.skipBars = ##t
1381 @item a number, such as
1383 \property Score.currentBarNumber = #20
1386 @item a symbol, which is introduced by a quote character, as in
1388 \property Staff.crescendoSpanner = #'dashed-line
1391 @item a pair, which is also introduced by a quote character, like in
1392 the following statements, which set properties to the pairs (-7.5, 6)
1393 and (3, 4) respectively:
1396 \property Staff.minimumVerticalExtent = #'(-7.5 . 6)
1397 \property Staff.timeSignatureFraction = #'(3 . 4)
1403 There are many different properties, and not all of them are listed in
1404 this manual. However, the internal documentation lists them all in the
1405 @internalsref{All translation properties}, and most properties
1406 are demonstrated in one of the
1408 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
1416 @node Fine tuning layout
1417 @section Fine tuning layout
1419 Sometimes it is necessary to change music layout by hand. When music
1420 is formatted, layout objects are created for each symbol. For
1421 example, every clef and every note head is represented by a layout
1422 object. These layout objects also carry variables, which we call
1423 @emph{layout properties}. By changing these variables from their
1424 values, we can alter the look of a formatted score:
1426 @lilypond[verbatim,relative 0]
1428 \property Voice.Stem \override #'thickness = #3.0
1433 In the example shown here, the layout property @code{thickness} (a
1434 symbol) is set to 3 in the @code{Stem} layout objects of the current
1435 Voice. As a result, the notes following @code{\property} have thicker
1438 In most cases of manual overrides, only a single object must be
1439 changed. This can be achieved by prefixing @code{\once} to the
1440 @code{\property} statement, i.e.
1443 \once \property Voice.Stem \set #'thickness = #3.0
1446 @lilypond[relative 0]
1448 \once \property Voice.Stem \set #'thickness = #3.0
1453 Some overrides are so common that predefined commands are provided as
1454 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
1455 commands are described in
1459 @ref{Notation manual}, under the sections for slurs and stems
1462 The exact tuning possibilities for each type of layout object are
1463 documented in the internal documentation of the respective
1464 object. However, many layout objects share properties, which can be
1465 used to apply generic tweaks. We mention a couple of these:
1468 @cindex @code{extra-offset}
1469 @item The @code{extra-offset} property, which
1470 has a pair of numbers as value, moves around objects in the printout.
1471 The first number controls left-right movement; a positive number will
1472 move the object to the right. The second number controls up-down
1473 movement; a positive number will move it higher. The unit of these
1474 offsets are staff-spaces. The @code{extra-offset} property is a
1475 low-level feature: the formatting engine is completely oblivious to
1478 In the following example example, the second fingering is moved a
1479 little to the left, and 1.8 staff space downwards:
1481 @cindex setting object properties
1483 @lilypond[relative 1,verbatim]
1486 \once \property Voice.Fingering
1487 \set #'extra-offset = #'(-0.3 . -1.8)
1492 Setting the @code{transparent} property will make an object be printed
1493 in `invisible ink': the object is not printed, but all its other
1494 behavior is retained. The object still takes space, it takes part in
1495 collisions, and slurs, ties and beams can be attached to it.
1497 @cindex transparent objects
1498 @cindex removing objects
1499 @cindex invisible objects
1500 The following example demonstrates how to connect different voices
1501 using ties. Normally ties only happen between notes of the same
1502 voice. By introducing a tie in a different voice, and blanking a stem
1503 in that voice, the tie appears to cross voices:
1505 @lilypond[fragment,relative 1,verbatim]
1507 \once \property Voice.Stem \set #'transparent = ##t
1515 The @code{padding} property for objects with
1516 @code{side-position-interface} can be set to increase distance between
1517 symbols that are printed above or below notes. We only give an
1518 example; a more elaborate explanation is in @ref{Constructing a
1521 @lilypond[relative 1]
1523 \property Voice.Script \set #'padding = #3
1529 More specific overrides are also possible. The notation manual
1530 discusses in depth how to figure out these statements for yourself, in
1531 @ref{Tuning output}.
1533 @node Organizing larger pieces
1534 @section Organizing larger pieces
1536 When all of the elements discussed earlier are combined to produce
1537 larger files, the @code{\score} blocks get a lot bigger, because the
1538 music expressions are longer, and, in the case of polyphonic and/or
1539 orchestral pieces, more deeply nested.
1541 By using variables, also known as identifiers, it is possible to break
1542 up complex music expressions.
1543 An identifier is assigned as follows:
1545 namedMusic = \notes @{ @dots{}
1548 The contents of the music expression @code{namedMusic}, can be used
1549 later by preceding the name with a backslash, i.e. @code{\namedMusic}.
1550 In the next example, a two note motive is repeated thrice by using
1551 variable substitution:
1553 @lilypond[singleline,verbatim]
1558 \seufzer \seufzer \seufzer
1562 The name of an identifier should only have alphabetic characters only,
1563 and no numbers, underscores or dashes. The assignment should be
1564 outside of the @code{\score} block.
1566 It is possible to use variables for many other types of objects in the
1571 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1573 Depending on its contents, the identifier can be used in different
1574 places. The following example uses the above variables:
1577 \notes @{ c4^\name @}
1585 More information on the possible uses of identifiers is in the
1586 technical manual, in @ref{Scheme datatypes}.
1589 @node An orchestral part
1590 @section An orchestral part
1592 In orchestral music, all notes are printed twice: both in a part for
1593 the musicians, and in a full score for the conductor. Identifiers can
1594 be used to avoid double work: the music is entered once, and stored in
1595 variable. The contents of that variable is then used to generate
1596 both the part and the score.
1598 It is convenient to define the notes in a special file, for example,
1599 suppose that the @file{horn-music.ly} contains the following part of a
1602 hornNotes = \notes \relative c @{
1608 Then, an individual part is made by putting the following in a file:
1610 \include "horn-music.ly"
1612 instrument = "Horn in F"
1615 \notes \transpose c' f \hornNotes
1618 The @code{\include} command substitutes the contents of the file at
1619 this position in the file, so that @code{hornNotes} is defined
1620 afterwards. Since the horn is tuned in F, the @code{\transpose}
1621 command is used. The code @code{\transpose c' f} indicates that the
1622 argument, being @code{\hornNotes}, should be transposed by a fifth
1623 downwards: the @code{c'} becomes a @code{f}. The transposition can be
1624 seen in the following output:
1626 @lilypond[singleline]
1628 \notes \transpose c' f \notes \relative c' {
1635 In ensemble pieces, one of the voices often does not play for many
1636 measures. This is denoted by a special rest, the multi-measure
1637 rest. It is entered with a capital R, and followed by a duration (1
1638 for a whole note, 2 for a half note, etc.) By multiplying the
1639 duration, longer rests can be constructed. For example, the next rest
1640 takes 3 measures in 2/4 time:
1645 When printing the part, the following @code{skipBars} property must be
1646 set to false, to prevent the rest from being expanded in three one bar
1649 \property Score.skipBars = ##t
1651 Prepending the rest and the property setting above, leads to the
1654 @lilypond[singleline]
1655 \score {\notes { \transpose c' f \relative c' { \time 2/4
1656 \property Score.skipBars = ##t
1658 r4 f8 a cis4 f e d } }}
1661 The score is made by combining all of the music in a @code{\score}
1662 block, assuming that the other voice is in @code{bassoonNotes}, in the
1663 file @file{bassoon-music.ly}:
1665 \include "bassoon-music.ly"
1666 \include "horn-music.ly"
1670 \context Staff = hornStaff \hornNotes
1671 \context Staff = bsnStaff \bassoonNotes
1675 This would lead to the simple score depicted below:
1677 @lilypond[singleline]
1679 \notes \relative c \simultaneous {
1680 \context Staff = hornStaff { \time 2/4
1682 r4 f8 a cis4 f e d }
1683 \context Staff = fagStaff { \clef bass
1684 r4 d,8 f | gis4 c | b bes |
1685 a8 e f4 | g d | gis f }
1689 More in-depth information on preparing parts and scores is in the
1690 notation manual, in @ref{Orchestral music}.
1693 @node Integrating text and music
1694 @section Integrating text and music
1696 @cindex La@TeX{}, music in
1697 @cindex HTML, music in
1698 @cindex Texinfo, music in
1700 Sometimes you might want to use music examples in a text that you are
1701 writing (for example, a musicological treatise, a songbook, or (like us)
1702 the LilyPond manual). You can make such texts by hand, simply by
1703 importing a PostScript figure into your word processor. However,
1704 there is an automated procedure to reduce the amount of work.
1706 If you use HTML, La@TeX{}, or Texinfo, you can mix text and LilyPond
1707 code. A script called @code{lilypond-book} will extract the music
1708 fragments, run LilyPond on them, and put back the resulting notation.
1709 This program is fully described in @ref{lilypond-book manual}. Here
1710 we show a small example; since the example contains also explanatory
1711 text, we will not comment it further:
1714 \documentclass[a4paper]@{article@}
1717 In a lilypond-book document, you can freely mix music and text. For
1720 \score @{ \notes \relative c' @{
1721 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1725 Notice that the music line length matches the margin settings of the
1728 If you have no \verb+\score+ block in the fragment,
1729 \texttt@{lilypond-book@} will supply one:
1735 In the example you see here, two things happened: a
1736 \verb+\score+ block was added, and the line width was set to natural
1737 length. You can specify options by putting them in brackets:
1739 \begin[26pt,verbatim]@{lilypond@}
1743 If you want to include large examples into the text, it is more
1744 convenient to put it in a separate file:
1746 \lilypondfile@{screech-boink.ly@}
1751 Under Unix, you can view the results as follows:
1755 $ lilypond-book --outdir=out/ lilbook.tex
1756 lilypond-book (GNU LilyPond) 1.7.23
1757 Reading `input/tutorial/lilbook.tex'
1758 Reading `input/screech-boink6.ly'
1759 @var{lots of stuff deleted}
1760 Writing `out/lilbook.latex'
1762 $ latex lilbook.latex
1763 @var{lots of stuff deleted}
1767 Running lilypond-book and running latex creates a lot of temporary
1768 files, and you would not want those to clutter up your working
1769 directory. The @code{outdir} option to lilypond-book creates the
1770 temporary files in a separate subdirectory @file{out}.
1772 The result looks more or less like this:
1776 In a lilypond-book document, you can freely mix music and text. For
1780 \notes \relative c' {
1781 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1789 Notice that the music line length matches the margin settings of the
1792 If you have no @code{\score} block in the fragment,
1793 @code{lilypond-book} will supply one:
1799 In the example you see here, two things happened: a
1800 @code{score} block was added, and the line width was set to natural
1801 length. You can specify options by putting them in brackets:
1803 @lilypond[26pt,verbatim]
1807 If you want to include large examples into the text, it is more
1808 convenient to put it in a separate file:
1810 @lilypondfile{screech-boink.ly}