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.
11 @c * more details about running lilypond; error messages,
12 @c compiling/viewing (emacs?)
13 @c * where to go from First steps+More basics?
15 @c wherever possible, do not include index entries here; the
16 @c index should point to stuff in the reference manual. -gp
18 @c Your first LilyPond score in 10 minutes?
23 This tutorial starts with an introduction to the LilyPond music
24 language and how to produce printed music. After this first contact we
25 will explain how to create common musical notation.
28 Many people learn programs by trying and fiddling around with the
29 program. This is also possible with LilyPond. If you click on a
30 picture in the HTML version of this manual, you will see the exact
31 LilyPond input that was used to generate that image.
34 @lilypond[fragment,quote,ragged-right,relative=2]
35 c-\markup { \bold \huge { Click here. } }
39 By cutting and pasting the full input into a test file, you have a
40 starting template for experiments. If you like learning in this way,
41 you will probably want to print out or bookmark
45 @ref{Cheat sheet}, which is a table listing of the most common
46 commands for quick reference.
51 * More about pitches::
53 * Automatic and manual beams::
55 * Music expressions explained::
57 * Adding articulation marks to notes::
58 * Combining notes into chords::
59 * Advanced rhythmic commands::
60 * Commenting input files::
64 * Single staff polyphony::
66 * Organizing larger pieces::
67 * An orchestral part::
68 * After the tutorial::
75 The first example demonstrates how to enter the most elementary piece
76 of music, a @rglos{scale}. A @rglos{note} can be entered by typing
77 its name, from @samp{a} through @samp{g}. So, if you enter
81 c' d' e' f' g' a' b' c''
86 the result looks like this
90 c' d' e' f' g' a' b' c''
94 @emph{Warning:} Every piece of LilyPond input needs to have @{curly
95 braces@} placed around the input. The braces should be also be
96 surrounded by a space unless they are at the beginning or end of a
97 line to avoid ambiguities. These may be omitted in examples in this
98 manual, but don't forget them in your own music!
100 @cindex Case sensitive
101 In addition, LilyPond input is case sensitive. @code{ @{ c d e @} } is
102 valid input; @code{ @{ C D E @} } will produce an error message.
106 @unnumberedsubsec Entering music and viewing output
108 In this section we will explain what commands to run
109 and how to view or print the output.
111 @unnumberedsubsubsec MacOS X
113 If you double click LilyPond.app, it will open with an example
114 file. Save it, for example, to @file{test.ly} on your Desktop, and
115 then process it with the menu command @samp{Compile > Typeset File}.
116 The resulting PDF file will be displayed on your screen.
118 Be warned that the first time you ever run lilypond will take a minute
119 or two, because all of the system fonts have to be analyzed first.
121 For future use of LilyPond, you should begin by selecting "New"
124 @unnumberedsubsubsec Windows
126 On Windows, start up a text-editor@footnote{Any simple or
127 programmer-oriented editor with UTF-8 support will do, for example
128 Notepad. Do not use a word processor, since these insert formatting
129 codes that will confuse LilyPond.} and enter
135 Save it on the desktop as @file{test.ly} and make sure that it is not
136 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
137 the file and show the resulting PDF file.
140 @unnumberedsubsubsec Unix
142 Begin by opening a terminal window and starting a text editor. For
143 example, you could open an xterm and execute
144 @code{joe}@footnote{There are macro files for VIM addicts, and there
145 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
146 installed already, refer to the file @file{INSTALL.txt}.}. In your
147 text editor, enter the following input and save the file as
155 To process @file{test.ly}, proceed as follows
162 You will see something resembling
169 Interpreting music... [1]
170 Preprocessing graphical objects...
171 Calculating line breaks... [2]
172 Layout output to `test.ps'...
173 Converting to `test.pdf'...
177 @cindex Viewing music
180 The result is the file @file{test.pdf} which you can print or view
181 with the standard facilities of your operating system.@footnote{If
182 your system does not have any tools installed, you can try
183 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
184 available package for viewing and printing PDF and PostScript files.}
188 @section Second steps
190 @emph{Remember:} Every piece of LilyPond input needs to have @{curly
191 braces@} placed around the input. The braces should be surrounded by
192 a space unless they are at the beginning or end of a line to avoid
193 ambiguities. For the rest of this manual, most examples will omit
194 these braces, but don't forget them in your own music!
196 @c will be removed once the tutorial either explains \relative or
197 @c examples are fixed so they don't use it. -gp
198 In addition, many examples use @code{relative} mode. This is explained
199 in @ref{Octave entry}; for now simply be aware that some examples
200 should be placed inside @code{\relative @{ @emph{...music...} @}}.
201 Many example have also been compressed horizontally to save
202 space, using @code{\paper @{ ragged-right = ##t @}}.
204 @cindex Case sensitive
205 Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
206 valid input; @code{ @{ C D E @} } will produce an error message.
208 @c End of latest re-write. Since I have no life, I may do more
209 @c work on this, but I'd really like to have a Doc Helper take
210 @c over this task. -gp
213 The @rglos{duration} of a note is specified by a number after the note
214 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
215 @samp{4} for a @rglos{quarter note} and so on
221 @lilypond[fragment,quote,notime,relative=2]
222 \set Staff.autoBeaming = ##f
223 { a1 a2 a4 a16 a32 s16_" " }
226 If you do not specify a duration, the duration last entered is used
227 for the next notes. The duration of the first note in input defaults
234 @lilypond[fragment,quote,notime,relative=2]
235 { a a8 a a2 a s16_" " }
239 A @rglos{rest} is entered just like a note, but with the name @samp{r}
245 @lilypond[fragment,quote,notime]
249 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
255 @lilypond[fragment,quote,notime,relative=1]
256 { a2. a4 a8. a16 s16_" " }
259 The (or @rglos{time signature}) can be set with the @code{\time}
268 @c A clef here may lead to confusion, remove it.
269 @lilypond[fragment,quote]
270 \override Staff.Clef #'transparent = ##t
279 The @rglos{clef} can be set using the @code{\clef} command
288 @lilypond[fragment,quote,notime]
299 Remember to enclose the notes and commands in curly braces
300 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
302 @lilypond[fragment,quote,noindent,verbatim]
309 For more information on
313 @item Entering pitches and durations
315 @ref{Pitches}, and @ref{Durations}.
320 @item Time signatures and other timing commands
321 see @ref{Time signature}.
326 @node More about pitches
327 @section More about pitches
329 A @rglos{sharp} pitch is made by adding @samp{is} to
330 the name, a @rglos{flat} pitch by adding @samp{es}. As
331 you might expect, a @rglos{double sharp} or @rglos{double flat} is
332 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
333 derived from note naming conventions in Nordic and Germanic languages,
334 like German and Dutch.}
340 @lilypond[fragment,quote,notime]
341 \set Score.timing = ##f
342 \transpose c c' { cis1 ees fisis aeses s16_" " }
345 @cindex key signature, setting
346 The key signature is set with the command @code{\key}, followed by
347 a pitch and @code{\major} or @code{\minor}
356 @lilypond[fragment,quote,notime,fragment]
364 Key signatures together with the pitches (including alterations) are
365 used to determine when to print accidentals. This is a
366 feature that often causes confusion to newcomers, so let us explain it
370 LilyPond makes a sharp distinction between musical content and
371 layout. The alteration (flat, natural or sharp) of a note is part of
372 the pitch, and is therefore musical content. Whether an accidental (a
373 flat, natural or sharp @emph{sign}) is printed in front of the
374 corresponding note is a question of layout. Layout is something that
375 follows rules, so accidentals are printed automatically according to
376 those rules. The pitches in your music are works of art, so they will
377 not be added automatically, and you must enter what you want to hear.
381 @lilypond[quote,notime,fragment]
387 no note has an explicit accidental, but you still must enter
395 The code @samp{d} does not mean @qq{print a black dot just below the
396 staff.} Rather, it means: @qq{a note with pitch D-natural.} In the key
397 of A-flat major, it does get an accidental
399 @lilypond[quote,notime,fragment,relative=1,verbatim]
404 Adding all alterations explicitly might require a little more effort
405 when typing, but the advantage is that transposing is easier, and
406 accidentals can be printed according to different conventions. See
407 @ref{Automatic accidentals}, for some examples how accidentals can be printed
408 according to different rules.
411 For more information on
416 see @ref{Automatic accidentals}.
419 see @ref{Key signature}.
424 @section Entering ties
427 A @rglos{tie} is created by appending a tilde @samp{~} to the first
430 @lilypond[quote,notime,fragment,verbatim,relative=3]
434 For more information on Ties see @ref{Ties}.
438 @node Automatic and manual beams
439 @section Automatic and manual beams
441 @cindex beams, by hand
442 All @rglos{beam}s are drawn automatically
444 @lilypond[quote,fragment,relative=2,verbatim]
449 If you do not like where beams are put, they can be entered by
450 hand. Mark the first note to be beamed with @samp{[} and the last one
453 @lilypond[quote,fragment,relative=2,verbatim]
457 For more information on beams, see @ref{Manual beams}.
460 Here are key signatures, accidentals and ties in action
462 @lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
469 fis4 fis8 fis8 eis4 a8 gis~
478 There are some interesting points to note in this example. Bar lines
479 and beams are drawn automatically. Line breaks are calculated
480 automatically; it does not matter where the line breaks are in the
481 source file. Finally, the order in which time, key, and clef changes
482 are entered is not relevant: in the printout, these are ordered
483 according to standard notation conventions.
488 @section Octave entry
491 @c Tim wants to move this quotes example just before the: quotes-do not-work
492 @c score, but we'd need to remove quotes from the other two (key and
495 @c better to have this just before the `octaves are bad' snipped
496 @c but we'd need to remove the ', from \key and tie
497 To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
498 the note name, to lower a note one octave, add a @q{low quote} @samp{,}
499 (comma). Middle C is @code{c'}
501 @lilypond[quote,notime,fragment,verbatim]
502 c'4 c'' c''' \clef bass c c,
505 An example of the use of quotes is in the following Mozart fragment
507 @lilypond[quote,ragged-right,fragment,verbatim]
510 cis''8. d''16 cis''8 e''4 e''8
511 b'8. cis''16 b'8 d''4 d''8
515 This example shows that music in a high register needs lots of quotes.
516 This makes the input less readable, and it is a source of errors. The
517 solution is to use @q{relative octave} mode. This is the
518 most convenient way to copy existing music.
520 In relative mode, a note without octavation quotes (i.e., the @samp{'}
521 or @samp{,} after a note) is chosen so that it is closest to the
522 previous one. For example, @samp{c f} goes up while @samp{c g} goes
525 To use relative mode, add @code{\relative} before the piece of
526 music. The first note is taken relative to the middle C
527 @c no , for this sentence
532 @lilypond[quote,notime,fragment,verbatim]
539 Since most music has small intervals, pieces can be written almost
540 without octavation quotes in relative mode. The previous example is
543 @lilypond[quote,ragged-right,verbatim]
547 cis'8. d16 cis8 e4 e8
552 @c needed better, maybe even redundant explanation
553 @c added another example below.
554 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
555 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
556 Larger intervals are made by adding octavation quotes.
558 @lilypond[quote,notime,verbatim,fragment]
564 In summary, quotes or commas no longer determine the absolute height
565 of a note in @code{\relative} mode. Rather, the height of a note is
566 relative to the previous one, and changing the octave of a single note
567 shifts all following notes an octave up or down.
569 For more information on relative octaves see @ref{Relative octaves},
570 and @ref{Octave check}.
573 @node Music expressions explained
574 @section Music expressions explained
577 In input files, music is represent by so-called @emph{music
578 expression}s. We have already seen some in the previous examples;
579 a single note is a music expression
581 @lilypond[fragment,quote,verbatim,relative=3]
585 Enclosing a group of notes in braces creates a new music
588 @lilypond[fragment,quote,verbatim,relative=3]
592 Putting a bunch of music expressions (e.g., notes) in braces, means that
593 they should be played in sequence. The result again is a music
594 expression, which can be grouped with other expressions sequentially.
595 Here, the expression from the previous example is combined with two
598 @lilypond[fragment,quote,verbatim,relative=3]
602 This technique is useful for non-monophonic music. To enter music
603 with more voices or more staves, we also combine expressions in
604 parallel. Two voices that should play at the same time, are entered
605 as a simultaneous combination of two sequences. A @q{simultaneous}
606 music expression is formed by enclosing expressions in @code{<<} and
607 @code{>>}. In the following example, three sequences (all containing
608 two separate notes) are combined simultaneously
610 @lilypond[fragment,quote,verbatim,relative=3]
618 This mechanism is similar to mathematical
619 formulas: a big formula is created by composing small formulas. Such
620 formulas are called expressions, and their definition is recursive, so
621 you can make arbitrarily complex and large expressions. For example,
630 ((1 + 2) * 3) / (4 * 5)
634 @cindex music expression
635 This is a sequence of expressions, where each expression is contained
636 in the next (larger) one. The simplest expressions are numbers, and larger
637 ones are made by combining expressions with operators (like @samp{+},
638 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
639 music expressions can be nested arbitrarily deep, which is necessary
640 for complex music like polyphonic scores.
642 Note that this example only has one staff, whereas
643 the previous example had three separate staves. That is because this
644 example begins with a single note. To determine the number of staves,
645 LilyPond looks at the first element. If it is a single note, there is one
646 staff; if there is a simultaneous expression, there is more than one staff.
648 @lilypond[fragment,quote,verbatim,relative=2]
651 << { e f } { c <<b d>> } >>
655 Music files with deep nesting can be confusing to enter and
656 maintain. One convention that helps against this confusion is
657 indenting. When entering a file with deep nesting of braces and
658 angles, it is customary to use an indent that indicates the nesting
659 level. Formatting music like this eases reading and helps you insert
660 the right number of closing braces at the end of an expression. For
674 Some editors have special support for entering LilyPond, and can help
675 indenting source files. See @ref{Editor support} for more information.
680 To print more than one staff, each piece of music that makes up a
681 staff is marked by adding @code{\new Staff} before it. These
682 @code{Staff} elements are then combined in parallel with @code{<<} and
683 @code{>>}, as demonstrated here
685 @lilypond[quote,fragment,verbatim]
687 \new Staff { \clef treble c'' }
688 \new Staff { \clef bass c }
693 The command @code{\new} introduces a @q{notation context.} A notation
694 context is an environment in which musical events (like notes or
695 @code{\clef} commands) are interpreted. For simple pieces, such
696 notation contexts are created automatically. For more complex pieces, it
697 is best to mark contexts explicitly. This ensures that each fragment
700 There are several types of contexts. @code{Staff}, @code{Voice} and
701 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
702 texts and @code{ChordNames} prints chord names.
704 In terms of syntax, prepending @code{\new} to a music expression
705 creates a bigger music expression. In this way it resembles the minus
706 sign in mathematics. The formula @math{(4+5)} is an expression, so
707 @math{-(4+5)} is a bigger expression.
709 We can now typeset a melody with two staves
711 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
713 @lilypond[fragment,quote,verbatim,ragged-right]
730 For more information on contexts see the description in
731 @ref{Interpretation contexts}.
735 @node Adding articulation marks to notes
736 @section Adding articulation marks to notes
742 Common accents can be added to a note using a dash (@samp{-}) and a
745 @lilypond[fragment,quote,verbatim,relative=2]
746 c-. c-- c-> c-^ c-+ c-_
750 Similarly, fingering indications can be added to a note using a dash
751 (@samp{-}) and the digit to be printed
753 @lilypond[fragment,quote,verbatim,relative=2]
757 Articulations and fingerings are usually placed automatically, but you
758 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
759 also use multiple articulations on the same note. In most cases, however,
760 it is best to let LilyPond determine the articulation directions.
762 @lilypond[fragment,quote,verbatim,relative=2]
763 c_-^1 d^. f^4_2-> e^-_+
766 Dynamic signs are made by adding the markings (with a backslash) to
769 @lilypond[fragment,quote,verbatim,relative=2]
777 Crescendi and decrescendi are started with the commands @code{\<} and
778 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
779 (de)crescendo, or the command @code{\!} can be used
781 @lilypond[fragment,quote,verbatim,relative=2]
789 A @rglos{slur} is a curve drawn across many notes, and indicates
790 legato articulation. The starting note and ending note are marked
791 with @samp{(} and @samp{)}, respectively
793 @lilypond[fragment,quote,fragment,relative=2,verbatim]
794 d4( c16) cis( d e c cis d) e( d4)
797 @cindex slurs versus ties
798 A slur looks like a @rglos{tie}, but it has a different meaning. A
799 tie simply makes the first note sound longer, and can only be used on
800 pairs of notes with the same pitch. Slurs indicate the articulations
801 of notes, and can be used on larger groups of notes. Slurs and ties
804 @lilypond[quote,fragment,relative=2]
805 c2~( c8 fis fis4 ~ fis2 g2)
808 @cindex phrasing slurs
809 Slurs to indicate phrasing can be entered with @code{\(} and
810 @code{\)}, so you can have both legato slurs and phrasing slurs at the
811 same time. You cannot have simultaneous slurs or simultaneous
814 @lilypond[quote,fragment,relative=2,verbatim]
815 a8(\( ais b c) cis2 b'2 a4 cis, c\)
819 For more information on
824 see @ref{Fingering instructions}.
826 see @ref{Articulations}.
830 see @ref{Phrasing slurs}.
837 @node Combining notes into chords
838 @section Combining notes into chords
841 Chords can be made by surrounding pitches with angle brackets.
842 Angle brackets are the symbols @samp{<} and @samp{>}.
844 @lilypond[quote,relative=1,fragment,verbatim]
849 You can combine markings like beams and ties with chords. They must
850 be placed outside the angled brackets
852 @lilypond[quote,relative=1,fragment,verbatim]
853 r4 <c e g>8[ <c f a>]~ <c f a>
857 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
860 @lilypond[quote,relative=1,fragment]
862 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
866 @node Advanced rhythmic commands
867 @section Advanced rhythmic commands
871 @cindex partial measure
872 A pickup is entered with the keyword @code{\partial}. It
873 is followed by a duration: @code{\partial 4} is a quarter note upstep
874 and @code{\partial 8} an eighth note
876 @lilypond[quote,relative=2,verbatim,fragment]
883 Tuplets are made with the @code{\times} keyword. It takes two
884 arguments: a fraction and a piece of music. The duration of the piece
885 of music is multiplied by the fraction. Triplets make notes occupy
886 2/3 of their notated duration, so a triplet has 2/3 as its fraction
888 @lilypond[quote,relative=1,verbatim,fragment]
889 \times 2/3 { f8 g a }
895 Grace notes are also made by prefixing a music expression with the
896 keyword @code{\appoggiatura} or @code{\acciaccatura}
900 @lilypond[quote,relative=2,verbatim,fragment]
901 c4 \appoggiatura b16 c4
902 c4 \acciaccatura b16 c4
907 For more information on
912 see @ref{Grace notes},
916 see @ref{Partial measures}.
921 @node Commenting input files
922 @section Commenting input files
926 @cindex block comment
927 A comment is a remark for the human reader of the music input; it is
928 ignored while parsing, so it has no effect on the printed output.
929 There are two types of comments. The percent symbol @samp{%}
930 introduces a line comment; after @samp{%} the rest of the line is
931 ignored. A block comment marks a whole section of music
932 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
933 ignored. The following fragment shows possible uses for comments
936 % notes for twinkle twinkle follow
940 This line, and the notes below
941 are ignored, since they are in a
948 @c TODO post-2.6 reorg
949 @c This is good info, but I wouldn't call it a comment. IMO it should
950 @c be moved somewhere else.
954 There is a special statement that is a kind of comment. The @code{\version}
955 statement marks for which version of LilyPond the file was written.
956 To mark a file for version 2.10.1, use
963 These annotations make future upgrades of LilyPond go more
964 smoothly. Changes in the syntax are handled with a special program,
965 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
966 @code{\version} to determine what rules to apply.
969 @node Printing lyrics
970 @section Printing lyrics
973 @c TODO: (c) status of the Queen fragment.
977 Lyrics are entered by separating each syllable with a space
985 @lilypond[quote,verbatim,fragment,ragged-right]
987 r4 c \times 2/3 { f g g }
988 \times 2/3 { g4( a2) }
992 The lyrics can be set to these notes, combining both with the
993 @code{\addlyrics} keyword
995 @lilypond[quote,verbatim,fragment,ragged-right]
998 r4 c \times 2/3 { f g g }
999 \times 2/3 { g4( a2) }
1001 \addlyrics { I want to break free }
1006 @cindex extender line
1008 This melody ends on a @rglos{melisma}, a single syllable (@q{free})
1009 sung to more than one note. This is indicated with an @emph{extender
1010 line}. It is entered as two underscores, i.e.,
1013 @{ I want to break free __ @}
1016 @lilypond[fragment,quote,ragged-right]
1019 r4 c \times 2/3 { f g g }
1020 \times 2/3 { g4( a2) }
1022 \addlyrics { I want to break free __ }
1026 Similarly, hyphens between words can be entered as two dashes,
1027 resulting in a centered hyphen between two syllables
1033 @c no ragged-right here, because otherwise the hypens get lost.
1034 @lilypond[fragment,quote]
1040 \addlyrics { A -- le gri -- a }
1044 More options, like putting multiple lines of lyrics below a melody are
1045 discussed in @ref{Vocal music}.
1049 @section A lead sheet
1055 @c TODO: revise this, \chords { } is shorter and more intuitive.
1057 In popular music, it is common to denote accompaniment with chord names.
1058 Such chords can be entered like notes,
1060 @lilypond[quote,verbatim,ragged-right]
1061 \chordmode { c2 f4. g8 }
1065 Now each pitch is read as the root of a chord instead of a note.
1066 This mode is switched on with @code{\chordmode}
1068 Other chords can be created by adding modifiers after a colon. The
1069 following example shows a few common modifiers
1071 @lilypond[quote,verbatim,ragged-right]
1072 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1075 For lead sheets, chords are not printed on staves, but as names on a
1076 line for themselves. This is achieved by using @code{\chords} instead
1077 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1078 but renders the notes in a @code{ChordNames} context, with the
1081 @lilypond[quote,verbatim,ragged-right]
1082 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1086 When put together, chord names, lyrics and a melody form
1087 a lead sheet, for example,
1091 \chords @{ @emph{chords} @}
1093 \addlyrics @{ @emph{the text} @}
1098 @lilypond[quote,ragged-right]
1100 \chords { r2 c:sus4 f }
1102 r4 c' \times 2/3 { f g g }
1103 \times 2/3 { g4( a2) }
1105 \addlyrics { I want to break free __ }
1109 A complete list of modifiers and other options for layout can be found
1114 @section Adding titles
1116 Bibliographic information is entered in a separate block, the
1117 @code{\header} block. The name of the piece, its composer, etc., are
1118 entered as an assignment, within @code{\header
1119 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1120 the top of the file. For example,
1125 composer = "Igor Stravinsky"
1132 When the file is processed, the title and composer are printed above
1133 the music. More information on titling can be found in @ref{Creating
1137 @node Single staff polyphony
1138 @section Single staff polyphony
1141 @cindex multiple voices
1142 @cindex voices, more -- on a staff
1143 When different melodic lines are combined on a single staff they are
1144 printed as polyphonic voices; each voice has its own stems, slurs and
1145 beams, and the top voice has the stems up, while the bottom voice has
1148 Entering such parts is done by entering each voice as a sequence (with
1149 @code{@{...@}}), and combining these simultaneously, separating the
1150 voices with @code{\\}
1152 @lilypond[quote,verbatim,relative=2,fragment]
1153 << { a4 g2 f4~ f4 } \\
1157 For polyphonic music typesetting, spacer rests can also be convenient;
1158 these are rests that do not print. They are useful for filling up
1159 voices that temporarily do not play. Here is the same example with a
1160 spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
1162 @lilypond[quote,verbatim,relative=2,fragment]
1163 << { a4 g2 f4~ f4 } \\
1168 Again, these expressions can be nested arbitrarily
1170 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1178 { <c g>1 ~ <c g>4 } \\
1184 More features of polyphonic typesetting are described in this manual
1185 in section @ref{Basic polyphony}.
1189 @section Piano staves
1191 @cindex staff switch, manual
1192 @cindex cross staff voice, manual
1193 Piano music is typeset in two staves connected by a brace. Printing
1194 such a staff is similar to the polyphonic example in @ref{More staves},
1197 << \new Staff @{ @dots{} @}
1198 \new Staff @{ @dots{} @} >>
1202 but now this entire expression must be interpreted as a
1206 \new PianoStaff << \new Staff @dots{} >>
1209 Here is a small example
1211 @lilypond[quote,verbatim,relative=1,fragment]
1213 \new Staff { \time 2/4 c4 c g' g }
1214 \new Staff { \clef bass c,, c' e c }
1218 More information on formatting piano music is given in @ref{Piano music}.
1221 @node Organizing larger pieces
1222 @section Organizing larger pieces
1224 When all of the elements discussed earlier are combined to produce
1225 larger files, the @code{\score} blocks get a lot bigger because the
1226 music expressions are longer, and, in the case of polyphonic music,
1227 more deeply nested. Such large expressions can become unwieldy.
1229 By using variables, also known as identifiers, it is possible to break
1230 up complex music expressions. An identifier is assigned as follows
1233 namedMusic = @{ @dots{} @}
1237 The contents of the music expression @code{namedMusic}, can be used
1238 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1239 In the next example, a two-note motive is repeated two times by using
1240 variable substitution
1242 @lilypond[quote,ragged-right,verbatim,nofragment]
1246 { \seufzer \seufzer }
1249 The name of an identifier should have alphabetic characters only: no
1250 numbers, underscores, or dashes. The assignment should be outside of
1253 It is possible to use variables for many other types of objects in the
1259 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1262 Depending on its contents, the identifier can be used in different
1263 places. The following example uses the above variables
1273 More information on the possible uses of identifiers is given in the
1274 technical manual, in @ref{Input variables and Scheme}.
1275 @c fixme: the ref is too technical.
1278 @node An orchestral part
1279 @section An orchestral part
1281 In orchestral music, all notes are printed twice. Once in a part for
1282 the musicians, and once in a full score for the conductor. Identifiers can
1283 be used to avoid double work. The music is entered once, and stored in
1284 a variable. The contents of that variable is then used to generate
1285 both the part and the full score.
1287 It is convenient to define the notes in a special file. For example,
1288 suppose that the file @file{horn-music.ly} contains the following part
1289 of a horn/@/bassoon duo
1292 hornNotes = \relative c @{
1299 Then, an individual part is made by putting the following in a file
1302 \include "horn-music.ly"
1304 instrument = "Horn in F"
1308 \transpose f c' \hornNotes
1315 \include "horn-music.ly"
1319 substitutes the contents of @file{horn-music.ly} at this position in
1320 the file, so @code{hornNotes} is defined afterwards. The command
1321 @code{\transpose f@tie{}c'} indicates that the argument, being
1322 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1323 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1324 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1325 in the following output
1327 @lilypond[quote,ragged-right]
1328 \transpose f c' \relative c {
1334 In ensemble pieces, one of the voices often does not play for many
1335 measures. This is denoted by a special rest, the multi-measure
1336 rest. It is entered with a capital @samp{R} followed by a duration
1337 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1338 etc.). By multiplying the
1339 duration, longer rests can be constructed. For example, this rest
1340 takes 3@tie{}measures in 2/4 time
1346 When printing the part, multi-rests
1347 must be condensed. This is done by setting a run-time variable
1350 \set Score.skipBars = ##t
1354 This command sets the property @code{skipBars} in the
1355 @code{Score} context to true (@code{##t}). Prepending the rest and
1356 this option to the music above, leads to the following result
1358 @lilypond[quote,ragged-right]
1359 \transpose f c' \relative c {
1361 \set Score.skipBars = ##t
1368 The score is made by combining all of the music together. Assuming
1369 that the other voice is in @code{bassoonNotes} in the file
1370 @file{bassoon-music.ly}, a score is made with
1373 \include "bassoon-music.ly"
1374 \include "horn-music.ly"
1377 \new Staff \hornNotes
1378 \new Staff \bassoonNotes
1385 @lilypond[quote,ragged-right]
1393 r4 d,8 f | gis4 c | b bes |
1394 a8 e f4 | g d | gis f
1399 More in-depth information on preparing parts and scores can be found
1400 in the notation manual; see @ref{Orchestral music}.
1402 Setting run-time variables (@q{properties}) is discussed in
1403 @ref{Changing context properties on the fly}.
1406 @node After the tutorial
1407 @section After the tutorial
1409 After finishing the tutorial, you should probably try writing a
1410 piece or two. Start with one of the @ref{Example templates} and
1411 add notes. If you need any notation that was not covered in the
1412 tutorial, look at the Notation Reference, starting with
1413 @ref{Basic notation}. If you want to write for an instrument
1414 ensemble which is not covered in the @ref{Example templates},
1415 take a look at @ref{Extending the templates}.
1417 Once you have written a few short pieces, read the rest of
1418 the Learning Manual (chapters 3-5). There's nothing wrong
1419 with reading them now, of course! However, the rest of the
1420 Learning Manual assumes that you are familiar with
1421 LilyPond input. You may wish to skim these chapters right
1422 now, and come back to them after you have more experience.