1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
5 @c * more details about running lilypond; error messages,
6 @c compiling/viewing (emacs?)
7 @c * where to go from First steps+More basics?
9 @c wherever possible, do not include index entries here; the
10 @c index should point to stuff in the reference manual. -gp
12 @c Your first LilyPond score in 10 minutes?
17 This tutorial starts with a short introduction to the LilyPond music
18 language. After this first contact we will show you how to produce
19 printed output. Then you will be able to create and print your own
23 Many people learn programs by trying and fiddling around with the
24 program. This is also possible with LilyPond. If you click on a
25 picture in the HTML version of this manual, you will see the exact
26 LilyPond input that was used to generate that image.
29 @lilypond[fragment,quote,raggedright,relative=2]
30 c-\markup { \bold \huge { Click here. } }
34 By cutting and pasting the full input into a test file, you have a
35 starting template for experiments. If you like learning in this way,
36 you will probably want to print out or bookmark
40 @ref{Cheat sheet}, which is a table listing all commands for quick
45 * Running LilyPond for the first time::
46 * More about pitches::
48 * Automatic and manual beams::
50 * Music expressions explained::
52 * Adding articulation marks to notes::
53 * Combining notes into chords::
54 * Advanced rhythmic commands::
55 * Commenting input files::
59 * Single staff polyphony::
61 * Organizing larger pieces::
62 * An orchestral part::
69 The first example demonstrates how to enter the most elementary piece
70 of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
71 name, from @samp{a} through @samp{g}. So, if you enter
78 the result looks like this
80 @lilypond[fragment,quote,notime,relative=1]
84 The @rglos{duration} of a note is specified by a number after the note
85 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
86 @samp{4} for a @rglos{quarter note} and so on
92 @lilypond[fragment,quote,notime,relative=2]
93 \set Staff.autoBeaming = ##f
94 { a1 a2 a4 a16 a32 s16_" " }
97 If you do not specify a duration, the duration last entered is used
98 for the next notes. The duration of the first note in input defaults
105 @lilypond[fragment,quote,notime,relative=2]
106 { a a8 a a2 a s16_" " }
110 A @rglos{rest} is entered just like a note, but with the name @samp{r}
116 @lilypond[fragment,quote,notime]
120 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
126 @lilypond[fragment,quote,notime,relative=1]
127 { a2. a4 a8. a16 s16_" " }
130 The (or @rglos{time signature}) can be set with the @code{\time}
139 @c A clef here may lead to confusion, remove it.
140 @lilypond[fragment,quote]
141 \override Staff.Clef #'transparent = ##t
150 The @rglos{clef} can be set using the @code{\clef} command
159 @lilypond[fragment,quote,notime]
171 Remember to enclose the notes and commands in curly braces
172 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
174 @lilypond[fragment,quote,noindent,linewidth=55\staffspace]
181 For more elaborate information on
185 @item Entering pitches and durations
187 @ref{Pitches}, and @ref{Durations}.
192 @item Time signatures and other timing commands
193 see @ref{Time signature}.
198 @node Running LilyPond for the first time
199 @section Running LilyPond for the first time
201 @c cheesy title to avoid clash with chapter name.
203 In the last section we explained what kind of things you can enter
204 in a LilyPond file. In this section we will explain what commands to
205 run and how to view or print the output. If you have not used
206 LilyPond before, want to test your setup, or want to run an example
207 file yourself, read this section. The instructions that follow are
208 for Unix-like systems. Some additional instructions for Microsoft
209 Windows are given at the end of this section.
211 Begin by opening a terminal window and starting a text editor. For
212 example, you could open an xterm and execute
213 @code{joe}.@footnote{There are macro files for VIM addicts, and there
214 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
215 installed already, refer to
216 @c FIXME lousy reference.
217 the file @file{INSTALL.txt}.} In your text editor, enter the following
218 input and save the file as @file{test.ly}
225 To process @file{test.ly}, proceed as follows
232 You will see something resembling
239 Interpreting music... [1]
240 Preprocessing graphical objects...
241 Calculating line breaks... [2]
242 Layout output to `test.tex'...
243 Converting to `test.dvi'...
244 Converting to `test.ps'...
245 Converting to `test.pdf'...
249 @cindex Viewing music
252 The result is the file @file{test.pdf}@footnote{For @TeX{}
253 aficionados: there is also a @file{test.dvi} file. It can be viewed
254 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
255 not show up in the magnifying glass. The specials also mean that the
256 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
261 } which you can print or view with the standard facilities of your
262 operating system.@footnote{If your system does not have any tools
263 installed, you can try
264 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
265 available package for viewing and printing PDF and PostScript files.}
267 On Windows, start up a text-editor@footnote{Any simple or
268 programmer-oriented editor will do, for example Notepad. Do not use a
269 word processor, since these insert formatting codes that will confuse
276 Save it on the desktop as @file{test.ly} and make sure that it is not
277 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
278 the file and show the resulting PDF file.
281 @node More about pitches
282 @section More about pitches
284 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
285 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
286 you might expect, a @rglos{double sharp} or @rglos{double flat} is
287 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
288 derived from note naming conventions in Nordic and Germanic languages,
289 like German and Dutch.}
295 @lilypond[fragment,quote,notime]
296 \set Score.timing = ##f
297 \transpose c c' { cis1 ees fisis aeses s16_" " }
300 @cindex key signature, setting
301 The key signature is set with the command @code{\key}, followed by
302 a pitch and @code{\major} or @code{\minor}
311 @lilypond[fragment,quote,notime,fragment]
319 Key signatures together with the pitches (including alterations) are
320 used to determine when to print accidentals. This is a
321 feature that often causes confusion to newcomers, so let us explain it
325 LilyPond makes a sharp distinction between musical content and
326 layout. The alteration (flat, natural or sharp) of a note is part of
327 the pitch, and is therefore musical content. Whether an accidental (a
328 flat, natural or sharp @emph{sign}) is printed in front of the
329 corresponding note is a question of layout. Layout is something that
330 follows rules, so accidentals are printed automatically according to
331 those rules. The pitches in your music are works of art, so they will
332 not be added automatically, and you must enter what you want to hear.
336 @lilypond[quote,notime,fragment]
342 no note has an explicit accidental, but you still must enter
350 The code @samp{d} does not mean `print a black dot just below the
351 staff.' Rather, it means: `a note with pitch D-natural.' In the key
352 of A-flat major, it does get an accidental
354 @lilypond[quote,notime,fragment,relative=1,verbatim]
359 Adding all alterations explicitly might require a little more effort
360 when typing, but the advantage is that transposing is easier, and
361 accidentals can be printed according to different conventions. See
362 @ref{Automatic accidentals}, for some examples how accidentals can be printed
363 according to different rules.
366 For more information on
371 see @ref{Automatic accidentals}.
374 see @ref{Key signature}.
379 @section Entering ties
382 A @rglos{tie} is created by appending a tilde @samp{~} to the first
385 @lilypond[quote,notime,fragment,verbatim,relative=3]
389 For more information on Ties see @ref{Ties}.
393 @node Automatic and manual beams
394 @section Automatic and manual beams
396 @cindex beams, by hand
397 All @rglos{beam}s are drawn automatically
399 @lilypond[quote,fragment,relative=2,verbatim]
404 If you do not like where beams are put, they can be entered by
405 hand. Mark the first note to be beamed with @samp{[} and the last one
408 @lilypond[quote,fragment,relative=2,verbatim]
412 For more information on beams, see @ref{Manual beams}.
415 Here are key signatures, accidentals and ties in action
417 @lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
424 fis4 fis8 fis8 eis4 a8 gis~
433 There are some interesting points to note in this example. Bar lines
434 and beams are drawn automatically. Line breaks are calculated
435 automatically; it does not matter where the line breaks are in the
436 source file. Finally, the order in which time, key, and clef changes
437 are entered is not relevant: in the printout, these are ordered
438 according to standard notation conventions.
443 @section Octave entry
446 @c Tim wants to move this quotes example just before the: quotes-do not-work
447 @c score, but we'd need to remove quotes from the other two (key and
450 @c better to have this just before the `octaves are bad' snipped
451 @c but we'd need to remove the ', from \key and tie
452 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
453 the note name, to lower a note one octave, add a `low quote' @code{,}
454 (comma). Middle C is @code{c'}
456 @lilypond[quote,notime,fragment,verbatim]
457 c'4 c'' c''' \clef bass c c,
460 An example of the use of quotes is in the following Mozart fragment
462 @lilypond[quote,raggedright,fragment,verbatim]
465 cis''8. d''16 cis''8 e''4 e''8
466 b'8. cis''16 b'8 d''4 d''8
470 This example shows that music in a high register needs lots of quotes.
471 This makes the input less readable, and it is a source of errors. The
472 solution is to use `relative octave' mode. This is the
473 most convenient way to copy existing music.
475 In relative mode, a note without octavation quotes (i.e. the @code{'}
476 or @code{,} after a note) is chosen so that it is closest to the
477 previous one. For example, @samp{c f} goes up while @samp{c g} goes
480 To use relative mode, add @code{\relative} before the piece of
481 music. The first note is taken relative to the middle C
482 @c no , for this sentence
487 @lilypond[quote,notime,fragment,verbatim]
494 Since most music has small intervals, pieces can be written almost
495 without octavation quotes in relative mode. The previous example is
498 @lilypond[quote,raggedright,verbatim]
502 cis'8. d16 cis8 e4 e8
507 @c needed better, maybe even redundant explanation
508 @c added another example below.
509 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
510 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
511 Larger intervals are made by adding octavation quotes.
513 @lilypond[quote,notime,verbatim,fragment]
519 In summary, quotes or commas no longer determine the absolute height
520 of a note in @code{\relative} mode. Rather, the height of a note is
521 relative to the previous one, and changing the octave of a single note
522 shifts all following notes an octave up or down.
524 For more information on relative octaves see @ref{Relative octaves},
525 and @ref{Octave check}.
528 @node Music expressions explained
529 @section Music expressions explained
532 In input files, music is represent by so-called @emph{music
533 expression}s. We have already seen some in the previous examples;
534 a single note is a music expression
536 @lilypond[fragment,quote,verbatim,relative=3]
540 Enclosing a group of notes in braces creates a new music
543 @lilypond[fragment,quote,verbatim,relative=3]
547 Putting a bunch of music expressions (e.g., notes) in braces, means that
548 they should be played in sequence. The result again is a music
549 expression, which can be grouped with other expressions sequentially.
550 Here, the expression from the previous example is combined with two
553 @lilypond[fragment,quote,verbatim,relative=3]
557 This technique is useful for non-monophonic music. To enter music
558 with more voices or more staves, we also combine expressions in
559 parallel. Two voices that should play at the same time, are entered
560 as a simultaneous combination of two sequences. A `simultaneous'
561 music expression is formed by enclosing expressions in @code{<<} and
562 @code{>>}. In the following example, three sequences (all containing
563 two separate notes) are combined simultaneously
565 @lilypond[fragment,quote,verbatim,relative=3]
573 This mechanism is similar to mathematical
574 formulas: a big formula is created by composing small formulas. Such
575 formulas are called expressions, and their definition is recursive, so
576 you can make arbitrarily complex and large expressions. For example,
585 ((1 + 2) * 3) / (4 * 5)
589 @cindex music expression
590 This is a sequence of expressions, where each expression is contained
591 in the next one. The simplest expressions are numbers, and larger
592 ones are made by combining expressions with operators (like @samp{+},
593 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
594 music expressions can be nested arbitrarily deep, which is necessary
595 for complex music like polyphonic scores.
597 Note that this example only has one staff, whereas
598 the previous example had three separate staves. That is because this
599 example begins with a single note. To determine the number of staves,
600 LilyPond looks at the first element. If it is a single note, there is one
601 staff; if there is a simultaneous expression, there is more than one staff.
603 @lilypond[fragment,quote,verbatim,relative=2]
606 << { e f } { c <<b d>> } >>
610 Music files with deep nesting can be confusing to enter and
611 maintain. One convention that helps against this confusion is
612 indenting. When entering a file with deep nesting of braces and
613 angles, it is customary to use an indent that indicates the nesting
614 level. Formatting music like this eases reading and helps you insert
615 the right number of closing braces at the end of an expression. For
629 Some editors have special support for entering LilyPond, and can help
630 indenting source files. See @ref{Editor support} for more information.
635 To print more than one staff, each piece of music that makes up a
636 staff is marked by adding @code{\new Staff} before it. These
637 @code{Staff} elements are then combined in parallel with @code{<<} and
638 @code{>>}, as demonstrated here
640 @lilypond[quote,fragment,verbatim]
642 \new Staff { \clef treble c'' }
643 \new Staff { \clef bass c }
648 The command @code{\new} introduces a `notation context.' A notation
649 context is an environment in which musical events (like notes or
650 @code{\clef} commands) are interpreted. For simple pieces, such
651 notation contexts are created automatically. For more complex pieces, it
652 is best to mark contexts explicitly. This ensures that each fragment
655 There are several types of contexts. @code{Staff}, @code{Voice} and
656 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
657 texts and @code{ChordNames} prints chord names.
659 In terms of syntax, prepending @code{\new} to a music expression
660 creates a bigger music expression. In this way it resembles the minus
661 sign in mathematics. The formula @math{(4+5)} is an expression, so
662 @math{-(4+5)} is a bigger expression.
664 We can now typeset a melody with two staves
666 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
668 @lilypond[fragment,quote,verbatim,raggedright]
685 For more information on contexts see the description in
686 @ref{Interpretation contexts}.
690 @node Adding articulation marks to notes
691 @section Adding articulation marks to notes
697 Common accents can be added to a note using a dash (@samp{-}) and a
700 @lilypond[fragment,quote,verbatim,relative=2]
701 c-. c-- c-> c-^ c-+ c-_
705 Similarly, fingering indications can be added to a note using a dash
706 (@samp{-}) and the digit to be printed
708 @lilypond[fragment,quote,verbatim,relative=2]
712 Articulations and fingerings are usually placed automatically, but you
713 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
714 also use multiple articulations on the same note. In most cases, however,
715 it is best to let LilyPond determine the articulation directions.
717 @lilypond[fragment,quote,verbatim,relative=2]
718 c_-^1 d^. f^4_2-> e^-_+
721 Dynamic signs are made by adding the markings (with a backslash) to
724 @lilypond[fragment,quote,verbatim,relative=2]
732 Crescendi and decrescendi are started with the commands @code{\<} and
733 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
734 (de)crescendo, or the command @code{\!} can be used
736 @lilypond[fragment,quote,verbatim,relative=2]
744 A @rglos{slur} is a curve drawn across many notes, and indicates
745 legato articulation. The starting note and ending note are marked
746 with @samp{(} and @samp{)}, respectively
748 @lilypond[fragment,quote,fragment,relative=2,verbatim]
749 d4( c16) cis( d e c cis d) e( d4)
752 @cindex slurs versus ties
753 A slur looks like a @rglos{tie}, but it has a different meaning. A
754 tie simply makes the first note sound longer, and can only be used on
755 pairs of notes with the same pitch. Slurs indicate the articulations
756 of notes, and can be used on larger groups of notes. Slurs and ties
759 @lilypond[quote,fragment,relative=2]
760 c2~( c8 fis fis4 ~ fis2 g2)
763 @cindex phrasing slurs
764 Slurs to indicate phrasing can be entered with @code{\(} and
765 @code{\)}, so you can have both legato slurs and phrasing slurs at the
766 same time. You cannot have simultaneous slurs or simultaneous
769 @lilypond[quote,fragment,relative=2,verbatim]
770 a8(\( ais b c) cis2 b'2 a4 cis, c\)
774 For more information on
779 see @ref{Fingering instructions}.
781 see @ref{Articulations}.
785 see @ref{Phrasing slurs}.
792 @node Combining notes into chords
793 @section Combining notes into chords
796 Chords can be made by surrounding pitches with angle brackets.
797 Angle brackets are the symbols @samp{<} and @samp{>}.
799 @lilypond[quote,relative=1,fragment,verbatim]
804 You can combine markings like beams and ties with chords. They must
805 be placed outside the angled brackets
807 @lilypond[quote,relative=1,fragment,verbatim]
808 r4 <c e g>8[ <c f a>]~ <c f a>
812 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
815 @lilypond[quote,relative=1,fragment]
817 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
821 @node Advanced rhythmic commands
822 @section Advanced rhythmic commands
826 @cindex partial measure
827 A pickup is entered with the keyword @code{\partial}. It
828 is followed by a duration: @code{\partial 4} is a quarter note upstep
829 and @code{\partial 8} an eighth note
831 @lilypond[quote,relative=2,verbatim,fragment]
838 Tuplets are made with the @code{\times} keyword. It takes two
839 arguments: a fraction and a piece of music. The duration of the piece
840 of music is multiplied by the fraction. Triplets make notes occupy
841 2/3 of their notated duration, so a triplet has 2/3 as its fraction
843 @lilypond[quote,relative=1,verbatim,fragment]
844 \times 2/3 { f8 g a }
850 Grace notes are also made by prefixing a music expression with the
851 keyword @code{\appoggiatura} or @code{\acciaccatura}
855 @lilypond[quote,relative=2,verbatim,fragment]
856 c4 \appoggiatura b16 c4
857 c4 \acciaccatura b16 c4
862 For more information on
867 see @ref{Grace notes},
871 see @ref{Partial measures}.
876 @node Commenting input files
877 @section Commenting input files
881 @cindex block comment
882 A comment is a remark for the human reader of the music input; it is
883 ignored while parsing, so it has no effect on the printed output.
884 There are two types of comments. The percent symbol @samp{%}
885 introduces a line comment; after @code{%} the rest of the line is
886 ignored. A block comment marks a whole section of music
887 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
888 ignored. The following fragment shows possible uses for comments
891 % notes for twinkle twinkle follow
895 This line, and the notes below
896 are ignored, since they are in a
903 @c TODO post-2.6 reorg
904 @c This is good info, but I wouldn't call it a comment. IMO it should
905 @c be moved somewhere else.
909 There is a special statement that is a kind of comment. The @code{\version}
910 statement marks for which version of LilyPond the file was written.
911 To mark a file for version 2.6.0, use
918 These annotations make future upgrades of LilyPond go more
919 smoothly. Changes in the syntax are handled with a special program,
920 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
921 @code{\version} to determine what rules to apply.
924 @node Printing lyrics
925 @section Printing lyrics
928 @c TODO: (c) status of the Queen fragment.
932 Lyrics are entered by separating each syllable with a space
940 @lilypond[quote,verbatim,fragment,raggedright]
942 r4 c \times 2/3 { f g g }
943 \times 2/3 { g4( a2) }
947 The lyrics can be set to these notes, combining both with the
948 @code{\addlyrics} keyword
950 @lilypond[quote,verbatim,fragment,raggedright]
953 r4 c \times 2/3 { f g g }
954 \times 2/3 { g4( a2) }
956 \addlyrics { I want to break free }
961 @cindex extender line
963 This melody ends on a @rglos{melisma}, a single syllable (`free')
964 sung to more than one note. This is indicated with an @emph{extender
965 line}. It is entered as two underscores, i.e.,
968 @{ I want to break free __ @}
971 @lilypond[fragment,quote,raggedright]
974 r4 c \times 2/3 { f g g }
975 \times 2/3 { g4( a2) }
977 \addlyrics { I want to break free __ }
981 Similarly, hyphens between words can be entered as two dashes,
982 resulting in a centered hyphen between two syllables
985 Twin -- kle twin -- kle
988 @lilypond[fragment,quote,raggedright]
994 \addlyrics { Twin -- kle twin -- kle }
998 More options, like putting multiple lines of lyrics below a melody are
999 discussed in @ref{Vocal music}.
1003 @section A lead sheet
1009 @c TODO: revise this, \chords { } is shorter and more intuitive.
1011 In popular music, it is common to denote accompaniment with chord names.
1012 Such chords can be entered like notes,
1014 @lilypond[quote,verbatim,raggedright]
1015 \chordmode { c2 f4. g8 }
1019 Now each pitch is read as the root of a chord instead of a note.
1020 This mode is switched on with @code{\chordmode}
1022 Other chords can be created by adding modifiers after a colon. The
1023 following example shows a few common modifiers
1025 @lilypond[quote,verbatim,raggedright]
1026 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1029 For lead sheets, chords are not printed on staves, but as names on a
1030 line for themselves. This is achieved by using @code{\chords} instead
1031 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1032 but renders the notes in a @code{ChordNames} context, with the
1035 @lilypond[quote,verbatim,raggedright]
1036 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1040 When put together, chord names, lyrics and a melody form
1041 a lead sheet, for example,
1045 \chords @{ @emph{chords} @}
1047 \addlyrics @{ @emph{the text} @}
1052 @lilypond[quote,raggedright]
1054 \chords { r2 c:sus4 f }
1056 r4 c' \times 2/3 { f g g }
1057 \times 2/3 { g4( a2) }
1059 \addlyrics { I want to break free __ }
1063 A complete list of modifiers and other options for layout can be found
1068 @section Adding titles
1070 Bibliographic information is entered in a separate block, the
1071 @code{\header} block. The name of the piece, its composer, etc., are
1072 entered as an assignment, within @code{\header
1073 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1074 the top of the file. For example,
1079 composer = "Igor Stravinsky"
1086 When the file is processed, the title and composer are printed above
1087 the music. More information on titling can be found in @ref{Creating
1091 @node Single staff polyphony
1092 @section Single staff polyphony
1095 @cindex multiple voices
1096 @cindex voices, more -- on a staff
1097 When different melodic lines are combined on a single staff they are
1098 printed as polyphonic voices; each voice has its own stems, slurs and
1099 beams, and the top voice has the stems up, while the bottom voice has
1102 Entering such parts is done by entering each voice as a sequence (with
1103 @code{@{...@}}), and combining these simultaneously, separating the
1104 voices with @code{\\}
1106 @lilypond[quote,verbatim,relative=2,fragment]
1107 << { a4 g2 f4~ f4 } \\
1111 For polyphonic music typesetting, spacer rests can also be convenient;
1112 these are rests that do not print. They are useful for filling up
1113 voices that temporarily do not play. Here is the same example with a
1114 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1116 @lilypond[quote,verbatim,relative=2,fragment]
1117 << { a4 g2 f4~ f4 } \\
1122 Again, these expressions can be nested arbitrarily
1124 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1132 { <c, g>1 ~ <c g>4 } \\
1138 More features of polyphonic typesetting are described in this manual
1139 in section @ref{Polyphony}.
1143 @section Piano staves
1145 @cindex staff switch, manual
1146 @cindex cross staff voice, manual
1147 @cindex @code{\context}
1148 Piano music is typeset in two staves connected by a brace. Printing
1149 such a staff is similar to the polyphonic example in @ref{More staves},
1152 << \new Staff @{ @dots{} @}
1153 \new Staff @{ @dots{} @} >>
1157 but now this entire expression must be interpreted as a
1161 \new PianoStaff << \new Staff @dots{} >>
1164 Here is a small example
1166 @lilypond[quote,verbatim,relative=1,fragment]
1168 \new Staff { \time 2/4 c4 c g' g }
1169 \new Staff { \clef bass c,, c' e c }
1173 More information on formatting piano music is given in @ref{Piano music}.
1176 @node Organizing larger pieces
1177 @section Organizing larger pieces
1179 When all of the elements discussed earlier are combined to produce
1180 larger files, the @code{\score} blocks get a lot bigger, because the
1181 music expressions are longer, and, in the case of polyphonic pieces,
1182 more deeply nested. Such large expressions can become unwieldy.
1184 By using variables, also known as identifiers, it is possible to break
1185 up complex music expressions. An identifier is assigned as follows
1188 namedMusic = @{ @dots{} @}
1192 The contents of the music expression @code{namedMusic}, can be used
1193 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1194 In the next example, a two-note motive is repeated two times by using
1195 variable substitution
1197 @lilypond[quote,raggedright,verbatim,nofragment]
1201 { \seufzer \seufzer }
1204 The name of an identifier should have alphabetic characters only; no
1205 numbers, underscores or dashes. The assignment should be outside of
1208 It is possible to use variables for many other types of objects in the
1214 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1217 Depending on its contents, the identifier can be used in different
1218 places. The following example uses the above variables
1228 More information on the possible uses of identifiers is given in the
1229 technical manual, in @ref{Input variables and Scheme}.
1230 @c fixme: the ref is too technical.
1233 @node An orchestral part
1234 @section An orchestral part
1236 In orchestral music, all notes are printed twice. Once in a part for
1237 the musicians, and once in a full score for the conductor. Identifiers can
1238 be used to avoid double work. The music is entered once, and stored in
1239 a variable. The contents of that variable is then used to generate
1240 both the part and the full score.
1242 It is convenient to define the notes in a special file. For example,
1243 suppose that the file @file{horn-music.ly} contains the following part
1244 of a horn/@/bassoon duo
1247 hornNotes = \relative c @{
1254 Then, an individual part is made by putting the following in a file
1257 \include "horn-music.ly"
1259 instrument = "Horn in F"
1263 \transpose f c' \hornNotes
1270 \include "horn-music.ly"
1274 substitutes the contents of @file{horn-music.ly} at this position in
1275 the file, so @code{hornNotes} is defined afterwards. The command
1276 @code{\transpose f@tie{}c'} indicates that the argument, being
1277 @code{\hornNotes}, should be transposed by a fifth downwards. Sounding
1278 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1279 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1280 in the following output
1282 @lilypond[quote,raggedright]
1283 \transpose f c' \relative c {
1289 In ensemble pieces, one of the voices often does not play for many
1290 measures. This is denoted by a special rest, the multi-measure
1291 rest. It is entered with a capital @samp{R} followed by a duration
1292 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1293 duration, longer rests can be constructed. For example, this rest
1294 takes 3@tie{}measures in 2/4 time
1300 When printing the part, multi-rests
1301 must be condensed. This is done by setting a run-time variable
1304 \set Score.skipBars = ##t
1308 This command sets the property @code{skipBars} in the
1309 @code{Score} context to true (@code{##t}). Prepending the rest and
1310 this option to the music above, leads to the following result
1312 @lilypond[quote,raggedright]
1313 \transpose f c' \relative c {
1315 \set Score.skipBars = ##t
1322 The score is made by combining all of the music together. Assuming
1323 that the other voice is in @code{bassoonNotes} in the file
1324 @file{bassoon-music.ly}, a score is made with
1327 \include "bassoon-music.ly"
1328 \include "horn-music.ly"
1331 \new Staff \hornNotes
1332 \new Staff \bassoonNotes
1339 @lilypond[quote,raggedright]
1347 r4 d,8 f | gis4 c | b bes |
1348 a8 e f4 | g d | gis f
1353 More in-depth information on preparing parts and scores can be found
1354 in the notation manual; see @ref{Orchestral music}.
1356 Setting run-time variables (`properties') is discussed in
1357 @ref{Changing context properties on the fly}.
1364 * discuss expectations (?)
1368 * overview of chapters?