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 @qq{Compiling} is the term used for processing an input text file
64 in LilyPond format to produce a file which can be printed and
65 (optionally) a MIDI file which can be played. The first example
66 shows what a simple input text file looks like.
75 the result looks like this:
77 @c in this case we don't want verbatim
78 @lilypond[quote,ragged-right]
84 @warning{Every piece of LilyPond input needs to have
85 @strong{@{ curly braces @}} placed around the input. The braces
86 should also be surrounded by a space unless they are at the
87 beginning or end of a line to avoid ambiguities. The braces may
88 be omitted in some examples in this manual, but don't forget them
89 in your own music! For more information about the display of
90 examples in the manual, see @ref{How to read the manual}.}
92 @cindex case sensitive
93 In addition, LilyPond input is @strong{case sensitive}. @code{
94 @{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
99 @subheading Entering music and viewing output
102 @cindex viewing music
104 In this section we will explain what commands to run and how to
105 view or print the output.
107 Note that there are several other text editors available with
108 better support for LilyPond. For more information, see
109 @rprogram{Text editor support}.
111 @warning{The first time you ever run LilyPond, it may take a
112 minute or two because all of the system fonts have to be analyzed
113 first. After this, LilyPond will be much faster!}
115 @subsubheading MacOS X
117 If you double click @code{LilyPond.app}, it will open with an
118 example file. Save it, for example, to @file{test.ly} on your
119 Desktop, and then process it with the menu command @code{Compile >
120 Typeset File}. The resulting PDF file will be displayed on your
123 For future use of LilyPond, you should begin by selecting @q{New}
124 or @q{Open}. You must save your file before typesetting it. If
125 any errors occur in processing, please see the log window.
128 @subsubheading Windows
130 On Windows, if you double-click in the LilyPond icon on the
131 Desktop, it will open a simple text editor with an example file.
132 Save it, for example, to @file{test.ly} on your Desktop and then
133 double-click on the file to process it (the file icon looks like a
134 note). After some seconds, you will get a file @file{test.pdf} on
135 your desktop. Double-click on this PDF file to view the typeset
136 score. An alternative method to process the @file{test.ly} file
137 is to drag and drop it onto the LilyPond icon using your mouse
140 To edit an existing @file{.ly} file, right-click on it and
141 select @qq{Edit source}. To get an empty file to start from, run
142 the editor as described above and use @qq{New} in
143 the @qq{File} menu, or right-click on the desktop and select
144 @qq{New..Text Document}, change its name to a name of your choice
145 and change the file extension to @code{.ly}. Double-click the
146 icon to type in your LilyPond source code as before.
148 Double-clicking the file does not only result in a PDF file, but
149 also produces a @file{.log} file that contains some information on
150 what LilyPond has done to the file. If any errors occur, please
155 Create a text file called @file{test.ly} and enter:
163 To process @file{test.ly}, proceed as follows:
170 You will see something resembling:
177 Interpreting music...
178 Preprocessing graphical objects...
179 Finding the ideal number of pages...
180 Fitting music on 1 page...
182 Layout output to `test.ps'...
183 Converting to `test.pdf'...
187 @node Simple notation
188 @subsection Simple notation
190 LilyPond will add some notation elements automatically. In the
191 next example, we have only specified four pitches, but LilyPond
192 has added a clef, time signature, and rhythms.
194 @lilypond[verbatim,quote,ragged-right]
201 This behavior may be altered, but in most cases these automatic
207 Music Glossary: @rglos{pitch}, @rglos{interval},
208 @rglos{scale}, @rglos{middle C}, @rglos{octave},
211 The easiest way to enter notes is by using @code{\relative} mode.
212 In this mode, the octave is chosen automatically by assuming the
213 following note is always to be placed closest to the previous
214 note, i.e., it is to be placed in the octave which is within three
215 staff spaces of the previous note. We begin by entering the most
216 elementary piece of music, a @notation{scale}, in which every note
217 is within just one staff space of the previous note.
219 @lilypond[verbatim,quote,ragged-right]
220 \relative c' { % set the starting point to middle C
226 The initial note is @notation{middle C}. Each successive note is
227 placed closest to the previous note -- in other words, the first
228 @code{c} is the closest C to middle C. This is followed by the
229 closest D to the previous note. We can create melodies which have
230 larger intervals, still using only @code{\relative} mode:
232 @lilypond[verbatim,quote,ragged-right]
240 It is not necessary for the first note of the melody to start on
241 the note which specifies the starting pitch. In the previous
242 example, the first note -- the @code{d} -- is the closest D to
245 By adding (or removing) quotes @code{'} or commas @code{,} from
246 the @code{\relative c' @{} command, we can change the starting
249 @lilypond[verbatim,quote,ragged-right]
250 \relative c'' { % one octave above middle C
255 Relative mode can be confusing initially, but is the easiest way
256 to enter most melodies. Let us see how this relative calculation
257 works in practice. Starting from a B, which is on the middle line
258 in a treble clef, you can reach a C, D and E within 3 staff spaces
259 going up, and an A, G and F within 3 staff spaces going down. So
260 if the note following a B is a C, D or F it will be assumed to be
261 above the B, and an A, G or F will be assumed to be below.
263 @lilypond[verbatim,quote,ragged-right]
265 b c % c is 1 staff space up, so is the c above
266 b d % d is 2 up or 5 down, so is the d above
267 b e % e is 3 up or 4 down, so is the e above
268 b a % a is 6 up or 1 down, so is the a below
269 b g % g is 5 up or 2 down, so is the g below
270 b f % f is 4 up or 3 down, so is the f below
274 Exactly the same happens even when any of these notes are
275 sharpened or flattened. @notation{Accidentals} are
276 @strong{totally ignored} in the calculation of relative position.
277 Precisely the same staff space counting is done from a note at any
278 other position on the staff.
280 To add intervals that are larger than three staff spaces, we can
281 raise the @notation{octave} by adding a single quote @code{'} (or
282 apostrophe) to the note name. We can lower the octave by adding a
283 comma @code{,} to the note name.
285 @lilypond[verbatim,quote,ragged-right]
293 To change a note by two (or more!) octaves, we use multiple
294 @code{''} or @code{,,} -- but be careful that you use two single
295 quotes @code{''} and not one double quote @code{"}@tie{}! The
296 initial value in @code{\relative c'} may also be modified like
298 @c " - keeps quotes in order for context-sensitive editor -td
300 @subheading Durations (rhythms)
302 Music Glossary: @rglos{beam}, @rglos{duration},
303 @rglos{whole note}, @rglos{half note}, @rglos{quarter note},
306 The @notation{duration} of a note is specified by a number after
307 the note name. @code{1} for a @notation{whole note}, @code{2} for
308 a @notation{half note}, @code{4} for a @notation{quarter note} and
309 so on. @notation{Beams} are added automatically.
311 If you do not specify a duration, the previous duration is used
312 for the next note. The duration of the first note defaults to a
315 @lilypond[verbatim,quote,ragged-right]
319 a16 a a a a32 a a a a64 a a a a a a a a2
323 To create @notation{dotted notes}, add a dot @code{.} to the
324 duration number. The duration of a dotted note must be stated
325 explicitly (i.e., with a number).
327 @lilypond[verbatim,quote,ragged-right]
337 Music Glossary: @rglos{rest}.
339 A @notation{rest} is entered just like a note with the name
342 @lilypond[verbatim,quote,ragged-right]
350 @subheading Time signature
352 Music Glossary: @rglos{time signature}.
354 The @notation{time signature} can be set with the @code{\time}
357 @lilypond[verbatim,quote,ragged-right]
371 Music Glossary: @rglos{clef}.
373 The @notation{clef} can be set using the @code{\clef} command:
375 @lilypond[verbatim,quote,ragged-right]
389 @subheading All together
391 Here is a small example showing all these elements together:
393 @lilypond[verbatim,quote,ragged-right]
405 Notation Reference: @ruser{Writing pitches},
406 @ruser{Writing rhythms}, @ruser{Writing rests},
407 @ruser{Time signature}, @ruser{Clef}.
410 @node Working on text files
411 @subsection Working on text files
413 LilyPond input files are similar to source files in many common
414 programming languages. They are case sensitive, and white-space
415 is generally ignored. Expressions are formed with curly braces
416 @{ @}, and comments are denoted with @code{%} or @code{%@{ ...
419 If the previous sentences sound like nonsense, don't worry! We'll
420 explain what all these terms mean:
424 @cindex case sensitive
426 @strong{Case sensitive}:
427 it matters whether you enter a letter in lower case (e.g. @code{a,
428 b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
429 lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
430 will produce an error message.
433 @strong{Whitespace insensitive}:
434 it does not matter how many spaces (or new lines) you add.
435 @code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
436 @tie{} @tie{} d e @}} and:
444 Of course, the previous example is hard to read. A good rule of
445 thumb is to indent code blocks with either a tab or two spaces:
454 @strong{Expressions}:
455 every piece of LilyPond input needs to have @strong{@{ curly
456 braces @}} placed around the input. These braces tell LilyPond
457 that the input is a single music expression, just like parentheses
458 @code{()} in mathematics. The braces should be surrounded by a
459 space unless they are at the beginning or end of a line to avoid
462 A LilyPond command followed by a simple expression in braces (such
463 as @code{\relative @{ @}}) also counts as a single music
468 @cindex block comment
471 a comment is a remark for the human reader of the music input; it
472 is ignored while parsing, so it has no effect on the printed
473 output. There are two types of comments. The percent symbol
474 @code{%} introduces a line comment; anything after @code{%} on
475 that line is ignored. A block comment marks a whole section of
476 music input as a comment. Anything that is enclosed in @code{%@{}
477 and @code{%@}} is ignored. However, block comments do not @q{nest}.
478 This means that you cannot place a block comment inside another
479 block comment. If you try, the first @code{%@}} will terminate
480 @emph{both} block comments. The following
481 fragment shows possible uses for comments:
484 % notes for twinkle twinkle follow
488 This line, and the notes below
489 are ignored, since they are in a
499 @node How to read the manual
500 @subsection How to read the manual
502 LilyPond input must be surrounded by @{ @} marks or a
503 @code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
504 files}. For the rest of this manual, most examples will omit
505 this. To replicate the examples, you may copy and paste the
506 displayed input but you @strong{must} add the @code{\relative c''
511 ... example goes here...
515 Why omit the braces? Most examples in this manual can be inserted
516 into the middle of a longer piece of music. For these examples,
517 it does not make sense to add @code{\relative c'' @{ @}} -- you
518 should not place a @code{\relative} inside another
519 @code{\relative}! If we included @code{\relative c'' @{ @}}
520 around every example, you would not be able to copy a small
521 documentation example and paste it inside a longer piece of your
522 own. Most people want to add material to an existing piece, so we
523 format the manual this way.
526 @subheading Clickable examples
528 Many people learn programs by trying and fiddling around with the
529 program. This is also possible with LilyPond. If you click on a
530 picture in the HTML version of this manual, you will see the exact
531 LilyPond input that was used to generate that image. Try it on
535 @lilypond[quote,ragged-right]
537 c-\markup { \bold \huge { Click here. } }
541 By cutting and pasting everything in the @qq{ly snippet} section,
542 you have a starting template for experiments. To see exactly the
543 same output (line-width and all), copy everything from @qq{Start
544 cut-&-pastable section} to the bottom of the file.
549 There are more tips for constructing input files in
550 @ref{Suggestions for writing LilyPond files}. But it might be
551 best to read through the rest of the tutorial first.
555 @node Single staff notation
556 @section Single staff notation
558 This section introduces common notation that is used for one voice
562 * Accidentals and key signatures::
564 * Articulation and dynamics::
566 * Automatic and manual beams::
567 * Advanced rhythmic commands::
571 @node Accidentals and key signatures
572 @subsection Accidentals and key signatures
574 @subheading Accidentals
576 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
577 @rglos{double flat}, @rglos{accidental}.
579 A @notation{sharp} pitch is made by adding @code{is} to the name,
580 and a @notation{flat} pitch by adding @code{es}. As you might
581 expect, a @notation{double sharp} or @notation{double flat} is
582 made by adding @code{isis} or @code{eses}. This syntax is derived
583 from note naming conventions in Nordic and Germanic languages,
584 like German and Dutch. To use other names for
585 @notation{accidentals}, see @ruser{Note names in other languages}.
587 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
588 cis1 ees fisis, aeses
591 @cindex key signature, setting
592 @subheading Key signatures
594 Music Glossary: @rglos{key signature}, @rglos{major},
597 The @notation{key signature} is set with the command @code{\key}
598 followed by a pitch and @code{\major} or @code{\minor}.
600 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
609 @subheading Warning: key signatures and pitches
611 Music Glossary: @rglos{accidental}, @rglos{key signature},
612 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
613 @rglos{transposition}.
615 To determine whether to print an @notation{accidental}, LilyPond
616 examines the pitches and the @notation{key signature}. The key
617 signature only affects the @emph{printed} accidentals, not the
618 note's @notation{pitch}! This is a feature that often causes
619 confusion to newcomers, so let us explain it in more detail.
621 LilyPond makes a sharp distinction between musical content and
622 layout. The alteration (@notation{flat}, @notation{natural} or
623 @notation{sharp}) of a note is part of the pitch, and is therefore
624 musical content. Whether an accidental (a @emph{printed} flat,
625 natural or sharp sign) is printed in front of the corresponding
626 note is a question of layout. Layout is something that follows
627 rules, so accidentals are printed automatically according to those
628 rules. The pitches in your music are works of art, so they will
629 not be added automatically, and you must enter what you want to
634 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
640 No note has a printed accidental, but you must still add
641 @code{is} and type @code{cis} and @code{fis} in the input file.
643 The code @code{e} does not mean @qq{print a black dot just below
644 the first line of the staff.} Rather, it means @qq{there is a
645 note with pitch E-natural.} In the key of A-flat major, it
646 @emph{does} get an accidental:
648 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
653 Adding all alterations explicitly might require a little more
654 effort when typing, but the advantage is that
655 @notation{transposing} is easier, and accidentals can be printed
656 according to different conventions. For some examples how
657 accidentals can be printed according to different rules, see
658 @ruser{Automatic accidentals}.
662 Notation Reference: @ruser{Note names in other languages},
663 @ruser{Accidentals}, @ruser{Automatic accidentals},
664 @ruser{Key signature}.
666 Music Glossary: @rglos{Pitch names}.
670 @subsection Ties and slurs
675 Music Glossary: @rglos{tie}.
677 A @notation{tie} is created by appending a tilde @code{~} to the
678 first note being tied.
680 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
688 Music Glossary: @rglos{slur}.
690 A @notation{slur} is a curve drawn across many notes. The
691 starting note and ending note are marked with @code{(} and
692 @code{)} respectively.
694 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
695 d4( c16) cis( d e c cis d) e( d4)
698 @cindex slurs, phrasing
699 @cindex phrasing slurs
700 @subheading Phrasing slurs
702 Music Glossary: @rglos{slurs}, @rglos{phrasing}.
704 Slurs to indicate longer @notation{phrasing} can be entered with
705 @code{\(} and @code{\)}. You can have both @notation{slurs}
706 and phrasing slurs at the same time, but you cannot have
707 simultaneous slurs or simultaneous phrasing slurs.
709 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
710 a8(\( ais b c) cis2 b'2 a4 cis,\)
715 @cindex slurs versus ties
716 @subheading Warnings: slurs vs. ties
718 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
720 A @notation{slur} looks like a @notation{tie}, but it has a
721 different meaning. A tie simply makes the first note longer, and
722 can only be used on pairs of notes with the same pitch. Slurs
723 indicate the @notation{articulation} of notes, and can be used on
724 larger groups of notes. Slurs and ties can be nested.
726 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
727 c2~( c8 fis fis4 ~ fis2 g2)
732 Notation Reference: @ruser{Ties}, @ruser{Slurs},
733 @ruser{Phrasing slurs}.
736 @node Articulation and dynamics
737 @subsection Articulation and dynamics
742 @subheading Articulations
744 Music Glossary: @rglos{articulation}.
746 Common @notation{articulations} can be added to a note using a
747 dash @code{-} and a single character:
749 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
750 c-. c-- c-> c-^ c-+ c-_
754 @subheading Fingerings
756 Music Glossary: @rglos{fingering}.
759 Similarly, @notation{fingering} indications can be added to a note
760 using a dash (@code{-}) and the digit to be printed:
762 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
766 Articulations and fingerings are usually placed automatically, but
767 you can specify a direction by replacing the dash (@code{-}) with
768 @code{^} (up) or @code{_} (down). You can also use multiple
769 articulations on the same note. However, in most cases it is best
770 to let LilyPond determine the articulation directions.
772 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
773 c_-^1 d^. f^4_2-> e^-_+
778 Music Glossary: @rglos{dynamics}, @rglos{crescendo},
781 @notation{Dynamic} signs are made by adding the markings (with a
782 backslash) to the note:
784 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
792 @notation{Crescendi} and @notation{decrescendi} are started with
793 the commands @code{\<} and @code{\>}. The next dynamics sign, for
794 example @code{\f}, will end the (de)crescendo, or the command
795 @code{\!} can be used:
797 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
803 Notation Reference: @ruser{Articulations and ornamentations},
804 @ruser{Fingering instructions}, @ruser{Dynamics}.
808 @subsection Adding text
810 Text may be added to your scores:
812 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
816 Extra formatting may be added with the @code{\markup} command:
818 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
819 c1^\markup{ \bold espr}
821 \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
828 Notation Reference: @ruser{Writing text}.
831 @node Automatic and manual beams
832 @subsection Automatic and manual beams
834 Music Glossary: @rglos{beam}.
836 @cindex beams, by hand
837 All @notation{beams} are drawn automatically:
839 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
840 a8 ais d ees r d c16 b a8
844 If you do not like the automatic beams, they may be overridden
845 manually. Mark the first note to be beamed with @code{[} and the
846 last one with @code{]}.
848 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
849 a8[ ais] d[ ees r d] a b
854 Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
857 @node Advanced rhythmic commands
858 @subsection Advanced rhythmic commands
862 @cindex partial measure
863 @subheading Partial measure
865 Music Glossary: @rglos{anacrusis}.
867 A pickup (or @notation{anacrusis}) is entered with the keyword
868 @code{\partial}. It is followed by a duration: @code{\partial 4}
869 is a quarter note pickup and @code{\partial 8} an eighth note.
871 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
880 Music Glossary: @rglos{note value}, @rglos{triplet}.
882 @notation{Tuplets} are made with the @code{\times} keyword. It
883 takes two arguments: a fraction and a piece of music. The
884 duration of the piece of music is multiplied by the fraction.
885 Triplets make notes occupy 2/3 of their notated duration, so a
886 @notation{triplet} has 2/3 as its fraction
888 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
889 \times 2/3 { f8 g a }
891 \times 2/3 { f,8 g16[ a g a] }
898 @subheading Grace notes
900 Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
901 @rglos{appoggiatura}.
903 @notation{Grace notes} are created with the @code{\grace} command,
904 although they can also be created by prefixing a music expression
905 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
907 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
908 c2 \grace { a32[ b] } c2
909 c2 \appoggiatura b16 c2
910 c2 \acciaccatura b16 c2
915 Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
919 @node Multiple notes at once
920 @section Multiple notes at once
922 This section introduces having more than one note at the same
923 time: multiple instruments, multiple staves for a single
924 instrument (i.e. piano), and chords.
926 Polyphony in music refers to having more than one voice occurring
927 in a piece of music. Polyphony in LilyPond refers to having more
928 than one voice on the same staff.
931 * Music expressions explained::
934 * Combining notes into chords::
935 * Single staff polyphony::
939 @node Music expressions explained
940 @subsection Music expressions explained
942 In LilyPond input files, music is represented by @emph{music
943 expressions}. A single note is a music expression:
945 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
949 Enclosing a note in braces creates a @emph{compound music
950 expression}. Here we have created a compound music expression
953 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
957 Putting a group of music expressions (e.g. notes) in braces means
958 that they are in sequence (i.e. each one follows the previous
959 one). The result is another music expression:
961 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
966 @cindex music expression
967 @subheading Analogy: mathematical expressions
969 This mechanism is similar to mathematical formulas: a big formula
970 is created by composing small formulas. Such formulas are called
971 expressions, and they can contain other expressions, so you can
972 make arbitrarily complex and large expressions. For example,
981 ((1 + 2) * 3) / (4 * 5)
984 This is a sequence of expressions, where each expression is
985 contained in the next (larger) one. The simplest expressions are
986 numbers, and larger ones are made by combining expressions with
987 operators (like @code{+}, @code{*} and @code{/}) and parentheses.
988 Like mathematical expressions, music expressions can be nested
989 arbitrarily deep, which is necessary for complex music like
993 @subheading Simultaneous music expressions: multiple staves
995 Music Glossary: @rglos{polyphony}.
997 This technique is useful for @notation{polyphonic} music. To
998 enter music with more voices or more staves, we combine
999 expressions in parallel. To indicate that two voices should play
1000 at the same time, simply enter a simultaneous combination of music
1001 expressions. A @q{simultaneous} music expression is formed by
1002 enclosing expressions inside @code{<<} and @code{>>}. In the
1003 following example, three sequences (all containing two separate
1004 notes) are combined simultaneously:
1006 @lilypond[verbatim,quote,ragged-right]
1016 Note that we have indented each level of the input with a
1017 different amount of space. LilyPond does not care how much (or
1018 little) space there is at the beginning of a line, but indenting
1019 LilyPond code like this makes it much easier for humans to read.
1021 @c FIXME: number of backslashes?! works in html but not pdf.
1022 @warning{each note is relative to the previous note in
1023 the input, not relative to the @code{c''} in the initial
1024 @code{\\relative} command.}
1027 @subheading Simultaneous music expressions: single staff
1029 To determine the number of staves in a piece, LilyPond looks at
1030 the first expression. If it is a single note, there is one staff;
1031 if there is a simultaneous expression, there is more than one
1034 @lilypond[verbatim,quote,ragged-right]
1037 << { e f } { c <<b d>> } >>
1041 @node Multiple staves
1042 @subsection Multiple staves
1044 LilyPond input files are constructed out of music expressions, as
1045 we saw in @ref{Music expressions explained}. If the score begins
1046 with simultaneous music expressions, LilyPond creates multiples
1047 staves. However, it is easier to see what happens if we create
1048 each staff explicitly.
1050 To print more than one staff, each piece of music that makes up a
1051 staff is marked by adding @code{\new Staff} before it. These
1052 @code{Staff} elements are then combined in parallel with @code{<<}
1055 @lilypond[verbatim,quote,ragged-right]
1058 \new Staff { \clef treble c }
1059 \new Staff { \clef bass c,, }
1064 The command @code{\new} introduces a @q{notation context.} A
1065 notation context is an environment in which musical events (like
1066 notes or @code{\clef} commands) are interpreted. For simple
1067 pieces, such notation contexts are created automatically. For
1068 more complex pieces, it is best to mark contexts explicitly.
1070 There are several types of contexts. @code{Score}, @code{Staff},
1071 and @code{Voice} handle melodic notation, while @code{Lyrics} sets
1072 lyric texts and @code{ChordNames} prints chord names.
1074 In terms of syntax, prepending @code{\new} to a music expression
1075 creates a bigger music expression. In this way it resembles the
1076 minus sign in mathematics. The formula @math{(4+5)} is an
1077 expression, so @math{-(4+5)} is a bigger expression.
1079 Time signatures entered in one staff affects all other staves by
1080 default. On the other hand, the key signature of one staff does
1081 @emph{not} affect other staves. This different default behaviour
1082 is because scores with transposing instruments are more common
1083 than polyrhythmic scores.
1085 @lilypond[verbatim,quote,ragged-right]
1088 \new Staff { \clef treble \key d \major \time 3/4 c }
1089 \new Staff { \clef bass c,, }
1098 @subsection Staff groups
1104 Music Glossary: @rglos{brace}.
1106 Piano music is typeset in two staves connected by a
1108 Printing such a staff is similar to the polyphonic example in
1109 @ref{Multiple staves}. However, now this entire expression is
1110 inserted inside a @code{PianoStaff}:
1119 Here is a small example:
1121 @lilypond[verbatim,quote,ragged-right]
1124 \new Staff { \time 2/4 c4 e g g, }
1125 \new Staff { \clef bass c,, c' e c }
1130 Other staff groupings are introduced with
1131 @code{\new GrandStaff,} suitable for orchestral
1132 scores, and @code{\new ChoirStaff,} suitable for
1133 vocal scores. These staff groups each form another
1134 type of context, one that generates the brace at the
1135 left end of every system and also controls the extent
1140 Notation Reference: @ruser{Piano music},
1141 @ruser{Displaying staves}.
1144 @node Combining notes into chords
1145 @subsection Combining notes into chords
1149 Music Glossary: @rglos{chord}.
1151 @notation{Chords} can be made by surrounding pitches with single
1152 angle brackets. Note that all the notes in a chord must have the
1153 same duration, and that duration is placed after the closing
1156 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1157 r4 <c e g>4 <c f a>2
1160 Think of chords as almost equivalent to single notes:
1161 almost everything you can attach to a single note can be attached
1162 to a chord, and everything must go @emph{outside} the angle
1163 brackets. For example, you can combine markings like beams and
1164 ties with chords. They must be placed outside the angle brackets.
1166 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1167 r4 <c e g>8[ <c f a>]~ <c f a>2
1168 r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
1172 @node Single staff polyphony
1173 @subsection Single staff polyphony
1176 @cindex multiple voices
1177 @cindex voices, more -- on a staff
1178 When different melodic lines are combined on a single staff they
1179 are printed as polyphonic voices; each voice has its own stems,
1180 slurs and beams, and the top voice has the stems up, while the
1181 bottom voice has them down.
1183 Entering such parts is done by entering each voice as a sequence
1184 (with @code{@{...@}}) and combining these simultaneously,
1185 separating the voices with @code{\\}
1187 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1194 For polyphonic music typesetting, spacer rests can also be
1195 convenient; these are rests that do not print. They are useful
1196 for filling up voices that temporarily do not play. Here is the
1197 same example with a spacer rest (@code{s}) instead of a normal
1200 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1208 Again, these expressions can be nested arbitrarily.
1210 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1218 { <c g>1 ~ <c g>4 } \\
1226 Notation Reference: @ruser{Simultaneous notes}.
1232 This section introduces vocal music and simple song sheets.
1235 * Setting simple songs::
1236 * Aligning lyrics to a melody::
1237 * Lyrics to multiple staves::
1241 @node Setting simple songs
1242 @subsection Setting simple songs
1247 Music Glossary: @rglos{lyrics}.
1249 Here is the start of the melody to a nursery
1250 rhyme, @qq{Girls and boys come out to play}:
1252 @lilypond[verbatim,quote,ragged-right]
1256 d4 b8 c4 a8 d4 b8 g4
1260 The @notation{lyrics} can be set to these notes, combining both
1261 with the @code{\addlyrics} keyword. Lyrics are entered by
1262 separating each syllable with a space.
1264 @lilypond[verbatim,quote,ragged-right]
1269 d4 b8 c4 a8 d4 b8 g4
1272 Girls and boys come out to play,
1277 Note the curly brackets delimiting both the music and the lyrics,
1278 and the double angle brackets @code{<< ... >>} around the whole
1279 piece to show that the music and lyrics are to occur at the same
1282 @node Aligning lyrics to a melody
1283 @subsection Aligning lyrics to a melody
1285 Music Glossary: @rglos{melisma}, @rglos{extender line}.
1288 @cindex extender line
1292 The next line in the nursery rhyme is @q{The moon doth shine as
1293 bright as day}. Let's extend it:
1295 @lilypond[verbatim,quote,ragged-right]
1300 d4 b8 c4 a8 d4 b8 g4
1301 g8 a4 b8 c b a d4 b8 g4.
1304 Girls and boys come out to play,
1305 The moon doth shine as bright as day;
1310 We see the extra lyrics do not align properly with the notes. The
1311 word @q{shine} should be sung on two notes, not one. This is
1312 called a @notation{melisma}, a single syllable sung to more than
1313 one note. There are several ways to spread a syllable over
1314 multiple notes, the simplest being to add a slur across them (see
1315 @ref{Ties and slurs}):
1317 @lilypond[verbatim,quote,ragged-right]
1322 d4 b8 c4 a8 d4 b8 g4
1323 g8 a4 b8 c([ b)] a d4 b8 g4.
1326 Girls and boys come out to play,
1327 The moon doth shine as bright as day;
1332 Here we have also used manual beaming (the square brackets @code{[
1333 ]} ) to generate the beaming which is customarily used with lyrics
1334 (see @ref{Automatic and manual beams}).
1336 As an alternative to using slurs, the melismata may be indicated
1337 in just the lyrics by using an underscore, @code{_}, for each
1338 note that should be included in the melisma:
1340 @lilypond[verbatim,quote,ragged-right]
1345 d4 b8 c4 a8 d4 b8 g4
1346 g8 a4 b8 c[ b] a d4 b8 g4.
1349 Girls and boys come out to play,
1350 The moon doth shine _ as bright as day;
1355 If a syllable extends over several notes or a single very long
1356 note an @notation{extender line} is usually drawn from the
1357 syllable extending under all the notes for that syllable. It is
1358 entered as two underscores @code{__}. Here is an example from the
1359 first three bars of Dido's Lament, from Purcell's Dido and Æneas:
1361 @lilypond[verbatim,quote,ragged-right]
1367 b c4.( bes8 a4. g8 fis4.) g8 fis1
1371 am laid __ in earth,
1376 None of the examples so far have involved words containing more
1377 than one syllable. Such words are usually split one syllable to a
1378 note, with hyphens between syllables. Such hyphens are entered as
1379 two dashes, resulting in a centered hyphen between the syllables.
1380 Here is an example showing this and everything we have learned so
1381 far about aligning lyrics to notes.
1383 @c no ragged-right here because otherwise the hyphens get lost,
1384 @c but the example is long enough to avoid looking strange.
1385 @lilypond[verbatim,quote]
1391 d4 g4 g a8( b) g4 g4
1395 A -- way in a __ man -- ger,
1396 no __ crib for a bed, __
1401 Some lyrics, especially those in Italian, require the opposite:
1402 setting more than one syllable to a single note. This is
1403 achieved by linking the syllables together with a single
1404 underscore @code{_} (with no spaces), or enclosing them in
1405 quotes. Here's an example from Rossini's Figaro, where
1406 @q{al} has to be sung on the same note as the @q{go} of
1407 @q{Largo} in Figaro's aria @q{Largo al factotum}:
1409 @c no ragged-right here because otherwise the hyphens get lost,
1410 @c but the example is long enough to avoid looking strange.
1411 @lilypond[verbatim,quote]
1417 c4.~ c8 d b c([ d)] b c d b c
1420 Lar -- go_al fac -- to -- tum del -- la cit -- tà
1428 Notation Reference: @ruser{Vocal music}.
1431 @node Lyrics to multiple staves
1432 @subsection Lyrics to multiple staves
1434 The simple approach using @code{\addlyrics} can be used for
1435 placing lyrics under more than one staff. Here is an
1436 example from Handel's Judas Maccabæus:
1438 @lilypond[verbatim,quote,ragged-right]
1446 c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
1449 Let flee -- cy flocks the hills a -- dorn, __
1453 r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
1456 Let flee -- cy flocks the hills a -- dorn,
1462 but scores any more complex than this simple example are
1463 better produced by separating out the staff structure
1464 from the notes and lyrics with variables. These are
1465 discussed in @ref{Organizing pieces with variables}.
1469 Notation Reference: @ruser{Vocal music}.
1474 @section Final touches
1476 This is the final section of the tutorial; it demonstrates how to
1477 add the final touches to simple pieces, and provides an
1478 introduction to the rest of the manual.
1481 * Organizing pieces with variables::
1484 * Absolute note names::
1485 * After the tutorial::
1489 @node Organizing pieces with variables
1490 @subsection Organizing pieces with variables
1492 When all of the elements discussed earlier are combined to produce
1493 larger files, the music expressions get a lot bigger. In
1494 polyphonic music with many staves, the input files can become very
1495 confusing. We can reduce this confusion by using
1498 With variables (also known as identifiers or macros), we can break
1499 up complex music expressions. A variable is assigned as
1503 namedMusic = @{ @dots{} @}
1506 The contents of the music expression @code{namedMusic} can be used
1507 later by placing a backslash in front of the name
1508 (@code{\namedMusic}, just like a normal LilyPond command).
1510 @lilypond[verbatim,quote,ragged-right]
1511 violin = \new Staff { \relative c'' {
1514 cello = \new Staff { \relative c {
1527 The name of a variable must have alphabetic characters only, no
1528 numbers, underscores, or dashes.
1530 Variables must be defined @emph{before} the main music
1531 expression, but may be used as many times as required anywhere after
1532 they have been defined. They may even be used in a later definition
1533 of another variable, giving a way of shortening the input if a
1534 section of music is repeated many times.
1536 @lilypond[verbatim,quote,ragged-right]
1537 tripletA = \times 2/3 { c,8 e g }
1538 barA = { \tripletA \tripletA \tripletA \tripletA }
1545 Variables may be used for many other types of objects in
1546 the input. For example,
1551 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1554 Depending on its contents, the variable can be used in different
1555 places. The following example uses the above variables:
1566 @node Version number
1567 @subsection Version number
1570 The @code{\version} statement records the version of LilyPond that
1571 was used to write the file:
1578 By convention, this is placed at the top of your LilyPond file.
1580 These annotations make future upgrades of LilyPond go more
1581 smoothly. Changes in the syntax are handled with a special
1582 program, @file{convert-ly}, and it uses @code{\version} to
1583 determine what rules to apply. For details, see
1584 @rprogram{Updating files with convert-ly}.
1588 @subsection Adding titles
1590 The title, composer, opus number, and similar information are
1591 entered in the @code{\header} block. This exists outside of the
1592 main music expression; the @code{\header} block is usually placed
1593 underneath the @ref{Version number}.
1604 @dots{} music @dots{}
1608 When the file is processed, the title and composer are printed
1609 above the music. More information on titling can be found in
1610 @ruser{Creating titles}.
1613 @node Absolute note names
1614 @subsection Absolute note names
1616 So far we have always used @code{\relative} to define pitches.
1617 This is the easiest way to enter most music, but another way of
1618 defining pitches exists: absolute mode.
1620 If you omit the @code{\relative}, LilyPond treats all pitches as
1621 absolute values. A @code{c'} will always mean middle C, a
1622 @code{b} will always mean the note one step below middle C, and a
1623 @code{g,} will always mean the note on the bottom staff of the
1626 @lilypond[verbatim,quote,ragged-right]
1634 Here is a four-octave scale:
1636 @lilypond[verbatim,quote,ragged-right]
1651 As you can see, writing a melody in the treble clef involves a lot
1652 of quote @code{'} marks. Consider this fragment from Mozart:
1654 @lilypond[verbatim,quote,ragged-right]
1658 cis''8. d''16 cis''8 e''4 e''8
1659 b'8. cis''16 b'8 d''4 d''8
1663 All these quotes makes the input less readable and they are a source
1664 of errors. With @code{\relative}, the previous example is much
1665 easier to read and type:
1667 @lilypond[verbatim,quote,ragged-right]
1671 cis8. d16 cis8 e4 e8
1676 If you make a mistake with an octave mark (@code{'} or @code{,})
1677 while working in @code{\relative} mode, it is very obvious -- many
1678 notes will be in the wrong octave. When working in absolute mode,
1679 a single mistake will not be as visible, and will not be as easy
1682 However, absolute mode is useful for music which has large
1683 intervals, and is extremely useful for computer-generated LilyPond
1688 @node After the tutorial
1689 @subsection After the tutorial
1691 FIXME: rewrite slightly after the rest of the LM has been
1692 stabilized. Translators, ignore this section for now.
1694 After finishing the tutorial, you should probably try writing a
1695 piece or two. Start by adding notes to one of the
1696 @ref{Templates}. If you need any notation that was not covered in
1697 the tutorial, look at the Notation Reference, starting with
1698 @ruser{Musical notation}. If you want to write for an instrument
1699 ensemble that is not covered in the templates, take a look at
1700 @ref{Extending the templates}.
1702 Once you have written a few short pieces, read the rest of the
1703 Learning Manual (chapters 3-5). There's nothing wrong with
1704 reading it now, of course! However, the rest of the Learning
1705 Manual assumes that you are familiar with LilyPond input. You may
1706 wish to skim these chapters right now, and come back to them after
1707 you have more experience.