1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 - unless you have a really good reason, use either
13 @l ilypond[quote,ragged-right,verbatim]
15 @l ilypond[quote,ragged-right,verbatim,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.
19 - use "aes" and "ees" instead of "as" and "aes". I know it's not
20 correct Dutch naming, but let's not confuse people with this until
21 we get to the Basic notation chapter.
26 @c old info that will probably be removed.
28 @c * more details about running lilypond; error messages,
29 @c compiling/viewing (emacs?)
30 @c * where to go from First steps+More basics?
32 @c wherever possible, do not include index entries here; the
33 @c index should point to stuff in the reference manual. -gp
35 @c Your first LilyPond score in 10 minutes?
40 This tutorial starts with an introduction to the LilyPond music
41 language and how to produce printed music. After this first contact we
42 will explain how to create common musical notation.
45 Many people learn programs by trying and fiddling around with the
46 program. This is also possible with LilyPond. If you click on a
47 picture in the HTML version of this manual, you will see the exact
48 LilyPond input that was used to generate that image.
51 @lilypond[fragment,quote,ragged-right,relative=2]
52 c-\markup { \bold \huge { Click here. } }
55 By cutting and pasting everything from the @qq{Start cut-&-pastable-section}
56 to the end of the file, you have a
57 starting template for experiments. If you like learning in this way,
58 you will probably want to print out or bookmark the
59 @ref{Cheat sheet}, which is a table listing of the most common
60 commands for quick reference.
64 * First steps (compiling a file)::
66 * Working on text files::
67 * How to read the tutorial::
68 * Accidentals and key signatures::
70 * Articulation and dynamics::
71 * Automatic and manual beams::
72 * Advanced rhythmic commands::
73 * Music expressions explained::
75 * Combining notes into chords::
79 * Single staff polyphony::
81 * Organizing larger pieces::
82 * An orchestral part::
83 * After the tutorial::
88 @node First steps (compiling a file)
89 @section First steps (compiling a file)
91 The first example demonstrates how to start working with LilyPond. To
92 create sheet music, we write a text file that specifies the
93 notation. For example, if we write
102 the result looks like this
104 @lilypond[quote,ragged-right]
110 @strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
111 braces @}} placed around the input. The braces should be also be
112 surrounded by a space unless they are at the beginning or end of a
113 line to avoid ambiguities. These may be omitted in some examples in this
114 manual, but don't forget them in your own music!
116 @cindex Case sensitive
117 In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
118 is valid input; @code{ @{ C D E @} } will produce an error message.
122 @subheading Entering music and viewing output
124 In this section we will explain what commands to run
125 and how to view or print the output.
127 @subsubheading MacOS X
129 If you double click LilyPond.app, it will open with an example
130 file. Save it, for example, to @file{test.ly} on your Desktop, and
131 then process it with the menu command @samp{Compile > Typeset File}.
132 The resulting PDF file will be displayed on your screen.
134 Be warned that the first time you ever run lilypond will take a minute
135 or two because all of the system fonts have to be analyzed first.
137 For future use of LilyPond, you should begin by selecting "New"
140 @subsubheading Windows
142 On Windows, start up a text-editor@footnote{Any simple or
143 programmer-oriented editor with UTF-8 support will do, for example
144 Notepad. Do not use a word processor, since these insert formatting
145 codes that will confuse LilyPond.} and enter
153 Save it on the desktop as @file{test.ly} and make sure that it is not
154 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
155 the file and show the resulting PDF file.
160 Begin by opening a terminal window and starting a text editor. For
161 example, you could open an xterm and execute
162 @code{joe}@footnote{There are macro files for VIM addicts, and there
163 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
164 installed already, refer to the file @file{INSTALL.txt}. These
165 easiest editing environment is @file{LilyPondTool}. See
166 @ref{Editor support} for more information.}. In your
167 text editor, enter the following input and save the file as
177 To process @file{test.ly}, proceed as follows
184 You will see something resembling
191 Interpreting music... [1]
192 Preprocessing graphical objects...
193 Calculating line breaks... [2]
194 Layout output to `test.ps'...
195 Converting to `test.pdf'...
199 @cindex Viewing music
202 The result is the file @file{test.pdf} which you can print or view
203 with the standard facilities of your operating system.@footnote{If
204 your system does not have any tools installed, you can try
205 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
206 available package for viewing and printing PDF and PostScript files.}
209 @node Simple notation
210 @section Simple notation
212 LilyPond will add some notation elements automatically. In the next
213 example, we have only specified four pitches, but LilyPond has
214 added a clef, time signature, and rhythms.
216 @lilypond[quote,ragged-right,verbatim]
223 This behavior may be altered, but in most cases these automatic values
229 The easiest way to enter notes is by using @code{\relative} mode. In
230 this mode, the @rglos{interval} between the previous note and the
231 current note is assumed to be within a @rglos{fourth}. We begin by
232 entering the most elementary piece of music, a @rglos{scale}.
234 @lilypond[quote,ragged-right,verbatim]
241 The initial note is @rglos{middle C}. Each successive note
242 is within a fourth of the previous note -- in other words, the first
243 @samp{c} is the closest C to middle C. This is followed by the closest
244 D to the previous note. We can create melodies which have larger intervals:
246 @lilypond[quote,ragged-right,verbatim]
254 As you may notice, this example does not start on middle C. The first
255 note -- the @samp{d} -- is the closest D to middle C.
257 To add intervals that are larger than a fourth, we can raise the octave
258 by adding a single quote @code{'} (or apostrophe) to the note name. We can
259 lower the octave by adding a comma @code{,} to the note name.
261 @lilypond[quote,ragged-right,verbatim]
269 To change a note by two (or more!) octaves, we use multiple @code{''} or
270 @code{,,} -- but be careful that you use two single quotes @code{''} and
271 not one double quote @code{"}@tie{}! The initial value in
272 @code{\relative c'} may also be modified like this.
275 @subheading Durations (rhythms)
277 The @rglos{duration} of a note is specified by a number after the note
278 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
279 @samp{4} for a @rglos{quarter note} and so on. Beams are added
282 @lilypond[quote,ragged-right,verbatim]
286 a16 a a a a32 a a a a64 a a a a a a a a2
291 If you do not specify a duration, the previous duration is used
292 for the next note. The duration of the first note defaults to a quarter.
294 To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
296 @lilypond[quote,ragged-right,verbatim]
306 A @rglos{rest} is entered just like a note with the name @samp{r}:
308 @lilypond[quote,ragged-right,verbatim]
316 @subheading Time signature
318 The @rglos{time signature}) can be set with the @code{\time} command:
320 @lilypond[quote,ragged-right,verbatim]
334 The @rglos{clef} can be set using the @code{\clef} command:
336 @lilypond[quote,ragged-right,verbatim]
350 @subheading All together
352 Here is a small example showing all these elements together:
354 @lilypond[quote,ragged-right,verbatim]
366 @item Entering pitches and durations
367 see @ref{Pitches} and @ref{Durations}.
370 @item Time signatures and other timing commands
371 see @ref{Time signature}.
378 @node Working on text files
379 @section Working on text files
381 LilyPond input files are treated like files in most programming languages:
382 they are case sensitive, white-space insensitive, expressions are
383 formed with curly braces @{ @}, and comments are denoted with @code{%} or
386 If the previous sentence sounds like nonsense, don't worry! We'll explain
387 what all these terms mean:
391 @cindex Case sensitive
392 @item @strong{Case sensitive}:
393 it matters whether you enter a letter
394 in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
395 @code{A, B, S, T}). Notes are lower case: @code{ @{ c d e @} }
396 is valid input; @code{ @{ C D E @} } will produce an error message.
398 @item @strong{Whitespace insensitive}:
399 it does not matter how many
400 spaces (or new lines) you add. @code{ @{ c d e @}} means the same thing
401 as @code{ @{ c @ @ @ @ @ d e @} } and
409 Of course, the previous example is hard to read. A good rule of thumb
410 is to indent code blocks with either a tab or two spaces:
417 @item @strong{Expressions:}
418 Every piece of LilyPond input needs to have
419 @strong{@{ curly braces @}} placed around the input. These braces tell
420 LilyPond that the input is a single music expression, just like
421 parenthesis @samp{()} in mathematics. The braces should
422 be surrounded by a space unless they are at the beginning or end of a
423 line to avoid ambiguities.
425 A function (such as @code{\relative @{ @}} ) also counts as a single
430 @cindex block comment
431 @item @strong{Comments}:
432 A comment is a remark for the human reader of the music input; it is
433 ignored while parsing, so it has no effect on the printed output.
434 There are two types of comments. The percent symbol @samp{%}
435 introduces a line comment; anything after @samp{%} on that line is
436 ignored. A block comment marks a whole section of music
437 input as a comment. Anything that is enclosed in @code{%@{} and @code{%@}} is
438 ignored. The following fragment shows possible uses for comments
441 % notes for twinkle twinkle follow
445 This line, and the notes below
446 are ignored, since they are in a
455 There are more tips for constructing input files in
456 @ref{Suggestions for writing LilyPond files}.
459 @node How to read the tutorial
460 @section How to read the tutorial
462 As we saw in @ref{Working on text files}, LilyPond input must be
463 surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
464 rest of this manual, most examples will omit this.
466 If you are reading the HTML documentation and wish to see the exact
467 exact LilyPond code that was used to create the example, simply click
468 on the picture. If you are not reading the HTML version, you could
469 copy and paste the displayed input, but you @strong{must} add the
470 @code{\relative c'' @{ @}} like this:
474 ... example goes here...
478 Why omit the braces? Most examples
479 in this manual can be inserted into the middle of a longer piece of
480 music. For these examples, it does not make sense to add
481 @code{\relative c'' @{ @}} -- you should not place a @code{\relative}
482 inside another @code{\relative}, so you would not be able to copy
483 a small documentation example and paste it inside a longer piece
487 @node Accidentals and key signatures
488 @section Accidentals and key signatures
490 @subheading Accidentals
492 A @rglos{sharp} pitch is made by adding @samp{is} to
493 the name, and a @rglos{flat} pitch by adding @samp{es}. As
494 you might expect, a @rglos{double sharp} or @rglos{double flat} is
495 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
496 derived from note naming conventions in Nordic and Germanic languages,
497 like German and Dutch. To use other names for accidentals, see
498 @ref{Note names in other languages}.}
500 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
501 cis1 ees fisis, aeses
504 @cindex key signature, setting
505 @subheading Key signatures
507 The key signature is set with the command @code{\key} followed by
508 a pitch and @code{\major} or @code{\minor}.
510 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
519 @subheading Warning: key signatures and pitches
521 To determine whether to print an accidental, LilyPond examines the
522 pitches and the key signature. The key signature only effects
523 the @emph{printed} accidentals, not the actual pitches! This is a
524 feature that often causes confusion to newcomers, so let us explain it
527 LilyPond makes a sharp distinction between musical content and
528 layout. The alteration (flat, natural or sharp) of a note is part of
529 the pitch, and is therefore musical content. Whether an accidental (a
530 @emph{printed} flat, natural or sharp sign) is printed in front of the
531 corresponding note is a question of layout. Layout is something that
532 follows rules, so accidentals are printed automatically according to
533 those rules. The pitches in your music are works of art, so they will
534 not be added automatically, and you must enter what you want to hear.
538 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
544 No note has a printed accidental, but you must still add the @samp{is} to
545 @code{cis} and @code{fis}.
547 The code @samp{e} does not mean @qq{print a black dot just below the
548 first line of the staff.} Rather, it means: @qq{there is a note with
549 pitch E-natural.} In the key of A-flat major, it @emph{does} get an
552 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
557 Adding all alterations explicitly might require a little more effort
558 when typing, but the advantage is that transposing is easier, and
559 accidentals can be printed according to different conventions. See
560 @ref{Automatic accidentals} for some examples how accidentals can be printed
561 according to different rules.
567 see @ref{Accidentals} and @ref{Automatic accidentals}.
569 see @ref{Key signature}.
575 @section Ties and slurs
579 A @rglos{tie} is created by appending a tilde @samp{~} to the first
582 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
590 A @rglos{slur} is a curve drawn across many notes. The starting note
591 and ending note are marked with @samp{(} and @samp{)} respectively.
593 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
594 d4( c16) cis( d e c cis d) e( d4)
597 @cindex slurs, phrasing
598 @cindex phrasing slurs
599 @subheading Phrasing slurs
601 @cindex phrasing slurs
602 Slurs to indicate longer phrasing can be entered with @code{\(} and
603 @code{\)}. You can have both legato slurs and phrasing slurs at the
604 same time, but you cannot have simultaneous slurs or simultaneous
607 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
608 a8(\( ais b c) cis2 b'2 a4 cis,\)
613 @cindex slurs versus ties
614 @subheading Warnings: slurs vs. ties
616 A slur looks like a @rglos{tie}, but it has a different meaning. A
617 tie simply makes the first note longer, and can only be used on
618 pairs of notes with the same pitch. Slurs indicate the articulations
619 of notes, and can be used on larger groups of notes. Slurs and ties
622 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
623 c2~( c8 fis fis4 ~ fis2 g2)
634 see @ref{Phrasing slurs}.
639 @node Articulation and dynamics
640 @section Articulation and dynamics
645 @subheading Articulations
647 @c FIXME: change to @rglos once the term is added (articulations)
648 Common articulations can be added to a note using a dash (@samp{-}) and a
651 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
652 c-. c-- c-> c-^ c-+ c-_
656 @subheading Fingerings
657 Similarly, fingering indications can be added to a note using a dash
658 (@samp{-}) and the digit to be printed:
660 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
664 Articulations and fingerings are usually placed automatically, but you
665 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
666 also use multiple articulations on the same note. However, in most cases
667 it is best to let LilyPond determine the articulation directions.
669 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
670 c_-^1 d^. f^4_2-> e^-_+
674 Dynamic signs are made by adding the markings (with a backslash) to
677 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
685 Crescendi and decrescendi are started with the commands @code{\<} and
686 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
687 (de)crescendo, or the command @code{\!} can be used
689 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
697 see @ref{Articulations}.
699 see @ref{Fingering instructions}.
706 @node Automatic and manual beams
707 @section Automatic and manual beams
709 @cindex beams, by hand
710 All @rglos{beam}s are drawn automatically:
712 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
713 a8 ais d ees r d c16 b a8
717 If you do not like the automatic beams, they may be overridden
718 manually. Mark the first note to be beamed with @samp{[} and the last one
721 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
722 a8[ ais] d[ ees r d] a b
728 @item Automatic beams
729 see @ref{Automatic beams}.
731 see @ref{Manual beams}.
736 @node Advanced rhythmic commands
737 @section Advanced rhythmic commands
741 @cindex partial measure
742 @subheading Partial measure
744 @c FIXME: glossary "anacrusis".
745 A pickup (or @q{anacrusis}) is entered with the keyword @code{\partial}. It
746 is followed by a duration: @code{\partial 4} is a quarter note pickup
747 and @code{\partial 8} an eighth note.
749 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
758 Tuplets are made with the @code{\times} keyword. It takes two
759 arguments: a fraction and a piece of music. The duration of the piece
760 of music is multiplied by the fraction. Triplets make notes occupy
761 2/3 of their notated duration, so a triplet has 2/3 as its fraction
763 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
764 \times 2/3 { f8 g a }
766 \times 2/3 { f,8 g16 a g a }
773 @subheading Grace notes
775 Grace notes are created with the @code{\grace} command, although they
776 can also be created by prefixing a music expression with the
777 keyword @code{\appoggiatura} or @code{\acciaccatura}
779 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
780 c2 \grace { a32 b} c2
781 c2 \appoggiatura b16 c2
782 c2 \acciaccatura b16 c2
789 see @ref{Grace notes},
793 see @ref{Partial measures}.
799 @node Music expressions explained
800 @section Music expressions explained
802 In LilyPond input files, music is represented by @emph{music
803 expressions}. A single note is a music expression, although it is not
804 valid input all on its own.
806 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
810 Enclosing a group of notes in braces creates a new music expression:
812 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
816 Putting a group of music expressions (e.g. notes) in braces means that
817 are in sequence (i.e. each one follows the previous one). The result
818 is another music expression:
820 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
824 @subheading Simultaneous music expressions: multiple staves
826 This technique is useful for polyphonic music. To enter music
827 with more voices or more staves, we combine expressions in
828 parallel. To indicate that two voices should play at the same time
829 simple enter a simultaneous combination of music expressions. A
830 @q{simultaneous} music expression is formed by enclosing expressions inside
831 @code{<<} and @code{>>}. In the following example, three sequences (all
832 containing two separate notes) are combined simultaneously:
834 @lilypond[quote,ragged-right,verbatim]
844 Note that we have indented each level of the input with a different
845 amount of space. LilyPond does not care how much (or little) space there
846 is at the beginning of a line, but indenting LilyPond code like this makes
847 it much easier for humans to read.
849 @subheading Simultaneous music expressions: single staff
851 To determine the number of staves in a piece, LilyPond looks at the first
852 exression. If it is a single note, there is one staff; if there is a
853 simultaneous expression, there is more than one staff.
855 @lilypond[quote,ragged-right,verbatim]
857 c <<c e>> << { e f } { c <<b d>> } >>
862 @subheading Analogy: mathematical expressions
864 This mechanism is similar to mathematical
865 formulas: a big formula is created by composing small formulas. Such
866 formulas are called expressions, and their definition is recursive so
867 you can make arbitrarily complex and large expressions. For example,
876 ((1 + 2) * 3) / (4 * 5)
880 @cindex music expression
881 This is a sequence of expressions, where each expression is contained
882 in the next (larger) one. The simplest expressions are numbers, and larger
883 ones are made by combining expressions with operators (like @samp{+},
884 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
885 music expressions can be nested arbitrarily deep, which is necessary
886 for complex music like polyphonic scores.
894 As we saw in @ref{Music expressions explained}, LilyPond is blah blah.
896 To print more than one staff, each piece of music that makes up a
897 staff is marked by adding @code{\new Staff} before it. These
898 @code{Staff} elements are then combined in parallel with @code{<<} and
899 @code{>>}, as demonstrated here
901 @lilypond[quote,fragment,verbatim]
903 \new Staff { \clef treble c'' }
904 \new Staff { \clef bass c }
909 The command @code{\new} introduces a @q{notation context.} A notation
910 context is an environment in which musical events (like notes or
911 @code{\clef} commands) are interpreted. For simple pieces, such
912 notation contexts are created automatically. For more complex pieces, it
913 is best to mark contexts explicitly. This ensures that each fragment
916 There are several types of contexts. @code{Staff}, @code{Voice} and
917 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
918 texts and @code{ChordNames} prints chord names.
920 In terms of syntax, prepending @code{\new} to a music expression
921 creates a bigger music expression. In this way it resembles the minus
922 sign in mathematics. The formula @math{(4+5)} is an expression, so
923 @math{-(4+5)} is a bigger expression.
925 We can now typeset a melody with two staves
927 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
929 @lilypond[fragment,quote,verbatim,ragged-right]
946 For more information on contexts see the description in
947 @ref{Interpretation contexts}.
953 @node Combining notes into chords
954 @section Combining notes into chords
957 Chords can be made by surrounding pitches with angle brackets.
958 Angle brackets are the symbols @samp{<} and @samp{>}.
960 @lilypond[quote,relative=1,fragment,verbatim]
965 You can combine markings like beams and ties with chords. They must
966 be placed outside the angled brackets
968 @lilypond[quote,relative=1,fragment,verbatim]
969 r4 <c e g>8[ <c f a>]~ <c f a>
973 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
976 @lilypond[quote,relative=1,fragment]
978 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
983 @c TODO post-2.6 reorg
984 @c This is good info, but I wouldn't call it a comment. IMO it should
985 @c be moved somewhere else.
989 There is a special statement that is a kind of comment. The @code{\version}
990 statement marks for which version of LilyPond the file was written.
991 To mark a file for version 2.10.1, use
998 These annotations make future upgrades of LilyPond go more
999 smoothly. Changes in the syntax are handled with a special program,
1000 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
1001 @code{\version} to determine what rules to apply.
1004 @node Printing lyrics
1005 @section Printing lyrics
1008 @c TODO: (c) status of the Queen fragment.
1012 Lyrics are entered by separating each syllable with a space
1015 I want to break free
1020 @lilypond[quote,verbatim,fragment,ragged-right]
1022 r4 c \times 2/3 { f g g }
1023 \times 2/3 { g4( a2) }
1027 The lyrics can be set to these notes, combining both with the
1028 @code{\addlyrics} keyword
1030 @lilypond[quote,verbatim,fragment,ragged-right]
1033 r4 c \times 2/3 { f g g }
1034 \times 2/3 { g4( a2) }
1036 \addlyrics { I want to break free }
1041 @cindex extender line
1043 This melody ends on a @rglos{melisma}, a single syllable (@q{free})
1044 sung to more than one note. This is indicated with an @emph{extender
1045 line}. It is entered as two underscores, i.e.,
1048 @{ I want to break free __ @}
1051 @lilypond[fragment,quote,ragged-right]
1054 r4 c \times 2/3 { f g g }
1055 \times 2/3 { g4( a2) }
1057 \addlyrics { I want to break free __ }
1061 Similarly, hyphens between words can be entered as two dashes,
1062 resulting in a centered hyphen between two syllables
1068 @c no ragged-right here, because otherwise the hypens get lost.
1069 @lilypond[fragment,quote]
1075 \addlyrics { A -- le gri -- a }
1079 More options, like putting multiple lines of lyrics below a melody are
1080 discussed in @ref{Vocal music}.
1084 @section A lead sheet
1090 @c TODO: revise this, \chords { } is shorter and more intuitive.
1092 In popular music, it is common to denote accompaniment with chord names.
1093 Such chords can be entered like notes,
1095 @lilypond[quote,verbatim,ragged-right]
1096 \chordmode { c2 f4. g8 }
1100 Now each pitch is read as the root of a chord instead of a note.
1101 This mode is switched on with @code{\chordmode}
1103 Other chords can be created by adding modifiers after a colon. The
1104 following example shows a few common modifiers
1106 @lilypond[quote,verbatim,ragged-right]
1107 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1110 For lead sheets, chords are not printed on staves, but as names on a
1111 line for themselves. This is achieved by using @code{\chords} instead
1112 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1113 but renders the notes in a @code{ChordNames} context, with the
1116 @lilypond[quote,verbatim,ragged-right]
1117 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1121 When put together, chord names, lyrics and a melody form
1122 a lead sheet, for example,
1126 \chords @{ @emph{chords} @}
1128 \addlyrics @{ @emph{the text} @}
1133 @lilypond[quote,ragged-right]
1135 \chords { r2 c:sus4 f }
1137 r4 c' \times 2/3 { f g g }
1138 \times 2/3 { g4( a2) }
1140 \addlyrics { I want to break free __ }
1144 A complete list of modifiers and other options for layout can be found
1149 @section Adding titles
1151 Bibliographic information is entered in a separate block, the
1152 @code{\header} block. The name of the piece, its composer, etc., are
1153 entered as an assignment, within @code{\header
1154 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1155 the top of the file. For example,
1160 composer = "Igor Stravinsky"
1167 When the file is processed, the title and composer are printed above
1168 the music. More information on titling can be found in @ref{Creating
1172 @node Single staff polyphony
1173 @section 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 are
1179 printed as polyphonic voices; each voice has its own stems, slurs and
1180 beams, and the top voice has the stems up, while the bottom voice has
1183 Entering such parts is done by entering each voice as a sequence (with
1184 @code{@{...@}}), and combining these simultaneously, separating the
1185 voices with @code{\\}
1187 @lilypond[quote,verbatim,relative=2,fragment]
1188 << { a4 g2 f4~ f4 } \\
1192 For polyphonic music typesetting, spacer rests can also be convenient;
1193 these are rests that do not print. They are useful for filling up
1194 voices that temporarily do not play. Here is the same example with a
1195 spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
1197 @lilypond[quote,verbatim,relative=2,fragment]
1198 << { a4 g2 f4~ f4 } \\
1203 Again, these expressions can be nested arbitrarily
1205 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1213 { <c g>1 ~ <c g>4 } \\
1219 More features of polyphonic typesetting are described in this manual
1220 in section @ref{Basic polyphony}.
1224 @section Piano staves
1226 @cindex staff switch, manual
1227 @cindex cross staff voice, manual
1228 Piano music is typeset in two staves connected by a brace. Printing
1229 such a staff is similar to the polyphonic example in @ref{More staves},
1232 << \new Staff @{ @dots{} @}
1233 \new Staff @{ @dots{} @} >>
1237 but now this entire expression must be interpreted as a
1241 \new PianoStaff << \new Staff @dots{} >>
1244 Here is a small example
1246 @lilypond[quote,verbatim,relative=1,fragment]
1248 \new Staff { \time 2/4 c4 c g' g }
1249 \new Staff { \clef bass c,, c' e c }
1253 More information on formatting piano music is given in @ref{Piano music}.
1256 @node Organizing larger pieces
1257 @section Organizing larger pieces
1259 When all of the elements discussed earlier are combined to produce
1260 larger files, the @code{\score} blocks get a lot bigger because the
1261 music expressions are longer, and, in the case of polyphonic music,
1262 more deeply nested. Such large expressions can become unwieldy.
1264 By using variables, also known as identifiers, it is possible to break
1265 up complex music expressions. An identifier is assigned as follows
1268 namedMusic = @{ @dots{} @}
1272 The contents of the music expression @code{namedMusic}, can be used
1273 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1274 In the next example, a two-note motive is repeated two times by using
1275 variable substitution
1277 @lilypond[quote,ragged-right,verbatim,nofragment]
1281 { \seufzer \seufzer }
1284 The name of an identifier should have alphabetic characters only: no
1285 numbers, underscores, or dashes. The assignment should be outside of
1288 It is possible to use variables for many other types of objects in the
1294 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1297 Depending on its contents, the identifier can be used in different
1298 places. The following example uses the above variables
1308 More information on the possible uses of identifiers is given in the
1309 technical manual, in @ref{Input variables and Scheme}.
1310 @c fixme: the ref is too technical.
1313 @node An orchestral part
1314 @section An orchestral part
1316 In orchestral music, all notes are printed twice. Once in a part for
1317 the musicians, and once in a full score for the conductor. Identifiers can
1318 be used to avoid double work. The music is entered once, and stored in
1319 a variable. The contents of that variable is then used to generate
1320 both the part and the full score.
1322 It is convenient to define the notes in a special file. For example,
1323 suppose that the file @file{horn-music.ly} contains the following part
1324 of a horn/@/bassoon duo
1327 hornNotes = \relative c @{
1334 Then, an individual part is made by putting the following in a file
1337 \include "horn-music.ly"
1339 instrument = "Horn in F"
1343 \transpose f c' \hornNotes
1350 \include "horn-music.ly"
1354 substitutes the contents of @file{horn-music.ly} at this position in
1355 the file, so @code{hornNotes} is defined afterwards. The command
1356 @code{\transpose f@tie{}c'} indicates that the argument, being
1357 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1358 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1359 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1360 in the following output
1362 @lilypond[quote,ragged-right]
1363 \transpose f c' \relative c {
1369 In ensemble pieces, one of the voices often does not play for many
1370 measures. This is denoted by a special rest, the multi-measure
1371 rest. It is entered with a capital @samp{R} followed by a duration
1372 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1373 etc.). By multiplying the
1374 duration, longer rests can be constructed. For example, this rest
1375 takes 3@tie{}measures in 2/4 time
1381 When printing the part, multi-rests
1382 must be condensed. This is done by setting a run-time variable
1385 \set Score.skipBars = ##t
1389 This command sets the property @code{skipBars} in the
1390 @code{Score} context to true (@code{##t}). Prepending the rest and
1391 this option to the music above, leads to the following result
1393 @lilypond[quote,ragged-right]
1394 \transpose f c' \relative c {
1396 \set Score.skipBars = ##t
1403 The score is made by combining all of the music together. Assuming
1404 that the other voice is in @code{bassoonNotes} in the file
1405 @file{bassoon-music.ly}, a score is made with
1408 \include "bassoon-music.ly"
1409 \include "horn-music.ly"
1412 \new Staff \hornNotes
1413 \new Staff \bassoonNotes
1420 @lilypond[quote,ragged-right]
1428 r4 d,8 f | gis4 c | b bes |
1429 a8 e f4 | g d | gis f
1434 More in-depth information on preparing parts and scores can be found
1435 in the notation manual; see @ref{Orchestral music}.
1437 Setting run-time variables (@q{properties}) is discussed in
1438 @ref{Changing context properties on the fly}.
1441 @node After the tutorial
1442 @section After the tutorial
1444 After finishing the tutorial, you should probably try writing a
1445 piece or two. Start with one of the @ref{Example templates} and
1446 add notes. If you need any notation that was not covered in the
1447 tutorial, look at the Notation Reference, starting with
1448 @ref{Basic notation}. If you want to write for an instrument
1449 ensemble which is not covered in the @ref{Example templates},
1450 take a look at @ref{Extending the templates}.
1452 Once you have written a few short pieces, read the rest of
1453 the Learning Manual (chapters 3-5). There's nothing wrong
1454 with reading them now, of course! However, the rest of the
1455 Learning Manual assumes that you are familiar with
1456 LilyPond input. You may wish to skim these chapters right
1457 now, and come back to them after you have more experience.
1464 @section Octave entry
1466 @c Tim wants to move this quotes example just before the: quotes-do not-work
1467 @c score, but we'd need to remove quotes from the other two (key and
1470 @c better to have this just before the `octaves are bad' snipped
1471 @c but we'd need to remove the ', from \key and tie
1472 To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
1473 the note name, to lower a note one octave, add a @q{low quote} @samp{,}
1474 (comma). Middle C is @code{c'}
1476 @lilypond[quote,notime,fragment,verbatim]
1477 c'4 c'' c''' \clef bass c c,
1480 An example of the use of quotes is in the following Mozart fragment
1482 @lilypond[quote,ragged-right,fragment,verbatim]
1485 cis''8. d''16 cis''8 e''4 e''8
1486 b'8. cis''16 b'8 d''4 d''8
1490 This example shows that music in a high register needs lots of quotes.
1491 This makes the input less readable, and it is a source of errors. The
1492 solution is to use @q{relative octave} mode. This is the
1493 most convenient way to copy existing music.
1495 In relative mode, a note without octavation quotes (i.e., the @samp{'}
1496 or @samp{,} after a note) is chosen so that it is closest to the
1497 previous one. For example, @samp{c f} goes up while @samp{c g} goes
1500 To use relative mode, add @code{\relative} before the piece of
1501 music. The first note is taken relative to the middle C
1502 @c no , for this sentence
1507 @lilypond[quote,notime,fragment,verbatim]
1514 Since most music has small intervals, pieces can be written almost
1515 without octavation quotes in relative mode. The previous example is
1518 @lilypond[quote,ragged-right,verbatim]
1522 cis'8. d16 cis8 e4 e8
1527 @c needed better, maybe even redundant explanation
1528 @c added another example below.
1529 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
1530 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
1531 Larger intervals are made by adding octavation quotes.
1533 @lilypond[quote,notime,verbatim,fragment]
1539 In summary, quotes or commas no longer determine the absolute height
1540 of a note in @code{\relative} mode. Rather, the height of a note is
1541 relative to the previous one, and changing the octave of a single note
1542 shifts all following notes an octave up or down.
1544 For more information on relative octaves see @ref{Relative octaves},
1545 and @ref{Octave check}.