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.
26 @lilypond[fragment,quote,raggedright,relative=2]
27 c-\markup { \bold \huge { Click here. } }
31 By cutting and pasting the full input into a test file, you have a
32 starting template for experiments. If you like learning in this way,
33 you will probably want to print out or bookmark
37 @ref{Cheat sheet}, which is a table listing all commands for quick
43 * More about pitches::
45 * Automatic and manual beams::
47 * Music expressions explained::
49 * Adding articulation marks to notes::
50 * Combining notes into chords::
51 * Basic rhythmical commands::
52 * Commenting input files::
55 * Listening to output::
57 * Single staff polyphony::
59 * Organizing larger pieces::
60 * An orchestral part::
61 * Integrating text and music::
68 The first example demonstrates how to enter the most elementary piece
69 of music, a scale. A note can be entered by typing its name, from
70 @samp{a} through @samp{g}. So, if you enter
77 the result looks like this
79 @lilypond[fragment,quote,notime,relative=1]
83 The duration of a note is specified by a number after the note name.
84 @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
85 @samp{4} for a @rglos{quarter note} and so on
91 @c FIXME: have NOTIME also remove Score.timing?
92 @lilypond[fragment,quote,notime,relative=1]
93 \set Score.timing = ##f
94 \set Staff.autoBeaming = ##f
95 { a1 a2 a4 a16 a32 s16_" " }
98 If you do not specify a @rglos{duration}, the duration last entered is
99 used for the next notes. The duration of the first note in input
100 defaults to a quarter
106 @lilypond[fragment,quote,notime,relative=1]
107 \set Score.timing = ##f
108 { a a8 a a2 a s16_" " }
112 Rests are entered just like notes, but with the name @samp{r}
119 @lilypond[fragment,quote,notime]
120 \set Score.timing = ##f
124 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
130 @lilypond[fragment,quote,notime,relative=1]
131 \set Score.timing = ##f
132 { a2. a4 a8. a16 s16_" " }
135 The @rglos{meter} (or @rglos{time signature}) can be set with the
144 @c A clef here may lead to confusion, remove it.
145 @lilypond[fragment,quote]
146 \override Staff.Clef #'transparent = ##t
155 The @rglos{clef} can be set using the @code{\clef} command
157 @c what is more common name treble or violin?
158 @c in Dutch, it is violin.
159 @c in English it is definitely treble.
167 @lilypond[fragment,quote,notime]
168 \set Score.timing = ##f
180 Remember to enclose the notes and commands in curly braces
181 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
183 @lilypond[fragment,quote,noindent,linewidth=55\staffspace]
192 For more elaborate information on
196 @item Entering pitches and durations
198 @ref{Pitches}, and @ref{Durations}.
203 @item Time signatures and other timing commands
204 see @ref{Time signature}.
209 @node Running LilyPond
210 @section Running LilyPond
212 @c FIXME: let's not be so casual about Emacs and VIM, but rather
213 @c instruct (how) to use them; let advanced user figure-out what
217 @c We don't have enough space to explain either VIM
218 @c or Emacs non-advanced users, and I fear that both editors will only
219 @c confuse newbies. I vote for keeping the material in footnotes.
223 In the last section we explained what kind of things you could enter
224 in a LilyPond file. In this section we will explain what commands to
225 run and how to view or print the output. If you have not used
226 LilyPond before, want to test your setup, or want to run an example
227 file yourself, read this section. The instructions that follow are
228 for Unix-like systems. Some additional instructions for Microsoft
229 Windows are given at the end of this section.
231 Begin by opening a terminal window and starting a text editor. For
232 example, you could open an xterm and execute
233 @code{joe}.@footnote{There are macro files for VIM addicts, and there
234 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
235 installed already, refer to
236 @c FIXME lousy reference.
237 the file @file{INSTALL.txt}.} In your text editor, enter the following
238 input and save the file as @file{test.ly}
245 To process @file{test.ly}, proceed as follows
252 You will see something resembling
255 lilypond (GNU LilyPond) 2.2.0
257 Now processing `/home/fred/ly/test.ly'
259 Interpreting music...[1]
260 @emph{... more interesting stuff ... }
261 DVI output to `test.dvi'...
262 PDF output to `test.pdf'...
263 PS output to `test.ps'...
267 @cindex Viewing music
270 The result is the file @file{test.pdf}@footnote{For @TeX{}
271 aficionados: there is also a @file{test.dvi} file. It can be viewed
272 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
273 not show up in the magnifying glass. The specials also mean that the
274 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
279 } which you can print or with the standard facilities of your
280 operating system.@footnote{If your system does not have any tools
281 installed, you can try @uref{http://www.cs.wisc.edu/~ghost/,Ghostscript}, a freely available package for
282 viewing and printing PDF and PostScript files.}
284 On Windows, start up a text-editor@footnote{Any simple or
285 programmer-oriented editor will do, for example Notepad. Do not use a
286 word processor, its formatting codes will confuse LilyPond.} and enter
292 Save it on the desktop as @file{test.ly} and make sure that it is not
293 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
294 the file and show the resulting PDF file.
297 @node More about pitches
298 @section More about pitches
300 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
301 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
302 you might expect, a @rglos{double sharp} or @rglos{double flat} is
303 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
304 derived from note naming conventions in Nordic and Germanic languages,
305 like German and Dutch.}
311 @lilypond[fragment,quote,notime]
312 \set Score.timing = ##f
313 \transpose c c' { cis1 ees fisis aeses s16_" " }
316 @cindex key signature, setting
317 The key signature is set with the command @code{\key}, followed by
318 a pitch and @code{\major} or @code{\minor}
327 @lilypond[fragment,quote,notime,fragment]
335 Key signatures together with the pitches (including alterations) are
336 used to determine when to print accidentals. This is a
337 feature that often causes confusion to newcomers, so let us explain it
341 LilyPond makes a sharp distinction between musical content and
342 layout. The alteration (flat, natural or sharp) of a note is part of
343 the pitch, and is therefore musical content. Whether an accidental (a
344 flat, natural or sharp @emph{sign}) is printed in front of the
345 corresponding note is a question of layout. Layout is something that
346 follows rules, so accidentals are printed automatically according to
347 those rules. The pitches in your music are works of art, so they will
348 not be added automatically, and you must enter what you want to hear.
352 @lilypond[quote,notime,fragment]
358 no note gets an explicit accidental, but you still must enter
366 The code @samp{d} does not mean `print a black dot just below the
367 staff.' Rather, it means: `a note with pitch D-natural.' In the key
368 of A-flat, it does get an accidental
370 @lilypond[quote,notime,fragment]
380 Adding all alterations explicitly might require a little more effort
381 when typing, but the advantage is that transposing is easier, and
382 music can be printed according to different conventions. See
383 @ref{Accidentals}, for some examples how accidentals can be printed
384 according to different rules.
387 For more information on
392 see @ref{Accidentals}.
395 see @ref{Key signature}.
400 @section Entering ties
403 A tie is created by appending a tilde @samp{~} to the first note
406 @lilypond[quote,notime,fragment,verbatim,relative=3]
410 For more information on Ties see @ref{Ties}.
414 @node Automatic and manual beams
415 @section Automatic and manual beams
417 @cindex beams, by hand
418 Beams are drawn automatically
420 @lilypond[quote,fragment,relative=2,verbatim]
425 If you do not like where beams are put, they can be entered by
426 hand. Mark the first note to be beamed with @samp{[} and the last one
429 @lilypond[quote,fragment,relative=2,verbatim]
433 For more information on beams, see @ref{Beaming}.
436 Here are key signatures, accidentals and ties in action
445 fis4 fis8 fis8 eis4 a8 gis~
452 ugr: removing the ignore block, leaving the comment line below
453 @c TODO: use relative mode, verbatim, junk \transpose and above @example
457 @lilypond[fragment,quote,noindent,linewidth=50\staffspace]
464 fis4 fis8 fis8 eis4 a8 gis~
473 There are some interesting points to note in this example. Bar lines
474 and beams are drawn automatically. Line breaks are calculated
475 automatically; it does not matter where the line breaks are in the
476 source file. Finally, the order in which time, key and clef changes
477 are entered is not relevant: in the printout, these are ordered
478 according to standard notation conventions.
483 @section Octave entry
486 @c Tim wants to move this quotes example just before the: quotes-do not-work
487 @c score, but we'd need to remove quotes from the other two (key and
490 @c better to have this just before the `octaves are bad' snipped
491 @c but we'd need to remove the ', from \key and tie
492 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
493 the note name, to lower a note one octave, add a `low quote' @code{,}
494 (a comma). Middle C is @code{c'}
497 c'4 c'' c''' \clef bass c c,
500 @lilypond[quote,notime,fragment]
501 c'4 c'' c''' \clef bass c c,
504 An example of the use of quotes is in the following Mozart fragment
506 @lilypond[quote,raggedright,fragment,verbatim]
509 cis''8. d''16 cis''8 e''4 e''8
510 b'8. cis''16 b'8 d''4 d''8
514 The last example shows that music in a high register needs lots of quotes.
515 This makes the input less readable, and it is a source of errors. The
516 solution is to use `relative octave' mode. In practice, this is the
517 most convenient way to copy existing music. To use relative mode, add
518 @code{\relative} before the piece of music.
520 FIXME: move to notation manual?
521 You must also give a note
522 from which relative mode starts, in this case @code{c''}.
525 use octavation quotes (i.e., do not add @code{'} or @code{,} after a
526 note), relative mode chooses the note that is closest to the previous
527 one. For example, @samp{c f} goes up while @samp{c g} goes down
529 @lilypond[quote,notime,fragment,verbatim]
536 Since most music has small intervals, pieces can be written almost
537 without octavation quotes in relative mode. The previous example is
540 @lilypond[quote,raggedright,fragment,verbatim]
544 cis''8. d16 cis8 e4 e8
549 @c needed better, maybe even redundant explanation
550 @c added another example below.
551 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
552 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
553 Larger intervals are made by adding octavation quotes.
555 @lilypond[quote,notime,verbatim,fragment]
561 In summary, quotes or commas no longer determine the absolute height
562 of a note in @code{\relative} mode. Rather, the height of a note is
563 relative to the previous one, and changing the octave of a single note
564 shifts all following notes an octave up or down.
566 For more information on Relative octaves see @ref{Relative octaves},
567 and @ref{Octave check}.
570 @node Music expressions explained
571 @section Music expressions explained
574 In input files, music is represent by so-called @emph{music
575 expression}. We have already seen in the previous examples;
576 a single note is a music expression
578 @lilypond[fragment,quote,verbatim,relative=3]
582 Enclosing group of notes in braces creates a new music
585 @lilypond[fragment,quote,verbatim,relative=3]
589 Putting a bunch of music expressions (notes) in braces, means that
590 they should be played in sequence. The result again is a music
591 expression, which can be grouped with other expressions sequentially.
592 Here, the expression from the previous example is combined with two
595 @lilypond[fragment,quote,verbatim,relative=3]
599 This technique is useful for non-monophonic music. To enter music
600 with more voices or more staves, we also combine expressions in
601 parallel. Two voices that should play at the same time, are entered
602 as a simultaneous combination of two sequences. A `simultaneous'
603 music expression is formed by enclosing expressions in @code{<<} and
604 @code{>>}. In the following example, three sequences (all containing
605 two notes) are combined simultaneously
607 @lilypond[fragment,quote,verbatim,relative=3]
615 This mechanism is similar to mathematical
616 formulas: a big formula is created by composing small formulas. Such
617 formulas are called expressions, and their definition is recursive, so
618 you can make arbitrarily complex and large expressions. For example,
627 ((1 + 2) * 3) / (4 * 5)
631 @cindex music expression
632 This example shows a sequence of expressions, where each expression is
633 contained in the next one. The simplest expressions are numbers and
634 operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
635 to group expressions.
637 Like mathematical expressions, music expressions can be nested
638 arbitrarily deep@footnote{The reason for getting three staves in the
639 previous example but just a single staff in the current one will be
642 @lilypond[fragment,quote,verbatim,relative=2]
645 << { e f } { c <<b d>> } >>
651 When spreading expressions over multiple lines, it is customary to use
652 an indent that indicates the nesting level. Formatting music like this
653 eases reading, and helps you insert the right number of closing
654 braces at the end of an expression. For example,
674 Some editors have special support for entering LilyPond, and can help
675 indenting source files. See @ref{Editor support}, for more information.
680 To print more than one staff, each piece of music that makes up a
681 staff is marked by adding @code{\new Staff} before it. These
682 @code{Staff} elements are then combined parallel with @code{<<} and
683 @code{>>}, as demonstrated here
685 @lilypond[quote,fragment,verbatim]
687 \new Staff { \clef violin c'' }
688 \new Staff { \clef bass c }
693 The command @code{\new} introduces a `notation context.' A notation
694 context is an environment in which musical events (like notes or
695 @code{\clef} commands) are interpreted. For simple pieces, such
696 notation contexts are created implicitly. For more complex pieces, it
697 is best to mark contexts explicitly. This ensures that each fragment
700 There are several types of contexts: @code{Staff}, @code{Voice} and
701 @code{Score} handle normal music notation. Other contexts are also
702 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
703 printing chord names).
706 In terms of syntax, prepending @code{\new} to a music expression
707 creates a bigger music expression. In this way it resembles the minus
708 sign in mathematics. The formula @math{(4+5)} is an expression, so
709 @math{-(4+5)} is a bigger expression.
711 We can now typeset a melody with two staves
713 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
715 @lilypond[fragment,quote,verbatim,raggedright]
732 For more information on context see the description in
733 @ref{Interpretation contexts}.
737 @node Adding articulation marks to notes
738 @section Adding articulation marks to notes
744 Common accents can be added to a note using a dash (@samp{-}) and a
747 @lilypond[fragment,quote,verbatim,relative=2]
748 c-. c-- c-> c-^ c-+ c-_
752 Similarly, fingering indications can be added to a note using a dash
753 (@samp{-}) and the digit to be printed
755 @lilypond[fragment,quote,verbatim,relative=2]
760 Dynamic signs are made by adding the markings (with a backslash) to
763 @lilypond[fragment,quote,verbatim,relative=2]
771 Crescendi and decrescendi are started with the commands @code{\<} and
772 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
773 crescendo, or the command @code{\!} can be used
775 @lilypond[fragment,quote,verbatim,relative=2]
783 A slur is a curve drawn across many notes, and indicates legato
784 articulation. The starting note and ending note are marked with
785 @samp{(} and @samp{)}, respectively
787 @lilypond[fragment,quote,fragment,relative=2,verbatim]
788 d4( c16)( cis d e c cis d e)( d4)
791 @cindex slurs versus ties
792 A slur looks like a tie, but it has a different meaning. A tie simply
793 makes the first note sound longer, and can only be used on pairs of
794 notes with the same pitch. Slurs indicate the articulations of notes,
795 and can be used on larger groups of notes. Slurs and ties are also
798 @lilypond[quote,fragment,relative=2]
799 c2~( c8 fis fis4 ~ fis2 g2)
802 @cindex phrasing slurs
803 Slurs to indicate phrasing can be entered with @code{\(} and
804 @code{\)}, so you can have both legato slurs and phrasing slurs at the
807 @lilypond[quote,fragment,relative=2,verbatim]
808 a8(\( ais b c) cis2 b'2 a4 cis, c\)
812 For more information on
817 see @ref{Fingering instructions}.
819 see @ref{Articulations}.
823 see @ref{Phrasing slurs}.
830 @node Combining notes into chords
831 @section Combining notes into chords
834 Chords can be made by surrounding pitches with angle brackets.
835 Angle brackets are the symbols @samp{<} and @samp{>}.
837 @lilypond[quote,relative=1,fragment,verbatim]
842 You can combine markings like beams and ties with chords. They must
843 be placed outside the angled brackets
845 @lilypond[quote,relative=1,fragment,verbatim]
846 r4 <c e g>8[ <c f a>]~ <c f a>
850 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
853 @lilypond[quote,relative=1,fragment]
855 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
861 @node Basic rhythmical commands
862 @section Basic rhythmical commands
866 @cindex partial measure
867 A pickup is entered with the keyword @code{\partial}. It
868 is followed by a duration: @code{\partial 4} is a quarter note upstep
869 and @code{\partial 8} an eighth note
871 @lilypond[quote,relative=2,verbatim,fragment]
878 Tuplets are made with the @code{\times} keyword. It takes two
879 arguments: a fraction and a piece of music. The duration of the piece
880 of music is multiplied by the fraction. Triplets make notes occupy
881 2/3 of their notated duration, so a triplet has 2/3 as its fraction
883 @lilypond[quote,relative=1,verbatim,fragment]
884 \times 2/3 { f8 g a }
890 Grace notes are also made by prefixing a music expression with the
891 keyword @code{\appoggiatura} or @code{\acciaccatura}
895 @lilypond[quote,relative=2,verbatim,fragment]
896 c4 \appoggiatura b16 c4
897 c4 \acciaccatura b16 c4
902 For more information on
907 see @ref{Grace notes},
911 see @ref{Partial measures}.
916 @node Commenting input files
917 @section Commenting input files
921 @cindex block comment
922 A comment is a remark for the human reader of the music input; it is
923 ignored and has no effect on the printed output. There are two types
924 of comments. The percent symbol @samp{%} introduces a line comment;
925 the rest of the line is ignored. A block comments marks a whole
926 section of music input---anything that is enclosed in @code{%@{} and
927 @code{%@}} is ignored. The following fragment shows possible uses for
931 % notes for twinkle twinkle follow
935 This line, and the notes below
936 are ignored, since they are in a
943 There is a special statement that really is a kind of comment. The
944 version statement marks for which version of LilyPond the file was
945 written. To mark a file for version 2.1.17, use
952 These annotations make future upgrades of LilyPond go more
953 smoothly. Changes in the syntax are handled with a special program,
954 @file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
955 @code{\version} to determine what rules to apply.
958 @node Printing lyrics
959 @section Printing lyrics
962 @c TODO: (c) status of the Queen fragment.
966 Lyrics are entered by separating each syllable with a space
974 @lilypond[quote,verbatim,fragment,raggedright]
976 r4 c \times 2/3 { f g g }
977 \times 2/3 { g4( a2) }
981 @c FIXME: when/how/to what rename newlyrics?
982 The lyrics can be set to these notes, combining both with the
983 @code{\newlyrics} keyword
985 @lilypond[quote,verbatim,fragment,raggedright]
988 r4 c \times 2/3 { f g g }
989 \times 2/3 { g4( a2) }
991 \newlyrics { I want to break free }
996 @cindex extender line
998 This melody ends on a @rglos{melisma}, a single syllable (`free')
999 sung to more than one note. This is indicated with an @emph{extender
1000 line}. It is entered as two underscores, i.e.,
1003 @{ I want to break free __ @}
1006 @lilypond[fragment,quote,raggedright]
1009 r4 c \times 2/3 { f g g }
1010 \times 2/3 { g4( a2) }
1012 \newlyrics { I want to break free __ }
1016 Similarly, hyphens between words can be entered as two dashes,
1017 resulting in a centered hyphen between two syllables
1020 Twin -- kle twin -- kle
1023 @lilypond[fragment,quote,raggedright]
1029 \newlyrics { Twin -- kle twin -- kle }
1033 More options, like putting multiple lines of lyrics below a melody are
1034 discussed in @ref{Vocal music}.
1036 @c FIXME: too geeky, for notation manual?
1037 @c or introduce using foo = \lyrics { a b c } ?
1039 When using variables for a piece of lyrics
1040 To prevent certain words (for example `as') as being read as a
1041 pitch, the input-mode must be switched. This is done with
1042 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
1046 myText = \lyrics @{ I want to break free @}
1050 The braces @code{@{@}} signify that the syllables are sung in
1054 By default, music expressions are interpreted in @code{Staff} context. For
1055 lyrics, this is obviously not desirable, so it is necessary
1056 to explicitly specify a @code{Lyrics} context,
1059 \lyrics @{ I want to break free @}
1062 The melody for this song is as follows
1064 @lilypond[fragment,quote,fragment,relative=2]
1065 r4 c \times 2/3 { f4 g g }
1066 \times 2/3 { g4( a2) }
1073 @section A lead sheet
1079 In popular music, it is common to denote accompaniment as chord names.
1080 Such chords can be entered like notes,
1087 but now, each pitch is read as the root of a chord instead of a note.
1088 This mode is switched on with @code{\chords}
1090 @lilypond[quote,verbatim,raggedright]
1091 \chords { c2 f4. g8 }
1094 Other chords can be created by adding modifiers after a colon. The
1095 following example shows a few common modifiers
1097 @lilypond[quote,verbatim]
1098 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1101 For lead sheets, chords are not printed on staves, but as names on a
1102 line of themselves. Hence, we have to override the context with
1103 @code{\new}, rendering the music expression in a @code{ChordNames}
1106 @lilypond[quote,verbatim]
1107 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1111 When put together, chord names, lyrics and a melody form
1112 a lead sheet, for example,
1116 \new ChordNames \chords @{ @emph{chords} @}
1118 \newlyrics @{ @emph{the text} @}
1123 @lilypond[quote,raggedright]
1125 \new ChordNames \chords { r2 c:sus4 f }
1127 r4 c' \times 2/3 { f g g }
1128 \times 2/3 { g4( a2) }
1130 \newlyrics { I want to break free __ }
1134 A complete list of modifiers and other options for layout can be found
1137 @c FIXME: we talk about \midi before mentioning \paper (or \layout?)
1138 @node Listening to output
1139 @section Listening to output
1144 MIDI (Musical Instrument Digital Interface) is a standard for
1145 connecting and controlling digital instruments. A MIDI file is like a
1146 tape recording of a MIDI instrument.
1148 To create a MIDI from a music piece of music, add a @code{\midi}
1149 block. This causes LilyPond to create a MIDI file, so you can listen
1150 to what you just entered. It is great for checking the music.
1151 Octaves that are off or accidentals that were mistyped stand out very
1152 much when listening to the musical transcription.
1154 The @code{\midi} block is added to @code{\score}, for example,
1159 \midi @{ \tempo 4=72 @}
1163 Here, the tempo is specified using the @code{\tempo} command. In this
1164 case the tempo of quarter notes is set to 72 beats per minute. More
1165 information on auditory output in the notation manual can be found in
1168 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1169 be produced. If notation is needed too, a @code{\paper} block must be
1175 \midi @{ \tempo 4=72 @}
1183 @section Adding titles
1185 Bibliographic information is entered in a separate block, the
1186 @code{\header} block. The name of the piece, its composer, etc., are
1187 entered as an assignment, within @code{\header
1188 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1189 the top of the file. For example,
1193 title = "Eight miniatures"
1194 composer = "Igor Stravinsky"
1195 tagline = "small is beautiful"
1201 @cindex bibliographic information
1204 @cindex Engraved by LilyPond
1206 When the file is processed the title and composer are printed above
1207 the music. The `tagline' is a short line printed at bottom of the last
1208 page which normally says `Engraved by LilyPond, version @dots{}'. In
1209 the example above it is replaced by the line `small is
1210 beautiful.'@footnote{Nicely printed parts are good PR for us, so
1211 please leave the tagline if you can.}
1214 The @code{\header} block is usually put at the top of the file.
1216 A document may contains multiple pieces of music, examples are an
1217 etude book, or an orchestral part with multiple movements.
1218 @c FIXME: ugh. \header can only live at toplevel, or inside \score.
1219 @c If we allow it also to live inside \book, we do not need \score here?
1220 The @code{\book} block is used to group the individual @code{\score}
1223 The header for each piece of music can be put inside the @code{\score}
1224 block. The @code{piece} name from the header will be printed before
1229 FIXME: introduce \BOOK
1231 FIXME: Using "Adagio" as a name is confusing, it's more common to be
1232 a plain tempo indication.
1234 Since today (CVS-1.211) we also allow headers and composite music
1247 @cindex Engraved by LilyPond
1248 @cindex signature line
1253 title = "Eight miniatures"
1254 composer = "Igor Stravinsky"
1255 tagline = "small is beautiful"
1261 \header @{ piece = "Adagio" @}
1265 \header @{ piece = "Menuetto" @}
1270 More information on titling can be found in @ref{Invoking lilypond}.
1273 @node Single staff polyphony
1274 @section Single staff polyphony
1277 @cindex multiple voices
1278 @cindex voices, more -- on a staff
1279 When different melodic lines are combined on a single staff they are
1280 printed as polyphonic voices; each voice has its own stems, slurs and
1281 beams, and the top voice has the stems up, while the bottom voice has
1284 Entering such parts is done by entering each voice as a sequence (with
1285 @code{@{...@}}), and combining those simultaneously, separating the
1286 voices with @code{\\}
1288 @lilypond[quote,verbatim,relative=3]
1289 << { a4 g2 f4~ f4 } \\
1293 For polyphonic music typesetting, spacer rests can also be convenient; these
1294 are rests that do not print. It is useful for filling up voices that
1295 temporarily do not play. Here is the same example with a spacer rest
1296 instead of a normal rest---just use @samp{s} instead of @samp{r}
1298 @lilypond[quote,verbatim,relative=3]
1299 << { a4 g2 f4~ f4 } \\
1304 Again, these expressions can be nested arbitrarily
1306 @lilypond[quote,fragment,verbatim,relative=3]
1314 { <c, g>1 ~ <c g>4 } \\
1320 More features of polyphonic typesetting in the notation manual are
1321 described in @ref{Polyphony}.
1325 @section Piano staves
1327 @cindex staff switch, manual
1328 @cindex cross staff voice, manual
1329 @cindex @code{\context}
1330 Piano music is typeset in two staves connected by a brace. Printing
1331 such a staff is similar to the polyphonic example in @ref{More staves},
1334 << \new Staff @{ @dots{} @}
1335 \new Staff @{ @dots{} @} >>
1339 but now this entire expression must be interpreted as a
1343 \new PianoStaff << \new Staff @dots{} >>
1346 Here is a full-fledged example
1348 @lilypond[quote,verbatim,relative=1,fragment]
1350 \new Staff { \time 2/4 c4 c g' g }
1351 \new Staff { \clef bass c,, c' e c }
1355 More information on formatting piano music is in @ref{Piano music}.
1358 @node Organizing larger pieces
1359 @section Organizing larger pieces
1361 When all of the elements discussed earlier are combined to produce
1362 larger files, the @code{\score} blocks get a lot bigger, because the
1363 music expressions are longer, and, in the case of polyphonic pieces,
1364 more deeply nested. Such large expressions can become unwieldy.
1366 By using variables, also known as identifiers, it is possible to break
1367 up complex music expressions. An identifier is assigned as follows
1370 namedMusic = @{ @dots{} @}
1374 The contents of the music expression @code{namedMusic}, can be used
1375 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1376 In the next example, a two-note motive is repeated two times by using
1377 variable substitution
1379 @lilypond[quote,raggedright,verbatim,nofragment]
1383 { \seufzer \seufzer }
1386 The name of an identifier should have alphabetic characters only;
1387 no numbers, underscores or dashes. The assignment should be outside of
1390 It is possible to use variables for many other types of objects in the
1396 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1399 Depending on its contents, the identifier can be used in different
1400 places. The following example uses the above variables
1410 More information on the possible uses of identifiers is in the
1411 technical manual, in TODO.
1414 @node An orchestral part
1415 @section An orchestral part
1417 In orchestral music, all notes are printed twice; in a part for
1418 the musicians, and in a full score for the conductor. Identifiers can
1419 be used to avoid double work. The music is entered once, and stored in
1420 a variable. The contents of that variable is then used to generate
1421 both the part and the score.
1423 It is convenient to define the notes in a special file. For example,
1424 suppose that the file @file{horn-music.ly} contains the following part
1425 of a horn/bassoon duo
1428 hornNotes = \relative c @{
1435 Then, an individual part is made by putting the following in a file
1438 \include "horn-music.ly"
1440 instrument = "Horn in F"
1444 \transpose f c' \hornNotes
1451 \include "horn-music.ly"
1455 substitutes the contents of @file{horn-music.ly} at this position in
1456 the file, so @code{hornNotes} is defined afterwards. The command
1457 @code{\transpose f@tie{}c'} indicates that the argument, being
1458 @code{\hornNotes}, should be transposed by a fifth downwards. Sounding
1459 @samp{f} is denoted by notated @code{c'}, which corresponds with
1460 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1461 in the following output
1463 @lilypond[quote,raggedright]
1464 \transpose f c' \relative c {
1470 In ensemble pieces, one of the voices often does not play for many
1471 measures. This is denoted by a special rest, the multi-measure
1472 rest. It is entered with a capital @samp{R} followed by a duration
1473 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1474 duration, longer rests can be constructed. For example, this rest
1475 takes 3@tie{}measures in 2/4 time
1481 When printing the part, multi-rests
1482 must be condensed. This is done by setting a run-time variable
1485 \set Score.skipBars = ##t
1489 This command sets the property @code{skipBars} in the
1490 @code{Score} context to true (@code{##t}). Prepending the rest and
1491 this option to the music above, leads to the following result
1493 @lilypond[quote,raggedright]
1494 \transpose f c' \relative c {
1496 \set Score.skipBars = ##t
1503 The score is made by combining all of the music together. Assuming
1504 that the other voice is in @code{bassoonNotes} in the file
1505 @file{bassoon-music.ly}, a score is made with
1508 \include "bassoon-music.ly"
1509 \include "horn-music.ly"
1512 \new Staff \hornNotes
1513 \new Staff \bassoonNotes
1520 @lilypond[quote,raggedright]
1528 r4 d,8 f | gis4 c | b bes |
1529 a8 e f4 | g d | gis f
1534 More in-depth information on preparing parts and scores can be found
1535 in the notation manual; see @ref{Orchestral music}.
1537 Setting run-time variables (`properties') is discussed in ref-TODO.
1540 @node Integrating text and music
1541 @section Integrating text and music
1543 @cindex La@TeX{}, music in
1544 @cindex HTML, music in
1545 @cindex Texinfo, music in
1546 Some texts include music examples. Examples are musicological
1547 treatises, songbooks or manuals like this. Such texts can be made by
1548 hand, simply by importing a PostScript figure into the word processor.
1549 However, there is an automated procedure to reduce the amount of work
1550 involved HTML, La@TeX{}, and Texinfo documents.
1552 A script called @code{lilypond-book} will extract the music fragments,
1553 run format them, and put back the resulting notation. This program is
1554 fully described in @ref{lilypond-book manual}. Here we show a small
1555 example. The example also contains explanatory text, so we will not
1556 comment on it further
1559 \documentclass[a4paper]@{article@}
1562 Documents for lilypond-book may freely mix music and text. For
1567 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1571 Options are put in brackets.
1573 \begin[fragment,quote,staffsize=26,verbatim]@{lilypond@}
1577 Larger examples can be put in a separate file, and introduced with
1578 \verb+\lilypondfile+.
1580 \lilypondfile[quote,noindent]@{screech-boink.ly@}
1585 Under Unix, you can view the results as follows
1590 $ lilypond-book --output=out/ lilybook.tex
1591 lilypond-book (GNU LilyPond) 2.1.19
1592 Reading `input/tutorial/lilybook.tex'
1593 Reading `input/screech-boink.ly'
1594 @var{lots of stuff deleted}
1595 Writing `out/lilybook.tex'
1598 @var{lots of stuff deleted}
1602 To convert the file into a nice PDF document, run the following
1606 $ dvips -Ppdf -u+lilypond -u+ec-mftrace lilybook
1607 $ ps2pdf lilybook.ps
1610 Running lilypond-book and running latex creates a lot of temporary
1611 files, which would clutter up the working directory. To remedy this,
1612 use the @code{--output=@var{dir}} option. It will create the files in
1613 a separate subdirectory @file{dir}.
1615 Finally the result of the La@TeX{} example shown above.@footnote{Note
1616 that in this tutorial the example is processed with Texinfo. This gives
1617 slightly different results in layout.} This finishes the tutorial
1622 Documents for lilypond-book may freely mix music and text. For
1627 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1631 Options are put in brackets.
1633 @lilypond[fragment,quote,staffsize=26,verbatim]
1637 Larger examples can be put in a separate file, and introduced with
1638 @code{\lilypondfile}.
1640 @lilypondfile[quote,noindent]{screech-boink.ly}