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 Your first LilyPond score in 10 minutes?
14 This tutorial starts with a short introduction to the LilyPond music
15 language. After this first contact we will show you how to produce
16 printed output. Then you will be able to create and print your own
20 Many people learn programs by trying and fiddling around with the
21 program. This is also possible with LilyPond. If you click on a
22 picture in the HTML version of this manual, you will see the exact
23 LilyPond input that was used to generate that image.
25 @lilypond[quote,raggedright,relative=2]
26 c-\markup { \bold \huge { Click here. } }
30 By cutting and pasting the full input into a test file, you have a
31 starting template for experiments. If you like learning in this way,
32 you will probably want to print out or bookmark
36 @ref{Cheat sheet}, which is a table listing all commands for quick
42 * More about pitches::
44 * Automatic and manual beams::
46 * Music expressions explained::
48 * Adding articulation marks to notes::
49 * Combining notes into chords::
50 * Basic rhythmical commands::
51 * Commenting input files::
54 * Listening to output::
56 * Single staff polyphony::
58 * Organizing larger pieces::
59 * An orchestral part::
60 * Integrating text and music::
67 The first example demonstrates how to enter the most elementary piece
68 of music, a scale. A note can be entered by typing its name, from
69 @samp{a} through @samp{g}. So, if you enter
76 the result looks like this
78 @lilypond[quote,notime,relative=1]
82 The duration of a note is specified by a number after the note name.
83 @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
84 @samp{4} for a @rglos{quarter note} and so on
90 @lilypond[quote,notime]
91 \set Score.timing = ##f
92 \set Staff.autoBeaming = ##f
93 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
96 If you do not specify a @rglos{duration}, the duration last entered is
97 used for the next notes. The duration of the first note in input
104 @lilypond[quote,notime]
105 \set Score.timing = ##f
106 \transpose c c' { a a8 a a2 a s16_" " }
110 Rests are entered just like notes, but with the name @samp{r}
117 @lilypond[quote,notime]
118 \set Score.timing = ##f
123 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
129 @lilypond[quote,notime]
130 \set Score.timing = ##f
131 \transpose c c' { a2. a4 a8. a16 s16_" " }
134 The @rglos{meter} (or @rglos{time signature}) can be set with the
143 @c A clef here may lead to confusion, remove it.
145 \override Staff.Clef #'transparent = ##t
154 The @rglos{clef} can be set using the @code{\clef} command
156 @c what is more common name treble or violin?
157 @c in Dutch, it is violin.
158 @c in English it is definitely treble.
166 @lilypond[quote,notime]
167 \set Score.timing = ##f
178 To recognize names like @samp{c} and @samp{d} as pitches, they have to
179 be entered inside a so-called @code{\notes} block. This block is
180 formed by enclosing notes and commands are enclosed in curly braces
181 @code{@{@tie{}@dots{}@tie{}@}} and adding the keyword @code{\notes} before
193 Now the piece of music is almost ready to be printed. Enclose
194 the @code{\notes} block in a @code{\score} block
208 and the music will be converted to printable output.
210 @lilypond[quote,noindent]
219 linewidth = 55 * \staffspace
224 In many examples in this manual, both @code{\score} and @code{\notes}
225 and accompanying braces are left out for brevity. However, they must
226 be present when feeding the file to LilyPond.
228 For more elaborate information on
232 @item Entering pitches and durations
234 @ref{Pitches} and @ref{Durations}.
239 @item Time signatures and other timing commands
240 see @ref{Time signature}.
245 @node Running LilyPond
246 @section Running LilyPond
248 @c FIXME: let's not be so casual about Emacs and VIM, but rather
249 @c instruct (how) to use them; let advanced user figure-out what
253 @c We don't have enough space to explain either VIM
254 @c or Emacs non-advanced users, and I fear that both editors will only
255 @c confuse newbies. I vote for keeping the material in footnotes.
259 In the last section we explained what kind of things you could enter
260 in a LilyPond file. In this section we will explain what commands to
261 run and how to view or print the output. If you have not used
262 LilyPond before, want to test your setup, or want to run an example
263 file yourself, read this section. The instructions that follow are
264 for Unix-like systems. Some additional instructions for Microsoft
265 Windows are given at the end of this section.
267 Begin by opening a terminal window and starting a text editor. For
268 example, you could open an xterm and execute
269 @code{joe}.@footnote{There are macro files for VIM addicts, and there
270 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
271 installed already, refer to
272 @c FIXME lousy reference.
273 the file @file{INSTALL.txt}.} In your text editor, enter the following
274 input and save the file as @file{test.ly}
278 \notes @{ c'4 e' g' @}
283 To process @file{test.ly}, proceed as follows
291 You will see something resembling
294 lilypond (GNU LilyPond) 2.2.0
295 Running lilypond-bin...
296 Now processing `/home/fred/ly/test.ly'
298 Interpreting music...[1]
299 @emph{... more interesting stuff ... }
300 DVI output to `test.dvi'...
301 PDF output to `test.pdf'...
302 PS output to `test.ps'...
305 @cindex Viewing music
309 The result is the file @file{test.pdf}@footnote{For @TeX{}
310 aficionados: there is also a @file{test.dvi} file. It can be viewed
311 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
312 not show up in the magnifying glass. The specials also mean that the
313 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
318 } which you can print or with the standard facilities of your
319 operating system.@footnote{If your system does not have any tools
320 installed, you can try @uref{Ghostscript,
321 http://www.cs.wisc.edu/~ghost/}, a freely available package for
322 viewing and printing PDF and PostScript files.}
324 On Windows, start up a text-editor@footnote{Any simple or
325 programmer-oriented editor will do, for example Notepad. Do not use a
326 word processor, its formatting codes will confuse LilyPond.} and enter
330 \notes @{ c'4 e' g' @}
334 Save it on the desktop as @file{test.ly} and make sure that it is not
335 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
336 the file and show the resulting PDF file.
339 @node More about pitches
340 @section More about pitches
342 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
343 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
344 you might expect, a @rglos{double sharp} or @rglos{double flat} is
345 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
346 derived from note naming conventions in Nordic and Germanic languages,
347 like German and Dutch.}
353 @lilypond[quote,notime]
354 \set Score.timing = ##f
355 \transpose c c' { cis1 ees fisis aeses s16_" " }
358 @cindex key signature, setting
359 The key signature is set with the command @code{\key}, followed by
360 a pitch and @code{\major} or @code{\minor}
368 @lilypond[quote,notime,fragment]
376 Key signatures together with the pitches (including alterations) are
377 used to determine when to print accidentals. This is a
378 feature that often causes confusion to newcomers, so let us explain it
382 LilyPond makes a sharp distinction between musical content and
383 layout. The alteration (flat, natural or sharp) of a note is part of
384 the pitch, and is therefore musical content. Whether an accidental (a
385 flat, natural or sharp @emph{sign}) is printed in front of the
386 corresponding note is a question of layout. Layout is something that
387 follows rules, so accidentals are printed automatically according to
388 those rules. The pitches in your music are works of art, so they will
389 not be added automatically, and you must enter what you want to hear.
393 @lilypond[quote,notime,fragment]
399 no note gets an explicit accidental, but you still must enter
407 The code @samp{d} does not mean `print a black dot just below the
408 staff.' Rather, it means: `a note with pitch D-natural.' In the key
409 of A-flat, it does get an accidental
411 @lilypond[quote,notime,fragment]
421 Adding all alterations explicitly might require a little more effort
422 when typing, but the advantage is that transposing is easier, and
423 music can be printed according to different conventions. See
424 @ref{Accidentals} for some examples how accidentals can be printed
425 according to different rules.
428 For more information on
433 see @ref{Accidentals}
436 see @ref{Key signature}
441 @section Entering ties
444 A tie is created by appending a tilde @samp{~} to the first note
446 @lilypond[quote,notime,fragment,verbatim,relative=3]
451 For more information on Ties see @ref{Ties}.
455 @node Automatic and manual beams
456 @section Automatic and manual beams
458 @cindex beams, by hand
459 Beams are drawn automatically
461 @lilypond[quote,fragment,relative=2,verbatim]
467 If you do not like where beams are put, they can be entered by
468 hand. Mark the first note to be beamed with @samp{[} and the last one
471 @lilypond[quote,fragment,relative=2,verbatim]
476 For more information on beams, see @ref{Beaming}.
479 Here are key signatures, accidentals and ties in action
489 fis4 fis8 fis8 eis4 a8 gis~
494 @lilypond[quote, noindent]
496 \notes \transpose c c' {
502 fis4 fis8 fis8 eis4 a8 gis~
505 \paper { linewidth = 50 * \staffspace }
511 There are some interesting points to note in this example. Bar lines
512 and beams are drawn automatically. Line breaks are calculated
513 automatically; it does not matter where the line breaks are in the
514 source file. Finally, the order in which time, key and clef changes
515 are entered is not relevant: in the printout, these are ordered
516 according to standard notation conventions.
521 @section Octave entry
524 @c Tim wants to move this quotes example just before the: quotes-do not-work
525 @c score, but we'd need to remove quotes from the other two (key and
528 @c better to have this just before the `octaves are bad' snipped
529 @c but we'd need to remove the ', from \key and tie
530 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
531 the note name, to lower a note one octave, add a `low quote' @code{,}
532 (a comma). Middle C is @code{c'}
535 c'4 c'' c''' \clef bass c c,
538 @lilypond[quote,notime,fragment]
539 c'4 c'' c''' \clef bass c c,
543 An example of the use of quotes is in the following Mozart fragment
544 @lilypond[quote,raggedright,fragment,verbatim]
547 cis''8. d''16 cis''8 e''4 e''8
548 b'8. cis''16 b'8 d''4 d''8
552 The last example shows that music in a high register needs lots of quotes.
553 This makes the input less readable, and it is a source of errors. The
554 solution is to use `relative octave' mode. In practice, this is the
555 most convenient way to copy existing music. To use relative mode, add
556 @code{\relative} before the piece of music. You must also give a note
557 from which relative mode starts, in this case @code{c''}. If you do not
558 use octavation quotes (i.e., do not add @code{'} or @code{,} after a
559 note), relative mode chooses the note that is closest to the previous
560 one. For example, @samp{c f} goes up while @samp{c g} goes down
562 @lilypond[quote,notime,fragment,verbatim]
570 Since most music has small intervals, pieces can be written almost
571 without octavation quotes in relative mode. The previous example is
574 @lilypond[quote,raggedright,fragment,verbatim]
583 @c needed better, maybe even redundant explanation
584 @c added another example below.
585 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
586 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
587 Larger intervals are made by adding octavation quotes.
589 @lilypond[quote,notime,verbatim,fragment]
596 In summary, quotes or commas no longer determine the absolute height
597 of a note in @code{\relative} mode. Rather, the height of a note is
598 relative to the previous one, and changing the octave of a single note
599 shifts all following notes an octave up or down.
601 For more information on Relative octaves see @ref{Relative octaves}
602 and @ref{Octave check}.
605 @node Music expressions explained
606 @section Music expressions explained
609 In input files, music is represent by so-called @emph{music
610 expression}. We have already seen in the previous examples;
611 a single note is a music expression
613 @lilypond[quote,verbatim,relative=3]
617 Enclosing group of notes in braces creates a new music
620 @lilypond[quote,verbatim,relative=3]
624 Putting a bunch of music expressions (notes) in braces, means that
625 they should be played in sequence. The result again is a music
626 expression, which can be grouped with other expressions sequentially.
627 Here, the expression from the previous example is combined with two
630 @lilypond[quote,verbatim,relative=3]
634 This technique is useful for non-monophonic music. To enter music
635 with more voices or more staves, we also combine expressions in
636 parallel. Two voices that should play at the same time, are entered
637 as a simultaneous combination of two sequences. A `simultaneous'
638 music expression is formed by enclosing expressions in @code{<<} and
639 @code{>>}. In the following example, three sequences (all containing
640 two notes) are combined simultaneously
642 @lilypond[quote,verbatim,relative=3]
650 This mechanism is similar to mathematical
651 formulas: a big formula is created by composing small formulas. Such
652 formulas are called expressions, and their definition is recursive, so
653 you can make arbitrarily complex and large expressions. For example,
662 ((1 + 2) * 3) / (4 * 5)
665 @cindex music expression
666 This example shows a sequence of expressions, where each expression is
667 contained in the next one. The simplest expressions are numbers and
668 operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
669 to group expressions.
671 Like mathematical expressions, music expressions can be nested
672 arbitrarily deep, e.g.
673 @lilypond[quote,verbatim,relative=2]
676 << { e f } { c <<b d>> } >>
682 When spreading expressions over multiple lines, it is customary to use
683 an indent that indicates the nesting level. Formatting music like this
684 eases reading, and helps you insert the right number of closing
685 braces at the end of an expression. For example,
700 Some editors have special support for entering LilyPond, and can help
701 indenting source files. See @ref{Editor support} for more information.
708 To print more than one staff, each piece of music that makes up a
709 staff is marked by adding @code{\new Staff} before it. These
710 @code{Staff}'s are then combined parallel with @code{<<} and
711 @code{>>}, as demonstrated here
713 @lilypond[quote,fragment,verbatim]
715 \new Staff { \clef violin c'' }
716 \new Staff { \clef bass c }
721 The command @code{\new} introduces a `notation context.' A notation
722 context is an environment in which musical events (like notes or
723 @code{\clef} commands) are interpreted. For simple pieces, such
724 notation contexts are created implicitly. For more complex pieces, it
725 is best to mark contexts explicitly. This ensures that each fragment
728 There are several types of contexts: @code{Staff}, @code{Voice} and
729 @code{Score} handle normal music notation. Other staves are also
730 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
731 printing chord names).
734 In terms of syntax, prepending @code{\new} to a music expression
735 creates a bigger music expression. In this way it resembles the minus
736 sign in mathematics. The formula (4+5) is an expression, so -(4+5) is a bigger
739 We can now typeset a melody with two staves
741 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
743 @lilypond[quote,verbatim,raggedright]
762 For more information on context see the description in
763 @ref{Interpretation contexts}.
767 @node Adding articulation marks to notes
768 @section Adding articulation marks to notes
774 Common accents can be added to a note using a dash (@samp{-}) and a
776 @lilypond[quote,verbatim,relative=2]
777 c-. c-- c-> c-^ c-+ c-_
782 Similarly, fingering indications can be added to a note using a dash
783 (@samp{-}) and the digit to be printed
785 @lilypond[quote,verbatim,relative=2]
790 Dynamic signs are made by adding the markings (with a backslash) to
792 @lilypond[quote,verbatim,relative=2]
801 Crescendi and decrescendi are started with the commands @code{\<} and
802 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
803 crescendo, or the command @code{\!} can be used
804 @lilypond[quote,verbatim,relative=2]
813 A slur is a curve drawn across many notes, and indicates legato
814 articulation. The starting note and ending note are marked with a
815 @samp{(} and a @samp{)}, respectively
817 @lilypond[quote,fragment,relative=2,verbatim]
818 d4( c16)( cis d e c cis d e)( d4)
821 @cindex slurs versus ties
822 A slur looks like a tie, but it has a different meaning. A tie simply
823 makes the first note sound longer, and can only be used on pairs of
824 notes with the same pitch. Slurs indicate the articulations of notes,
825 and can be used on larger groups of notes. Slurs and ties are also
828 @lilypond[quote,fragment,relative=2]
829 c2~( c8 fis fis4 ~ fis2 g2)
831 @cindex phrasing slurs
832 Slurs to indicate phrasing can be entered with @code{\(} and
833 @code{\)}, so you can have both legato slurs and phrasing slurs at the
836 @lilypond[quote,fragment,relative=2,verbatim]
837 a8(\( ais b c) cis2 b'2 a4 cis, c\)
841 For more information on
844 see @ref{Fingering instructions}
846 see @ref{Articulations}
850 see @ref{Phrasing slurs}
856 @node Combining notes into chords
857 @section Combining notes into chords
860 Chords can be made by surrounding pitches with angled brackets.
861 Angled brackets are the symbols @code{<} and @code{>}.
863 @lilypond[quote,relative=1,fragment,verbatim]
869 You can combine markings like beams and ties with chords. They must
870 be placed outside the angled brackets
871 @lilypond[quote,relative=1,fragment,verbatim]
872 r4 <c e g>8[ <c f a>]~ <c f a>
876 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
878 @lilypond[quote,relative=1,fragment]
880 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
887 @node Basic rhythmical commands
888 @section Basic rhythmical commands
892 @cindex partial measure
893 A pickup is entered with the keyword @code{\partial}. It
894 is followed by a duration: @code{\partial 4} is a quarter note upstep
895 and @code{\partial 8} an eighth note
896 @lilypond[quote,relative=2,verbatim,fragment]
902 Tuplets are made with the @code{\times} keyword. It takes two
903 arguments: a fraction and a piece of music. The duration of the piece
904 of music is multiplied by the fraction. Triplets make notes occupy
905 2/3 of their notated duration, so a triplet has 2/3 as its fraction
907 @lilypond[quote,relative=1,verbatim,fragment]
908 \times 2/3 { f8 g a }
913 Grace notes are also made by prefixing a music expression with the
914 keyword @code{\appoggiatura} or @code{\acciaccatura}
918 @lilypond[quote,relative=2,verbatim,fragment]
919 c4 \appoggiatura b16 c4
920 c4 \acciaccatura b16 c4
925 For more information on
928 see @ref{Grace notes},
932 see @ref{Partial measures}.
937 @node Commenting input files
938 @section Commenting input files
942 @cindex block comment
943 A comment is a remark for the human reader of the music input, it is
944 ignored and has no effect on the printed output. There are two types
945 of comments. The percent symbol @code{%} introduces a line comment;
946 the rest of the line is ignored. A block comments marks a whole
947 section of music input, anything that is enclosed in @code{%@{} and
948 @code{%@}} is ignored. The following fragment shows possible uses for
952 % notes for twinkle twinkle follow
956 This line, and the notes below
957 are ignored, since they are in a
964 There is a special statement that really is a kind of comment. The
965 version statement marks for which version of LilyPond the file was
966 written. To mark a file for version 2.1.17, use
972 These annotations make future upgrades of LilyPond go more
973 smoothly. Changes in the syntax are handled with a special program,
974 @file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
975 @code{\version} to determine what rules to apply.
978 @node Printing lyrics
979 @section Printing lyrics
982 @c TODO: (c) status of the Queen fragment.
986 Lyrics are entered by separating each syllable with a space,
992 To prevent certain words (for example `as') as being read as a
993 pitch, the input-mode must be switched. This is done with
994 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
997 \lyrics @{ I want to break free @}
1001 Again, the braces @code{@{@}} signify that the syllables are sung in
1004 By default, music expressions are interpreted in @code{Staff} context. For
1005 lyrics, this is obviously not desirable, so it is necessary
1006 to explicitly specify a @code{Lyrics} context,
1009 \new Lyrics \lyrics @{ I want to break free @}
1012 The melody for this song is as follows
1014 @lilypond[quote,fragment,relative=2]
1016 \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
1019 The lyrics can be set to these notes, combining both with the
1020 @code{\lyricsto} keyword
1022 \lyricsto "@var{name}" \new Lyrics @dots{}
1024 where @var{name} identifies to which melody the lyrics should be
1025 aligned. In this case, there is only one melody, so we can leave it
1029 @lilypond[quote,verbatim,fragment,raggedright]
1035 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1037 \lyricsto "" \new Lyrics \lyrics { I want to break free }
1043 @cindex extender line
1045 This melody ends on a @rglos{melisma}, a single syllable (`free')
1046 sung to more than one note. This is indicated with an @emph{extender
1047 line}. It is entered as two underscores, i.e.,
1049 \lyrics @{ I want to break free __ @}
1051 @lilypond[quote,raggedright]
1054 \notes \relative c' \new Voice {
1057 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1059 \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
1064 Similarly, hyphens between words can be entered as two dashes,
1065 resulting in a centered hyphen between two syllables
1067 Twin -- kle twin -- kle
1069 @lilypond[quote,raggedright]
1072 \notes \relative f' \context Voice = bla {
1076 \new Lyrics \lyrics \lyricsto "bla" { Twin -- kle twin -- kle }
1081 More options, like putting multiple lines of lyrics below a melody are
1082 discussed in @ref{Vocal music}.
1087 @section A lead sheet
1093 In popular music, it is common to denote accompaniment as chord-names.
1094 Such chords can be entered like notes,
1101 but now, each pitch is read as the root of a chord instead of a note.
1102 This mode is switched on with @code{\chords}
1104 @lilypond[quote,verbatim,raggedright]
1106 \chords { c2 f4. g8 }
1110 Other chords can be created by adding modifiers after a colon. The
1111 following example shows a few common modifiers
1113 @lilypond[quote,verbatim]
1114 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1117 For lead sheets, chords are not printed on staves, but as names on a
1118 line of themselves. Hence, we have to override the context with
1119 @code{\new}, rendering the music expression in a @code{ChordNames}
1122 @lilypond[quote,verbatim]
1123 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1128 When put together, chord names, lyrics and a melody form
1129 a lead sheet, for example,
1134 \new ChordNames \chords @{ @emph{chords} @}
1135 \notes @emph{the melody}
1136 \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
1140 @lilypond[quote,raggedright]
1144 \new ChordNames \chords { r8 c2:sus4 f }
1145 \notes \relative c' {
1147 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1149 \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
1155 A complete list of modifiers and other options for layout can be found
1158 @node Listening to output
1159 @section Listening to output
1164 MIDI (Musical Instrument Digital Interface) is a standard for
1165 connecting and controlling digital instruments. A MIDI file is like a
1166 tape recording of a MIDI instrument.
1168 To create a MIDI from a music piece of music, add a
1169 @code{\midi} block causes LilyPond to create a MIDI file, so you
1170 can listen to the music you entered. It is great for checking the
1171 music: octaves that are off or accidentals that were mistyped stand
1172 out very much when listening to the musical transcription.
1174 The @code{\midi} block is added to @code{\score}, for example,
1178 \midi @{ \tempo 4=72 @}
1182 Here, the tempo is specified using the @code{\tempo} command. In this
1183 case the tempo of quarter notes is set to 72 beats per minute. More
1184 information on auditory output in the notation manual, @ref{Sound}.
1186 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1187 be produced. If notation is needed too, a @code{\paper} block must be
1193 \midi @{ \tempo 4=72 @}
1203 Bibliographic information is entered in a separate block, the
1204 @code{\header} block. The name of the piece, its composer, etc., are
1205 entered as an assignment, within @code{\header @{ @dots{} @}}. For
1209 title = "Eight miniatures"
1210 composer = "Igor Stravinsky"
1211 tagline = "small is beautiful"
1214 \score @{ @dots{} @}
1217 @cindex bibliographic information
1220 @cindex Engraved by LilyPond
1222 When the file is processed the title and composer are printed above
1223 the music. The `tagline' is a short line printed at bottom of the last
1224 page which normally says `Engraved by LilyPond, version @dots{}'. In
1225 the example above it is replaced by the line `small is
1226 beautiful.'@footnote{Nicely printed parts are good PR for us, so
1227 please leave the tagline if you can.}
1229 Normally, the @code{\header} is put at the top of the file. However,
1230 for a document that contains multiple pieces (e.g. an etude book, or
1231 an orchestral part with multiple movements), the header can be
1232 put in the @code{\score} block as follows; in this case, the name of
1233 each piece will be printed before each movement
1236 @cindex Engraved by LilyPond
1237 @cindex signature line
1242 title = "Eight miniatures"
1243 composer = "Igor Stravinsky"
1244 tagline = "small is beautiful"
1248 \header @{ piece = "Adagio" @}
1251 \header @{ piece = "Menuetto" @}
1255 More information on titling can be found in @ref{Invoking lilypond}.
1258 @node Single staff polyphony
1259 @section Single staff polyphony
1262 @cindex multiple voices
1263 @cindex voices, more -- on a staff
1265 When different melodic lines are combined on a single staff they are
1266 printed as polyphonic voices: each voice has its own stems, slurs and
1267 beams, and the top voice has the stems up, while the bottom voice has
1270 Entering such parts is done by entering each voice as a sequence (with
1271 @code{@{ .. @}}), and combining those simultaneously, separating the
1272 voices with @code{\\}
1274 @lilypond[quote,verbatim,relative=3]
1275 << { a4 g2 f4~ f4 } \\
1279 For polyphonic music typesetting, spacer rests can also be convenient: these
1280 are rests that do not print. It is useful for filling up voices that
1281 temporarily do not play. Here is the same example with a spacer rest
1282 instead of a normal rest
1283 @lilypond[quote,relative=3]
1284 << { a4 g2 f4~ f4 } \\
1288 Again, these expressions can be nested arbitrarily
1290 @lilypond[quote,fragment,relative=3]
1298 { <c, g>1 ~ <c g>4 } \\
1304 More features of polyphonic typesetting in the notation manual
1308 @section Piano staves
1310 @cindex staff switch, manual
1311 @cindex cross staff voice, manual
1312 @cindex @code{\context}
1314 Piano music is typeset in two staves connected by a brace. Printing
1315 such a staff is similar to the polyphonic example in @ref{More staves}
1317 << \new Staff @{ @dots{} @}
1318 \new Staff @{ @dots{} @} >>
1320 but now this entire expression must be interpreted as a
1323 \new PianoStaff << \new Staff @dots{} >>
1326 Here is a full-fledged example
1328 @lilypond[quote,relative=1,fragment]
1330 \new Staff { \time 2/4 c4 c g' g }
1331 \new Staff { \clef bass c,, c' e c }
1335 More information on formatting piano music is in @ref{Piano music}.
1337 @node Organizing larger pieces
1338 @section Organizing larger pieces
1340 When all of the elements discussed earlier are combined to produce
1341 larger files, the @code{\score} blocks get a lot bigger, because the
1342 music expressions are longer, and, in the case of polyphonic pieces,
1343 more deeply nested. Such large expressions can become unwieldy.
1345 By using variables, also known as identifiers, it is possible to break
1346 up complex music expressions. An identifier is assigned as follows
1349 namedMusic = \notes @{ @dots{}
1352 The contents of the music expression @code{namedMusic}, can be used
1353 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1354 In the next example, a two note motive is repeated two times by using
1355 variable substitution
1357 @lilypond[quote,raggedright,verbatim]
1362 \new Staff { \seufzer \seufzer }
1366 The name of an identifier should have alphabetic characters only;
1367 no numbers, underscores or dashes. The assignment should be outside of
1368 the @code{\score} block.
1370 It is possible to use variables for many other types of objects in the
1375 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1377 Depending on its contents, the identifier can be used in different
1378 places. The following example uses the above variables
1381 \notes @{ c4^\name @}
1389 More information on the possible uses of identifiers is in the
1390 technical manual, in TODO.
1393 @node An orchestral part
1394 @section An orchestral part
1396 In orchestral music, all notes are printed twice: both in a part for
1397 the musicians, and in a full score for the conductor. Identifiers can
1398 be used to avoid double work: the music is entered once, and stored in
1399 a variable. The contents of that variable is then used to generate
1400 both the part and the score.
1402 It is convenient to define the notes in a special file, for example,
1403 suppose that the @file{horn-music.ly} contains the following part of a
1406 hornNotes = \notes \relative c @{
1412 Then, an individual part is made by putting the following in a file
1415 \include "horn-music.ly"
1417 instrument = "Horn in F"
1420 \notes \transpose f c' \hornNotes
1427 \include "horn-music.ly"
1431 substitutes the contents of @file{horn-music.ly} at this position in
1432 the file, so @code{hornNotes} is defined afterwards. The command
1433 @code{\transpose f c'} indicates that the argument, being
1434 @code{\hornNotes}, should be transposed by a fifth downwards: sounding
1435 @code{f} is denoted by notated @code{c'}, which corresponds with
1436 tuning of a normal French Horn in F. The transposition can be seen in
1437 the following output
1439 @lilypond[quote,raggedright]
1441 \notes \transpose f c' \notes \relative c {
1448 In ensemble pieces, one of the voices often does not play for many
1449 measures. This is denoted by a special rest, the multi-measure
1450 rest. It is entered with a capital @code{R} followed by a duration (1
1451 for a whole note, 2 for a half note, etc.). By multiplying the
1452 duration, longer rests can be constructed. For example, this rest
1453 takes 3 measures in 2/4 time
1458 When printing the part, multi-rests
1459 must be condensed. This is done by setting a run-time variable
1461 \set Score.skipBars = ##t
1465 This commands sets the property @code{skipBars} property in the
1466 @code{Score} context to true (@code{##t}). Prepending the rest and
1467 this option to the music above, leads to the following result
1469 @lilypond[quote,raggedright]
1471 \notes \transpose f c' \relative c {
1473 \set Score.skipBars = ##t
1481 The score is made by combining all of the music in a @code{\score}
1482 block. Assuming that the other voice is in @code{bassoonNotes} in the
1483 file @file{bassoon-music.ly}, a score is made with
1486 \include "bassoon-music.ly"
1487 \include "horn-music.ly"
1491 \new Staff \hornNotes
1492 \new Staff \bassoonNotes
1499 @lilypond[quote,raggedright]
1501 \notes \relative c \simultaneous {
1508 r4 d,8 f | gis4 c | b bes |
1509 a8 e f4 | g d | gis f
1515 More in-depth information on preparing parts and scores in the
1516 notation manual, in @ref{Orchestral music}.
1518 Setting run-time variables (`properties') is discussed in ref-TODO.
1520 @node Integrating text and music
1521 @section Integrating text and music
1523 @cindex La@TeX{}, music in
1524 @cindex HTML, music in
1525 @cindex Texinfo, music in
1527 Some texts include music examples. Examples are musicological
1528 treatises, songbooks or manuals like this. Such texts can be made by
1529 hand, simply by importing a PostScript figure into the word processor.
1530 However, there is an automated procedure to reduce the amount of work
1531 involved HTML, La@TeX{}, and Texinfo documents.
1533 A script called @code{lilypond-book} will extract the music fragments,
1534 run format them, and put back the resulting notation. This program is
1535 fully described in @ref{lilypond-book manual}. Here we show a small
1536 example. The example also contains explanatory text, so we will not
1537 comment on it further
1540 \documentclass[a4paper]@{article@}
1543 Documents for lilypond-book may freely mix music and text. For
1547 \score @{ \notes \relative c' @{
1548 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1552 If there is no \verb+\score+ block in the fragment,
1553 \texttt@{lilypond-book@} will supply one
1559 In this example two things happened: a
1560 \verb+\score+ block was added, and the line width was set to natural
1563 Options are put in brackets.
1565 \begin[staffsize=26,verbatim]@{lilypond@}
1570 Larger examples can be put in a separate file, and introduced with
1571 \verb+\lilypondfile+.
1573 \lilypondfile@{screech-boink.ly@}
1578 Under Unix, you can view the results as follows
1582 $ lilypond-book --output=out/ lilybook.tex
1583 lilypond-book (GNU LilyPond) 2.1.19
1584 Reading `input/tutorial/lilybook.tex'
1585 Reading `input/screech-boink.ly'
1586 @var{lots of stuff deleted}
1587 Writing `out/lilybook.tex'
1590 @var{lots of stuff deleted}
1594 To convert the file into a nice PDF document, run the following
1597 $ dvips -Ppdf -u +lilypond lilybook
1598 $ ps2pdf lilybook.ps
1602 Running lilypond-book and running latex creates a lot of temporary
1603 files, which would clutter up the working directory. To remedy this,
1604 use the @code{output} option. It will create the files in a separate
1605 subdirectory @file{out}.
1607 The result looks more or less like
1611 Documents for lilypond-book may freely mix music and text. For
1614 @lilypond[quote,raggedright]
1616 \notes \relative c' {
1617 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1622 If you have no @code{\score} block in the fragment,
1623 @code{lilypond-book} will supply one
1629 In this example two things happened: a
1630 @code{score} block was added, and the line width was set to natural
1633 Options are put in brackets.
1635 @lilypond[quote,staffsize=26,verbatim]
1639 Larger examples can be put in a separate file, and introduced with
1640 @code{\lilypondfile}.
1642 @lilypondfile[quote,noindent]{screech-boink.ly}