1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 - unless you have a really good reason, use either
13 @l ilypond[quote,ragged-right,verbatim]
15 @l ilypond[quote,ragged-right,verbatim,fragment,relative=2]
17 Don't use any other relative=X commands (make it a non-fragment
18 example), and don't use fragment without relative=2.
19 - use "aes" and "ees" instead of "as" and "aes". I know it's not
20 correct Dutch naming, but let's not confuse people with this until
21 we get to the Basic notation chapter.
25 - discuss subheading vs. unnumberedsubsection
31 @c old info that will probably be removed.
33 @c * more details about running lilypond; error messages,
34 @c compiling/viewing (emacs?)
35 @c * where to go from First steps+More basics?
37 @c wherever possible, do not include index entries here; the
38 @c index should point to stuff in the reference manual. -gp
40 @c Your first LilyPond score in 10 minutes?
45 This tutorial starts with an introduction to the LilyPond music
46 language and how to produce printed music. After this first contact we
47 will explain how to create common musical notation.
50 Many people learn programs by trying and fiddling around with the
51 program. This is also possible with LilyPond. If you click on a
52 picture in the HTML version of this manual, you will see the exact
53 LilyPond input that was used to generate that image.
56 @lilypond[fragment,quote,ragged-right,relative=2]
57 c-\markup { \bold \huge { Click here. } }
60 By cutting and pasting everything from the @qq{Start cut-&-pastable-section}
61 to the end of the file, you have a
62 starting template for experiments. If you like learning in this way,
63 you will probably want to print out or bookmark the
64 @ref{Cheat sheet}, which is a table listing of the most common
65 commands for quick reference.
69 * First steps (compiling a file)::
71 * Working on text files::
72 * How to read the tutorial::
73 * Accidentals and key signatures::
75 * Articulation and dynamics::
76 * Automatic and manual beams::
77 * Music expressions explained::
79 * Combining notes into chords::
80 * Advanced rhythmic commands::
81 * Commenting input files::
85 * Single staff polyphony::
87 * Organizing larger pieces::
88 * An orchestral part::
89 * After the tutorial::
94 @node First steps (compiling a file)
95 @section First steps (compiling a file)
97 The first example demonstrates how to start working with LilyPond. To
98 create sheet music, we write a text file that specifies the
99 notation. For example, if we write
108 the result looks like this
110 @lilypond[quote,ragged-right]
116 @strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
117 braces @}} placed around the input. The braces should be also be
118 surrounded by a space unless they are at the beginning or end of a
119 line to avoid ambiguities. These may be omitted in some examples in this
120 manual, but don't forget them in your own music!
122 @cindex Case sensitive
123 In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
124 is valid input; @code{ @{ C D E @} } will produce an error message.
128 @unnumberedsubsec Entering music and viewing output
130 In this section we will explain what commands to run
131 and how to view or print the output.
133 @unnumberedsubsubsec MacOS X
135 If you double click LilyPond.app, it will open with an example
136 file. Save it, for example, to @file{test.ly} on your Desktop, and
137 then process it with the menu command @samp{Compile > Typeset File}.
138 The resulting PDF file will be displayed on your screen.
140 Be warned that the first time you ever run lilypond will take a minute
141 or two because all of the system fonts have to be analyzed first.
143 For future use of LilyPond, you should begin by selecting "New"
146 @unnumberedsubsubsec Windows
148 On Windows, start up a text-editor@footnote{Any simple or
149 programmer-oriented editor with UTF-8 support will do, for example
150 Notepad. Do not use a word processor, since these insert formatting
151 codes that will confuse LilyPond.} and enter
159 Save it on the desktop as @file{test.ly} and make sure that it is not
160 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
161 the file and show the resulting PDF file.
164 @unnumberedsubsubsec Unix
166 Begin by opening a terminal window and starting a text editor. For
167 example, you could open an xterm and execute
168 @code{joe}@footnote{There are macro files for VIM addicts, and there
169 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
170 installed already, refer to the file @file{INSTALL.txt}. These
171 easiest editing environment is @file{LilyPondTool}. See
172 @ref{Editor support} for more information.}. In your
173 text editor, enter the following input and save the file as
183 To process @file{test.ly}, proceed as follows
190 You will see something resembling
197 Interpreting music... [1]
198 Preprocessing graphical objects...
199 Calculating line breaks... [2]
200 Layout output to `test.ps'...
201 Converting to `test.pdf'...
205 @cindex Viewing music
208 The result is the file @file{test.pdf} which you can print or view
209 with the standard facilities of your operating system.@footnote{If
210 your system does not have any tools installed, you can try
211 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
212 available package for viewing and printing PDF and PostScript files.}
215 @node Simple notation
216 @section Simple notation
218 LilyPond will add some notation elements automatically. In the next
219 example, we have only specified four pitches, but LilyPond has
220 added a clef, time signature, and rhythms.
222 @lilypond[quote,ragged-right,verbatim]
229 This behavior may be altered, but in most cases these automatic values
233 @unnumberedsubsec Pitches
235 The easiest way to enter notes is by using @code{\relative} mode. In
236 this mode, the @rglos{interval} between the previous note and the
237 current note is assumed to be within a @rglos{fourth}. We begin by
238 entering the most elementary piece of music, a @rglos{scale}.
240 @lilypond[quote,ragged-right,verbatim]
247 The initial note is @rglos{middle C}. Each successive note
248 is within a fourth of the previous note -- in other words, the first
249 @samp{c} is the closest C to middle C. This is followed by the closest
250 D to the previous note. We can create melodies which have larger intervals:
252 @lilypond[quote,ragged-right,verbatim]
260 As you may notice, this example does not start on middle C. The first
261 note -- the @samp{d} -- is the closest D to middle C.
263 To add intervals that are larger than a fourth, we can raise the octave
264 by adding a single quote @code{'} (or apostrophe) to the note name. We can
265 lower the octave by adding a comma @code{,} to the note name.
267 @lilypond[quote,ragged-right,verbatim]
275 To change a note by two (or more!) octaves, we use multiple @code{''} or
276 @code{,,} -- but be careful that you use two single quotes @code{''} and
277 not one double quote @code{"}@tie{}! The initial value in
278 @code{\relative c'} may also be modified like this.
281 @unnumberedsubsec Durations (rhythms)
283 The @rglos{duration} of a note is specified by a number after the note
284 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
285 @samp{4} for a @rglos{quarter note} and so on. Beams are added
288 @lilypond[quote,ragged-right,verbatim]
292 a16 a a a a32 a a a a64 a a a a a a a a2
297 If you do not specify a duration, the previous duration is used
298 for the next note. The duration of the first note defaults to a quarter.
300 To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
302 @lilypond[quote,ragged-right,verbatim]
310 @unnumberedsubsec Rests
312 A @rglos{rest} is entered just like a note with the name @samp{r}:
314 @lilypond[quote,ragged-right,verbatim]
322 @unnumberedsubsec Time signature
324 The @rglos{time signature}) can be set with the @code{\time} command:
326 @lilypond[quote,ragged-right,verbatim]
338 @unnumberedsubsec Clef
340 The @rglos{clef} can be set using the @code{\clef} command:
342 @lilypond[quote,ragged-right,verbatim]
356 @unnumberedsubsec All together
358 Here is a small example showing all these elements together:
360 @lilypond[quote,ragged-right,verbatim]
372 @item Entering pitches and durations
373 see @ref{Pitches} and @ref{Durations}.
376 @item Time signatures and other timing commands
377 see @ref{Time signature}.
384 @node Working on text files
385 @section Working on text files
387 LilyPond input files are treated like files in most programming languages:
388 they are case sensitive, white-space insensitive, and expressions are
389 formed with curly braces @{ @}.
391 If the previous sentence sounds like nonsense, don't worry! We'll explain
392 what all these terms mean:
396 @cindex Case sensitive
397 @item @strong{Case sensitive}:
398 it matters whether you enter a letter
399 in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
400 @code{A, B, S, T}). Notes are lower case: @code{ @{ c d e @} }
401 is valid input; @code{ @{ C D E @} } will produce an error message.
403 @item @strong{Whitespace insensitive}:
404 it does not matter how many
405 spaces (or new lines) you add. @code{ @{ c d e @}} means the same thing
406 as @code{ @{ c @ @ @ @ @ d e @} } and
414 Of course, the previous example is hard to read. A good rule of thumb
415 is to indent code blocks with either a tab or two spaces:
422 @item @strong{Expressions:}
423 Every piece of LilyPond input needs to have
424 @strong{@{ curly braces @}} placed around the input. These braces tell
425 LilyPond that the input is a single music expression, just like
426 parenthesis @samp{()} in mathematics. The braces should
427 be surrounded by a space unless they are at the beginning or end of a
428 line to avoid ambiguities.
430 A function (such as @code{\relative @{ @}} ) also counts as a single
435 There are more tips for constructing input files in
436 @ref{Suggestions for writing LilyPond files}.
439 @node How to read the tutorial
440 @section How to read the tutorial
442 As we saw in @ref{Working on text files}, LilyPond input must be
443 surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
444 rest of this manual, most examples will omit this.
446 If you are reading the HTML documentation and wish to see the exact
447 exact LilyPond code that was used to create the example, simply click
448 on the picture. If you are not reading the HTML version, you could
449 copy and paste the displayed input, but you @strong{must} add the
450 @code{\relative c'' @{ @}} like this:
454 ... example goes here...
458 Why omit the braces? Most examples
459 in this manual can be inserted into the middle of a longer piece of
460 music. For these examples, it does not make sense to add
461 @code{\relative c'' @{ @}} -- you should not place a @code{\relative}
462 inside another @code{\relative}, so you would not be able to copy
463 a small documentation example and paste it inside a longer piece
467 @node Accidentals and key signatures
468 @section Accidentals and key signatures
470 @unnumberedsubsec Accidentals
472 A @rglos{sharp} pitch is made by adding @samp{is} to
473 the name, and a @rglos{flat} pitch by adding @samp{es}. As
474 you might expect, a @rglos{double sharp} or @rglos{double flat} is
475 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
476 derived from note naming conventions in Nordic and Germanic languages,
477 like German and Dutch. To use other names for accidentals, see
478 @ref{Note names in other languages}.}
480 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
481 cis1 ees fisis, aeses
484 @cindex key signature, setting
485 @unnumberedsubsec Key signatures
487 The key signature is set with the command @code{\key} followed by
488 a pitch and @code{\major} or @code{\minor}.
490 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
499 @unnumberedsubsec Warning: key signatures and pitches
501 To determine whether to print an accidental, LilyPond examines the
502 pitches and the key signature. The key signature only effects
503 the @emph{printed} accidentals, not the actual pitches! This is a
504 feature that often causes confusion to newcomers, so let us explain it
507 LilyPond makes a sharp distinction between musical content and
508 layout. The alteration (flat, natural or sharp) of a note is part of
509 the pitch, and is therefore musical content. Whether an accidental (a
510 @emph{printed} flat, natural or sharp sign) is printed in front of the
511 corresponding note is a question of layout. Layout is something that
512 follows rules, so accidentals are printed automatically according to
513 those rules. The pitches in your music are works of art, so they will
514 not be added automatically, and you must enter what you want to hear.
518 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
524 No note has a printed accidental, but you must still add the @samp{is} to
525 @code{cis} and @code{fis}.
527 The code @samp{e} does not mean @qq{print a black dot just below the
528 first line of the staff.} Rather, it means: @qq{there is a note with
529 pitch E-natural.} In the key of A-flat major, it @emph{does} get an
532 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
537 Adding all alterations explicitly might require a little more effort
538 when typing, but the advantage is that transposing is easier, and
539 accidentals can be printed according to different conventions. See
540 @ref{Automatic accidentals} for some examples how accidentals can be printed
541 according to different rules.
547 see @ref{Accidentals} and @ref{Automatic accidentals}.
549 see @ref{Key signature}.
555 @section Ties and slurs
558 @unnumberedsubsec Ties
559 A @rglos{tie} is created by appending a tilde @samp{~} to the first
562 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
568 @unnumberedsubsec Slurs
570 A @rglos{slur} is a curve drawn across many notes. The starting note
571 and ending note are marked with @samp{(} and @samp{)} respectively.
573 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
574 d4( c16) cis( d e c cis d) e( d4)
577 @cindex slurs, phrasing
578 @cindex phrasing slurs
579 @unnumberedsubsec Phrasing slurs
581 @cindex phrasing slurs
582 Slurs to indicate longer phrasing can be entered with @code{\(} and
583 @code{\)}. You can have both legato slurs and phrasing slurs at the
584 same time, but you cannot have simultaneous slurs or simultaneous
587 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
588 a8(\( ais b c) cis2 b'2 a4 cis,\)
593 @cindex slurs versus ties
594 @unnumberedsubsec Warnings: slurs vs. ties
596 A slur looks like a @rglos{tie}, but it has a different meaning. A
597 tie simply makes the first note longer, and can only be used on
598 pairs of notes with the same pitch. Slurs indicate the articulations
599 of notes, and can be used on larger groups of notes. Slurs and ties
602 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
603 c2~( c8 fis fis4 ~ fis2 g2)
614 see @ref{Phrasing slurs}.
619 @node Articulation and dynamics
620 @section Articulation and dynamics
626 @c FIXME: change to @rglos once the term is added (articulations)
627 Common articulations can be added to a note using a dash (@samp{-}) and a
630 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
631 c-. c-- c-> c-^ c-+ c-_
635 Similarly, fingering indications can be added to a note using a dash
636 (@samp{-}) and the digit to be printed:
638 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
642 Articulations and fingerings are usually placed automatically, but you
643 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
644 also use multiple articulations on the same note. However, in most cases
645 it is best to let LilyPond determine the articulation directions.
647 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
648 c_-^1 d^. f^4_2-> e^-_+
651 Dynamic signs are made by adding the markings (with a backslash) to
654 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
662 Crescendi and decrescendi are started with the commands @code{\<} and
663 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
664 (de)crescendo, or the command @code{\!} can be used
666 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
674 see @ref{Articulations}.
676 see @ref{Fingering instructions}.
683 @node Automatic and manual beams
684 @section Automatic and manual beams
686 @cindex beams, by hand
687 All @rglos{beam}s are drawn automatically:
689 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
690 a8 ais d ees r d c16 b a8
694 If you do not like the automatic beams, they may be overridden
695 manually. Mark the first note to be beamed with @samp{[} and the last one
698 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
699 a8[ ais] d[ ees r d] a b
705 @item Automatic beams
706 see @ref{Automatic beams}.
708 see @ref{Manual beams}.
714 @node Music expressions explained
715 @section Music expressions explained
717 In LilyPond input files, music is represented by @emph{music
718 expressions}. A single note is a music expression, although it is not
719 valid input all on its own.
721 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
725 Enclosing a group of notes in braces creates a new music expression:
727 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
731 Putting a group of music expressions (e.g. notes) in braces means that
732 are in sequence (i.e. each one follows the previous one). The result
733 is another music expression:
735 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
739 @unnumberedsubsec Simultaneous music expressions: multiple staves
741 This technique is useful for polyphonic music. To enter music
742 with more voices or more staves, we combine expressions in
743 parallel. To indicate that two voices should play at the same time
744 simple enter a simultaneous combination of music expressions. A
745 @q{simultaneous} music expression is formed by enclosing expressions inside
746 @code{<<} and @code{>>}. In the following example, three sequences (all
747 containing two separate notes) are combined simultaneously:
749 @lilypond[quote,ragged-right,verbatim]
759 Note that we have indented each level of the input with a different
760 amount of space. LilyPond does not care how much (or little) space there
761 is at the beginning of a line, but indenting LilyPond code like this makes
762 it much easier for humans to read.
764 @unnumberedsubsec Simultaneous music expressions: single staff
766 To determine the number of staves in a piece, LilyPond looks at the first
767 exression. If it is a single note, there is one staff; if there is a
768 simultaneous expression, there is more than one staff.
770 @lilypond[quote,ragged-right,verbatim]
772 c <<c e>> << { e f } { c <<b d>> } >>
777 @unnumberedsubsec Analogy: mathematical expressions
779 This mechanism is similar to mathematical
780 formulas: a big formula is created by composing small formulas. Such
781 formulas are called expressions, and their definition is recursive so
782 you can make arbitrarily complex and large expressions. For example,
791 ((1 + 2) * 3) / (4 * 5)
795 @cindex music expression
796 This is a sequence of expressions, where each expression is contained
797 in the next (larger) one. The simplest expressions are numbers, and larger
798 ones are made by combining expressions with operators (like @samp{+},
799 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
800 music expressions can be nested arbitrarily deep, which is necessary
801 for complex music like polyphonic scores.
809 As we saw in @ref{Music expressions explained}, LilyPond is blah blah.
811 To print more than one staff, each piece of music that makes up a
812 staff is marked by adding @code{\new Staff} before it. These
813 @code{Staff} elements are then combined in parallel with @code{<<} and
814 @code{>>}, as demonstrated here
816 @lilypond[quote,fragment,verbatim]
818 \new Staff { \clef treble c'' }
819 \new Staff { \clef bass c }
824 The command @code{\new} introduces a @q{notation context.} A notation
825 context is an environment in which musical events (like notes or
826 @code{\clef} commands) are interpreted. For simple pieces, such
827 notation contexts are created automatically. For more complex pieces, it
828 is best to mark contexts explicitly. This ensures that each fragment
831 There are several types of contexts. @code{Staff}, @code{Voice} and
832 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
833 texts and @code{ChordNames} prints chord names.
835 In terms of syntax, prepending @code{\new} to a music expression
836 creates a bigger music expression. In this way it resembles the minus
837 sign in mathematics. The formula @math{(4+5)} is an expression, so
838 @math{-(4+5)} is a bigger expression.
840 We can now typeset a melody with two staves
842 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
844 @lilypond[fragment,quote,verbatim,ragged-right]
861 For more information on contexts see the description in
862 @ref{Interpretation contexts}.
868 @node Combining notes into chords
869 @section Combining notes into chords
872 Chords can be made by surrounding pitches with angle brackets.
873 Angle brackets are the symbols @samp{<} and @samp{>}.
875 @lilypond[quote,relative=1,fragment,verbatim]
880 You can combine markings like beams and ties with chords. They must
881 be placed outside the angled brackets
883 @lilypond[quote,relative=1,fragment,verbatim]
884 r4 <c e g>8[ <c f a>]~ <c f a>
888 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
891 @lilypond[quote,relative=1,fragment]
893 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
897 @node Advanced rhythmic commands
898 @section Advanced rhythmic commands
902 @cindex partial measure
903 A pickup is entered with the keyword @code{\partial}. It
904 is followed by a duration: @code{\partial 4} is a quarter note upstep
905 and @code{\partial 8} an eighth note
907 @lilypond[quote,relative=2,verbatim,fragment]
914 Tuplets are made with the @code{\times} keyword. It takes two
915 arguments: a fraction and a piece of music. The duration of the piece
916 of music is multiplied by the fraction. Triplets make notes occupy
917 2/3 of their notated duration, so a triplet has 2/3 as its fraction
919 @lilypond[quote,relative=1,verbatim,fragment]
920 \times 2/3 { f8 g a }
926 Grace notes are also made by prefixing a music expression with the
927 keyword @code{\appoggiatura} or @code{\acciaccatura}
931 @lilypond[quote,relative=2,verbatim,fragment]
932 c4 \appoggiatura b16 c4
933 c4 \acciaccatura b16 c4
940 see @ref{Grace notes},
944 see @ref{Partial measures}.
949 @node Commenting input files
950 @section Commenting input files
954 @cindex block comment
955 A comment is a remark for the human reader of the music input; it is
956 ignored while parsing, so it has no effect on the printed output.
957 There are two types of comments. The percent symbol @samp{%}
958 introduces a line comment; after @samp{%} the rest of the line is
959 ignored. A block comment marks a whole section of music
960 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
961 ignored. The following fragment shows possible uses for comments
964 % notes for twinkle twinkle follow
968 This line, and the notes below
969 are ignored, since they are in a
976 @c TODO post-2.6 reorg
977 @c This is good info, but I wouldn't call it a comment. IMO it should
978 @c be moved somewhere else.
982 There is a special statement that is a kind of comment. The @code{\version}
983 statement marks for which version of LilyPond the file was written.
984 To mark a file for version 2.10.1, use
991 These annotations make future upgrades of LilyPond go more
992 smoothly. Changes in the syntax are handled with a special program,
993 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
994 @code{\version} to determine what rules to apply.
997 @node Printing lyrics
998 @section Printing lyrics
1001 @c TODO: (c) status of the Queen fragment.
1005 Lyrics are entered by separating each syllable with a space
1008 I want to break free
1013 @lilypond[quote,verbatim,fragment,ragged-right]
1015 r4 c \times 2/3 { f g g }
1016 \times 2/3 { g4( a2) }
1020 The lyrics can be set to these notes, combining both with the
1021 @code{\addlyrics} keyword
1023 @lilypond[quote,verbatim,fragment,ragged-right]
1026 r4 c \times 2/3 { f g g }
1027 \times 2/3 { g4( a2) }
1029 \addlyrics { I want to break free }
1034 @cindex extender line
1036 This melody ends on a @rglos{melisma}, a single syllable (@q{free})
1037 sung to more than one note. This is indicated with an @emph{extender
1038 line}. It is entered as two underscores, i.e.,
1041 @{ I want to break free __ @}
1044 @lilypond[fragment,quote,ragged-right]
1047 r4 c \times 2/3 { f g g }
1048 \times 2/3 { g4( a2) }
1050 \addlyrics { I want to break free __ }
1054 Similarly, hyphens between words can be entered as two dashes,
1055 resulting in a centered hyphen between two syllables
1061 @c no ragged-right here, because otherwise the hypens get lost.
1062 @lilypond[fragment,quote]
1068 \addlyrics { A -- le gri -- a }
1072 More options, like putting multiple lines of lyrics below a melody are
1073 discussed in @ref{Vocal music}.
1077 @section A lead sheet
1083 @c TODO: revise this, \chords { } is shorter and more intuitive.
1085 In popular music, it is common to denote accompaniment with chord names.
1086 Such chords can be entered like notes,
1088 @lilypond[quote,verbatim,ragged-right]
1089 \chordmode { c2 f4. g8 }
1093 Now each pitch is read as the root of a chord instead of a note.
1094 This mode is switched on with @code{\chordmode}
1096 Other chords can be created by adding modifiers after a colon. The
1097 following example shows a few common modifiers
1099 @lilypond[quote,verbatim,ragged-right]
1100 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1103 For lead sheets, chords are not printed on staves, but as names on a
1104 line for themselves. This is achieved by using @code{\chords} instead
1105 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1106 but renders the notes in a @code{ChordNames} context, with the
1109 @lilypond[quote,verbatim,ragged-right]
1110 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1114 When put together, chord names, lyrics and a melody form
1115 a lead sheet, for example,
1119 \chords @{ @emph{chords} @}
1121 \addlyrics @{ @emph{the text} @}
1126 @lilypond[quote,ragged-right]
1128 \chords { r2 c:sus4 f }
1130 r4 c' \times 2/3 { f g g }
1131 \times 2/3 { g4( a2) }
1133 \addlyrics { I want to break free __ }
1137 A complete list of modifiers and other options for layout can be found
1142 @section Adding titles
1144 Bibliographic information is entered in a separate block, the
1145 @code{\header} block. The name of the piece, its composer, etc., are
1146 entered as an assignment, within @code{\header
1147 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1148 the top of the file. For example,
1153 composer = "Igor Stravinsky"
1160 When the file is processed, the title and composer are printed above
1161 the music. More information on titling can be found in @ref{Creating
1165 @node Single staff polyphony
1166 @section Single staff polyphony
1169 @cindex multiple voices
1170 @cindex voices, more -- on a staff
1171 When different melodic lines are combined on a single staff they are
1172 printed as polyphonic voices; each voice has its own stems, slurs and
1173 beams, and the top voice has the stems up, while the bottom voice has
1176 Entering such parts is done by entering each voice as a sequence (with
1177 @code{@{...@}}), and combining these simultaneously, separating the
1178 voices with @code{\\}
1180 @lilypond[quote,verbatim,relative=2,fragment]
1181 << { a4 g2 f4~ f4 } \\
1185 For polyphonic music typesetting, spacer rests can also be convenient;
1186 these are rests that do not print. They are useful for filling up
1187 voices that temporarily do not play. Here is the same example with a
1188 spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
1190 @lilypond[quote,verbatim,relative=2,fragment]
1191 << { a4 g2 f4~ f4 } \\
1196 Again, these expressions can be nested arbitrarily
1198 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1206 { <c g>1 ~ <c g>4 } \\
1212 More features of polyphonic typesetting are described in this manual
1213 in section @ref{Basic polyphony}.
1217 @section Piano staves
1219 @cindex staff switch, manual
1220 @cindex cross staff voice, manual
1221 Piano music is typeset in two staves connected by a brace. Printing
1222 such a staff is similar to the polyphonic example in @ref{More staves},
1225 << \new Staff @{ @dots{} @}
1226 \new Staff @{ @dots{} @} >>
1230 but now this entire expression must be interpreted as a
1234 \new PianoStaff << \new Staff @dots{} >>
1237 Here is a small example
1239 @lilypond[quote,verbatim,relative=1,fragment]
1241 \new Staff { \time 2/4 c4 c g' g }
1242 \new Staff { \clef bass c,, c' e c }
1246 More information on formatting piano music is given in @ref{Piano music}.
1249 @node Organizing larger pieces
1250 @section Organizing larger pieces
1252 When all of the elements discussed earlier are combined to produce
1253 larger files, the @code{\score} blocks get a lot bigger because the
1254 music expressions are longer, and, in the case of polyphonic music,
1255 more deeply nested. Such large expressions can become unwieldy.
1257 By using variables, also known as identifiers, it is possible to break
1258 up complex music expressions. An identifier is assigned as follows
1261 namedMusic = @{ @dots{} @}
1265 The contents of the music expression @code{namedMusic}, can be used
1266 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1267 In the next example, a two-note motive is repeated two times by using
1268 variable substitution
1270 @lilypond[quote,ragged-right,verbatim,nofragment]
1274 { \seufzer \seufzer }
1277 The name of an identifier should have alphabetic characters only: no
1278 numbers, underscores, or dashes. The assignment should be outside of
1281 It is possible to use variables for many other types of objects in the
1287 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1290 Depending on its contents, the identifier can be used in different
1291 places. The following example uses the above variables
1301 More information on the possible uses of identifiers is given in the
1302 technical manual, in @ref{Input variables and Scheme}.
1303 @c fixme: the ref is too technical.
1306 @node An orchestral part
1307 @section An orchestral part
1309 In orchestral music, all notes are printed twice. Once in a part for
1310 the musicians, and once in a full score for the conductor. Identifiers can
1311 be used to avoid double work. The music is entered once, and stored in
1312 a variable. The contents of that variable is then used to generate
1313 both the part and the full score.
1315 It is convenient to define the notes in a special file. For example,
1316 suppose that the file @file{horn-music.ly} contains the following part
1317 of a horn/@/bassoon duo
1320 hornNotes = \relative c @{
1327 Then, an individual part is made by putting the following in a file
1330 \include "horn-music.ly"
1332 instrument = "Horn in F"
1336 \transpose f c' \hornNotes
1343 \include "horn-music.ly"
1347 substitutes the contents of @file{horn-music.ly} at this position in
1348 the file, so @code{hornNotes} is defined afterwards. The command
1349 @code{\transpose f@tie{}c'} indicates that the argument, being
1350 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1351 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1352 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1353 in the following output
1355 @lilypond[quote,ragged-right]
1356 \transpose f c' \relative c {
1362 In ensemble pieces, one of the voices often does not play for many
1363 measures. This is denoted by a special rest, the multi-measure
1364 rest. It is entered with a capital @samp{R} followed by a duration
1365 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1366 etc.). By multiplying the
1367 duration, longer rests can be constructed. For example, this rest
1368 takes 3@tie{}measures in 2/4 time
1374 When printing the part, multi-rests
1375 must be condensed. This is done by setting a run-time variable
1378 \set Score.skipBars = ##t
1382 This command sets the property @code{skipBars} in the
1383 @code{Score} context to true (@code{##t}). Prepending the rest and
1384 this option to the music above, leads to the following result
1386 @lilypond[quote,ragged-right]
1387 \transpose f c' \relative c {
1389 \set Score.skipBars = ##t
1396 The score is made by combining all of the music together. Assuming
1397 that the other voice is in @code{bassoonNotes} in the file
1398 @file{bassoon-music.ly}, a score is made with
1401 \include "bassoon-music.ly"
1402 \include "horn-music.ly"
1405 \new Staff \hornNotes
1406 \new Staff \bassoonNotes
1413 @lilypond[quote,ragged-right]
1421 r4 d,8 f | gis4 c | b bes |
1422 a8 e f4 | g d | gis f
1427 More in-depth information on preparing parts and scores can be found
1428 in the notation manual; see @ref{Orchestral music}.
1430 Setting run-time variables (@q{properties}) is discussed in
1431 @ref{Changing context properties on the fly}.
1434 @node After the tutorial
1435 @section After the tutorial
1437 After finishing the tutorial, you should probably try writing a
1438 piece or two. Start with one of the @ref{Example templates} and
1439 add notes. If you need any notation that was not covered in the
1440 tutorial, look at the Notation Reference, starting with
1441 @ref{Basic notation}. If you want to write for an instrument
1442 ensemble which is not covered in the @ref{Example templates},
1443 take a look at @ref{Extending the templates}.
1445 Once you have written a few short pieces, read the rest of
1446 the Learning Manual (chapters 3-5). There's nothing wrong
1447 with reading them now, of course! However, the rest of the
1448 Learning Manual assumes that you are familiar with
1449 LilyPond input. You may wish to skim these chapters right
1450 now, and come back to them after you have more experience.
1457 @section Octave entry
1459 @c Tim wants to move this quotes example just before the: quotes-do not-work
1460 @c score, but we'd need to remove quotes from the other two (key and
1463 @c better to have this just before the `octaves are bad' snipped
1464 @c but we'd need to remove the ', from \key and tie
1465 To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
1466 the note name, to lower a note one octave, add a @q{low quote} @samp{,}
1467 (comma). Middle C is @code{c'}
1469 @lilypond[quote,notime,fragment,verbatim]
1470 c'4 c'' c''' \clef bass c c,
1473 An example of the use of quotes is in the following Mozart fragment
1475 @lilypond[quote,ragged-right,fragment,verbatim]
1478 cis''8. d''16 cis''8 e''4 e''8
1479 b'8. cis''16 b'8 d''4 d''8
1483 This example shows that music in a high register needs lots of quotes.
1484 This makes the input less readable, and it is a source of errors. The
1485 solution is to use @q{relative octave} mode. This is the
1486 most convenient way to copy existing music.
1488 In relative mode, a note without octavation quotes (i.e., the @samp{'}
1489 or @samp{,} after a note) is chosen so that it is closest to the
1490 previous one. For example, @samp{c f} goes up while @samp{c g} goes
1493 To use relative mode, add @code{\relative} before the piece of
1494 music. The first note is taken relative to the middle C
1495 @c no , for this sentence
1500 @lilypond[quote,notime,fragment,verbatim]
1507 Since most music has small intervals, pieces can be written almost
1508 without octavation quotes in relative mode. The previous example is
1511 @lilypond[quote,ragged-right,verbatim]
1515 cis'8. d16 cis8 e4 e8
1520 @c needed better, maybe even redundant explanation
1521 @c added another example below.
1522 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
1523 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
1524 Larger intervals are made by adding octavation quotes.
1526 @lilypond[quote,notime,verbatim,fragment]
1532 In summary, quotes or commas no longer determine the absolute height
1533 of a note in @code{\relative} mode. Rather, the height of a note is
1534 relative to the previous one, and changing the octave of a single note
1535 shifts all following notes an octave up or down.
1537 For more information on relative octaves see @ref{Relative octaves},
1538 and @ref{Octave check}.