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.
11 Tutorial guidelines: (different from policy.txt!)
12 - unless you have a really good reason, use either
13 @lilypond[verbatim,quote,ragged-right]
15 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
17 Don't use any other relative=X commands (make it a non-fragment
18 example), and don't use fragment without relative=2.
20 - use "aes" and "ees" instead of "as" and "es". I know it's not
21 correct Dutch naming, but let's not confuse people with this
22 until we get to the Basic notation chapter.
24 - Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant
25 portions of the tutorial.
33 This tutorial starts with an introduction to the LilyPond music
34 language and explains how to produce printed music. After this first
35 contact we will explain how to create beautiful printed music
36 containing common musical notation.
40 * Single staff notation::
41 * Multiple notes at once::
50 This section gives a basic introduction to working with LilyPond.
55 * Working on text files::
56 * How to read the manual::
60 @node Compiling a file
61 @subsection Compiling a file
63 The first example demonstrates how to start working with LilyPond.
64 To create sheet music, we write a text file that specifies the
65 notation. For example, if we write:
74 the result looks like this:
76 @c in this case we don't want verbatim
77 @lilypond[quote,ragged-right]
83 @warning{Every piece of LilyPond input needs to have
84 @strong{@{ curly braces @}} placed around the input. The braces
85 should also be surrounded by a space unless they are at the
86 beginning or end of a line to avoid ambiguities. The braces may
87 be omitted in some examples in this manual, but don't forget them
88 in your own music! For more information about the display of
89 examples in the manual, see @ref{How to read the manual}.}
91 @cindex case sensitive
92 In addition, LilyPond input is @strong{case sensitive}. @code{
93 @{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
98 @subheading Entering music and viewing output
101 @cindex viewing music
103 In this section we will explain what commands to run and how to
104 view or print the output.
106 Note that there are several other text editors available with
107 better support for LilyPond. For more information, see
108 @rprogram{Text editor support}.
110 @warning{The first time you ever run LilyPond, it may take a
111 minute or two because all of the system fonts have to be analyzed
112 first. After this, LilyPond will be much faster!}
114 @subsubheading MacOS X
116 If you double click @code{LilyPond.app}, it will open with an
117 example file. Save it, for example, to @file{test.ly} on your
118 Desktop, and then process it with the menu command @code{Compile >
119 Typeset File}. The resulting PDF file will be displayed on your
122 For future use of LilyPond, you should begin by selecting @q{New}
123 or @q{Open}. You must save your file before typesetting it. If
124 any errors occur in processing, please see the log window.
127 @subsubheading Windows
129 On Windows, if you double-click in the LilyPond icon on the
130 Desktop, it will open a simple text editor with an example file.
131 Save it, for example, to @file{test.ly} on your Desktop and then
132 double-click on the file to process it (the file icon looks like a
133 note). After some seconds, you will get a file @file{test.pdf} on
134 your desktop. Double-click on this PDF file to view the typeset
135 score. An alternative method to process the @file{test.ly} file
136 is to drag and drop it onto the LilyPond icon using your mouse
139 To edit an existing @file{.ly} file, right-click on it and
140 select @qq{Edit source}. To get an empty file to start from, run
141 the editor as described above and use @qq{New} in
142 the @qq{File} menu, or right-click on the desktop and select
143 @qq{New..Text Document}, change its name to a name of your choice
144 and change the file extension to @code{.ly}. Double-click the
145 icon to type in your LilyPond source code as before.
147 Double-clicking the file does not only result in a PDF file, but
148 also produces a @file{.log} file that contains some information on
149 what LilyPond has done to the file. If any errors occur, please
154 Create a text file called @file{test.ly} and enter:
162 To process @file{test.ly}, proceed as follows:
169 You will see something resembling:
176 Interpreting music...
177 Preprocessing graphical objects...
178 Finding the ideal number of pages...
179 Fitting music on 1 page...
181 Layout output to `test.ps'...
182 Converting to `test.pdf'...
186 @node Simple notation
187 @subsection Simple notation
189 LilyPond will add some notation elements automatically. In the
190 next example, we have only specified four pitches, but LilyPond
191 has added a clef, time signature, and rhythms.
193 @lilypond[verbatim,quote,ragged-right]
200 This behavior may be altered, but in most cases these automatic
206 Music Glossary: @rglos{pitch}, @rglos{interval},
207 @rglos{scale}, @rglos{middle C}, @rglos{octave},
210 The easiest way to enter notes is by using @code{\relative} mode.
211 In this mode, the octave is chosen automatically by assuming the
212 following note is always to be placed closest to the previous
213 note, i.e., it is to be placed in the octave which is within three
214 staff spaces of the previous note. We begin by entering the most
215 elementary piece of music, a @notation{scale}, in which every note
216 is within just one staff space of the previous note.
218 @lilypond[verbatim,quote,ragged-right]
219 \relative c' { % set the starting point to middle C
225 The initial note is @notation{middle C}. Each successive note is
226 placed closest to the previous note -- in other words, the first
227 @code{c} is the closest C to middle C. This is followed by the
228 closest D to the previous note. We can create melodies which have
229 larger intervals, still using only @code{\relative} mode:
231 @lilypond[verbatim,quote,ragged-right]
239 It is not necessary for the first note of the melody to start on
240 the note which specifies the starting pitch. In the previous
241 example, the first note -- the @code{d} -- is the closest D to
244 By adding (or removing) quotes @code{'} or commas @code{,} from
245 the @code{\relative c' @{} command, we can change the starting
248 @lilypond[verbatim,quote,ragged-right]
249 \relative c'' { % one octave above middle C
254 Relative mode can be confusing initially, but is the easiest way
255 to enter most melodies. Let us see how this relative calculation
256 works in practice. Starting from a B, which is on the middle line
257 in a treble clef, you can reach a C, D and E within 3 staff spaces
258 going up, and an A, G and F within 3 staff spaces going down. So
259 if the note following a B is a C, D or F it will be assumed to be
260 above the B, and an A, G or F will be assumed to be below.
262 @lilypond[verbatim,quote,ragged-right]
264 b c % c is 1 staff space up, so is the c above
265 b d % d is 2 up or 5 down, so is the d above
266 b e % e is 3 up or 4 down, so is the e above
267 b a % a is 6 up or 1 down, so is the a below
268 b g % g is 5 up or 2 down, so is the g below
269 b f % f is 4 up or 3 down, so is the f below
273 Exactly the same happens even when any of these notes are
274 sharpened or flattened. @notation{Accidentals} are
275 @strong{totally ignored} in the calculation of relative position.
276 Precisely the same staff space counting is done from a note at any
277 other position on the staff.
279 To add intervals that are larger than three staff spaces, we can
280 raise the @notation{octave} by adding a single quote @code{'} (or
281 apostrophe) to the note name. We can lower the octave by adding a
282 comma @code{,} to the note name.
284 @lilypond[verbatim,quote,ragged-right]
292 To change a note by two (or more!) octaves, we use multiple
293 @code{''} or @code{,,} -- but be careful that you use two single
294 quotes @code{''} and not one double quote @code{"}@tie{}! The
295 initial value in @code{\relative c'} may also be modified like
297 @c " - keeps quotes in order for context-sensitive editor -td
299 @subheading Durations (rhythms)
301 Music Glossary: @rglos{beam}, @rglos{duration},
302 @rglos{whole note}, @rglos{half note}, @rglos{quarter note},
305 The @notation{duration} of a note is specified by a number after
306 the note name. @code{1} for a @notation{whole note}, @code{2} for
307 a @notation{half note}, @code{4} for a @notation{quarter note} and
308 so on. @notation{Beams} are added automatically.
310 If you do not specify a duration, the previous duration is used
311 for the next note. The duration of the first note defaults to a
314 @lilypond[verbatim,quote,ragged-right]
318 a16 a a a a32 a a a a64 a a a a a a a a2
322 To create @notation{dotted notes}, add a dot @code{.} to the
323 duration number. The duration of a dotted note must be stated
324 explicitly (i.e., with a number).
326 @lilypond[verbatim,quote,ragged-right]
336 Music Glossary: @rglos{rest}.
338 A @notation{rest} is entered just like a note with the name
341 @lilypond[verbatim,quote,ragged-right]
349 @subheading Time signature
351 Music Glossary: @rglos{time signature}.
353 The @notation{time signature} can be set with the @code{\time}
356 @lilypond[verbatim,quote,ragged-right]
370 Music Glossary: @rglos{clef}.
372 The @notation{clef} can be set using the @code{\clef} command:
374 @lilypond[verbatim,quote,ragged-right]
388 @subheading All together
390 Here is a small example showing all these elements together:
392 @lilypond[verbatim,quote,ragged-right]
404 Notation Reference: @ruser{Writing pitches},
405 @ruser{Writing rhythms}, @ruser{Writing rests},
406 @ruser{Time signature}, @ruser{Clef}.
409 @node Working on text files
410 @subsection Working on text files
412 LilyPond input files are similar to source files in many common
413 programming languages. They are case sensitive, and white-space
414 is generally ignored. Expressions are formed with curly braces
415 @{ @}, and comments are denoted with @code{%} or @code{%@{ ...
418 If the previous sentences sound like nonsense, don't worry! We'll
419 explain what all these terms mean:
423 @cindex case sensitive
425 @strong{Case sensitive}:
426 it matters whether you enter a letter in lower case (e.g. @code{a,
427 b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
428 lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
429 will produce an error message.
432 @strong{Whitespace insensitive}:
433 it does not matter how many spaces (or new lines) you add.
434 @code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
435 @tie{} @tie{} d e @}} and:
443 Of course, the previous example is hard to read. A good rule of
444 thumb is to indent code blocks with either a tab or two spaces:
453 @strong{Expressions}:
454 every piece of LilyPond input needs to have @strong{@{ curly
455 braces @}} placed around the input. These braces tell LilyPond
456 that the input is a single music expression, just like parentheses
457 @code{()} in mathematics. The braces should be surrounded by a
458 space unless they are at the beginning or end of a line to avoid
461 A LilyPond command followed by a simple expression in braces (such
462 as @code{\relative @{ @}}) also counts as a single music
467 @cindex block comment
470 a comment is a remark for the human reader of the music input; it
471 is ignored while parsing, so it has no effect on the printed
472 output. There are two types of comments. The percent symbol
473 @code{%} introduces a line comment; anything after @code{%} on
474 that line is ignored. A block comment marks a whole section of
475 music input as a comment. Anything that is enclosed in @code{%@{}
476 and @code{%@}} is ignored. However, block comments do not @q{nest}.
477 This means that you cannot place a block comment inside another
478 block comment. If you try, the first @code{%@}} will terminate
479 @emph{both} block comments. The following
480 fragment shows possible uses for comments:
483 % notes for twinkle twinkle follow
487 This line, and the notes below
488 are ignored, since they are in a
498 @node How to read the manual
499 @subsection How to read the manual
501 LilyPond input must be surrounded by @{ @} marks or a
502 @code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
503 files}. For the rest of this manual, most examples will omit
504 this. To replicate the examples, you may copy and paste the
505 displayed input but you @strong{must} add the @code{\relative c''
510 ... example goes here...
514 Why omit the braces? Most examples in this manual can be inserted
515 into the middle of a longer piece of music. For these examples,
516 it does not make sense to add @code{\relative c'' @{ @}} -- you
517 should not place a @code{\relative} inside another
518 @code{\relative}! If we included @code{\relative c'' @{ @}}
519 around every example, you would not be able to copy a small
520 documentation example and paste it inside a longer piece of your
521 own. Most people want to add material to an existing piece, so we
522 format the manual this way.
525 @subheading Clickable examples
527 Many people learn programs by trying and fiddling around with the
528 program. This is also possible with LilyPond. If you click on a
529 picture in the HTML version of this manual, you will see the exact
530 LilyPond input that was used to generate that image. Try it on
534 @lilypond[quote,ragged-right]
536 c-\markup { \bold \huge { Click here. } }
540 By cutting and pasting everything in the @qq{ly snippet} section,
541 you have a starting template for experiments. To see exactly the
542 same output (line-width and all), copy everything from @qq{Start
543 cut-&-pastable section} to the bottom of the file.
548 There are more tips for constructing input files in
549 @ref{Suggestions for writing LilyPond files}. But it might be
550 best to read through the rest of the tutorial first.
554 @node Single staff notation
555 @section Single staff notation
557 This section introduces common notation that is used for one voice
561 * Accidentals and key signatures::
563 * Articulation and dynamics::
565 * Automatic and manual beams::
566 * Advanced rhythmic commands::
570 @node Accidentals and key signatures
571 @subsection Accidentals and key signatures
573 @subheading Accidentals
575 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
576 @rglos{double flat}, @rglos{accidental}.
578 A @notation{sharp} pitch is made by adding @code{is} to the name,
579 and a @notation{flat} pitch by adding @code{es}. As you might
580 expect, a @notation{double sharp} or @notation{double flat} is
581 made by adding @code{isis} or @code{eses}. This syntax is derived
582 from note naming conventions in Nordic and Germanic languages,
583 like German and Dutch. To use other names for
584 @notation{accidentals}, see @ruser{Note names in other languages}.
586 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
587 cis1 ees fisis, aeses
590 @cindex key signature, setting
591 @subheading Key signatures
593 Music Glossary: @rglos{key signature}, @rglos{major},
596 The @notation{key signature} is set with the command @code{\key}
597 followed by a pitch and @code{\major} or @code{\minor}.
599 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
608 @subheading Warning: key signatures and pitches
610 Music Glossary: @rglos{accidental}, @rglos{key signature},
611 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
612 @rglos{transposition}.
614 To determine whether to print an @notation{accidental}, LilyPond
615 examines the pitches and the @notation{key signature}. The key
616 signature only affects the @emph{printed} accidentals, not the
617 note's @notation{pitch}! This is a feature that often causes
618 confusion to newcomers, so let us explain it in more detail.
620 LilyPond makes a sharp distinction between musical content and
621 layout. The alteration (@notation{flat}, @notation{natural} or
622 @notation{sharp}) of a note is part of the pitch, and is therefore
623 musical content. Whether an accidental (a @emph{printed} flat,
624 natural or sharp sign) is printed in front of the corresponding
625 note is a question of layout. Layout is something that follows
626 rules, so accidentals are printed automatically according to those
627 rules. The pitches in your music are works of art, so they will
628 not be added automatically, and you must enter what you want to
633 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
639 No note has a printed accidental, but you must still add
640 @code{is} and type @code{cis} and @code{fis} in the input file.
642 The code @code{e} does not mean @qq{print a black dot just below
643 the first line of the staff.} Rather, it means @qq{there is a
644 note with pitch E-natural.} In the key of A-flat major, it
645 @emph{does} get an accidental:
647 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
652 Adding all alterations explicitly might require a little more
653 effort when typing, but the advantage is that
654 @notation{transposing} is easier, and accidentals can be printed
655 according to different conventions. For some examples how
656 accidentals can be printed according to different rules, see
657 @ruser{Automatic accidentals}.
661 Notation Reference: @ruser{Note names in other languages},
662 @ruser{Accidentals}, @ruser{Automatic accidentals},
663 @ruser{Key signature}.
665 Music Glossary: @rglos{Pitch names}.
669 @subsection Ties and slurs
674 Music Glossary: @rglos{tie}.
676 A @notation{tie} is created by appending a tilde @code{~} to the
677 first note being tied.
679 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
687 Music Glossary: @rglos{slur}.
689 A @notation{slur} is a curve drawn across many notes. The
690 starting note and ending note are marked with @code{(} and
691 @code{)} respectively.
693 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
694 d4( c16) cis( d e c cis d) e( d4)
697 @cindex slurs, phrasing
698 @cindex phrasing slurs
699 @subheading Phrasing slurs
701 Music Glossary: @rglos{phrasing}, @rglos{legato}.
703 Slurs to indicate longer @notation{phrasing} can be entered with
704 @code{\(} and @code{\)}. You can have both @notation{legato}
705 slurs and phrasing slurs at the same time, but you cannot have
706 simultaneous legato slurs or simultaneous phrasing slurs.
708 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
709 a8(\( ais b c) cis2 b'2 a4 cis,\)
714 @cindex slurs versus ties
715 @subheading Warnings: slurs vs. ties
717 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
719 A @notation{slur} looks like a @notation{tie}, but it has a
720 different meaning. A tie simply makes the first note longer, and
721 can only be used on pairs of notes with the same pitch. Slurs
722 indicate the @notation{articulation} of notes, and can be used on
723 larger groups of notes. Slurs and ties can be nested.
725 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
726 c2~( c8 fis fis4 ~ fis2 g2)
731 Notation Reference: @ruser{Ties}, @ruser{Slurs},
732 @ruser{Phrasing slurs}.
735 @node Articulation and dynamics
736 @subsection Articulation and dynamics
741 @subheading Articulations
743 Music Glossary: @rglos{articulation}.
745 Common @notation{articulations} can be added to a note using a
746 dash @code{-} and a single character:
748 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
749 c-. c-- c-> c-^ c-+ c-_
753 @subheading Fingerings
755 Music Glossary: @rglos{fingering}.
758 Similarly, @notation{fingering} indications can be added to a note
759 using a dash (@code{-}) and the digit to be printed:
761 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
765 Articulations and fingerings are usually placed automatically, but
766 you can specify a direction by replacing the dash (@code{-}) with
767 @code{^} (up) or @code{_} (down). You can also use multiple
768 articulations on the same note. However, in most cases it is best
769 to let LilyPond determine the articulation directions.
771 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
772 c_-^1 d^. f^4_2-> e^-_+
777 Music Glossary: @rglos{dynamics}, @rglos{crescendo},
780 @notation{Dynamic} signs are made by adding the markings (with a
781 backslash) to the note:
783 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
791 @notation{Crescendi} and @notation{decrescendi} are started with
792 the commands @code{\<} and @code{\>}. The next dynamics sign, for
793 example @code{\f}, will end the (de)crescendo, or the command
794 @code{\!} can be used:
796 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
802 Notation Reference: @ruser{Articulations and ornamentations},
803 @ruser{Fingering instructions}, @ruser{Dynamics}.
807 @subsection Adding text
809 Text may be added to your scores:
811 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
815 Extra formatting may be added with the @code{\markup} command:
817 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
818 c1^\markup{ \bold espr}
820 \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
827 Notation Reference: @ruser{Writing text}.
830 @node Automatic and manual beams
831 @subsection Automatic and manual beams
833 Music Glossary: @rglos{beam}.
835 @cindex beams, by hand
836 All @notation{beams} are drawn automatically:
838 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
839 a8 ais d ees r d c16 b a8
843 If you do not like the automatic beams, they may be overridden
844 manually. Mark the first note to be beamed with @code{[} and the
845 last one with @code{]}.
847 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
848 a8[ ais] d[ ees r d] a b
853 Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
856 @node Advanced rhythmic commands
857 @subsection Advanced rhythmic commands
861 @cindex partial measure
862 @subheading Partial measure
864 Music Glossary: @rglos{anacrusis}.
866 A pickup (or @notation{anacrusis}) is entered with the keyword
867 @code{\partial}. It is followed by a duration: @code{\partial 4}
868 is a quarter note pickup and @code{\partial 8} an eighth note.
870 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
879 Music Glossary: @rglos{note value}, @rglos{triplet}.
881 @notation{Tuplets} are made with the @code{\times} keyword. It
882 takes two arguments: a fraction and a piece of music. The
883 duration of the piece of music is multiplied by the fraction.
884 Triplets make notes occupy 2/3 of their notated duration, so a
885 @notation{triplet} has 2/3 as its fraction
887 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
888 \times 2/3 { f8 g a }
890 \times 2/3 { f,8 g16[ a g a] }
897 @subheading Grace notes
899 Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
900 @rglos{appoggiatura}.
902 @notation{Grace notes} are created with the @code{\grace} command,
903 although they can also be created by prefixing a music expression
904 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
906 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
907 c2 \grace { a32[ b] } c2
908 c2 \appoggiatura b16 c2
909 c2 \acciaccatura b16 c2
914 Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
918 @node Multiple notes at once
919 @section Multiple notes at once
921 This section introduces having more than one note at the same
922 time: multiple instruments, multiple staves for a single
923 instrument (i.e. piano), and chords.
925 Polyphony in music refers to having more than one voice occurring
926 in a piece of music. Polyphony in LilyPond refers to having more
927 than one voice on the same staff.
930 * Music expressions explained::
933 * Combining notes into chords::
934 * Single staff polyphony::
938 @node Music expressions explained
939 @subsection Music expressions explained
941 In LilyPond input files, music is represented by @emph{music
942 expressions}. A single note is a music expression:
944 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
948 Enclosing a note in braces creates a @emph{compound music
949 expression}. Here we have created a compound music expression
952 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
956 Putting a group of music expressions (e.g. notes) in braces means
957 that they are in sequence (i.e. each one follows the previous
958 one). The result is another music expression:
960 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
965 @cindex music expression
966 @subheading Analogy: mathematical expressions
968 This mechanism is similar to mathematical formulas: a big formula
969 is created by composing small formulas. Such formulas are called
970 expressions, and they can contain other expressions, so you can
971 make arbitrarily complex and large expressions. For example,
980 ((1 + 2) * 3) / (4 * 5)
983 This is a sequence of expressions, where each expression is
984 contained in the next (larger) one. The simplest expressions are
985 numbers, and larger ones are made by combining expressions with
986 operators (like @code{+}, @code{*} and @code{/}) and parentheses.
987 Like mathematical expressions, music expressions can be nested
988 arbitrarily deep, which is necessary for complex music like
992 @subheading Simultaneous music expressions: multiple staves
994 Music Glossary: @rglos{polyphony}.
996 This technique is useful for @notation{polyphonic} music. To
997 enter music with more voices or more staves, we combine
998 expressions in parallel. To indicate that two voices should play
999 at the same time, simply enter a simultaneous combination of music
1000 expressions. A @q{simultaneous} music expression is formed by
1001 enclosing expressions inside @code{<<} and @code{>>}. In the
1002 following example, three sequences (all containing two separate
1003 notes) are combined simultaneously:
1005 @lilypond[verbatim,quote,ragged-right]
1015 Note that we have indented each level of the input with a
1016 different amount of space. LilyPond does not care how much (or
1017 little) space there is at the beginning of a line, but indenting
1018 LilyPond code like this makes it much easier for humans to read.
1020 @c FIXME: number of backslashes?! works in html but not pdf.
1021 @warning{each note is relative to the previous note in
1022 the input, not relative to the @code{c''} in the initial
1023 @code{\\relative} command.}
1026 @subheading Simultaneous music expressions: single staff
1028 To determine the number of staves in a piece, LilyPond looks at
1029 the first expression. If it is a single note, there is one staff;
1030 if there is a simultaneous expression, there is more than one
1033 @lilypond[verbatim,quote,ragged-right]
1036 << { e f } { c <<b d>> } >>
1040 @node Multiple staves
1041 @subsection Multiple staves
1043 LilyPond input files are constructed out of music expressions, as
1044 we saw in @ref{Music expressions explained}. If the score begins
1045 with simultaneous music expressions, LilyPond creates multiples
1046 staves. However, it is easier to see what happens if we create
1047 each staff explicitly.
1049 To print more than one staff, each piece of music that makes up a
1050 staff is marked by adding @code{\new Staff} before it. These
1051 @code{Staff} elements are then combined in parallel with @code{<<}
1054 @lilypond[verbatim,quote,ragged-right]
1057 \new Staff { \clef treble c }
1058 \new Staff { \clef bass c,, }
1063 The command @code{\new} introduces a @q{notation context.} A
1064 notation context is an environment in which musical events (like
1065 notes or @code{\clef} commands) are interpreted. For simple
1066 pieces, such notation contexts are created automatically. For
1067 more complex pieces, it is best to mark contexts explicitly.
1069 There are several types of contexts. @code{Score}, @code{Staff},
1070 and @code{Voice} handle melodic notation, while @code{Lyrics} sets
1071 lyric texts and @code{ChordNames} prints chord names.
1073 In terms of syntax, prepending @code{\new} to a music expression
1074 creates a bigger music expression. In this way it resembles the
1075 minus sign in mathematics. The formula @math{(4+5)} is an
1076 expression, so @math{-(4+5)} is a bigger expression.
1078 Time signatures entered in one staff affects all other staves by
1079 default. On the other hand, the key signature of one staff does
1080 @emph{not} affect other staves. This different default behaviour
1081 is because scores with transposing instruments are more common
1082 than polyrhythmic scores.
1084 @lilypond[verbatim,quote,ragged-right]
1087 \new Staff { \clef treble \key d \major \time 3/4 c }
1088 \new Staff { \clef bass c,, }
1097 @subsection Staff groups
1103 Music Glossary: @rglos{brace}.
1105 Piano music is typeset in two staves connected by a
1107 Printing such a staff is similar to the polyphonic example in
1108 @ref{Multiple staves}. However, now this entire expression is
1109 inserted inside a @code{PianoStaff}:
1118 Here is a small example:
1120 @lilypond[verbatim,quote,ragged-right]
1123 \new Staff { \time 2/4 c4 e g g, }
1124 \new Staff { \clef bass c,, c' e c }
1129 Other staff groupings are introduced with
1130 @code{\new GrandStaff,} suitable for orchestral
1131 scores, and @code{\new ChoirStaff,} suitable for
1132 vocal scores. These staff groups each form another
1133 type of context, one that generates the brace at the
1134 left end of every system and also controls the extent
1139 Notation Reference: @ruser{Piano music},
1140 @ruser{Displaying staves}.
1143 @node Combining notes into chords
1144 @subsection Combining notes into chords
1148 Music Glossary: @rglos{chord}.
1150 @notation{Chords} can be made by surrounding pitches with single
1151 angle brackets. Note that all the notes in a chord must have the
1152 same duration, and that duration is placed after the closing
1155 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1156 r4 <c e g>4 <c f a>2
1159 Think of chords as almost equivalent to single notes:
1160 almost everything you can attach to a single note can be attached
1161 to a chord, and everything must go @emph{outside} the angle
1162 brackets. For example, you can combine markings like beams and
1163 ties with chords. They must be placed outside the angle brackets.
1165 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1166 r4 <c e g>8[ <c f a>]~ <c f a>2
1167 r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
1171 @node Single staff polyphony
1172 @subsection Single staff polyphony
1175 @cindex multiple voices
1176 @cindex voices, more -- on a staff
1177 When different melodic lines are combined on a single staff they
1178 are printed as polyphonic voices; each voice has its own stems,
1179 slurs and beams, and the top voice has the stems up, while the
1180 bottom voice has them down.
1182 Entering such parts is done by entering each voice as a sequence
1183 (with @code{@{...@}}) and combining these simultaneously,
1184 separating the voices with @code{\\}
1186 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1193 For polyphonic music typesetting, spacer rests can also be
1194 convenient; these are rests that do not print. They are useful
1195 for filling up voices that temporarily do not play. Here is the
1196 same example with a spacer rest (@code{s}) instead of a normal
1199 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1207 Again, these expressions can be nested arbitrarily.
1209 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1217 { <c g>1 ~ <c g>4 } \\
1225 Notation Reference: @ruser{Simultaneous notes}.
1231 This section introduces vocal music and simple song sheets.
1234 * Setting simple songs::
1235 * Aligning lyrics to a melody::
1236 * Lyrics to multiple staves::
1240 @node Setting simple songs
1241 @subsection Setting simple songs
1246 Music Glossary: @rglos{lyrics}.
1248 Here is the start of the melody to a nursery
1249 rhyme, @qq{Girls and boys come out to play}:
1251 @lilypond[verbatim,quote,ragged-right]
1255 d4 b8 c4 a8 d4 b8 g4
1259 The @notation{lyrics} can be set to these notes, combining both
1260 with the @code{\addlyrics} keyword. Lyrics are entered by
1261 separating each syllable with a space.
1263 @lilypond[verbatim,quote,ragged-right]
1268 d4 b8 c4 a8 d4 b8 g4
1271 Girls and boys come out to play,
1276 Note the curly brackets delimiting both the music and the lyrics,
1277 and the double angle brackets @code{<< ... >>} around the whole
1278 piece to show that the music and lyrics are to occur at the same
1281 @node Aligning lyrics to a melody
1282 @subsection Aligning lyrics to a melody
1284 Music Glossary: @rglos{melisma}, @rglos{extender line}.
1287 @cindex extender line
1291 The next line in the nursery rhyme is @q{The moon doth shine as
1292 bright as day}. Let's extend it:
1294 @lilypond[verbatim,quote,ragged-right]
1299 d4 b8 c4 a8 d4 b8 g4
1300 g8 a4 b8 c b a d4 b8 g4.
1303 Girls and boys come out to play,
1304 The moon doth shine as bright as day;
1309 We see the extra lyrics do not align properly with the notes. The
1310 word @q{shine} should be sung on two notes, not one. This is
1311 called a @notation{melisma}, a single syllable sung to more than
1312 one note. There are several ways to spread a syllable over
1313 multiple notes, the simplest being to add a slur across them (see
1314 @ref{Ties and slurs}):
1316 @lilypond[verbatim,quote,ragged-right]
1321 d4 b8 c4 a8 d4 b8 g4
1322 g8 a4 b8 c([ b)] a d4 b8 g4.
1325 Girls and boys come out to play,
1326 The moon doth shine as bright as day;
1331 Here we have also used manual beaming (the square brackets @code{[
1332 ]} ) to generate the beaming which is customarily used with lyrics
1333 (see @ref{Automatic and manual beams}).
1335 As an alternative to using slurs, the melismata may be indicated
1336 in just the lyrics by using an underscore, @code{_}, for each
1337 note that should be included in the melisma:
1339 @lilypond[verbatim,quote,ragged-right]
1344 d4 b8 c4 a8 d4 b8 g4
1345 g8 a4 b8 c[ b] a d4 b8 g4.
1348 Girls and boys come out to play,
1349 The moon doth shine _ as bright as day;
1354 If a syllable extends over several notes or a single very long
1355 note an @notation{extender line} is usually drawn from the
1356 syllable extending under all the notes for that syllable. It is
1357 entered as two underscores @code{__}. Here is an example from the
1358 first three bars of Dido's Lament, from Purcell's Dido and Æneas:
1360 @lilypond[verbatim,quote,ragged-right]
1366 b c4.( bes8 a4. g8 fis4.) g8 fis1
1370 am laid __ in earth,
1375 None of the examples so far have involved words containing more
1376 than one syllable. Such words are usually split one syllable to a
1377 note, with hyphens between syllables. Such hyphens are entered as
1378 two dashes, resulting in a centered hyphen between the syllables.
1379 Here is an example showing this and everything we have learned so
1380 far about aligning lyrics to notes.
1382 @c no ragged-right here because otherwise the hyphens get lost,
1383 @c but the example is long enough to avoid looking strange.
1384 @lilypond[verbatim,quote]
1390 d4 g4 g a8( b) g4 g4
1394 A -- way in a __ man -- ger,
1395 no __ crib for a bed, __
1400 Some lyrics, especially those in Italian, require the opposite:
1401 setting more than one syllable to a single note. This is
1402 achieved by linking the syllables together with a single
1403 underscore @code{_} (with no spaces), or enclosing them in
1404 quotes. Here's an example from Rossini's Figaro, where
1405 @q{al} has to be sung on the same note as the @q{go} of
1406 @q{Largo} in Figaro's aria @q{Largo al factotum}:
1408 @c no ragged-right here because otherwise the hyphens get lost,
1409 @c but the example is long enough to avoid looking strange.
1410 @lilypond[verbatim,quote]
1416 c4.~ c8 d b c([ d)] b c d b c
1419 Lar -- go_al fac -- to -- tum del -- la cit -- tà
1427 Notation Reference: @ruser{Vocal music}.
1430 @node Lyrics to multiple staves
1431 @subsection Lyrics to multiple staves
1433 The simple approach using @code{\addlyrics} can be used for
1434 placing lyrics under more than one staff. Here is an
1435 example from Handel's Judas Maccabæus:
1437 @lilypond[verbatim,quote,ragged-right]
1445 c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
1448 Let flee -- cy flocks the hills a -- dorn, __
1452 r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
1455 Let flee -- cy flocks the hills a -- dorn,
1461 but scores any more complex than this simple example are
1462 better produced by separating out the staff structure
1463 from the notes and lyrics with variables. These are
1464 discussed in @ref{Organizing pieces with variables}.
1468 Notation Reference: @ruser{Vocal music}.
1473 @section Final touches
1475 This is the final section of the tutorial; it demonstrates how to
1476 add the final touches to simple pieces, and provides an
1477 introduction to the rest of the manual.
1480 * Organizing pieces with variables::
1483 * Absolute note names::
1484 * After the tutorial::
1488 @node Organizing pieces with variables
1489 @subsection Organizing pieces with variables
1491 When all of the elements discussed earlier are combined to produce
1492 larger files, the music expressions get a lot bigger. In
1493 polyphonic music with many staves, the input files can become very
1494 confusing. We can reduce this confusion by using
1497 With variables (also known as identifiers or macros), we can break
1498 up complex music expressions. A variable is assigned as
1502 namedMusic = @{ @dots{} @}
1505 The contents of the music expression @code{namedMusic} can be used
1506 later by placing a backslash in front of the name
1507 (@code{\namedMusic}, just like a normal LilyPond command).
1509 @lilypond[verbatim,quote,ragged-right]
1510 violin = \new Staff { \relative c'' {
1513 cello = \new Staff { \relative c {
1526 The name of a variable must have alphabetic characters only, no
1527 numbers, underscores, or dashes.
1529 Variables must be defined @emph{before} the main music
1530 expression, but may be used as many times as required anywhere after
1531 they have been defined. They may even be used in a later definition
1532 of another variable, giving a way of shortening the input if a
1533 section of music is repeated many times.
1535 @lilypond[verbatim,quote,ragged-right]
1536 tripletA = \times 2/3 { c,8 e g }
1537 barA = { \tripletA \tripletA \tripletA \tripletA }
1544 Variables may be used for many other types of objects in
1545 the input. For example,
1550 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1553 Depending on its contents, the variable can be used in different
1554 places. The following example uses the above variables:
1565 @node Version number
1566 @subsection Version number
1569 The @code{\version} statement records the version of LilyPond that
1570 was used to write the file:
1577 By convention, this is placed at the top of your LilyPond file.
1579 These annotations make future upgrades of LilyPond go more
1580 smoothly. Changes in the syntax are handled with a special
1581 program, @file{convert-ly}, and it uses @code{\version} to
1582 determine what rules to apply. For details, see
1583 @rprogram{Updating files with convert-ly}.
1587 @subsection Adding titles
1589 The title, composer, opus number, and similar information are
1590 entered in the @code{\header} block. This exists outside of the
1591 main music expression; the @code{\header} block is usually placed
1592 underneath the @ref{Version number}.
1603 @dots{} music @dots{}
1607 When the file is processed, the title and composer are printed
1608 above the music. More information on titling can be found in
1609 @ruser{Creating titles}.
1612 @node Absolute note names
1613 @subsection Absolute note names
1615 So far we have always used @code{\relative} to define pitches.
1616 This is the easiest way to enter most music, but another way of
1617 defining pitches exists: absolute mode.
1619 If you omit the @code{\relative}, LilyPond treats all pitches as
1620 absolute values. A @code{c'} will always mean middle C, a
1621 @code{b} will always mean the note one step below middle C, and a
1622 @code{g,} will always mean the note on the bottom staff of the
1625 @lilypond[verbatim,quote,ragged-right]
1633 Here is a four-octave scale:
1635 @lilypond[verbatim,quote,ragged-right]
1650 As you can see, writing a melody in the treble clef involves a lot
1651 of quote @code{'} marks. Consider this fragment from Mozart:
1653 @lilypond[verbatim,quote,ragged-right]
1657 cis''8. d''16 cis''8 e''4 e''8
1658 b'8. cis''16 b'8 d''4 d''8
1662 All these quotes makes the input less readable and they are a source
1663 of errors. With @code{\relative}, the previous example is much
1664 easier to read and type:
1666 @lilypond[verbatim,quote,ragged-right]
1670 cis8. d16 cis8 e4 e8
1675 If you make a mistake with an octave mark (@code{'} or @code{,})
1676 while working in @code{\relative} mode, it is very obvious -- many
1677 notes will be in the wrong octave. When working in absolute mode,
1678 a single mistake will not be as visible, and will not be as easy
1681 However, absolute mode is useful for music which has large
1682 intervals, and is extremely useful for computer-generated LilyPond
1687 @node After the tutorial
1688 @subsection After the tutorial
1690 FIXME: rewrite slightly after the rest of the LM has been
1691 stabilized. Translators, ignore this section for now.
1693 After finishing the tutorial, you should probably try writing a
1694 piece or two. Start by adding notes to one of the
1695 @ref{Templates}. If you need any notation that was not covered in
1696 the tutorial, look at the Notation Reference, starting with
1697 @ruser{Musical notation}. If you want to write for an instrument
1698 ensemble that is not covered in the templates, take a look at
1699 @ref{Extending the templates}.
1701 Once you have written a few short pieces, read the rest of the
1702 Learning Manual (chapters 3-5). There's nothing wrong with
1703 reading it now, of course! However, the rest of the Learning
1704 Manual assumes that you are familiar with LilyPond input. You may
1705 wish to skim these chapters right now, and come back to them after
1706 you have more experience.