1 @c -*- coding: utf-8; 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 an introduction to the LilyPond music
18 language and how to produce printed music. After this first contact we
19 will explain how to create common musical notation.
22 Many people learn programs by trying and fiddling around with the
23 program. This is also possible with LilyPond. If you click on a
24 picture in the HTML version of this manual, you will see the exact
25 LilyPond input that was used to generate that image.
28 @lilypond[fragment,quote,ragged-right,relative=2]
29 c-\markup { \bold \huge { Click here. } }
33 By cutting and pasting the full input into a test file, you have a
34 starting template for experiments. If you like learning in this way,
35 you will probably want to print out or bookmark
39 @ref{Cheat sheet}, which is a table listing of the most common
40 commands for quick reference.
45 * More about pitches::
47 * Automatic and manual beams::
49 * Music expressions explained::
51 * Adding articulation marks to notes::
52 * Combining notes into chords::
53 * Advanced rhythmic commands::
54 * Commenting input files::
58 * Single staff polyphony::
60 * Organizing larger pieces::
61 * An orchestral part::
62 * After the tutorial::
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
75 c' d' e' f' g' a' b' c''
80 the result looks like this
84 c' d' e' f' g' a' b' c''
88 @emph{Warning:} Every piece of LilyPond input needs to have
89 @{curly braces@} placed around the input. Don't forget them!
91 @cindex Case sensitive
92 In addition, LilyPond input is case sensitive. @code{ @{ c d e @} } is
93 valid input; @code{ @{ C D E @} } will produce an error message.
97 @unnumberedsubsec Entering music and viewing output
99 In this section we will explain what commands to run
100 and how to view or print the output.
102 @unnumberedsubsec MacOS X
104 If you double click LilyPond.app, it will open with an example
105 file. Save it, for example, to @file{test.ly} on your Desktop, and
106 then process it with the menu command @samp{Compile > Typeset File}.
107 The resulting PDF file will be displayed on your screen.
109 Be warned that the first time you ever run lilypond
110 will take a minute or two, because
111 all of the system fonts have to be analyzed first.
113 For future use of LilyPond, you should begin by selecting "New"
116 @unnumberedsubsec Windows
118 On Windows, start up a text-editor@footnote{Any simple or
119 programmer-oriented editor will do, for example Notepad. Do not use a
120 word processor, since these insert formatting codes that will confuse
127 Save it on the desktop as @file{test.ly} and make sure that it is not
128 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
129 the file and show the resulting PDF file.
132 @unnumberedsubsec Unix
134 Begin by opening a terminal window and starting a text editor. For
135 example, you could open an xterm and execute
136 @code{joe}@footnote{There are macro files for VIM addicts, and there
137 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
138 installed already, refer to the file @file{INSTALL.txt}.}. In your
139 text editor, enter the following input and save the file as
147 To process @file{test.ly}, proceed as follows
154 You will see something resembling
161 Interpreting music... [1]
162 Preprocessing graphical objects...
163 Calculating line breaks... [2]
164 Layout output to `test.ps'...
165 Converting to `test.pdf'...
169 @cindex Viewing music
172 The result is the file @file{test.pdf} which you can print or view
173 with the standard facilities of your operating system.@footnote{If
174 your system does not have any tools installed, you can try
175 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
176 available package for viewing and printing PDF and PostScript files.}
180 @section Second steps
182 @emph{Remember:} Every piece of LilyPond input needs to
183 have @{curly braces@} placed
184 around the input. For the rest of this manual, most examples will
185 omit these braces, but don't forget them in your own music!
187 @c will be removed once the tutorial either explains \relative or
188 @c examples are fixed so they don't use it. -gp
189 In addition, many examples use @code{relative} mode. This is explained
190 in @ref{Octave entry}; for now simply be aware that some examples
191 should be placed inside @code{\relative @{ @emph{...music...} @}}.
192 Many example have also been compressed horizontally to save
193 space, using @code{\paper @{ ragged-right = ##t @}}.
195 @cindex Case sensitive
196 Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
197 valid input; @code{ @{ C D E @} } will produce an error message.
199 @c End of latest re-write. Since I have no life, I may do more
200 @c work on this, but I'd really like to have a Doc Helper take
201 @c over this task. -gp
204 The @rglos{duration} of a note is specified by a number after the note
205 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
206 @samp{4} for a @rglos{quarter note} and so on
212 @lilypond[fragment,quote,notime,relative=2]
213 \set Staff.autoBeaming = ##f
214 { a1 a2 a4 a16 a32 s16_" " }
217 If you do not specify a duration, the duration last entered is used
218 for the next notes. The duration of the first note in input defaults
225 @lilypond[fragment,quote,notime,relative=2]
226 { a a8 a a2 a s16_" " }
230 A @rglos{rest} is entered just like a note, but with the name @samp{r}
236 @lilypond[fragment,quote,notime]
240 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
246 @lilypond[fragment,quote,notime,relative=1]
247 { a2. a4 a8. a16 s16_" " }
250 The (or @rglos{time signature}) can be set with the @code{\time}
259 @c A clef here may lead to confusion, remove it.
260 @lilypond[fragment,quote]
261 \override Staff.Clef #'transparent = ##t
270 The @rglos{clef} can be set using the @code{\clef} command
279 @lilypond[fragment,quote,notime]
290 Remember to enclose the notes and commands in curly braces
291 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
293 @lilypond[fragment,quote,noindent,verbatim]
300 For more information on
304 @item Entering pitches and durations
306 @ref{Pitches}, and @ref{Durations}.
311 @item Time signatures and other timing commands
312 see @ref{Time signature}.
317 @node More about pitches
318 @section More about pitches
320 A @rglos{sharp} pitch is made by adding @samp{is} to
321 the name, a @rglos{flat} pitch by adding @samp{es}. As
322 you might expect, a @rglos{double sharp} or @rglos{double flat} is
323 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
324 derived from note naming conventions in Nordic and Germanic languages,
325 like German and Dutch.}
331 @lilypond[fragment,quote,notime]
332 \set Score.timing = ##f
333 \transpose c c' { cis1 ees fisis aeses s16_" " }
336 @cindex key signature, setting
337 The key signature is set with the command @code{\key}, followed by
338 a pitch and @code{\major} or @code{\minor}
347 @lilypond[fragment,quote,notime,fragment]
355 Key signatures together with the pitches (including alterations) are
356 used to determine when to print accidentals. This is a
357 feature that often causes confusion to newcomers, so let us explain it
361 LilyPond makes a sharp distinction between musical content and
362 layout. The alteration (flat, natural or sharp) of a note is part of
363 the pitch, and is therefore musical content. Whether an accidental (a
364 flat, natural or sharp @emph{sign}) is printed in front of the
365 corresponding note is a question of layout. Layout is something that
366 follows rules, so accidentals are printed automatically according to
367 those rules. The pitches in your music are works of art, so they will
368 not be added automatically, and you must enter what you want to hear.
372 @lilypond[quote,notime,fragment]
378 no note has an explicit accidental, but you still must enter
386 The code @samp{d} does not mean `print a black dot just below the
387 staff.' Rather, it means: `a note with pitch D-natural.' In the key
388 of A-flat major, it does get an accidental
390 @lilypond[quote,notime,fragment,relative=1,verbatim]
395 Adding all alterations explicitly might require a little more effort
396 when typing, but the advantage is that transposing is easier, and
397 accidentals can be printed according to different conventions. See
398 @ref{Automatic accidentals}, for some examples how accidentals can be printed
399 according to different rules.
402 For more information on
407 see @ref{Automatic accidentals}.
410 see @ref{Key signature}.
415 @section Entering ties
418 A @rglos{tie} is created by appending a tilde @samp{~} to the first
421 @lilypond[quote,notime,fragment,verbatim,relative=3]
425 For more information on Ties see @ref{Ties}.
429 @node Automatic and manual beams
430 @section Automatic and manual beams
432 @cindex beams, by hand
433 All @rglos{beam}s are drawn automatically
435 @lilypond[quote,fragment,relative=2,verbatim]
440 If you do not like where beams are put, they can be entered by
441 hand. Mark the first note to be beamed with @samp{[} and the last one
444 @lilypond[quote,fragment,relative=2,verbatim]
448 For more information on beams, see @ref{Manual beams}.
451 Here are key signatures, accidentals and ties in action
453 @lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
460 fis4 fis8 fis8 eis4 a8 gis~
469 There are some interesting points to note in this example. Bar lines
470 and beams are drawn automatically. Line breaks are calculated
471 automatically; it does not matter where the line breaks are in the
472 source file. Finally, the order in which time, key, and clef changes
473 are entered is not relevant: in the printout, these are ordered
474 according to standard notation conventions.
479 @section Octave entry
482 @c Tim wants to move this quotes example just before the: quotes-do not-work
483 @c score, but we'd need to remove quotes from the other two (key and
486 @c better to have this just before the `octaves are bad' snipped
487 @c but we'd need to remove the ', from \key and tie
488 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
489 the note name, to lower a note one octave, add a `low quote' @code{,}
490 (comma). Middle C is @code{c'}
492 @lilypond[quote,notime,fragment,verbatim]
493 c'4 c'' c''' \clef bass c c,
496 An example of the use of quotes is in the following Mozart fragment
498 @lilypond[quote,ragged-right,fragment,verbatim]
501 cis''8. d''16 cis''8 e''4 e''8
502 b'8. cis''16 b'8 d''4 d''8
506 This example shows that music in a high register needs lots of quotes.
507 This makes the input less readable, and it is a source of errors. The
508 solution is to use `relative octave' mode. This is the
509 most convenient way to copy existing music.
511 In relative mode, a note without octavation quotes (i.e., the @code{'}
512 or @code{,} after a note) is chosen so that it is closest to the
513 previous one. For example, @samp{c f} goes up while @samp{c g} goes
516 To use relative mode, add @code{\relative} before the piece of
517 music. The first note is taken relative to the middle C
518 @c no , for this sentence
523 @lilypond[quote,notime,fragment,verbatim]
530 Since most music has small intervals, pieces can be written almost
531 without octavation quotes in relative mode. The previous example is
534 @lilypond[quote,ragged-right,verbatim]
538 cis'8. d16 cis8 e4 e8
543 @c needed better, maybe even redundant explanation
544 @c added another example below.
545 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
546 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
547 Larger intervals are made by adding octavation quotes.
549 @lilypond[quote,notime,verbatim,fragment]
555 In summary, quotes or commas no longer determine the absolute height
556 of a note in @code{\relative} mode. Rather, the height of a note is
557 relative to the previous one, and changing the octave of a single note
558 shifts all following notes an octave up or down.
560 For more information on relative octaves see @ref{Relative octaves},
561 and @ref{Octave check}.
564 @node Music expressions explained
565 @section Music expressions explained
568 In input files, music is represent by so-called @emph{music
569 expression}s. We have already seen some in the previous examples;
570 a single note is a music expression
572 @lilypond[fragment,quote,verbatim,relative=3]
576 Enclosing a group of notes in braces creates a new music
579 @lilypond[fragment,quote,verbatim,relative=3]
583 Putting a bunch of music expressions (e.g., notes) in braces, means that
584 they should be played in sequence. The result again is a music
585 expression, which can be grouped with other expressions sequentially.
586 Here, the expression from the previous example is combined with two
589 @lilypond[fragment,quote,verbatim,relative=3]
593 This technique is useful for non-monophonic music. To enter music
594 with more voices or more staves, we also combine expressions in
595 parallel. Two voices that should play at the same time, are entered
596 as a simultaneous combination of two sequences. A `simultaneous'
597 music expression is formed by enclosing expressions in @code{<<} and
598 @code{>>}. In the following example, three sequences (all containing
599 two separate notes) are combined simultaneously
601 @lilypond[fragment,quote,verbatim,relative=3]
609 This mechanism is similar to mathematical
610 formulas: a big formula is created by composing small formulas. Such
611 formulas are called expressions, and their definition is recursive, so
612 you can make arbitrarily complex and large expressions. For example,
621 ((1 + 2) * 3) / (4 * 5)
625 @cindex music expression
626 This is a sequence of expressions, where each expression is contained
627 in the next (larger) one. The simplest expressions are numbers, and larger
628 ones are made by combining expressions with operators (like @samp{+},
629 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
630 music expressions can be nested arbitrarily deep, which is necessary
631 for complex music like polyphonic scores.
633 Note that this example only has one staff, whereas
634 the previous example had three separate staves. That is because this
635 example begins with a single note. To determine the number of staves,
636 LilyPond looks at the first element. If it is a single note, there is one
637 staff; if there is a simultaneous expression, there is more than one staff.
639 @lilypond[fragment,quote,verbatim,relative=2]
642 << { e f } { c <<b d>> } >>
646 Music files with deep nesting can be confusing to enter and
647 maintain. One convention that helps against this confusion is
648 indenting. When entering a file with deep nesting of braces and
649 angles, it is customary to use an indent that indicates the nesting
650 level. Formatting music like this eases reading and helps you insert
651 the right number of closing braces at the end of an expression. For
665 Some editors have special support for entering LilyPond, and can help
666 indenting source files. See @ref{Editor support} for more information.
671 To print more than one staff, each piece of music that makes up a
672 staff is marked by adding @code{\new Staff} before it. These
673 @code{Staff} elements are then combined in parallel with @code{<<} and
674 @code{>>}, as demonstrated here
676 @lilypond[quote,fragment,verbatim]
678 \new Staff { \clef treble c'' }
679 \new Staff { \clef bass c }
684 The command @code{\new} introduces a `notation context.' A notation
685 context is an environment in which musical events (like notes or
686 @code{\clef} commands) are interpreted. For simple pieces, such
687 notation contexts are created automatically. For more complex pieces, it
688 is best to mark contexts explicitly. This ensures that each fragment
691 There are several types of contexts. @code{Staff}, @code{Voice} and
692 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
693 texts and @code{ChordNames} prints chord names.
695 In terms of syntax, prepending @code{\new} to a music expression
696 creates a bigger music expression. In this way it resembles the minus
697 sign in mathematics. The formula @math{(4+5)} is an expression, so
698 @math{-(4+5)} is a bigger expression.
700 We can now typeset a melody with two staves
702 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
704 @lilypond[fragment,quote,verbatim,ragged-right]
721 For more information on contexts see the description in
722 @ref{Interpretation contexts}.
726 @node Adding articulation marks to notes
727 @section Adding articulation marks to notes
733 Common accents can be added to a note using a dash (@samp{-}) and a
736 @lilypond[fragment,quote,verbatim,relative=2]
737 c-. c-- c-> c-^ c-+ c-_
741 Similarly, fingering indications can be added to a note using a dash
742 (@samp{-}) and the digit to be printed
744 @lilypond[fragment,quote,verbatim,relative=2]
748 Articulations and fingerings are usually placed automatically, but you
749 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
750 also use multiple articulations on the same note. In most cases, however,
751 it is best to let LilyPond determine the articulation directions.
753 @lilypond[fragment,quote,verbatim,relative=2]
754 c_-^1 d^. f^4_2-> e^-_+
757 Dynamic signs are made by adding the markings (with a backslash) to
760 @lilypond[fragment,quote,verbatim,relative=2]
768 Crescendi and decrescendi are started with the commands @code{\<} and
769 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
770 (de)crescendo, or the command @code{\!} can be used
772 @lilypond[fragment,quote,verbatim,relative=2]
780 A @rglos{slur} is a curve drawn across many notes, and indicates
781 legato articulation. The starting note and ending note are marked
782 with @samp{(} and @samp{)}, respectively
784 @lilypond[fragment,quote,fragment,relative=2,verbatim]
785 d4( c16) cis( d e c cis d) e( d4)
788 @cindex slurs versus ties
789 A slur looks like a @rglos{tie}, but it has a different meaning. A
790 tie simply makes the first note sound longer, and can only be used on
791 pairs of notes with the same pitch. Slurs indicate the articulations
792 of notes, and can be used on larger groups of notes. Slurs and ties
795 @lilypond[quote,fragment,relative=2]
796 c2~( c8 fis fis4 ~ fis2 g2)
799 @cindex phrasing slurs
800 Slurs to indicate phrasing can be entered with @code{\(} and
801 @code{\)}, so you can have both legato slurs and phrasing slurs at the
802 same time. You cannot have simultaneous slurs or simultaneous
805 @lilypond[quote,fragment,relative=2,verbatim]
806 a8(\( ais b c) cis2 b'2 a4 cis, c\)
810 For more information on
815 see @ref{Fingering instructions}.
817 see @ref{Articulations}.
821 see @ref{Phrasing slurs}.
828 @node Combining notes into chords
829 @section Combining notes into chords
832 Chords can be made by surrounding pitches with angle brackets.
833 Angle brackets are the symbols @samp{<} and @samp{>}.
835 @lilypond[quote,relative=1,fragment,verbatim]
840 You can combine markings like beams and ties with chords. They must
841 be placed outside the angled brackets
843 @lilypond[quote,relative=1,fragment,verbatim]
844 r4 <c e g>8[ <c f a>]~ <c f a>
848 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
851 @lilypond[quote,relative=1,fragment]
853 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
857 @node Advanced rhythmic commands
858 @section Advanced rhythmic commands
862 @cindex partial measure
863 A pickup is entered with the keyword @code{\partial}. It
864 is followed by a duration: @code{\partial 4} is a quarter note upstep
865 and @code{\partial 8} an eighth note
867 @lilypond[quote,relative=2,verbatim,fragment]
874 Tuplets are made with the @code{\times} keyword. It takes two
875 arguments: a fraction and a piece of music. The duration of the piece
876 of music is multiplied by the fraction. Triplets make notes occupy
877 2/3 of their notated duration, so a triplet has 2/3 as its fraction
879 @lilypond[quote,relative=1,verbatim,fragment]
880 \times 2/3 { f8 g a }
886 Grace notes are also made by prefixing a music expression with the
887 keyword @code{\appoggiatura} or @code{\acciaccatura}
891 @lilypond[quote,relative=2,verbatim,fragment]
892 c4 \appoggiatura b16 c4
893 c4 \acciaccatura b16 c4
898 For more information on
903 see @ref{Grace notes},
907 see @ref{Partial measures}.
912 @node Commenting input files
913 @section Commenting input files
917 @cindex block comment
918 A comment is a remark for the human reader of the music input; it is
919 ignored while parsing, so it has no effect on the printed output.
920 There are two types of comments. The percent symbol @samp{%}
921 introduces a line comment; after @code{%} the rest of the line is
922 ignored. A block comment marks a whole section of music
923 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
924 ignored. The following fragment shows possible uses for comments
927 % notes for twinkle twinkle follow
931 This line, and the notes below
932 are ignored, since they are in a
939 @c TODO post-2.6 reorg
940 @c This is good info, but I wouldn't call it a comment. IMO it should
941 @c be moved somewhere else.
945 There is a special statement that is a kind of comment. The @code{\version}
946 statement marks for which version of LilyPond the file was written.
947 To mark a file for version 2.10.1, use
954 These annotations make future upgrades of LilyPond go more
955 smoothly. Changes in the syntax are handled with a special program,
956 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
957 @code{\version} to determine what rules to apply.
960 @node Printing lyrics
961 @section Printing lyrics
964 @c TODO: (c) status of the Queen fragment.
968 Lyrics are entered by separating each syllable with a space
976 @lilypond[quote,verbatim,fragment,ragged-right]
978 r4 c \times 2/3 { f g g }
979 \times 2/3 { g4( a2) }
983 The lyrics can be set to these notes, combining both with the
984 @code{\addlyrics} keyword
986 @lilypond[quote,verbatim,fragment,ragged-right]
989 r4 c \times 2/3 { f g g }
990 \times 2/3 { g4( a2) }
992 \addlyrics { I want to break free }
997 @cindex extender line
999 This melody ends on a @rglos{melisma}, a single syllable (`free')
1000 sung to more than one note. This is indicated with an @emph{extender
1001 line}. It is entered as two underscores, i.e.,
1004 @{ I want to break free __ @}
1007 @lilypond[fragment,quote,ragged-right]
1010 r4 c \times 2/3 { f g g }
1011 \times 2/3 { g4( a2) }
1013 \addlyrics { I want to break free __ }
1017 Similarly, hyphens between words can be entered as two dashes,
1018 resulting in a centered hyphen between two syllables
1024 @c no ragged-right here, because otherwise the hypens get lost.
1025 @lilypond[fragment,quote]
1031 \addlyrics { A -- le gri -- a }
1035 More options, like putting multiple lines of lyrics below a melody are
1036 discussed in @ref{Vocal music}.
1040 @section A lead sheet
1046 @c TODO: revise this, \chords { } is shorter and more intuitive.
1048 In popular music, it is common to denote accompaniment with chord names.
1049 Such chords can be entered like notes,
1051 @lilypond[quote,verbatim,ragged-right]
1052 \chordmode { c2 f4. g8 }
1056 Now each pitch is read as the root of a chord instead of a note.
1057 This mode is switched on with @code{\chordmode}
1059 Other chords can be created by adding modifiers after a colon. The
1060 following example shows a few common modifiers
1062 @lilypond[quote,verbatim,ragged-right]
1063 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1066 For lead sheets, chords are not printed on staves, but as names on a
1067 line for themselves. This is achieved by using @code{\chords} instead
1068 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1069 but renders the notes in a @code{ChordNames} context, with the
1072 @lilypond[quote,verbatim,ragged-right]
1073 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1077 When put together, chord names, lyrics and a melody form
1078 a lead sheet, for example,
1082 \chords @{ @emph{chords} @}
1084 \addlyrics @{ @emph{the text} @}
1089 @lilypond[quote,ragged-right]
1091 \chords { r2 c:sus4 f }
1093 r4 c' \times 2/3 { f g g }
1094 \times 2/3 { g4( a2) }
1096 \addlyrics { I want to break free __ }
1100 A complete list of modifiers and other options for layout can be found
1105 @section Adding titles
1107 Bibliographic information is entered in a separate block, the
1108 @code{\header} block. The name of the piece, its composer, etc., are
1109 entered as an assignment, within @code{\header
1110 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1111 the top of the file. For example,
1116 composer = "Igor Stravinsky"
1123 When the file is processed, the title and composer are printed above
1124 the music. More information on titling can be found in @ref{Creating
1128 @node Single staff polyphony
1129 @section Single staff polyphony
1132 @cindex multiple voices
1133 @cindex voices, more -- on a staff
1134 When different melodic lines are combined on a single staff they are
1135 printed as polyphonic voices; each voice has its own stems, slurs and
1136 beams, and the top voice has the stems up, while the bottom voice has
1139 Entering such parts is done by entering each voice as a sequence (with
1140 @code{@{...@}}), and combining these simultaneously, separating the
1141 voices with @code{\\}
1143 @lilypond[quote,verbatim,relative=2,fragment]
1144 << { a4 g2 f4~ f4 } \\
1148 For polyphonic music typesetting, spacer rests can also be convenient;
1149 these are rests that do not print. They are useful for filling up
1150 voices that temporarily do not play. Here is the same example with a
1151 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1153 @lilypond[quote,verbatim,relative=2,fragment]
1154 << { a4 g2 f4~ f4 } \\
1159 Again, these expressions can be nested arbitrarily
1161 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1169 { <c g>1 ~ <c g>4 } \\
1175 More features of polyphonic typesetting are described in this manual
1176 in section @ref{Basic polyphony}.
1180 @section Piano staves
1182 @cindex staff switch, manual
1183 @cindex cross staff voice, manual
1184 Piano music is typeset in two staves connected by a brace. Printing
1185 such a staff is similar to the polyphonic example in @ref{More staves},
1188 << \new Staff @{ @dots{} @}
1189 \new Staff @{ @dots{} @} >>
1193 but now this entire expression must be interpreted as a
1197 \new PianoStaff << \new Staff @dots{} >>
1200 Here is a small example
1202 @lilypond[quote,verbatim,relative=1,fragment]
1204 \new Staff { \time 2/4 c4 c g' g }
1205 \new Staff { \clef bass c,, c' e c }
1209 More information on formatting piano music is given in @ref{Piano music}.
1212 @node Organizing larger pieces
1213 @section Organizing larger pieces
1215 When all of the elements discussed earlier are combined to produce
1216 larger files, the @code{\score} blocks get a lot bigger because the
1217 music expressions are longer, and, in the case of polyphonic music,
1218 more deeply nested. Such large expressions can become unwieldy.
1220 By using variables, also known as identifiers, it is possible to break
1221 up complex music expressions. An identifier is assigned as follows
1224 namedMusic = @{ @dots{} @}
1228 The contents of the music expression @code{namedMusic}, can be used
1229 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1230 In the next example, a two-note motive is repeated two times by using
1231 variable substitution
1233 @lilypond[quote,ragged-right,verbatim,nofragment]
1237 { \seufzer \seufzer }
1240 The name of an identifier should have alphabetic characters only: no
1241 numbers, underscores, or dashes. The assignment should be outside of
1244 It is possible to use variables for many other types of objects in the
1250 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1253 Depending on its contents, the identifier can be used in different
1254 places. The following example uses the above variables
1264 More information on the possible uses of identifiers is given in the
1265 technical manual, in @ref{Input variables and Scheme}.
1266 @c fixme: the ref is too technical.
1269 @node An orchestral part
1270 @section An orchestral part
1272 In orchestral music, all notes are printed twice. Once in a part for
1273 the musicians, and once in a full score for the conductor. Identifiers can
1274 be used to avoid double work. The music is entered once, and stored in
1275 a variable. The contents of that variable is then used to generate
1276 both the part and the full score.
1278 It is convenient to define the notes in a special file. For example,
1279 suppose that the file @file{horn-music.ly} contains the following part
1280 of a horn/@/bassoon duo
1283 hornNotes = \relative c @{
1290 Then, an individual part is made by putting the following in a file
1293 \include "horn-music.ly"
1295 instrument = "Horn in F"
1299 \transpose f c' \hornNotes
1306 \include "horn-music.ly"
1310 substitutes the contents of @file{horn-music.ly} at this position in
1311 the file, so @code{hornNotes} is defined afterwards. The command
1312 @code{\transpose f@tie{}c'} indicates that the argument, being
1313 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1314 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1315 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1316 in the following output
1318 @lilypond[quote,ragged-right]
1319 \transpose f c' \relative c {
1325 In ensemble pieces, one of the voices often does not play for many
1326 measures. This is denoted by a special rest, the multi-measure
1327 rest. It is entered with a capital @samp{R} followed by a duration
1328 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1329 etc.). By multiplying the
1330 duration, longer rests can be constructed. For example, this rest
1331 takes 3@tie{}measures in 2/4 time
1337 When printing the part, multi-rests
1338 must be condensed. This is done by setting a run-time variable
1341 \set Score.skipBars = ##t
1345 This command sets the property @code{skipBars} in the
1346 @code{Score} context to true (@code{##t}). Prepending the rest and
1347 this option to the music above, leads to the following result
1349 @lilypond[quote,ragged-right]
1350 \transpose f c' \relative c {
1352 \set Score.skipBars = ##t
1359 The score is made by combining all of the music together. Assuming
1360 that the other voice is in @code{bassoonNotes} in the file
1361 @file{bassoon-music.ly}, a score is made with
1364 \include "bassoon-music.ly"
1365 \include "horn-music.ly"
1368 \new Staff \hornNotes
1369 \new Staff \bassoonNotes
1376 @lilypond[quote,ragged-right]
1384 r4 d,8 f | gis4 c | b bes |
1385 a8 e f4 | g d | gis f
1390 More in-depth information on preparing parts and scores can be found
1391 in the notation manual; see @ref{Orchestral music}.
1393 Setting run-time variables (`properties') is discussed in
1394 @ref{Changing context properties on the fly}.
1397 @node After the tutorial
1398 @section After the tutorial
1400 After finishing the tutorial, you should probably try writing a
1401 piece or two. Start with one of the @ref{Example templates} and
1402 add notes. If you need any notation that was not covered in the
1403 tutorial, look at the Notation Reference, starting with
1404 @ref{Basic notation}. If you want to write for an instrument
1405 ensemble which is not covered in the @ref{Example templates},
1406 take a look at @ref{Extending the templates}.
1408 Once you have written a few short pieces, read the rest of
1409 the Learning Manual (chapters 3-5). There's nothing wrong
1410 with reading them now, of course! However, the rest of the
1411 Learning Manual assumes that you are familiar with
1412 LilyPond input. You may wish to skim these chapters right
1413 now, and come back to them after you have more experience.