1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c Translation of GIT committish: <FILL-IN-HEAD-COMMITTISH>
6 @c When revising a translation, copy the HEAD committish of the
7 @c version that you are working on. Use
9 @c git-rev-list HEAD | head -1
14 @c * more details about running lilypond; error messages,
15 @c compiling/viewing (emacs?)
16 @c * where to go from First steps+More basics?
18 @c wherever possible, do not include index entries here; the
19 @c index should point to stuff in the reference manual. -gp
21 @c Your first LilyPond score in 10 minutes?
26 This tutorial starts with an introduction to the LilyPond music
27 language and how to produce printed music. After this first contact we
28 will explain how to create common musical notation.
31 Many people learn programs by trying and fiddling around with the
32 program. This is also possible with LilyPond. If you click on a
33 picture in the HTML version of this manual, you will see the exact
34 LilyPond input that was used to generate that image.
37 @lilypond[fragment,quote,ragged-right,relative=2]
38 c-\markup { \bold \huge { Click here. } }
42 By cutting and pasting the full input into a test file, you have a
43 starting template for experiments. If you like learning in this way,
44 you will probably want to print out or bookmark
48 @ref{Cheat sheet}, which is a table listing of the most common
49 commands for quick reference.
54 * More about pitches::
56 * Automatic and manual beams::
58 * Music expressions explained::
60 * Adding articulation marks to notes::
61 * Combining notes into chords::
62 * Advanced rhythmic commands::
63 * Commenting input files::
67 * Single staff polyphony::
69 * Organizing larger pieces::
70 * An orchestral part::
71 * After the tutorial::
78 The first example demonstrates how to enter the most elementary piece
79 of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
80 name, from @samp{a} through @samp{g}. So, if you enter
84 c' d' e' f' g' a' b' c''
89 the result looks like this
93 c' d' e' f' g' a' b' c''
97 @emph{Warning:} Every piece of LilyPond input needs to have
98 @{curly braces@} placed around the input. The braces should be
99 also be surrounded by a space unless
100 they are at the beginning or end of a line to avoid ambiguities. These
101 may be omitted in examples in this manual, but don't forget them in
104 @cindex Case sensitive
105 In addition, LilyPond input is case sensitive. @code{ @{ c d e @} } is
106 valid input; @code{ @{ C D E @} } will produce an error message.
110 @unnumberedsubsec Entering music and viewing output
112 In this section we will explain what commands to run
113 and how to view or print the output.
115 @unnumberedsubsec MacOS X
117 If you double click LilyPond.app, it will open with an example
118 file. Save it, for example, to @file{test.ly} on your Desktop, and
119 then process it with the menu command @samp{Compile > Typeset File}.
120 The resulting PDF file will be displayed on your screen.
122 Be warned that the first time you ever run lilypond
123 will take a minute or two, because
124 all of the system fonts have to be analyzed first.
126 For future use of LilyPond, you should begin by selecting "New"
129 @unnumberedsubsec Windows
131 On Windows, start up a text-editor@footnote{Any simple or
132 programmer-oriented editor will do, for example Notepad. Do not use a
133 word processor, since these insert formatting codes that will confuse
140 Save it on the desktop as @file{test.ly} and make sure that it is not
141 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
142 the file and show the resulting PDF file.
145 @unnumberedsubsec Unix
147 Begin by opening a terminal window and starting a text editor. For
148 example, you could open an xterm and execute
149 @code{joe}@footnote{There are macro files for VIM addicts, and there
150 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
151 installed already, refer to the file @file{INSTALL.txt}.}. In your
152 text editor, enter the following input and save the file as
160 To process @file{test.ly}, proceed as follows
167 You will see something resembling
174 Interpreting music... [1]
175 Preprocessing graphical objects...
176 Calculating line breaks... [2]
177 Layout output to `test.ps'...
178 Converting to `test.pdf'...
182 @cindex Viewing music
185 The result is the file @file{test.pdf} which you can print or view
186 with the standard facilities of your operating system.@footnote{If
187 your system does not have any tools installed, you can try
188 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
189 available package for viewing and printing PDF and PostScript files.}
193 @section Second steps
195 @emph{Remember:} Every piece of LilyPond input needs to
196 have @{curly braces@} placed around the input.
197 The braces should be surrounded by a space unless
198 they are at the beginning or end of a line to avoid ambiguities.
199 For the rest of this manual, most examples will
200 omit these braces, but don't forget them in your own music!
202 @c will be removed once the tutorial either explains \relative or
203 @c examples are fixed so they don't use it. -gp
204 In addition, many examples use @code{relative} mode. This is explained
205 in @ref{Octave entry}; for now simply be aware that some examples
206 should be placed inside @code{\relative @{ @emph{...music...} @}}.
207 Many example have also been compressed horizontally to save
208 space, using @code{\paper @{ ragged-right = ##t @}}.
210 @cindex Case sensitive
211 Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
212 valid input; @code{ @{ C D E @} } will produce an error message.
214 @c End of latest re-write. Since I have no life, I may do more
215 @c work on this, but I'd really like to have a Doc Helper take
216 @c over this task. -gp
219 The @rglos{duration} of a note is specified by a number after the note
220 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
221 @samp{4} for a @rglos{quarter note} and so on
227 @lilypond[fragment,quote,notime,relative=2]
228 \set Staff.autoBeaming = ##f
229 { a1 a2 a4 a16 a32 s16_" " }
232 If you do not specify a duration, the duration last entered is used
233 for the next notes. The duration of the first note in input defaults
240 @lilypond[fragment,quote,notime,relative=2]
241 { a a8 a a2 a s16_" " }
245 A @rglos{rest} is entered just like a note, but with the name @samp{r}
251 @lilypond[fragment,quote,notime]
255 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
261 @lilypond[fragment,quote,notime,relative=1]
262 { a2. a4 a8. a16 s16_" " }
265 The (or @rglos{time signature}) can be set with the @code{\time}
274 @c A clef here may lead to confusion, remove it.
275 @lilypond[fragment,quote]
276 \override Staff.Clef #'transparent = ##t
285 The @rglos{clef} can be set using the @code{\clef} command
294 @lilypond[fragment,quote,notime]
305 Remember to enclose the notes and commands in curly braces
306 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
308 @lilypond[fragment,quote,noindent,verbatim]
315 For more information on
319 @item Entering pitches and durations
321 @ref{Pitches}, and @ref{Durations}.
326 @item Time signatures and other timing commands
327 see @ref{Time signature}.
332 @node More about pitches
333 @section More about pitches
335 A @rglos{sharp} pitch is made by adding @samp{is} to
336 the name, a @rglos{flat} pitch by adding @samp{es}. As
337 you might expect, a @rglos{double sharp} or @rglos{double flat} is
338 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
339 derived from note naming conventions in Nordic and Germanic languages,
340 like German and Dutch.}
346 @lilypond[fragment,quote,notime]
347 \set Score.timing = ##f
348 \transpose c c' { cis1 ees fisis aeses s16_" " }
351 @cindex key signature, setting
352 The key signature is set with the command @code{\key}, followed by
353 a pitch and @code{\major} or @code{\minor}
362 @lilypond[fragment,quote,notime,fragment]
370 Key signatures together with the pitches (including alterations) are
371 used to determine when to print accidentals. This is a
372 feature that often causes confusion to newcomers, so let us explain it
376 LilyPond makes a sharp distinction between musical content and
377 layout. The alteration (flat, natural or sharp) of a note is part of
378 the pitch, and is therefore musical content. Whether an accidental (a
379 flat, natural or sharp @emph{sign}) is printed in front of the
380 corresponding note is a question of layout. Layout is something that
381 follows rules, so accidentals are printed automatically according to
382 those rules. The pitches in your music are works of art, so they will
383 not be added automatically, and you must enter what you want to hear.
387 @lilypond[quote,notime,fragment]
393 no note has an explicit accidental, but you still must enter
401 The code @samp{d} does not mean `print a black dot just below the
402 staff.' Rather, it means: `a note with pitch D-natural.' In the key
403 of A-flat major, it does get an accidental
405 @lilypond[quote,notime,fragment,relative=1,verbatim]
410 Adding all alterations explicitly might require a little more effort
411 when typing, but the advantage is that transposing is easier, and
412 accidentals can be printed according to different conventions. See
413 @ref{Automatic accidentals}, for some examples how accidentals can be printed
414 according to different rules.
417 For more information on
422 see @ref{Automatic accidentals}.
425 see @ref{Key signature}.
430 @section Entering ties
433 A @rglos{tie} is created by appending a tilde @samp{~} to the first
436 @lilypond[quote,notime,fragment,verbatim,relative=3]
440 For more information on Ties see @ref{Ties}.
444 @node Automatic and manual beams
445 @section Automatic and manual beams
447 @cindex beams, by hand
448 All @rglos{beam}s are drawn automatically
450 @lilypond[quote,fragment,relative=2,verbatim]
455 If you do not like where beams are put, they can be entered by
456 hand. Mark the first note to be beamed with @samp{[} and the last one
459 @lilypond[quote,fragment,relative=2,verbatim]
463 For more information on beams, see @ref{Manual beams}.
466 Here are key signatures, accidentals and ties in action
468 @lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
475 fis4 fis8 fis8 eis4 a8 gis~
484 There are some interesting points to note in this example. Bar lines
485 and beams are drawn automatically. Line breaks are calculated
486 automatically; it does not matter where the line breaks are in the
487 source file. Finally, the order in which time, key, and clef changes
488 are entered is not relevant: in the printout, these are ordered
489 according to standard notation conventions.
494 @section Octave entry
497 @c Tim wants to move this quotes example just before the: quotes-do not-work
498 @c score, but we'd need to remove quotes from the other two (key and
501 @c better to have this just before the `octaves are bad' snipped
502 @c but we'd need to remove the ', from \key and tie
503 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
504 the note name, to lower a note one octave, add a `low quote' @code{,}
505 (comma). Middle C is @code{c'}
507 @lilypond[quote,notime,fragment,verbatim]
508 c'4 c'' c''' \clef bass c c,
511 An example of the use of quotes is in the following Mozart fragment
513 @lilypond[quote,ragged-right,fragment,verbatim]
516 cis''8. d''16 cis''8 e''4 e''8
517 b'8. cis''16 b'8 d''4 d''8
521 This example shows that music in a high register needs lots of quotes.
522 This makes the input less readable, and it is a source of errors. The
523 solution is to use `relative octave' mode. This is the
524 most convenient way to copy existing music.
526 In relative mode, a note without octavation quotes (i.e., the @code{'}
527 or @code{,} after a note) is chosen so that it is closest to the
528 previous one. For example, @samp{c f} goes up while @samp{c g} goes
531 To use relative mode, add @code{\relative} before the piece of
532 music. The first note is taken relative to the middle C
533 @c no , for this sentence
538 @lilypond[quote,notime,fragment,verbatim]
545 Since most music has small intervals, pieces can be written almost
546 without octavation quotes in relative mode. The previous example is
549 @lilypond[quote,ragged-right,verbatim]
553 cis'8. d16 cis8 e4 e8
558 @c needed better, maybe even redundant explanation
559 @c added another example below.
560 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
561 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
562 Larger intervals are made by adding octavation quotes.
564 @lilypond[quote,notime,verbatim,fragment]
570 In summary, quotes or commas no longer determine the absolute height
571 of a note in @code{\relative} mode. Rather, the height of a note is
572 relative to the previous one, and changing the octave of a single note
573 shifts all following notes an octave up or down.
575 For more information on relative octaves see @ref{Relative octaves},
576 and @ref{Octave check}.
579 @node Music expressions explained
580 @section Music expressions explained
583 In input files, music is represent by so-called @emph{music
584 expression}s. We have already seen some in the previous examples;
585 a single note is a music expression
587 @lilypond[fragment,quote,verbatim,relative=3]
591 Enclosing a group of notes in braces creates a new music
594 @lilypond[fragment,quote,verbatim,relative=3]
598 Putting a bunch of music expressions (e.g., notes) in braces, means that
599 they should be played in sequence. The result again is a music
600 expression, which can be grouped with other expressions sequentially.
601 Here, the expression from the previous example is combined with two
604 @lilypond[fragment,quote,verbatim,relative=3]
608 This technique is useful for non-monophonic music. To enter music
609 with more voices or more staves, we also combine expressions in
610 parallel. Two voices that should play at the same time, are entered
611 as a simultaneous combination of two sequences. A `simultaneous'
612 music expression is formed by enclosing expressions in @code{<<} and
613 @code{>>}. In the following example, three sequences (all containing
614 two separate notes) are combined simultaneously
616 @lilypond[fragment,quote,verbatim,relative=3]
624 This mechanism is similar to mathematical
625 formulas: a big formula is created by composing small formulas. Such
626 formulas are called expressions, and their definition is recursive, so
627 you can make arbitrarily complex and large expressions. For example,
636 ((1 + 2) * 3) / (4 * 5)
640 @cindex music expression
641 This is a sequence of expressions, where each expression is contained
642 in the next (larger) one. The simplest expressions are numbers, and larger
643 ones are made by combining expressions with operators (like @samp{+},
644 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
645 music expressions can be nested arbitrarily deep, which is necessary
646 for complex music like polyphonic scores.
648 Note that this example only has one staff, whereas
649 the previous example had three separate staves. That is because this
650 example begins with a single note. To determine the number of staves,
651 LilyPond looks at the first element. If it is a single note, there is one
652 staff; if there is a simultaneous expression, there is more than one staff.
654 @lilypond[fragment,quote,verbatim,relative=2]
657 << { e f } { c <<b d>> } >>
661 Music files with deep nesting can be confusing to enter and
662 maintain. One convention that helps against this confusion is
663 indenting. When entering a file with deep nesting of braces and
664 angles, it is customary to use an indent that indicates the nesting
665 level. Formatting music like this eases reading and helps you insert
666 the right number of closing braces at the end of an expression. For
680 Some editors have special support for entering LilyPond, and can help
681 indenting source files. See @ref{Editor support} for more information.
686 To print more than one staff, each piece of music that makes up a
687 staff is marked by adding @code{\new Staff} before it. These
688 @code{Staff} elements are then combined in parallel with @code{<<} and
689 @code{>>}, as demonstrated here
691 @lilypond[quote,fragment,verbatim]
693 \new Staff { \clef treble c'' }
694 \new Staff { \clef bass c }
699 The command @code{\new} introduces a `notation context.' A notation
700 context is an environment in which musical events (like notes or
701 @code{\clef} commands) are interpreted. For simple pieces, such
702 notation contexts are created automatically. For more complex pieces, it
703 is best to mark contexts explicitly. This ensures that each fragment
706 There are several types of contexts. @code{Staff}, @code{Voice} and
707 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
708 texts and @code{ChordNames} prints chord names.
710 In terms of syntax, prepending @code{\new} to a music expression
711 creates a bigger music expression. In this way it resembles the minus
712 sign in mathematics. The formula @math{(4+5)} is an expression, so
713 @math{-(4+5)} is a bigger expression.
715 We can now typeset a melody with two staves
717 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
719 @lilypond[fragment,quote,verbatim,ragged-right]
736 For more information on contexts see the description in
737 @ref{Interpretation contexts}.
741 @node Adding articulation marks to notes
742 @section Adding articulation marks to notes
748 Common accents can be added to a note using a dash (@samp{-}) and a
751 @lilypond[fragment,quote,verbatim,relative=2]
752 c-. c-- c-> c-^ c-+ c-_
756 Similarly, fingering indications can be added to a note using a dash
757 (@samp{-}) and the digit to be printed
759 @lilypond[fragment,quote,verbatim,relative=2]
763 Articulations and fingerings are usually placed automatically, but you
764 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
765 also use multiple articulations on the same note. In most cases, however,
766 it is best to let LilyPond determine the articulation directions.
768 @lilypond[fragment,quote,verbatim,relative=2]
769 c_-^1 d^. f^4_2-> e^-_+
772 Dynamic signs are made by adding the markings (with a backslash) to
775 @lilypond[fragment,quote,verbatim,relative=2]
783 Crescendi and decrescendi are started with the commands @code{\<} and
784 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
785 (de)crescendo, or the command @code{\!} can be used
787 @lilypond[fragment,quote,verbatim,relative=2]
795 A @rglos{slur} is a curve drawn across many notes, and indicates
796 legato articulation. The starting note and ending note are marked
797 with @samp{(} and @samp{)}, respectively
799 @lilypond[fragment,quote,fragment,relative=2,verbatim]
800 d4( c16) cis( d e c cis d) e( d4)
803 @cindex slurs versus ties
804 A slur looks like a @rglos{tie}, but it has a different meaning. A
805 tie simply makes the first note sound longer, and can only be used on
806 pairs of notes with the same pitch. Slurs indicate the articulations
807 of notes, and can be used on larger groups of notes. Slurs and ties
810 @lilypond[quote,fragment,relative=2]
811 c2~( c8 fis fis4 ~ fis2 g2)
814 @cindex phrasing slurs
815 Slurs to indicate phrasing can be entered with @code{\(} and
816 @code{\)}, so you can have both legato slurs and phrasing slurs at the
817 same time. You cannot have simultaneous slurs or simultaneous
820 @lilypond[quote,fragment,relative=2,verbatim]
821 a8(\( ais b c) cis2 b'2 a4 cis, c\)
825 For more information on
830 see @ref{Fingering instructions}.
832 see @ref{Articulations}.
836 see @ref{Phrasing slurs}.
843 @node Combining notes into chords
844 @section Combining notes into chords
847 Chords can be made by surrounding pitches with angle brackets.
848 Angle brackets are the symbols @samp{<} and @samp{>}.
850 @lilypond[quote,relative=1,fragment,verbatim]
855 You can combine markings like beams and ties with chords. They must
856 be placed outside the angled brackets
858 @lilypond[quote,relative=1,fragment,verbatim]
859 r4 <c e g>8[ <c f a>]~ <c f a>
863 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
866 @lilypond[quote,relative=1,fragment]
868 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
872 @node Advanced rhythmic commands
873 @section Advanced rhythmic commands
877 @cindex partial measure
878 A pickup is entered with the keyword @code{\partial}. It
879 is followed by a duration: @code{\partial 4} is a quarter note upstep
880 and @code{\partial 8} an eighth note
882 @lilypond[quote,relative=2,verbatim,fragment]
889 Tuplets are made with the @code{\times} keyword. It takes two
890 arguments: a fraction and a piece of music. The duration of the piece
891 of music is multiplied by the fraction. Triplets make notes occupy
892 2/3 of their notated duration, so a triplet has 2/3 as its fraction
894 @lilypond[quote,relative=1,verbatim,fragment]
895 \times 2/3 { f8 g a }
901 Grace notes are also made by prefixing a music expression with the
902 keyword @code{\appoggiatura} or @code{\acciaccatura}
906 @lilypond[quote,relative=2,verbatim,fragment]
907 c4 \appoggiatura b16 c4
908 c4 \acciaccatura b16 c4
913 For more information on
918 see @ref{Grace notes},
922 see @ref{Partial measures}.
927 @node Commenting input files
928 @section Commenting input files
932 @cindex block comment
933 A comment is a remark for the human reader of the music input; it is
934 ignored while parsing, so it has no effect on the printed output.
935 There are two types of comments. The percent symbol @samp{%}
936 introduces a line comment; after @code{%} the rest of the line is
937 ignored. A block comment marks a whole section of music
938 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
939 ignored. The following fragment shows possible uses for comments
942 % notes for twinkle twinkle follow
946 This line, and the notes below
947 are ignored, since they are in a
954 @c TODO post-2.6 reorg
955 @c This is good info, but I wouldn't call it a comment. IMO it should
956 @c be moved somewhere else.
960 There is a special statement that is a kind of comment. The @code{\version}
961 statement marks for which version of LilyPond the file was written.
962 To mark a file for version 2.10.1, use
969 These annotations make future upgrades of LilyPond go more
970 smoothly. Changes in the syntax are handled with a special program,
971 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
972 @code{\version} to determine what rules to apply.
975 @node Printing lyrics
976 @section Printing lyrics
979 @c TODO: (c) status of the Queen fragment.
983 Lyrics are entered by separating each syllable with a space
991 @lilypond[quote,verbatim,fragment,ragged-right]
993 r4 c \times 2/3 { f g g }
994 \times 2/3 { g4( a2) }
998 The lyrics can be set to these notes, combining both with the
999 @code{\addlyrics} keyword
1001 @lilypond[quote,verbatim,fragment,ragged-right]
1004 r4 c \times 2/3 { f g g }
1005 \times 2/3 { g4( a2) }
1007 \addlyrics { I want to break free }
1012 @cindex extender line
1014 This melody ends on a @rglos{melisma}, a single syllable (`free')
1015 sung to more than one note. This is indicated with an @emph{extender
1016 line}. It is entered as two underscores, i.e.,
1019 @{ I want to break free __ @}
1022 @lilypond[fragment,quote,ragged-right]
1025 r4 c \times 2/3 { f g g }
1026 \times 2/3 { g4( a2) }
1028 \addlyrics { I want to break free __ }
1032 Similarly, hyphens between words can be entered as two dashes,
1033 resulting in a centered hyphen between two syllables
1039 @c no ragged-right here, because otherwise the hypens get lost.
1040 @lilypond[fragment,quote]
1046 \addlyrics { A -- le gri -- a }
1050 More options, like putting multiple lines of lyrics below a melody are
1051 discussed in @ref{Vocal music}.
1055 @section A lead sheet
1061 @c TODO: revise this, \chords { } is shorter and more intuitive.
1063 In popular music, it is common to denote accompaniment with chord names.
1064 Such chords can be entered like notes,
1066 @lilypond[quote,verbatim,ragged-right]
1067 \chordmode { c2 f4. g8 }
1071 Now each pitch is read as the root of a chord instead of a note.
1072 This mode is switched on with @code{\chordmode}
1074 Other chords can be created by adding modifiers after a colon. The
1075 following example shows a few common modifiers
1077 @lilypond[quote,verbatim,ragged-right]
1078 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1081 For lead sheets, chords are not printed on staves, but as names on a
1082 line for themselves. This is achieved by using @code{\chords} instead
1083 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1084 but renders the notes in a @code{ChordNames} context, with the
1087 @lilypond[quote,verbatim,ragged-right]
1088 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1092 When put together, chord names, lyrics and a melody form
1093 a lead sheet, for example,
1097 \chords @{ @emph{chords} @}
1099 \addlyrics @{ @emph{the text} @}
1104 @lilypond[quote,ragged-right]
1106 \chords { r2 c:sus4 f }
1108 r4 c' \times 2/3 { f g g }
1109 \times 2/3 { g4( a2) }
1111 \addlyrics { I want to break free __ }
1115 A complete list of modifiers and other options for layout can be found
1120 @section Adding titles
1122 Bibliographic information is entered in a separate block, the
1123 @code{\header} block. The name of the piece, its composer, etc., are
1124 entered as an assignment, within @code{\header
1125 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1126 the top of the file. For example,
1131 composer = "Igor Stravinsky"
1138 When the file is processed, the title and composer are printed above
1139 the music. More information on titling can be found in @ref{Creating
1143 @node Single staff polyphony
1144 @section Single staff polyphony
1147 @cindex multiple voices
1148 @cindex voices, more -- on a staff
1149 When different melodic lines are combined on a single staff they are
1150 printed as polyphonic voices; each voice has its own stems, slurs and
1151 beams, and the top voice has the stems up, while the bottom voice has
1154 Entering such parts is done by entering each voice as a sequence (with
1155 @code{@{...@}}), and combining these simultaneously, separating the
1156 voices with @code{\\}
1158 @lilypond[quote,verbatim,relative=2,fragment]
1159 << { a4 g2 f4~ f4 } \\
1163 For polyphonic music typesetting, spacer rests can also be convenient;
1164 these are rests that do not print. They are useful for filling up
1165 voices that temporarily do not play. Here is the same example with a
1166 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1168 @lilypond[quote,verbatim,relative=2,fragment]
1169 << { a4 g2 f4~ f4 } \\
1174 Again, these expressions can be nested arbitrarily
1176 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1184 { <c g>1 ~ <c g>4 } \\
1190 More features of polyphonic typesetting are described in this manual
1191 in section @ref{Basic polyphony}.
1195 @section Piano staves
1197 @cindex staff switch, manual
1198 @cindex cross staff voice, manual
1199 Piano music is typeset in two staves connected by a brace. Printing
1200 such a staff is similar to the polyphonic example in @ref{More staves},
1203 << \new Staff @{ @dots{} @}
1204 \new Staff @{ @dots{} @} >>
1208 but now this entire expression must be interpreted as a
1212 \new PianoStaff << \new Staff @dots{} >>
1215 Here is a small example
1217 @lilypond[quote,verbatim,relative=1,fragment]
1219 \new Staff { \time 2/4 c4 c g' g }
1220 \new Staff { \clef bass c,, c' e c }
1224 More information on formatting piano music is given in @ref{Piano music}.
1227 @node Organizing larger pieces
1228 @section Organizing larger pieces
1230 When all of the elements discussed earlier are combined to produce
1231 larger files, the @code{\score} blocks get a lot bigger because the
1232 music expressions are longer, and, in the case of polyphonic music,
1233 more deeply nested. Such large expressions can become unwieldy.
1235 By using variables, also known as identifiers, it is possible to break
1236 up complex music expressions. An identifier is assigned as follows
1239 namedMusic = @{ @dots{} @}
1243 The contents of the music expression @code{namedMusic}, can be used
1244 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1245 In the next example, a two-note motive is repeated two times by using
1246 variable substitution
1248 @lilypond[quote,ragged-right,verbatim,nofragment]
1252 { \seufzer \seufzer }
1255 The name of an identifier should have alphabetic characters only: no
1256 numbers, underscores, or dashes. The assignment should be outside of
1259 It is possible to use variables for many other types of objects in the
1265 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1268 Depending on its contents, the identifier can be used in different
1269 places. The following example uses the above variables
1279 More information on the possible uses of identifiers is given in the
1280 technical manual, in @ref{Input variables and Scheme}.
1281 @c fixme: the ref is too technical.
1284 @node An orchestral part
1285 @section An orchestral part
1287 In orchestral music, all notes are printed twice. Once in a part for
1288 the musicians, and once in a full score for the conductor. Identifiers can
1289 be used to avoid double work. The music is entered once, and stored in
1290 a variable. The contents of that variable is then used to generate
1291 both the part and the full score.
1293 It is convenient to define the notes in a special file. For example,
1294 suppose that the file @file{horn-music.ly} contains the following part
1295 of a horn/@/bassoon duo
1298 hornNotes = \relative c @{
1305 Then, an individual part is made by putting the following in a file
1308 \include "horn-music.ly"
1310 instrument = "Horn in F"
1314 \transpose f c' \hornNotes
1321 \include "horn-music.ly"
1325 substitutes the contents of @file{horn-music.ly} at this position in
1326 the file, so @code{hornNotes} is defined afterwards. The command
1327 @code{\transpose f@tie{}c'} indicates that the argument, being
1328 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1329 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1330 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1331 in the following output
1333 @lilypond[quote,ragged-right]
1334 \transpose f c' \relative c {
1340 In ensemble pieces, one of the voices often does not play for many
1341 measures. This is denoted by a special rest, the multi-measure
1342 rest. It is entered with a capital @samp{R} followed by a duration
1343 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1344 etc.). By multiplying the
1345 duration, longer rests can be constructed. For example, this rest
1346 takes 3@tie{}measures in 2/4 time
1352 When printing the part, multi-rests
1353 must be condensed. This is done by setting a run-time variable
1356 \set Score.skipBars = ##t
1360 This command sets the property @code{skipBars} in the
1361 @code{Score} context to true (@code{##t}). Prepending the rest and
1362 this option to the music above, leads to the following result
1364 @lilypond[quote,ragged-right]
1365 \transpose f c' \relative c {
1367 \set Score.skipBars = ##t
1374 The score is made by combining all of the music together. Assuming
1375 that the other voice is in @code{bassoonNotes} in the file
1376 @file{bassoon-music.ly}, a score is made with
1379 \include "bassoon-music.ly"
1380 \include "horn-music.ly"
1383 \new Staff \hornNotes
1384 \new Staff \bassoonNotes
1391 @lilypond[quote,ragged-right]
1399 r4 d,8 f | gis4 c | b bes |
1400 a8 e f4 | g d | gis f
1405 More in-depth information on preparing parts and scores can be found
1406 in the notation manual; see @ref{Orchestral music}.
1408 Setting run-time variables (`properties') is discussed in
1409 @ref{Changing context properties on the fly}.
1412 @node After the tutorial
1413 @section After the tutorial
1415 After finishing the tutorial, you should probably try writing a
1416 piece or two. Start with one of the @ref{Example templates} and
1417 add notes. If you need any notation that was not covered in the
1418 tutorial, look at the Notation Reference, starting with
1419 @ref{Basic notation}. If you want to write for an instrument
1420 ensemble which is not covered in the @ref{Example templates},
1421 take a look at @ref{Extending the templates}.
1423 Once you have written a few short pieces, read the rest of
1424 the Learning Manual (chapters 3-5). There's nothing wrong
1425 with reading them now, of course! However, the rest of the
1426 Learning Manual assumes that you are familiar with
1427 LilyPond input. You may wish to skim these chapters right
1428 now, and come back to them after you have more experience.