1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond-learning.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 Tutorial Specification:
14 The LM is written in a tutorial style which introduces the
15 most important concepts, structure and syntax of the
16 elements of a LilyPond score in a carefully graded sequence
17 of steps. Explanations of all musical concepts used in the
18 Manual can be found in the Music Glossary, and readers are
19 assumed to have no prior knowledge of LilyPond. The
20 objective is to take readers to a level where the Notation
21 Reference can be understood and employed to both adapt the
22 templates in the Appendix to their needs and to begin to
23 construct their own. Commonly used tweaks are introduced
24 and explained. Examples are provided throughout which,
25 while being focussed on the topic being introduced, are long
26 enough to seem real in order to retain the readers'
27 interest. Each example builds on the previous material, and
28 comments are used liberally. Every new aspect is thoroughly
29 explained before it is used.
34 Tutorial guidelines: (different from policy.txt!)
35 - unless you have a really good reason, use either
36 @lilypond[verbatim,quote,ragged-right]
38 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
40 Don't use any other relative=X commands (make it a non-fragment
41 example), and don't use fragment without relative=2.
43 - use "aes" and "ees" instead of "as" and "es". I know it's not
44 correct Dutch naming, but let's not confuse people with this
45 until we get to the Basic notation chapter.
47 - Add "Music glossary: @rglos{foo}" to the _top_ of the relevant
48 portions of the tutorial.
56 This tutorial starts with an introduction to the LilyPond music
57 language and how to produce printed music. After this first
58 contact we will explain how to create common musical notation.
62 * Single staff notation::
63 * Multiple notes at once::
72 This section gives a basic introduction to working with LilyPond.
77 * Working on text files::
78 * How to read the tutorial::
82 @node Compiling a file
83 @subsection Compiling a file
85 The first example demonstrates how to start working with LilyPond.
86 To create sheet music, we write a text file that specifies the
87 notation. For example, if we write:
96 the result looks like this:
98 @c in this case we don't want verbatim
99 @lilypond[quote,ragged-right]
105 @warning{Every piece of LilyPond input needs to have
106 @strong{@{ curly braces @}} placed around the input. The braces
107 should also be surrounded by a space unless they are at the
108 beginning or end of a line to avoid ambiguities. The braces may
109 be omitted in some examples in this manual, but don't forget them
110 in your own music! For more information about the display of
111 examples in the manual, see @ref{How to read the tutorial}.}
113 @cindex case sensitive
114 In addition, LilyPond input is @strong{case sensitive}. @code{
115 @{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
120 @subheading Entering music and viewing output
123 @cindex viewing music
125 In this section we will explain what commands to run and how to
126 view or print the output.
128 Note that there are several other text editors available with
129 better support for LilyPond. For more information, see
130 @rprogram{Text editor support}.
132 @warning{the first time you ever run LilyPond, it may take a
133 minute or two because all of the system fonts have to be analyzed
134 first. After this, LilyPond will be much faster!}
136 @subsubheading MacOS X
138 If you double click @code{LilyPond.app}, it will open with an
139 example file. Save it, for example, to @file{test.ly} on your
140 Desktop, and then process it with the menu command @samp{Compile >
141 Typeset File}. The resulting PDF file will be displayed on your
144 For future use of LilyPond, you should begin by selecting @q{New}
145 or @q{Open}. You must save your file before typesetting it. If
146 any errors occur in processing, please see the log window.
149 @subsubheading Windows
151 On Windows, if you double-click in the LilyPond icon on the
152 Desktop, it will open a simple text editor with an example file.
153 Save it, for example, to @file{test.ly} on your Desktop and then
154 double-click on the file to process it (the file icon looks like a
155 note). After some seconds, you will get a file @file{test.pdf} on
156 your desktop. Double-click on this PDF file to view the typeset
157 score. An alternative method to process the @file{test.ly} file
158 is to drag and drop it onto the LilyPond icon using your mouse
161 To edit an existing @file{.ly} file, right-click on it and
162 select @qq{Edit source}. To get an empty file to start from, run
163 the editor as described above and use @qq{New} in
166 Double-clicking the file does not only result in a PDF file, but
167 also produces a @file{.log} file that contains some information on
168 what LilyPond has done to the file. If any errors occur, please
173 Create a file (such as @file{test.ly}) and enter:
181 To process @file{test.ly}, proceed as follows:
188 You will see something resembling:
195 Interpreting music...
196 Preprocessing graphical objects...
197 Finding the ideal number of pages...
198 Fitting music on 1 page...
200 Layout output to `test.ps'...
201 Converting to `test.pdf'...
205 @node Simple notation
206 @subsection Simple notation
208 LilyPond will add some notation elements automatically. In the
209 next example, we have only specified four pitches, but LilyPond
210 has added a clef, time signature, and rhythms.
212 @lilypond[verbatim,quote,ragged-right]
219 This behavior may be altered, but in most cases these automatic
225 Music glossary: @rglos{pitch}, @rglos{interval}, @rglos{fourth},
226 @rglos{scale}, @rglos{middle C}, @rglos{octave},
229 The easiest way to enter notes is by using @code{\relative} mode.
230 In this mode, the octave is chosen automatically by assuming the
231 following note is always to be placed closest to the previous note,
232 i.e., it is to be placed in the octave which is within three
233 staff spaces of the previous note. We begin by entering the most
234 elementary piece of music, a @notation{scale}, in which every note
235 is within just one staff space of the previous note.
237 @lilypond[verbatim,quote,ragged-right]
238 \relative c' { % set the starting point to middle C
244 The initial note is @notation{middle C}. Each successive note is
245 placed closest to the previous note -- in other words, the first
246 @code{c} is the closest C to middle C. This is followed by the
247 closest D to the previous note. We can create melodies which
248 have larger intervals:
250 @lilypond[verbatim,quote,ragged-right]
258 It is not necessary for the first note of the melody to start on
259 the note which specifies the starting pitch. In the previous
260 example, the first note -- the @code{d} -- is the closest D to
263 By adding (or removing) quotes @code{'} or commas @code{,} from
264 the @code{\relative c' @{} command, we can change the starting
267 @lilypond[verbatim,quote,ragged-right]
268 \relative c'' { % one octave above middle C
273 Relative mode can be confusing initially, but is the easiest way
274 to enter most melodies. Let us see how this relative calculation
275 works in practice. Starting from a B, which is on the middle line
276 in a treble clef, you can reach a C, D and E within 3 staff spaces
277 going up, and an A, G and F within 3 staff spaces going down. So
278 if the note following a B is a C, D or F it will be assumed to be
279 above the B, and an A, G or F will be assumed to be below.
281 @lilypond[verbatim,quote,ragged-right]
283 b c % c is 1 staff space up, so is the c above
284 b d % d is 2 up or 5 down, so is the d above
285 b e % e is 3 up or 4 down, so is the e above
286 b a % a is 4 up or 3 down, so is the a below
287 b g % g is 5 up or 2 down, so is the g below
288 b f % f is 6 up or 1 down, so is the f below
292 Exactly the same happens even when any of these notes are
293 sharpened or flatted. @notation{Accidentals} are @strong{totally
294 ignored} in the calculation of relative position. Precisely the
295 same staff space counting is done from a note at any other
296 position on the staff.
298 To add intervals that are larger than three staff spaces, we can
299 raise the @notation{octave} by adding a single quote @code{'} (or
300 apostrophe) to the note name. We can lower the octave by adding a
301 comma @code{,} to the note name.
303 @lilypond[verbatim,quote,ragged-right]
311 To change a note by two (or more!) octaves, we use multiple
312 @code{''} or @code{,,} -- but be careful that you use two single
313 quotes @code{''} and not one double quote @code{"}@tie{}! The
314 initial value in @code{\relative c'} may also be modified like
318 @subheading Durations (rhythms)
320 Music glossary: @rglos{beam}, @rglos{duration}, @rglos{whole note},
321 @rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
323 The @notation{duration} of a note is specified by a number after
324 the note name. @samp{1} for a @notation{whole note}, @samp{2} for
325 a @notation{half note}, @samp{4} for a @notation{quarter note} and
326 so on. @notation{Beams} are added automatically.
328 @lilypond[verbatim,quote,ragged-right]
332 a16 a a a a32 a a a a64 a a a a a a a a2
337 If you do not specify a duration, the previous duration is used
338 for the next note. The duration of the first note defaults to a
341 To create @notation{dotted notes}, add a dot @samp{.} to the duration
344 @lilypond[verbatim,quote,ragged-right]
354 Music glossary: @rglos{rest}.
356 A @notation{rest} is entered just like a note with the name @samp{r}:
358 @lilypond[verbatim,quote,ragged-right]
366 @subheading Time signature
368 Music glossary: @rglos{time signature}.
370 The @notation{time signature} can be set with the @code{\time}
373 @lilypond[verbatim,quote,ragged-right]
387 Music glossary: @rglos{clef}.
389 The @notation{clef} can be set using the @code{\clef} command:
391 @lilypond[verbatim,quote,ragged-right]
405 @subheading All together
407 Here is a small example showing all these elements together:
409 @lilypond[verbatim,quote,ragged-right]
421 Notation reference: @ruser{Writing pitches}, @ruser{Writing rhythms},
422 @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
425 @c HERE's where I started
427 @node Working on text files
428 @subsection Working on text files
430 LilyPond input files are similar to source files in many common
431 programming languages. They are case sensitive, and white-space
432 is generally equivalent. Expressions are formed with curly braces
433 @{ @}, and comments are denoted with @code{%} or @code{%@{ ...
436 If the previous sentence sounds like nonsense, don't worry! We'll
437 explain what all these terms mean:
441 @cindex case sensitive
443 @strong{Case sensitive}:
444 it matters whether you enter a letter in lower case (e.g. @code{a,
445 b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
446 lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
447 will produce an error message.
450 @strong{Whitespace insensitive}:
451 it does not matter how many spaces (or new lines) you add.
452 @code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
453 @tie{} @tie{} d e @}} and:
461 Of course, the previous example is hard to read. A good rule of
462 thumb is to indent code blocks with either a tab or two spaces:
471 @strong{Expressions:}
472 Every piece of LilyPond input needs to have @strong{@{ curly
473 braces @}} placed around the input. These braces tell LilyPond
474 that the input is a single music expression, just like parentheses
475 @samp{()} in mathematics. The braces should be surrounded by a
476 space unless they are at the beginning or end of a line to avoid
479 A function (such as @code{\relative @{ @}}) also counts as a
480 single music expression.
484 @cindex block comment
487 A comment is a remark for the human reader of the music input; it
488 is ignored while parsing, so it has no effect on the printed
489 output. There are two types of comments. The percent symbol
490 @samp{%} introduces a line comment; anything after @samp{%} on
491 that line is ignored. A block comment marks a whole section of
492 music input as a comment. Anything that is enclosed in @code{%@{}
493 and @code{%@}} is ignored. (Comments do not nest.) The following
494 fragment shows possible uses for comments:
497 % notes for twinkle twinkle follow
501 This line, and the notes below
502 are ignored, since they are in a
511 There are more tips for constructing input files in
512 @ref{Suggestions for writing LilyPond files}.
515 @node How to read the tutorial
516 @subsection How to read the tutorial
518 LilyPond input must be surrounded by @{ @} marks or a
519 @code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
520 files}. For the rest of this manual, most examples will omit
521 this. To replicate the examples, you may copy and paste the
522 displayed input but you @strong{must} add the @code{\relative c''
527 ... example goes here...
531 Why omit the braces? Most examples in this manual can be inserted
532 into the middle of a longer piece of music. For these examples,
533 it does not make sense to add @code{\relative c'' @{ @}} -- you
534 should not place a @code{\relative} inside another
535 @code{\relative}! If we included @code{\relative c'' @{ @}}
536 around every example, you would not be able to copy a small
537 documentation example and paste it inside a longer piece of your
538 own. Most people want to add material to an existing piece, so we
539 format the manual this way.
542 @subheading Clickable examples
544 Many people learn programs by trying and fiddling around with the
545 program. This is also possible with LilyPond. If you click on a
546 picture in the HTML version of this manual, you will see the exact
547 LilyPond input that was used to generate that image. Try it on
551 @lilypond[quote,ragged-right]
553 c-\markup { \bold \huge { Click here. } }
557 By cutting and pasting everything in the @qq{ly snippet} section,
558 you have a starting template for experiments. To see exactly the
559 same output (line-width and all), copy everything from @qq{Start
560 cut-&-pastable section} to the bottom of the file.
563 @node Single staff notation
564 @section Single staff notation
566 This section introduces common notation that is used for one voice
570 * Accidentals and key signatures::
572 * Articulation and dynamics::
574 * Automatic and manual beams::
575 * Advanced rhythmic commands::
579 @node Accidentals and key signatures
580 @subsection Accidentals and key signatures
582 @subheading Accidentals
584 Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
585 @rglos{double flat}, @rglos{accidental}.
587 A @notation{sharp} pitch is made by adding @samp{is} to the name, and
588 a @notation{flat} pitch by adding @samp{es}. As you might expect, a
589 @notation{double sharp} or @notation{double flat} is made by adding
590 @samp{isis} or @samp{eses}. This syntax derived from note
591 naming conventions in Nordic and Germanic languages, like German
592 and Dutch. To use other names for @notation{accidentals}, see
593 @ruser{Note names in other languages}.
595 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
596 cis1 ees fisis, aeses
599 @cindex key signature, setting
600 @subheading Key signatures
602 Music glossary: @rglos{key signature}, @rglos{major}, @rglos{minor}.
604 The @notation{key signature} is set with the command @code{\key}
605 followed by a pitch and @code{\major} or @code{\minor}.
607 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
616 @subheading Warning: key signatures and pitches
618 Music glossary: @rglos{accidental}, @rglos{key signature},
619 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
620 @rglos{transposition}.
622 To determine whether to print an @notation{accidental}, LilyPond
623 examines the pitches and the @notation{key signature}. The key
624 signature only affects the @emph{printed} accidentals, not the note's
625 @notation{pitch}! This is a feature that often causes confusion to
626 newcomers, so let us explain it in more detail.
628 LilyPond makes a sharp distinction between musical content and
629 layout. The alteration (@notation{flat}, @notation{natural} or
630 @notation{sharp}) of a note is part of the pitch, and is therefore
631 musical content. Whether an accidental (a @emph{printed} flat, natural
632 or sharp sign) is printed in front of the corresponding note is a
633 question of layout. Layout is something that follows rules, so
634 accidentals are printed automatically according to those rules. The
635 pitches in your music are works of art, so they will not be added
636 automatically, and you must enter what you want to hear.
640 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
646 No note has a printed accidental, but you must still add the
647 @samp{is} to @code{cis} and @code{fis}.
649 The code @samp{e} does not mean @qq{print a black dot just below
650 the first line of the staff.} Rather, it means @qq{there is a
651 note with pitch E-natural.} In the key of A-flat major, it
652 @emph{does} get an accidental:
654 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
659 Adding all alterations explicitly might require a little more
660 effort when typing, but the advantage is that
661 @notation{transposing} is easier, and accidentals can be printed
662 according to different conventions. For some examples how
663 accidentals can be printed according to different rules, see
664 @ruser{Automatic accidentals}.
670 see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
672 see @ruser{Key signature}
674 see @rglos{Pitch names}.
680 @subsection Ties and slurs
685 Music glossary: @rglos{tie}.
687 A @notation{tie} is created by appending a tilde @samp{~} to the
688 first note being tied
690 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
698 Music glossary: @rglos{slur}.
700 A @notation{slur} is a curve drawn across many notes. The starting
701 note and ending note are marked with @samp{(} and @samp{)}
704 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
705 d4( c16) cis( d e c cis d) e( d4)
708 @cindex slurs, phrasing
709 @cindex phrasing slurs
710 @subheading Phrasing slurs
712 Music glossary: @rglos{phrasing}, @rglos{legato}.
714 Slurs to indicate longer @notation{phrasing} can be entered with
715 @code{\(} and @code{\)}. You can have both @notation{legato} slurs and
716 phrasing slurs at the same time, but you cannot have simultaneous legato
717 slurs or simultaneous phrasing slurs.
719 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
720 a8(\( ais b c) cis2 b'2 a4 cis,\)
725 @cindex slurs versus ties
726 @subheading Warnings: slurs vs. ties
728 Music glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
730 A @notation{slur} looks like a @notation{tie}, but it has a different
731 meaning. A tie simply makes the first note longer, and can only be
732 used on pairs of notes with the same pitch. Slurs indicate the
733 @notation{articulation} of notes, and can be used on larger groups of
734 notes. Slurs and ties can be nested.
736 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
737 c2~( c8 fis fis4 ~ fis2 g2)
748 see @ruser{Phrasing slurs}.
753 @node Articulation and dynamics
754 @subsection Articulation and dynamics
759 @subheading Articulations
761 Music glossary: @rglos{articulation}.
763 Common @notation{articulations} can be added to a note using a
764 dash @samp{-} and a single character:
766 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
767 c-. c-- c-> c-^ c-+ c-_
771 @subheading Fingerings
773 Music glossary: @rglos{fingering}.
775 Similarly, @notation{fingering} indications can be added to a note using
776 a dash (@samp{-}) and the digit to be printed:
778 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
782 Articulations and fingerings are usually placed automatically, but
783 you can specify a direction using @samp{^} (up) or @samp{_}
784 (down). You can also use multiple articulations on the same note.
785 However, in most cases it is best to let LilyPond determine the
786 articulation directions.
788 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
789 c_-^1 d^. f^4_2-> e^-_+
794 Music glossary: @rglos{dynamics}, @rglos{crescendo},
797 @notation{Dynamic} signs are made by adding the markings (with a
798 backslash) to the note:
800 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
808 @notation{Crescendi} and @notation{decrescendi} are started with
809 the commands @code{\<} and @code{\>}. An ending dynamic, for
810 example @code{\f}, will finish the (de)crescendo, or the command
811 @code{\!} can be used:
813 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
821 see @ruser{Articulations}.
823 see @ruser{Fingering instructions}.
825 see @ruser{Dynamics} (Notation reference) and @rglos{dynamics}
833 @subsection Adding text
835 Text may be added to your scores:
837 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
841 Extra formatting may be added with the @code{\markup} command:
843 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
844 c1^\markup{ \bold espr}
846 \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
851 @c Kurt: leave this alone for now.
855 Notation reference: @ruser{Writing text}.
858 @node Automatic and manual beams
859 @subsection Automatic and manual beams
861 Music glossary: @rglos{beam}.
863 @cindex beams, by hand
864 All @notation{beams} are drawn automatically:
866 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
867 a8 ais d ees r d c16 b a8
871 If you do not like the automatic beams, they may be overridden
872 manually. Mark the first note to be beamed with @samp{[} and the
873 last one with @samp{]}.
875 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
876 a8[ ais] d[ ees r d] a b
882 @item Automatic beams
883 see @ruser{Automatic beams}.
885 see @ruser{Manual beams}.
890 @node Advanced rhythmic commands
891 @subsection Advanced rhythmic commands
895 @cindex partial measure
896 @subheading Partial measure
898 Music glossary: @rglos{anacrusis}.
900 A pickup (or @notation{anacrusis}) is entered with the keyword
901 @code{\partial}. It is followed by a duration: @code{\partial 4}
902 is a quarter note pickup and @code{\partial 8} an eighth note.
904 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
913 Music glossary: @rglos{note value}, @rglos{triplet}.
915 @notation{Tuplets} are made with the @code{\times} keyword. It
916 takes two arguments: a fraction and a piece of music. The
917 duration of the piece of music is multiplied by the fraction.
918 Triplets make notes occupy 2/3 of their notated duration, so a
919 @notation{triplet} has 2/3 as its fraction
921 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
922 \times 2/3 { f8 g a }
924 \times 2/3 { f,8 g16[ a g a] }
931 @subheading Grace notes
933 Music glossary: @rglos{grace notes}, @rglos{appoggiatura}.
935 @notation{Grace notes} are created with the @code{\grace} command,
936 although they can also be created by prefixing a music expression
937 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
939 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
940 c2 \grace { a32[ b] } c2
941 c2 \appoggiatura b16 c2
942 c2 \acciaccatura b16 c2
949 see @ruser{Grace notes},
958 @node Multiple notes at once
959 @section Multiple notes at once
961 This section introduces having more than one note at the same
962 time: multiple instruments, multiple staves for a single
963 instrument (i.e. piano), and chords.
965 Polyphony in music refers to having more than one voice occurring
966 in a piece of music. Polyphony in LilyPond refers to having more
967 than one voice on the same staff.
970 * Music expressions explained::
973 * Combining notes into chords::
974 * Single staff polyphony::
978 @node Music expressions explained
979 @subsection Music expressions explained
981 In LilyPond input files, music is represented by @emph{music
982 expressions}. A single note is a music expression:
984 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
988 Enclosing a note in braces creates a @emph{compound music
989 expression}. Here we have created a compound music expression
992 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
996 Putting a group of music expressions (e.g. notes) in braces means
997 that they are in sequence (i.e. each one follows the previous
998 one). The result is another music expression:
1000 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1004 @subheading Simultaneous music expressions: multiple staves
1006 Music glossary: @rglos{polyphony}.
1008 This technique is useful for @notation{polyphonic} music. To
1009 enter music with more voices or more staves, we combine
1010 expressions in parallel. To indicate that two voices should play
1011 at the same time, simply enter a simultaneous combination of music
1012 expressions. A @q{simultaneous} music expression is formed by
1013 enclosing expressions inside @code{<<} and @code{>>}. In the
1014 following example, three sequences (all containing two separate
1015 notes) are combined simultaneously:
1017 @lilypond[verbatim,quote,ragged-right]
1027 Note that we have indented each level of the input with a
1028 different amount of space. LilyPond does not care how much (or
1029 little) space there is at the beginning of a line, but indenting
1030 LilyPond code like this makes it much easier for humans to read.
1032 @warning{each note is relative to the previous note in
1033 the input, not relative to the @code{c''} in the initial
1034 @code{\\relative} command.}
1037 @subheading Simultaneous music expressions: single staff
1039 To determine the number of staves in a piece, LilyPond looks at
1040 the first expression. If it is a single note, there is one staff;
1041 if there is a simultaneous expression, there is more than one
1044 @lilypond[verbatim,quote,ragged-right]
1047 << { e f } { c <<b d>> } >>
1052 @cindex music expression
1053 @subheading Analogy: mathematical expressions
1055 This mechanism is similar to mathematical formulas: a big formula
1056 is created by composing small formulas. Such formulas are called
1057 expressions, and their definition is recursive so you can make
1058 arbitrarily complex and large expressions. For example,
1067 ((1 + 2) * 3) / (4 * 5)
1070 This is a sequence of expressions, where each expression is
1071 contained in the next (larger) one. The simplest expressions are
1072 numbers, and larger ones are made by combining expressions with
1073 operators (like @samp{+}, @samp{*} and @samp{/}) and parentheses.
1074 Like mathematical expressions, music expressions can be nested
1075 arbitrarily deep, which is necessary for complex music like
1079 @node Multiple staves
1080 @subsection Multiple staves
1082 LilyPond input files are constructed out of music expressions, as
1083 we saw in @ref{Music expressions explained}. If the score begins
1084 with simultaneous music expressions, LilyPond creates multiples
1085 staves. However, it is easier to see what happens if we create
1086 each staff explicitly.
1088 To print more than one staff, each piece of music that makes up a
1089 staff is marked by adding @code{\new Staff} before it. These
1090 @code{Staff} elements are then combined in parallel with @code{<<}
1093 @lilypond[verbatim,quote,ragged-right]
1096 \new Staff { \clef treble c }
1097 \new Staff { \clef bass c,, }
1102 The command @code{\new} introduces a @q{notation context.} A
1103 notation context is an environment in which musical events (like
1104 notes or @code{\clef} commands) are interpreted. For simple
1105 pieces, such notation contexts are created automatically. For
1106 more complex pieces, it is best to mark contexts explicitly.
1108 There are several types of contexts. @code{Score}, @code{Staff},
1109 and @code{Voice} handle melodic notation, while @code{Lyrics} sets
1110 lyric texts and @code{ChordNames} prints chord names.
1112 In terms of syntax, prepending @code{\new} to a music expression
1113 creates a bigger music expression. In this way it resembles the
1114 minus sign in mathematics. The formula @math{(4+5)} is an
1115 expression, so @math{-(4+5)} is a bigger expression.
1117 Time signatures entered in one staff affects all other
1118 staves@footnote{This behavior may be changed if desired; for
1119 details, see @ruser{Polymetric notation}.}. On the other hand,
1120 the key signature of one staff does @emph{not} affect other
1123 @lilypond[verbatim,quote,ragged-right]
1126 \new Staff { \clef treble \time 3/4 c }
1127 \new Staff { \clef bass \key d \major c,, }
1136 @subsection Piano staves
1138 @cindex staff switch, manual
1139 @cindex cross staff voice, manual
1141 Music glossary: @rglos{brace}.
1143 Piano music is typeset in two staves connected by a
1145 Printing such a staff is similar to the polyphonic example in
1146 @ref{Multiple staves}. However, now this entire expression is
1147 inserted inside a @code{PianoStaff}:
1156 Here is a small example:
1158 @lilypond[verbatim,quote,ragged-right]
1161 \new Staff { \time 2/4 c4 e g g, }
1162 \new Staff { \clef bass c,, c' e c }
1169 See @ruser{Piano music}.
1173 @node Combining notes into chords
1174 @subsection Combining notes into chords
1178 Music glossary: @rglos{chord}.
1180 @notation{Chords} can be made by surrounding pitches with single
1181 angle brackets. Angle brackets are the symbols @samp{<} and
1184 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1185 r4 <c e g>4 <c f a>2
1188 You can combine markings like beams and ties with chords. They
1189 must be placed outside the angle brackets
1191 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1192 r4 <c e g>8[ <c f a>]~ <c f a>2
1195 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1196 r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
1200 @node Single staff polyphony
1201 @subsection Single staff polyphony
1204 @cindex multiple voices
1205 @cindex voices, more -- on a staff
1206 When different melodic lines are combined on a single staff they
1207 are printed as polyphonic voices; each voice has its own stems,
1208 slurs and beams, and the top voice has the stems up, while the
1209 bottom voice has them down.
1211 Entering such parts is done by entering each voice as a sequence
1212 (with @code{@{...@}}) and combining these simultaneously,
1213 separating the voices with @code{\\}
1215 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1222 For polyphonic music typesetting, spacer rests can also be
1223 convenient; these are rests that do not print. They are useful
1224 for filling up voices that temporarily do not play. Here is the
1225 same example with a spacer rest (@samp{s}) instead of a normal
1228 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1236 Again, these expressions can be nested arbitrarily.
1238 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1246 { <c g>1 ~ <c g>4 } \\
1254 See @ruser{Simultaneous notes}.
1261 This section introduces vocal music and simple song sheets.
1264 * Setting simple songs::
1265 * Aligning lyrics to a melody::
1266 * Lyrics to multiple staves::
1270 @node Setting simple songs
1271 @subsection Setting simple songs
1276 Music glossary: @rglos{lyrics}.
1278 Here is the start of the melody to a nursery
1279 rhyme, @qq{Girls and boys come out to play}:
1281 @lilypond[verbatim,quote,ragged-right]
1285 d4 b8 c4 a8 d4 b8 g4
1289 The @notation{lyrics} can be set to these notes, combining both
1290 with the @code{\addlyrics} keyword. Lyrics are entered by
1291 separating each syllable with a space.
1293 @lilypond[verbatim,quote,ragged-right]
1298 d4 b8 c4 a8 d4 b8 g4
1301 Girls and boys come out to play,
1306 Note the curly brackets delimiting both the music and the lyrics,
1307 and the angle brackets @code{<< ... >>} around the whole piece to
1308 show that the music and lyrics are to occur at the same time.
1310 @node Aligning lyrics to a melody
1311 @subsection Aligning lyrics to a melody
1313 Music glossary: @rglos{melisma}, @rglos{extender line}.
1316 @cindex extender line
1320 The next line in the nursery rhyme is @q{The moon doth shine as
1321 bright as day}. Let's extend it:
1323 @lilypond[verbatim,quote,ragged-right]
1328 d4 b8 c4 a8 d4 b8 g4
1329 g8 a4 b8 c b a d4 b8 g4.
1332 Girls and boys come out to play,
1333 The moon doth shine as bright as day;
1338 We see the extra lyrics do not align properly with the notes. The
1339 word @q{shine} should be sung on two notes, not one. This is
1340 called a @notation{melisma}, a single syllable sung to more than one
1341 note. There are several ways to spread a syllable over multiple
1342 notes, the simplest being to add a slur across them (see @ref{Ties
1345 @lilypond[verbatim,quote,ragged-right]
1350 d4 b8 c4 a8 d4 b8 g4
1351 g8 a4 b8 c([ b)] a d4 b8 g4.
1354 Girls and boys come out to play,
1355 The moon doth shine as bright as day;
1360 Here we have also used manual beaming (the square brackets @code{[
1361 ]} ) to generate the beaming which is customarily used with lyrics
1362 (see @ref{Automatic and manual beams}).
1364 If a syllable extends over several notes or a single very long
1365 note an @notation{extender line} is usually drawn from the syllable
1366 extending under all the notes for that syllable. It is entered as
1367 two underscores @code{__}. Here is an example from the first
1368 three bars of Dido's Lament, from Purcell's Dido and Æneas:
1370 @lilypond[verbatim,quote,ragged-right]
1376 b c4.( bes8 a4. g8 fis4.) g8 fis1
1380 am laid __ in earth,
1385 None of the examples so far have involved words containing more
1386 than one syllable. Such words are usually split one syllable to a
1387 note, with hyphens between syllables. Such hyphens are entered as
1388 two dashes, resulting in a centered hyphen between the syllables.
1389 Here is an example showing this and everything we have learned so
1390 far about aligning lyrics to notes.
1392 @c no ragged-right here because otherwise the hyphens get lost,
1393 @c but the example is long enough to avoid looking strange.
1394 @lilypond[verbatim,quote]
1400 d4 g4 g a8( b) g4 g4
1404 A -- way in a __ man -- ger,
1405 no __ crib for a bed, __
1410 Some lyrics, especially those in Italian, require the opposite:
1411 setting more than one syllable to a single note. This is
1412 achieved by linking the syllables together with a single
1413 underscore @code{_} (with no spaces), or enclosing them in
1414 quotes. Here's an example from Rossini's Figaro, where
1415 @q{al} has to be sung on the same note as the @q{go} of
1416 @q{Largo} in Figaro's aria @q{Largo al factotum}:
1418 @c no ragged-right here because otherwise the hyphens get lost,
1419 @c but the example is long enough to avoid looking strange.
1420 @lilypond[verbatim,quote]
1426 c4.~ c8 d b c([ d)] b c d b c
1429 Lar -- go_al fac -- to -- tum del -- la cit -- tĂ
1437 More options, such as inserting explicit rhythms into lyrics,
1438 inserting lyric ties (e.g., between @q{go al}) above,
1439 alternative ways of handling melismata,
1440 and adding extra verses,
1441 are discussed in @ruser{Vocal music}.
1444 @node Lyrics to multiple staves
1445 @subsection Lyrics to multiple staves
1447 The simple approach using @code{\addlyrics} can be used for
1448 placing lyrics under more than one staff. Here is an
1449 example from Handel's Judas Maccabæus:
1451 @lilypond[verbatim,quote,ragged-right]
1459 c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
1462 Let flee -- cy flocks the hills a -- dorn, __
1466 r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
1469 Let flee -- cy flocks the hills a -- dorn,
1474 but scores any more complex than this simple example are
1475 better produced by separating out the staff structure
1476 from the notes and lyrics with variables. These are
1477 discussed later (see @ref{Organizing pieces with variables}).
1481 More options, such as putting multiple stanzas below the score,
1482 setting choral music, and lyrics to divided voices,
1483 are discussed in @ruser{Vocal music}.
1488 @section Final touches
1490 This is the final section of the tutorial; it demonstrates how to
1491 add the final touches to simple pieces, and provides an
1492 introduction to the rest of the manual.
1497 * Absolute note names::
1498 * Organizing pieces with variables::
1499 * After the tutorial::
1500 * How to read the manual::
1504 @node Version number
1505 @subsection Version number
1508 The @code{\version} statement records the version of LilyPond that
1509 was used to write the file:
1516 By convention, this is placed at the top of your LilyPond file.
1518 These annotations make future upgrades of LilyPond go more
1519 smoothly. Changes in the syntax are handled with a special
1520 program, @file{convert-ly}, and it uses @code{\version} to
1521 determine what rules to apply. For details, see
1522 @rprogram{Updating files with convert-ly}.
1526 @subsection Adding titles
1528 The title, composer, opus number, and similar information are
1529 entered in the @code{\header} block. This exists outside of the
1530 main music expression; the @code{\header} block is usually placed
1531 underneath the @ref{Version number}.
1542 @dots{} music @dots{}
1546 When the file is processed, the title and composer are printed
1547 above the music. More information on titling can be found in
1548 @ruser{Creating titles}.
1551 @node Absolute note names
1552 @subsection Absolute note names
1554 So far we have always used @code{\relative} to define pitches.
1555 This is the easiest way to enter most music, but another way of
1556 defining pitches exists: absolute mode.
1558 If you omit the @code{\relative}, LilyPond treats all pitches as
1559 absolute values. A @code{c'} will always mean middle C, a
1560 @code{b} will always mean the note one step below middle C, and a
1561 @code{g,} will always mean the note on the bottom staff of the
1564 @lilypond[verbatim,quote,ragged-right]
1572 Here is a four-octave scale:
1574 @lilypond[verbatim,quote,ragged-right]
1589 As you can see, writing a melody in the treble clef involves a lot
1590 of quote @code{'} marks. Consider this fragment from Mozart:
1592 @lilypond[verbatim,quote,ragged-right]
1596 cis''8. d''16 cis''8 e''4 e''8
1597 b'8. cis''16 b'8 d''4 d''8
1601 All these quotes makes the input less readable and it is a source
1602 of errors. With @code{\relative}, the previous example is much
1605 @lilypond[verbatim,quote,ragged-right]
1609 cis8. d16 cis8 e4 e8
1614 If you make a mistake with an octave mark (@code{'} or @code{,})
1615 while working in @code{\relative} mode, it is very obvious -- many
1616 notes will be in the wrong octave. When working in absolute mode,
1617 a single mistake will not be as visible, and will not be as easy
1620 However, absolute mode is useful for music which has large
1621 intervals, and is extremely useful for computer-generated LilyPond
1625 @node Organizing pieces with variables
1626 @subsection Organizing pieces with variables
1628 When all of the elements discussed earlier are combined to produce
1629 larger files, the music expressions get a lot bigger. In
1630 polyphonic music with many staves, the input files can become very
1631 confusing. We can reduce this confusion by using
1634 With variables (also known as identifiers or macros), we can break
1635 up complex music expressions. An variable is assigned as
1639 namedMusic = @{ @dots{} @}
1642 The contents of the music expression @code{namedMusic} can be used
1643 later by placing a backslash in front of the name
1644 (@code{\namedMusic}, just like a normal LilyPond command).
1645 Variables must be defined @emph{before} the main music
1648 @lilypond[verbatim,quote,ragged-right]
1649 violin = \new Staff { \relative c'' {
1652 cello = \new Staff { \relative c {
1665 The name of an variable must have alphabetic characters only, no
1666 numbers, underscores, or dashes.
1668 It is possible to use variables for many other types of objects in
1669 the input. For example,
1674 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1677 Depending on its contents, the variable can be used in different
1678 places. The following example uses the above variables:
1689 @node After the tutorial
1690 @subsection After the tutorial
1692 After finishing the tutorial, you should probably try writing a
1693 piece or two. Start by adding notes to one of the @ref{Templates}.
1694 If you need any notation that was not covered in the
1695 tutorial, look at the Notation Reference, starting with
1696 @ruser{Musical notation}. If you want to write for an instrument
1697 ensemble that is not covered in the templates, take a look at
1698 @ref{Extending the templates}.
1700 Once you have written a few short pieces, read the rest of the
1701 Learning Manual (chapters 3-5). There's nothing wrong with
1702 reading it now, of course! However, the rest of the Learning
1703 Manual assumes that you are familiar with LilyPond input. You may
1704 wish to skim these chapters right now, and come back to them after
1705 you have more experience.
1708 @node How to read the manual
1709 @subsection How to read the manual
1711 Many examples in the tutorial omitted a @code{\relative c'' @{
1712 ... @}} around the printed example, as we saw in
1713 @ref{How to read the tutorial}.
1715 In the rest of the manual, we are much more lax about the printed
1716 examples: sometimes they may have omitted a @code{\relative c'' @{
1717 ... @}}, but other times a different initial pitch may be used
1718 (such as @code{c'} or @code{c,,}), and in some cases the whole
1719 example is in absolute note mode! However, ambiguities like this
1720 only exist where the pitches are not important. In any example
1721 where the pitch matters, we have explicitly stated
1722 @code{\relative} or absolute-mode @code{@{ @}}.
1724 If you are still confused about the exact LilyPond input that was
1725 used in an example, read the HTML version (if you are not already
1726 doing so) and click on the picture of the music. This will
1727 display the exact input that LilyPond used to generate this
1730 For information about the structure of the rest of the manual, see
1731 @ref{About this manual}.