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 a short introduction to the LilyPond music
18 language. After this first contact we will show you how to produce
19 printed output. Then you will be able to create and print your own
23 Many people learn programs by trying and fiddling around with the
24 program. This is also possible with LilyPond. If you click on a
25 picture in the HTML version of this manual, you will see the exact
26 LilyPond input that was used to generate that image.
29 @lilypond[fragment,quote,ragged-right,relative=2]
30 c-\markup { \bold \huge { Click here. } }
34 By cutting and pasting the full input into a test file, you have a
35 starting template for experiments. If you like learning in this way,
36 you will probably want to print out or bookmark
40 @ref{Cheat sheet}, which is a table listing all commands for quick
45 * Running LilyPond for the first time::
46 * More about pitches::
48 * Automatic and manual beams::
50 * Music expressions explained::
52 * Adding articulation marks to notes::
53 * Combining notes into chords::
54 * Advanced rhythmic commands::
55 * Commenting input files::
59 * Single staff polyphony::
61 * Organizing larger pieces::
62 * An orchestral part::
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
80 the result looks like this
82 @lilypond[fragment,quote,notime,relative=1]
86 Every piece of LilyPond input needs to have @{ curly braces @} placed
87 around the input. For the rest of this manual, most examples will
88 omit these braces, but don't forget them in your own music!
90 @cindex Case sensitive
91 In addition, LilyPond input is case sensitive. @code{ @{ c d e @} } is
92 valid input; @code{ @{ C D E @} } will produce an error message.
94 The @rglos{duration} of a note is specified by a number after the note
95 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
96 @samp{4} for a @rglos{quarter note} and so on
102 @lilypond[fragment,quote,notime,relative=2]
103 \set Staff.autoBeaming = ##f
104 { a1 a2 a4 a16 a32 s16_" " }
107 If you do not specify a duration, the duration last entered is used
108 for the next notes. The duration of the first note in input defaults
115 @lilypond[fragment,quote,notime,relative=2]
116 { a a8 a a2 a s16_" " }
120 A @rglos{rest} is entered just like a note, but with the name @samp{r}
126 @lilypond[fragment,quote,notime]
130 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
136 @lilypond[fragment,quote,notime,relative=1]
137 { a2. a4 a8. a16 s16_" " }
140 The (or @rglos{time signature}) can be set with the @code{\time}
149 @c A clef here may lead to confusion, remove it.
150 @lilypond[fragment,quote]
151 \override Staff.Clef #'transparent = ##t
160 The @rglos{clef} can be set using the @code{\clef} command
169 @lilypond[fragment,quote,notime]
180 Remember to enclose the notes and commands in curly braces
181 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
183 @c @li lypond[fragment,quote,noindent,line-width=55\staff-space]
184 @lilypond[fragment,quote,noindent,verbatim]
191 For more information on
195 @item Entering pitches and durations
197 @ref{Pitches}, and @ref{Durations}.
202 @item Time signatures and other timing commands
203 see @ref{Time signature}.
208 @node Running LilyPond for the first time
209 @section Running LilyPond for the first time
211 @c cheesy title to avoid clash with chapter name.
213 In the last section we explained what kind of things you can enter in
214 a LilyPond file. In this section we will explain what commands to run
215 and how to view or print the output. If you have not used LilyPond
216 before, want to test your setup, or want to run an example file
217 yourself, read this section.
219 @unnumberedsubsec MacOS X
221 If you double click LilyPond.app, it will open with an example
222 file. Save it, for example, to @file{test.ly} on your Desktop, and
223 then process it with the menu command @samp{Compile > Typeset File}.
224 The resulting PDF file will be displayed on your screen.
226 Be warned that the first-ever run will take a minute or two, because
227 all of the system fonts have to be analyzed first.
229 @unnumberedsubsec Windows
231 On Windows, start up a text-editor@footnote{Any simple or
232 programmer-oriented editor will do, for example Notepad. Do not use a
233 word processor, since these insert formatting codes that will confuse
240 Save it on the desktop as @file{test.ly} and make sure that it is not
241 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
242 the file and show the resulting PDF file.
245 @unnumberedsubsec Unix
247 Begin by opening a terminal window and starting a text editor. For
248 example, you could open an xterm and execute
249 @code{joe}.@footnote{There are macro files for VIM addicts, and there
250 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
251 installed already, refer to the file @file{INSTALL.txt}.} In your
252 text editor, enter the following input and save the file as
260 To process @file{test.ly}, proceed as follows
267 You will see something resembling
274 Interpreting music... [1]
275 Preprocessing graphical objects...
276 Calculating line breaks... [2]
277 Layout output to `test.ps'...
278 Converting to `test.pdf'...
282 @cindex Viewing music
285 The result is the file @file{test.pdf} which you can print or view
286 with the standard facilities of your operating system.@footnote{If
287 your system does not have any tools installed, you can try
288 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
289 available package for viewing and printing PDF and PostScript files.}
291 @node More about pitches
292 @section More about pitches
294 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
295 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
296 you might expect, a @rglos{double sharp} or @rglos{double flat} is
297 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
298 derived from note naming conventions in Nordic and Germanic languages,
299 like German and Dutch.}
305 @lilypond[fragment,quote,notime]
306 \set Score.timing = ##f
307 \transpose c c' { cis1 ees fisis aeses s16_" " }
310 @cindex key signature, setting
311 The key signature is set with the command @code{\key}, followed by
312 a pitch and @code{\major} or @code{\minor}
321 @lilypond[fragment,quote,notime,fragment]
329 Key signatures together with the pitches (including alterations) are
330 used to determine when to print accidentals. This is a
331 feature that often causes confusion to newcomers, so let us explain it
335 LilyPond makes a sharp distinction between musical content and
336 layout. The alteration (flat, natural or sharp) of a note is part of
337 the pitch, and is therefore musical content. Whether an accidental (a
338 flat, natural or sharp @emph{sign}) is printed in front of the
339 corresponding note is a question of layout. Layout is something that
340 follows rules, so accidentals are printed automatically according to
341 those rules. The pitches in your music are works of art, so they will
342 not be added automatically, and you must enter what you want to hear.
346 @lilypond[quote,notime,fragment]
352 no note has an explicit accidental, but you still must enter
360 The code @samp{d} does not mean `print a black dot just below the
361 staff.' Rather, it means: `a note with pitch D-natural.' In the key
362 of A-flat major, it does get an accidental
364 @lilypond[quote,notime,fragment,relative=1,verbatim]
369 Adding all alterations explicitly might require a little more effort
370 when typing, but the advantage is that transposing is easier, and
371 accidentals can be printed according to different conventions. See
372 @ref{Automatic accidentals}, for some examples how accidentals can be printed
373 according to different rules.
376 For more information on
381 see @ref{Automatic accidentals}.
384 see @ref{Key signature}.
389 @section Entering ties
392 A @rglos{tie} is created by appending a tilde @samp{~} to the first
395 @lilypond[quote,notime,fragment,verbatim,relative=3]
399 For more information on Ties see @ref{Ties}.
403 @node Automatic and manual beams
404 @section Automatic and manual beams
406 @cindex beams, by hand
407 All @rglos{beam}s are drawn automatically
409 @lilypond[quote,fragment,relative=2,verbatim]
414 If you do not like where beams are put, they can be entered by
415 hand. Mark the first note to be beamed with @samp{[} and the last one
418 @lilypond[quote,fragment,relative=2,verbatim]
422 For more information on beams, see @ref{Manual beams}.
425 Here are key signatures, accidentals and ties in action
427 @lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
434 fis4 fis8 fis8 eis4 a8 gis~
443 There are some interesting points to note in this example. Bar lines
444 and beams are drawn automatically. Line breaks are calculated
445 automatically; it does not matter where the line breaks are in the
446 source file. Finally, the order in which time, key, and clef changes
447 are entered is not relevant: in the printout, these are ordered
448 according to standard notation conventions.
453 @section Octave entry
456 @c Tim wants to move this quotes example just before the: quotes-do not-work
457 @c score, but we'd need to remove quotes from the other two (key and
460 @c better to have this just before the `octaves are bad' snipped
461 @c but we'd need to remove the ', from \key and tie
462 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
463 the note name, to lower a note one octave, add a `low quote' @code{,}
464 (comma). Middle C is @code{c'}
466 @lilypond[quote,notime,fragment,verbatim]
467 c'4 c'' c''' \clef bass c c,
470 An example of the use of quotes is in the following Mozart fragment
472 @lilypond[quote,ragged-right,fragment,verbatim]
475 cis''8. d''16 cis''8 e''4 e''8
476 b'8. cis''16 b'8 d''4 d''8
480 This example shows that music in a high register needs lots of quotes.
481 This makes the input less readable, and it is a source of errors. The
482 solution is to use `relative octave' mode. This is the
483 most convenient way to copy existing music.
485 In relative mode, a note without octavation quotes (i.e. the @code{'}
486 or @code{,} after a note) is chosen so that it is closest to the
487 previous one. For example, @samp{c f} goes up while @samp{c g} goes
490 To use relative mode, add @code{\relative} before the piece of
491 music. The first note is taken relative to the middle C
492 @c no , for this sentence
497 @lilypond[quote,notime,fragment,verbatim]
504 Since most music has small intervals, pieces can be written almost
505 without octavation quotes in relative mode. The previous example is
508 @lilypond[quote,ragged-right,verbatim]
512 cis'8. d16 cis8 e4 e8
517 @c needed better, maybe even redundant explanation
518 @c added another example below.
519 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
520 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
521 Larger intervals are made by adding octavation quotes.
523 @lilypond[quote,notime,verbatim,fragment]
529 In summary, quotes or commas no longer determine the absolute height
530 of a note in @code{\relative} mode. Rather, the height of a note is
531 relative to the previous one, and changing the octave of a single note
532 shifts all following notes an octave up or down.
534 For more information on relative octaves see @ref{Relative octaves},
535 and @ref{Octave check}.
538 @node Music expressions explained
539 @section Music expressions explained
542 In input files, music is represent by so-called @emph{music
543 expression}s. We have already seen some in the previous examples;
544 a single note is a music expression
546 @lilypond[fragment,quote,verbatim,relative=3]
550 Enclosing a group of notes in braces creates a new music
553 @lilypond[fragment,quote,verbatim,relative=3]
557 Putting a bunch of music expressions (e.g., notes) in braces, means that
558 they should be played in sequence. The result again is a music
559 expression, which can be grouped with other expressions sequentially.
560 Here, the expression from the previous example is combined with two
563 @lilypond[fragment,quote,verbatim,relative=3]
567 This technique is useful for non-monophonic music. To enter music
568 with more voices or more staves, we also combine expressions in
569 parallel. Two voices that should play at the same time, are entered
570 as a simultaneous combination of two sequences. A `simultaneous'
571 music expression is formed by enclosing expressions in @code{<<} and
572 @code{>>}. In the following example, three sequences (all containing
573 two separate notes) are combined simultaneously
575 @lilypond[fragment,quote,verbatim,relative=3]
583 This mechanism is similar to mathematical
584 formulas: a big formula is created by composing small formulas. Such
585 formulas are called expressions, and their definition is recursive, so
586 you can make arbitrarily complex and large expressions. For example,
595 ((1 + 2) * 3) / (4 * 5)
599 @cindex music expression
600 This is a sequence of expressions, where each expression is contained
601 in the next (larger) one. The simplest expressions are numbers, and larger
602 ones are made by combining expressions with operators (like @samp{+},
603 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
604 music expressions can be nested arbitrarily deep, which is necessary
605 for complex music like polyphonic scores.
607 Note that this example only has one staff, whereas
608 the previous example had three separate staves. That is because this
609 example begins with a single note. To determine the number of staves,
610 LilyPond looks at the first element. If it is a single note, there is one
611 staff; if there is a simultaneous expression, there is more than one staff.
613 @lilypond[fragment,quote,verbatim,relative=2]
616 << { e f } { c <<b d>> } >>
620 Music files with deep nesting can be confusing to enter and
621 maintain. One convention that helps against this confusion is
622 indenting. When entering a file with deep nesting of braces and
623 angles, it is customary to use an indent that indicates the nesting
624 level. Formatting music like this eases reading and helps you insert
625 the right number of closing braces at the end of an expression. For
639 Some editors have special support for entering LilyPond, and can help
640 indenting source files. See @ref{Editor support} for more information.
645 To print more than one staff, each piece of music that makes up a
646 staff is marked by adding @code{\new Staff} before it. These
647 @code{Staff} elements are then combined in parallel with @code{<<} and
648 @code{>>}, as demonstrated here
650 @lilypond[quote,fragment,verbatim]
652 \new Staff { \clef treble c'' }
653 \new Staff { \clef bass c }
658 The command @code{\new} introduces a `notation context.' A notation
659 context is an environment in which musical events (like notes or
660 @code{\clef} commands) are interpreted. For simple pieces, such
661 notation contexts are created automatically. For more complex pieces, it
662 is best to mark contexts explicitly. This ensures that each fragment
665 There are several types of contexts. @code{Staff}, @code{Voice} and
666 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
667 texts and @code{ChordNames} prints chord names.
669 In terms of syntax, prepending @code{\new} to a music expression
670 creates a bigger music expression. In this way it resembles the minus
671 sign in mathematics. The formula @math{(4+5)} is an expression, so
672 @math{-(4+5)} is a bigger expression.
674 We can now typeset a melody with two staves
676 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
678 @lilypond[fragment,quote,verbatim,ragged-right]
695 For more information on contexts see the description in
696 @ref{Interpretation contexts}.
700 @node Adding articulation marks to notes
701 @section Adding articulation marks to notes
707 Common accents can be added to a note using a dash (@samp{-}) and a
710 @lilypond[fragment,quote,verbatim,relative=2]
711 c-. c-- c-> c-^ c-+ c-_
715 Similarly, fingering indications can be added to a note using a dash
716 (@samp{-}) and the digit to be printed
718 @lilypond[fragment,quote,verbatim,relative=2]
722 Articulations and fingerings are usually placed automatically, but you
723 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
724 also use multiple articulations on the same note. In most cases, however,
725 it is best to let LilyPond determine the articulation directions.
727 @lilypond[fragment,quote,verbatim,relative=2]
728 c_-^1 d^. f^4_2-> e^-_+
731 Dynamic signs are made by adding the markings (with a backslash) to
734 @lilypond[fragment,quote,verbatim,relative=2]
742 Crescendi and decrescendi are started with the commands @code{\<} and
743 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
744 (de)crescendo, or the command @code{\!} can be used
746 @lilypond[fragment,quote,verbatim,relative=2]
754 A @rglos{slur} is a curve drawn across many notes, and indicates
755 legato articulation. The starting note and ending note are marked
756 with @samp{(} and @samp{)}, respectively
758 @lilypond[fragment,quote,fragment,relative=2,verbatim]
759 d4( c16) cis( d e c cis d) e( d4)
762 @cindex slurs versus ties
763 A slur looks like a @rglos{tie}, but it has a different meaning. A
764 tie simply makes the first note sound longer, and can only be used on
765 pairs of notes with the same pitch. Slurs indicate the articulations
766 of notes, and can be used on larger groups of notes. Slurs and ties
769 @lilypond[quote,fragment,relative=2]
770 c2~( c8 fis fis4 ~ fis2 g2)
773 @cindex phrasing slurs
774 Slurs to indicate phrasing can be entered with @code{\(} and
775 @code{\)}, so you can have both legato slurs and phrasing slurs at the
776 same time. You cannot have simultaneous slurs or simultaneous
779 @lilypond[quote,fragment,relative=2,verbatim]
780 a8(\( ais b c) cis2 b'2 a4 cis, c\)
784 For more information on
789 see @ref{Fingering instructions}.
791 see @ref{Articulations}.
795 see @ref{Phrasing slurs}.
802 @node Combining notes into chords
803 @section Combining notes into chords
806 Chords can be made by surrounding pitches with angle brackets.
807 Angle brackets are the symbols @samp{<} and @samp{>}.
809 @lilypond[quote,relative=1,fragment,verbatim]
814 You can combine markings like beams and ties with chords. They must
815 be placed outside the angled brackets
817 @lilypond[quote,relative=1,fragment,verbatim]
818 r4 <c e g>8[ <c f a>]~ <c f a>
822 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
825 @lilypond[quote,relative=1,fragment]
827 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
831 @node Advanced rhythmic commands
832 @section Advanced rhythmic commands
836 @cindex partial measure
837 A pickup is entered with the keyword @code{\partial}. It
838 is followed by a duration: @code{\partial 4} is a quarter note upstep
839 and @code{\partial 8} an eighth note
841 @lilypond[quote,relative=2,verbatim,fragment]
848 Tuplets are made with the @code{\times} keyword. It takes two
849 arguments: a fraction and a piece of music. The duration of the piece
850 of music is multiplied by the fraction. Triplets make notes occupy
851 2/3 of their notated duration, so a triplet has 2/3 as its fraction
853 @lilypond[quote,relative=1,verbatim,fragment]
854 \times 2/3 { f8 g a }
860 Grace notes are also made by prefixing a music expression with the
861 keyword @code{\appoggiatura} or @code{\acciaccatura}
865 @lilypond[quote,relative=2,verbatim,fragment]
866 c4 \appoggiatura b16 c4
867 c4 \acciaccatura b16 c4
872 For more information on
877 see @ref{Grace notes},
881 see @ref{Partial measures}.
886 @node Commenting input files
887 @section Commenting input files
891 @cindex block comment
892 A comment is a remark for the human reader of the music input; it is
893 ignored while parsing, so it has no effect on the printed output.
894 There are two types of comments. The percent symbol @samp{%}
895 introduces a line comment; after @code{%} the rest of the line is
896 ignored. A block comment marks a whole section of music
897 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
898 ignored. The following fragment shows possible uses for comments
901 % notes for twinkle twinkle follow
905 This line, and the notes below
906 are ignored, since they are in a
913 @c TODO post-2.6 reorg
914 @c This is good info, but I wouldn't call it a comment. IMO it should
915 @c be moved somewhere else.
919 There is a special statement that is a kind of comment. The @code{\version}
920 statement marks for which version of LilyPond the file was written.
921 To mark a file for version 2.6.0, use
928 These annotations make future upgrades of LilyPond go more
929 smoothly. Changes in the syntax are handled with a special program,
930 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
931 @code{\version} to determine what rules to apply.
934 @node Printing lyrics
935 @section Printing lyrics
938 @c TODO: (c) status of the Queen fragment.
942 Lyrics are entered by separating each syllable with a space
950 @lilypond[quote,verbatim,fragment,ragged-right]
952 r4 c \times 2/3 { f g g }
953 \times 2/3 { g4( a2) }
957 The lyrics can be set to these notes, combining both with the
958 @code{\addlyrics} keyword
960 @lilypond[quote,verbatim,fragment,ragged-right]
963 r4 c \times 2/3 { f g g }
964 \times 2/3 { g4( a2) }
966 \addlyrics { I want to break free }
971 @cindex extender line
973 This melody ends on a @rglos{melisma}, a single syllable (`free')
974 sung to more than one note. This is indicated with an @emph{extender
975 line}. It is entered as two underscores, i.e.,
978 @{ I want to break free __ @}
981 @lilypond[fragment,quote,ragged-right]
984 r4 c \times 2/3 { f g g }
985 \times 2/3 { g4( a2) }
987 \addlyrics { I want to break free __ }
991 Similarly, hyphens between words can be entered as two dashes,
992 resulting in a centered hyphen between two syllables
995 Twin -- kle twin -- kle
998 @lilypond[fragment,quote,ragged-right]
1004 \addlyrics { Twin -- kle twin -- kle }
1008 More options, like putting multiple lines of lyrics below a melody are
1009 discussed in @ref{Vocal music}.
1013 @section A lead sheet
1019 @c TODO: revise this, \chords { } is shorter and more intuitive.
1021 In popular music, it is common to denote accompaniment with chord names.
1022 Such chords can be entered like notes,
1024 @lilypond[quote,verbatim,ragged-right]
1025 \chordmode { c2 f4. g8 }
1029 Now each pitch is read as the root of a chord instead of a note.
1030 This mode is switched on with @code{\chordmode}
1032 Other chords can be created by adding modifiers after a colon. The
1033 following example shows a few common modifiers
1035 @lilypond[quote,verbatim,ragged-right]
1036 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1039 For lead sheets, chords are not printed on staves, but as names on a
1040 line for themselves. This is achieved by using @code{\chords} instead
1041 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1042 but renders the notes in a @code{ChordNames} context, with the
1045 @lilypond[quote,verbatim,ragged-right]
1046 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1050 When put together, chord names, lyrics and a melody form
1051 a lead sheet, for example,
1055 \chords @{ @emph{chords} @}
1057 \addlyrics @{ @emph{the text} @}
1062 @lilypond[quote,ragged-right]
1064 \chords { r2 c:sus4 f }
1066 r4 c' \times 2/3 { f g g }
1067 \times 2/3 { g4( a2) }
1069 \addlyrics { I want to break free __ }
1073 A complete list of modifiers and other options for layout can be found
1078 @section Adding titles
1080 Bibliographic information is entered in a separate block, the
1081 @code{\header} block. The name of the piece, its composer, etc., are
1082 entered as an assignment, within @code{\header
1083 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1084 the top of the file. For example,
1089 composer = "Igor Stravinsky"
1096 When the file is processed, the title and composer are printed above
1097 the music. More information on titling can be found in @ref{Creating
1101 @node Single staff polyphony
1102 @section Single staff polyphony
1105 @cindex multiple voices
1106 @cindex voices, more -- on a staff
1107 When different melodic lines are combined on a single staff they are
1108 printed as polyphonic voices; each voice has its own stems, slurs and
1109 beams, and the top voice has the stems up, while the bottom voice has
1112 Entering such parts is done by entering each voice as a sequence (with
1113 @code{@{...@}}), and combining these simultaneously, separating the
1114 voices with @code{\\}
1116 @lilypond[quote,verbatim,relative=2,fragment]
1117 << { a4 g2 f4~ f4 } \\
1121 For polyphonic music typesetting, spacer rests can also be convenient;
1122 these are rests that do not print. They are useful for filling up
1123 voices that temporarily do not play. Here is the same example with a
1124 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1126 @lilypond[quote,verbatim,relative=2,fragment]
1127 << { a4 g2 f4~ f4 } \\
1132 Again, these expressions can be nested arbitrarily
1134 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1142 { <c, g>1 ~ <c g>4 } \\
1148 More features of polyphonic typesetting are described in this manual
1149 in section @ref{Polyphony}.
1153 @section Piano staves
1155 @cindex staff switch, manual
1156 @cindex cross staff voice, manual
1157 Piano music is typeset in two staves connected by a brace. Printing
1158 such a staff is similar to the polyphonic example in @ref{More staves},
1161 << \new Staff @{ @dots{} @}
1162 \new Staff @{ @dots{} @} >>
1166 but now this entire expression must be interpreted as a
1170 \new PianoStaff << \new Staff @dots{} >>
1173 Here is a small example
1175 @lilypond[quote,verbatim,relative=1,fragment]
1177 \new Staff { \time 2/4 c4 c g' g }
1178 \new Staff { \clef bass c,, c' e c }
1182 More information on formatting piano music is given in @ref{Piano music}.
1185 @node Organizing larger pieces
1186 @section Organizing larger pieces
1188 When all of the elements discussed earlier are combined to produce
1189 larger files, the @code{\score} blocks get a lot bigger, because the
1190 music expressions are longer, and, in the case of polyphonic pieces,
1191 more deeply nested. Such large expressions can become unwieldy.
1193 By using variables, also known as identifiers, it is possible to break
1194 up complex music expressions. An identifier is assigned as follows
1197 namedMusic = @{ @dots{} @}
1201 The contents of the music expression @code{namedMusic}, can be used
1202 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1203 In the next example, a two-note motive is repeated two times by using
1204 variable substitution
1206 @lilypond[quote,ragged-right,verbatim,nofragment]
1210 { \seufzer \seufzer }
1213 The name of an identifier should have alphabetic characters only; no
1214 numbers, underscores or dashes. The assignment should be outside of
1217 It is possible to use variables for many other types of objects in the
1223 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1226 Depending on its contents, the identifier can be used in different
1227 places. The following example uses the above variables
1237 More information on the possible uses of identifiers is given in the
1238 technical manual, in @ref{Input variables and Scheme}.
1239 @c fixme: the ref is too technical.
1242 @node An orchestral part
1243 @section An orchestral part
1245 In orchestral music, all notes are printed twice. Once in a part for
1246 the musicians, and once in a full score for the conductor. Identifiers can
1247 be used to avoid double work. The music is entered once, and stored in
1248 a variable. The contents of that variable is then used to generate
1249 both the part and the full score.
1251 It is convenient to define the notes in a special file. For example,
1252 suppose that the file @file{horn-music.ly} contains the following part
1253 of a horn/@/bassoon duo
1256 hornNotes = \relative c @{
1263 Then, an individual part is made by putting the following in a file
1266 \include "horn-music.ly"
1268 instrument = "Horn in F"
1272 \transpose f c' \hornNotes
1279 \include "horn-music.ly"
1283 substitutes the contents of @file{horn-music.ly} at this position in
1284 the file, so @code{hornNotes} is defined afterwards. The command
1285 @code{\transpose f@tie{}c'} indicates that the argument, being
1286 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1287 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1288 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1289 in the following output
1291 @lilypond[quote,ragged-right]
1292 \transpose f c' \relative c {
1298 In ensemble pieces, one of the voices often does not play for many
1299 measures. This is denoted by a special rest, the multi-measure
1300 rest. It is entered with a capital @samp{R} followed by a duration
1301 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1302 duration, longer rests can be constructed. For example, this rest
1303 takes 3@tie{}measures in 2/4 time
1309 When printing the part, multi-rests
1310 must be condensed. This is done by setting a run-time variable
1313 \set Score.skipBars = ##t
1317 This command sets the property @code{skipBars} in the
1318 @code{Score} context to true (@code{##t}). Prepending the rest and
1319 this option to the music above, leads to the following result
1321 @lilypond[quote,ragged-right]
1322 \transpose f c' \relative c {
1324 \set Score.skipBars = ##t
1331 The score is made by combining all of the music together. Assuming
1332 that the other voice is in @code{bassoonNotes} in the file
1333 @file{bassoon-music.ly}, a score is made with
1336 \include "bassoon-music.ly"
1337 \include "horn-music.ly"
1340 \new Staff \hornNotes
1341 \new Staff \bassoonNotes
1348 @lilypond[quote,ragged-right]
1356 r4 d,8 f | gis4 c | b bes |
1357 a8 e f4 | g d | gis f
1362 More in-depth information on preparing parts and scores can be found
1363 in the notation manual; see @ref{Orchestral music}.
1365 Setting run-time variables (`properties') is discussed in
1366 @ref{Changing context properties on the fly}.
1373 * discuss expectations (?)
1377 * overview of chapters?