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.
11 @c * more details about running lilypond; error messages,
12 @c compiling/viewing (emacs?)
13 @c * where to go from First steps+More basics?
15 @c wherever possible, do not include index entries here; the
16 @c index should point to stuff in the reference manual. -gp
18 @c Your first LilyPond score in 10 minutes?
23 This tutorial starts with an introduction to the LilyPond music
24 language and how to produce printed music. After this first contact we
25 will explain how to create common musical notation.
28 Many people learn programs by trying and fiddling around with the
29 program. This is also possible with LilyPond. If you click on a
30 picture in the HTML version of this manual, you will see the exact
31 LilyPond input that was used to generate that image.
34 @lilypond[fragment,quote,ragged-right,relative=2]
35 c-\markup { \bold \huge { Click here. } }
39 By cutting and pasting everything from the @qq{Start cut-&-pastable section},
40 to the end of the file, you have a
41 starting template for experiments. If you like learning in this way,
42 you will probably want to print out or bookmark
46 @ref{Cheat sheet}, which is a table listing of the most common
47 commands for quick reference.
50 * First steps (compiling a file)::
52 * Working on text files::
53 * More about pitches::
55 * Automatic and manual beams::
57 * Music expressions explained::
59 * Adding articulation marks to notes::
60 * Combining notes into chords::
61 * Advanced rhythmic commands::
62 * Commenting input files::
66 * Single staff polyphony::
68 * Organizing larger pieces::
69 * An orchestral part::
70 * After the tutorial::
74 @node First steps (compiling a file)
75 @section First steps (compiling a file)
77 The first example demonstrates how to start working with LilyPond. To
78 create sheet music, we write a text file that specifies the
79 notation. For example, if we write
88 the result looks like this
90 @lilypond[quote,ragged-right]
96 @strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
97 braces @}} placed around the input. The braces should be also be
98 surrounded by a space unless they are at the beginning or end of a
99 line to avoid ambiguities. These may be omitted in some examples in this
100 manual, but don't forget them in your own music!
102 @cindex Case sensitive
103 In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
104 is valid input; @code{ @{ C D E @} } will produce an error message.
108 @unnumberedsubsec Entering music and viewing output
110 In this section we will explain what commands to run
111 and how to view or print the output.
113 @unnumberedsubsubsec MacOS X
115 If you double click LilyPond.app, it will open with an example
116 file. Save it, for example, to @file{test.ly} on your Desktop, and
117 then process it with the menu command @samp{Compile > Typeset File}.
118 The resulting PDF file will be displayed on your screen.
120 Be warned that the first time you ever run lilypond will take a minute
121 or two because all of the system fonts have to be analyzed first.
123 For future use of LilyPond, you should begin by selecting "New"
126 @unnumberedsubsubsec Windows
128 On Windows, start up a text-editor@footnote{Any simple or
129 programmer-oriented editor with UTF-8 support will do, for example
130 Notepad. Do not use a word processor, since these insert formatting
131 codes that will confuse LilyPond.} and enter
139 Save it on the desktop as @file{test.ly} and make sure that it is not
140 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
141 the file and show the resulting PDF file.
144 @unnumberedsubsubsec Unix
146 Begin by opening a terminal window and starting a text editor. For
147 example, you could open an xterm and execute
148 @code{joe}@footnote{There are macro files for VIM addicts, and there
149 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
150 installed already, refer to the file @file{INSTALL.txt}. These
151 easiest editing environment is @file{LilyPondTool}. See
152 @ref{Editor support} for more information.}. In your
153 text editor, enter the following input and save the file as
163 To process @file{test.ly}, proceed as follows
170 You will see something resembling
177 Interpreting music... [1]
178 Preprocessing graphical objects...
179 Calculating line breaks... [2]
180 Layout output to `test.ps'...
181 Converting to `test.pdf'...
185 @cindex Viewing music
188 The result is the file @file{test.pdf} which you can print or view
189 with the standard facilities of your operating system.@footnote{If
190 your system does not have any tools installed, you can try
191 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
192 available package for viewing and printing PDF and PostScript files.}
195 @node Simple notation
196 @section Simple notation
198 LilyPond will add some notation elements automatically. In the next
199 example, we have only specified four pitches, but LilyPond has
200 added a clef, time signature, and rhythms.
202 @lilypond[quote,ragged-right,verbatim]
209 This behavior may be altered, but in most cases these automatic values
213 @unnumberedsubsec Pitches
215 The easiest way to enter notes is by using @code{\relative} mode. In
216 this mode, the @rglos{interval} between the previous note and the
217 current note is assumed to be within a @rglos{fourth}. We begin by
218 entering the most elementary piece of music, a @rglos{scale}.
220 @lilypond[quote,ragged-right,verbatim]
227 The initial note is @rglos{middle C}. Each successive note
228 is within a fourth of the previous note -- in other words, the first
229 @samp{c} is the closest C to middle C. This is followed by the closest
230 D to the previous note. We can create melodies which have larger intervals:
232 @lilypond[quote,ragged-right,verbatim]
240 As you may notice, this example does not start on middle C. The first
241 note -- the @samp{d} -- is the closest D to middle C.
243 To add intervals that are larger than a fourth, we can raise the octave
244 by adding a single quote @code{'} (or apostrophe) to the note name. We can
245 lower the octave by adding a comma @code{,} to the note name.
247 @lilypond[quote,ragged-right,verbatim]
255 To change a note by two (or more!) octaves, we use multiple @code{''} or
256 @code{,,} -- but be careful that you use two single quotes @code{''} and
257 not one double quote @code{"}@tie{}! The initial value in
258 @code{\relative c'} may also be modified like this.
261 @unnumberedsubsec Durations (rhythms)
263 The @rglos{duration} of a note is specified by a number after the note
264 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
265 @samp{4} for a @rglos{quarter note} and so on. Beams are added
268 @lilypond[quote,ragged-right,verbatim]
272 a16 a a a a32 a a a a64 a a a a a a a a2
277 If you do not specify a duration, the previous duration is used
278 for the next note. The duration of the first note defaults to a quarter.
280 To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
282 @lilypond[quote,ragged-right,verbatim]
290 @unnumberedsubsec Rests
292 A @rglos{rest} is entered just like a note with the name @samp{r}:
294 @lilypond[quote,ragged-right,verbatim]
302 @unnumberedsubsec Time signature
304 The @rglos{time signature}) can be set with the @code{\time} command:
306 @lilypond[quote,ragged-right,verbatim]
318 @unnumberedsubsec Clef
320 The @rglos{clef} can be set using the @code{\clef} command:
322 @lilypond[quote,ragged-right,verbatim]
336 @unnumberedsubsec All together
338 Here is a small example showing all these elements together:
340 @lilypond[quote,ragged-right,verbatim]
350 @node Working on text files
351 @section Working on text files
353 LilyPond input files are treated like files in most programming languages:
354 they are case sensitive, white-space insensitive, and expressions are
355 formed with curly braces @{ @}.
357 If the previous sentence sounds like nonsense, don't worry! We'll explain
358 what all these terms mean:
362 @strong{Remember:} Every piece of LilyPond input needs to have
363 @strong{@{ curly braces @}} placed around the input. The braces should
365 a space unless they are at the beginning or end of a line to avoid
366 ambiguities. For the rest of this manual, most examples will omit
367 these braces, but don't forget them in your own music!
369 @cindex Case sensitive
371 In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
372 is valid input; @code{ @{ C D E @} } will produce an error message.
374 @c End of current re-write; more material coming in a few days. -gp
379 @node More about pitches
380 @section More about pitches
382 A @rglos{sharp} pitch is made by adding @samp{is} to
383 the name, a @rglos{flat} pitch by adding @samp{es}. As
384 you might expect, a @rglos{double sharp} or @rglos{double flat} is
385 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
386 derived from note naming conventions in Nordic and Germanic languages,
387 like German and Dutch.}
393 @lilypond[fragment,quote,notime]
394 \set Score.timing = ##f
395 \transpose c c' { cis1 ees fisis aeses s16_" " }
398 @cindex key signature, setting
399 The key signature is set with the command @code{\key}, followed by
400 a pitch and @code{\major} or @code{\minor}
409 @lilypond[fragment,quote,notime,fragment]
417 Key signatures together with the pitches (including alterations) are
418 used to determine when to print accidentals. This is a
419 feature that often causes confusion to newcomers, so let us explain it
423 LilyPond makes a sharp distinction between musical content and
424 layout. The alteration (flat, natural or sharp) of a note is part of
425 the pitch, and is therefore musical content. Whether an accidental (a
426 flat, natural or sharp @emph{sign}) is printed in front of the
427 corresponding note is a question of layout. Layout is something that
428 follows rules, so accidentals are printed automatically according to
429 those rules. The pitches in your music are works of art, so they will
430 not be added automatically, and you must enter what you want to hear.
434 @lilypond[quote,notime,fragment]
440 no note has an explicit accidental, but you still must enter
448 The code @samp{d} does not mean @qq{print a black dot just below the
449 staff.} Rather, it means: @qq{a note with pitch D-natural.} In the key
450 of A-flat major, it does get an accidental
452 @lilypond[quote,notime,fragment,relative=1,verbatim]
457 Adding all alterations explicitly might require a little more effort
458 when typing, but the advantage is that transposing is easier, and
459 accidentals can be printed according to different conventions. See
460 @ref{Automatic accidentals}, for some examples how accidentals can be printed
461 according to different rules.
464 For more information on
469 see @ref{Automatic accidentals}.
472 see @ref{Key signature}.
477 @section Entering ties
480 A @rglos{tie} is created by appending a tilde @samp{~} to the first
483 @lilypond[quote,notime,fragment,verbatim,relative=3]
487 For more information on Ties see @ref{Ties}.
491 @node Automatic and manual beams
492 @section Automatic and manual beams
494 @cindex beams, by hand
495 All @rglos{beam}s are drawn automatically
497 @lilypond[quote,fragment,relative=2,verbatim]
502 If you do not like where beams are put, they can be entered by
503 hand. Mark the first note to be beamed with @samp{[} and the last one
506 @lilypond[quote,fragment,relative=2,verbatim]
510 For more information on beams, see @ref{Manual beams}.
513 Here are key signatures, accidentals and ties in action
515 @lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
522 fis4 fis8 fis8 eis4 a8 gis~
531 There are some interesting points to note in this example. Bar lines
532 and beams are drawn automatically. Line breaks are calculated
533 automatically; it does not matter where the line breaks are in the
534 source file. Finally, the order in which time, key, and clef changes
535 are entered is not relevant: in the printout, these are ordered
536 according to standard notation conventions.
541 @section Octave entry
544 @c Tim wants to move this quotes example just before the: quotes-do not-work
545 @c score, but we'd need to remove quotes from the other two (key and
548 @c better to have this just before the `octaves are bad' snipped
549 @c but we'd need to remove the ', from \key and tie
550 To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
551 the note name, to lower a note one octave, add a @q{low quote} @samp{,}
552 (comma). Middle C is @code{c'}
554 @lilypond[quote,notime,fragment,verbatim]
555 c'4 c'' c''' \clef bass c c,
558 An example of the use of quotes is in the following Mozart fragment
560 @lilypond[quote,ragged-right,fragment,verbatim]
563 cis''8. d''16 cis''8 e''4 e''8
564 b'8. cis''16 b'8 d''4 d''8
568 This example shows that music in a high register needs lots of quotes.
569 This makes the input less readable, and it is a source of errors. The
570 solution is to use @q{relative octave} mode. This is the
571 most convenient way to copy existing music.
573 In relative mode, a note without octavation quotes (i.e., the @samp{'}
574 or @samp{,} after a note) is chosen so that it is closest to the
575 previous one. For example, @samp{c f} goes up while @samp{c g} goes
578 To use relative mode, add @code{\relative} before the piece of
579 music. The first note is taken relative to the middle C
580 @c no , for this sentence
585 @lilypond[quote,notime,fragment,verbatim]
592 Since most music has small intervals, pieces can be written almost
593 without octavation quotes in relative mode. The previous example is
596 @lilypond[quote,ragged-right,verbatim]
600 cis'8. d16 cis8 e4 e8
605 @c needed better, maybe even redundant explanation
606 @c added another example below.
607 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
608 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
609 Larger intervals are made by adding octavation quotes.
611 @lilypond[quote,notime,verbatim,fragment]
617 In summary, quotes or commas no longer determine the absolute height
618 of a note in @code{\relative} mode. Rather, the height of a note is
619 relative to the previous one, and changing the octave of a single note
620 shifts all following notes an octave up or down.
622 For more information on relative octaves see @ref{Relative octaves},
623 and @ref{Octave check}.
626 @node Music expressions explained
627 @section Music expressions explained
630 In input files, music is represent by so-called @emph{music
631 expression}s. We have already seen some in the previous examples;
632 a single note is a music expression
634 @lilypond[fragment,quote,verbatim,relative=3]
638 Enclosing a group of notes in braces creates a new music
641 @lilypond[fragment,quote,verbatim,relative=3]
645 Putting a bunch of music expressions (e.g., notes) in braces, means that
646 they should be played in sequence. The result again is a music
647 expression, which can be grouped with other expressions sequentially.
648 Here, the expression from the previous example is combined with two
651 @lilypond[fragment,quote,verbatim,relative=3]
655 This technique is useful for non-monophonic music. To enter music
656 with more voices or more staves, we also combine expressions in
657 parallel. Two voices that should play at the same time, are entered
658 as a simultaneous combination of two sequences. A @q{simultaneous}
659 music expression is formed by enclosing expressions in @code{<<} and
660 @code{>>}. In the following example, three sequences (all containing
661 two separate notes) are combined simultaneously
663 @lilypond[fragment,quote,verbatim,relative=3]
671 This mechanism is similar to mathematical
672 formulas: a big formula is created by composing small formulas. Such
673 formulas are called expressions, and their definition is recursive, so
674 you can make arbitrarily complex and large expressions. For example,
683 ((1 + 2) * 3) / (4 * 5)
687 @cindex music expression
688 This is a sequence of expressions, where each expression is contained
689 in the next (larger) one. The simplest expressions are numbers, and larger
690 ones are made by combining expressions with operators (like @samp{+},
691 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
692 music expressions can be nested arbitrarily deep, which is necessary
693 for complex music like polyphonic scores.
695 Note that this example only has one staff, whereas
696 the previous example had three separate staves. That is because this
697 example begins with a single note. To determine the number of staves,
698 LilyPond looks at the first element. If it is a single note, there is one
699 staff; if there is a simultaneous expression, there is more than one staff.
701 @lilypond[fragment,quote,verbatim,relative=2]
704 << { e f } { c <<b d>> } >>
708 Music files with deep nesting can be confusing to enter and
709 maintain. One convention that helps against this confusion is
710 indenting. When entering a file with deep nesting of braces and
711 angles, it is customary to use an indent that indicates the nesting
712 level. Formatting music like this eases reading and helps you insert
713 the right number of closing braces at the end of an expression. For
727 Some editors have special support for entering LilyPond, and can help
728 indenting source files. See @ref{Editor support} for more information.
733 To print more than one staff, each piece of music that makes up a
734 staff is marked by adding @code{\new Staff} before it. These
735 @code{Staff} elements are then combined in parallel with @code{<<} and
736 @code{>>}, as demonstrated here
738 @lilypond[quote,fragment,verbatim]
740 \new Staff { \clef treble c'' }
741 \new Staff { \clef bass c }
746 The command @code{\new} introduces a @q{notation context.} A notation
747 context is an environment in which musical events (like notes or
748 @code{\clef} commands) are interpreted. For simple pieces, such
749 notation contexts are created automatically. For more complex pieces, it
750 is best to mark contexts explicitly. This ensures that each fragment
753 There are several types of contexts. @code{Staff}, @code{Voice} and
754 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
755 texts and @code{ChordNames} prints chord names.
757 In terms of syntax, prepending @code{\new} to a music expression
758 creates a bigger music expression. In this way it resembles the minus
759 sign in mathematics. The formula @math{(4+5)} is an expression, so
760 @math{-(4+5)} is a bigger expression.
762 We can now typeset a melody with two staves
764 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
766 @lilypond[fragment,quote,verbatim,ragged-right]
783 For more information on contexts see the description in
784 @ref{Interpretation contexts}.
788 @node Adding articulation marks to notes
789 @section Adding articulation marks to notes
795 Common accents can be added to a note using a dash (@samp{-}) and a
798 @lilypond[fragment,quote,verbatim,relative=2]
799 c-. c-- c-> c-^ c-+ c-_
803 Similarly, fingering indications can be added to a note using a dash
804 (@samp{-}) and the digit to be printed
806 @lilypond[fragment,quote,verbatim,relative=2]
810 Articulations and fingerings are usually placed automatically, but you
811 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
812 also use multiple articulations on the same note. In most cases, however,
813 it is best to let LilyPond determine the articulation directions.
815 @lilypond[fragment,quote,verbatim,relative=2]
816 c_-^1 d^. f^4_2-> e^-_+
819 Dynamic signs are made by adding the markings (with a backslash) to
822 @lilypond[fragment,quote,verbatim,relative=2]
830 Crescendi and decrescendi are started with the commands @code{\<} and
831 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
832 (de)crescendo, or the command @code{\!} can be used
834 @lilypond[fragment,quote,verbatim,relative=2]
842 A @rglos{slur} is a curve drawn across many notes, and indicates
843 legato articulation. The starting note and ending note are marked
844 with @samp{(} and @samp{)}, respectively
846 @lilypond[fragment,quote,fragment,relative=2,verbatim]
847 d4( c16) cis( d e c cis d) e( d4)
850 @cindex slurs versus ties
851 A slur looks like a @rglos{tie}, but it has a different meaning. A
852 tie simply makes the first note sound longer, and can only be used on
853 pairs of notes with the same pitch. Slurs indicate the articulations
854 of notes, and can be used on larger groups of notes. Slurs and ties
857 @lilypond[quote,fragment,relative=2]
858 c2~( c8 fis fis4 ~ fis2 g2)
861 @cindex phrasing slurs
862 Slurs to indicate phrasing can be entered with @code{\(} and
863 @code{\)}, so you can have both legato slurs and phrasing slurs at the
864 same time. You cannot have simultaneous slurs or simultaneous
867 @lilypond[quote,fragment,relative=2,verbatim]
868 a8(\( ais b c) cis2 b'2 a4 cis, c\)
872 For more information on
877 see @ref{Fingering instructions}.
879 see @ref{Articulations}.
883 see @ref{Phrasing slurs}.
890 @node Combining notes into chords
891 @section Combining notes into chords
894 Chords can be made by surrounding pitches with angle brackets.
895 Angle brackets are the symbols @samp{<} and @samp{>}.
897 @lilypond[quote,relative=1,fragment,verbatim]
902 You can combine markings like beams and ties with chords. They must
903 be placed outside the angled brackets
905 @lilypond[quote,relative=1,fragment,verbatim]
906 r4 <c e g>8[ <c f a>]~ <c f a>
910 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
913 @lilypond[quote,relative=1,fragment]
915 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
919 @node Advanced rhythmic commands
920 @section Advanced rhythmic commands
924 @cindex partial measure
925 A pickup is entered with the keyword @code{\partial}. It
926 is followed by a duration: @code{\partial 4} is a quarter note upstep
927 and @code{\partial 8} an eighth note
929 @lilypond[quote,relative=2,verbatim,fragment]
936 Tuplets are made with the @code{\times} keyword. It takes two
937 arguments: a fraction and a piece of music. The duration of the piece
938 of music is multiplied by the fraction. Triplets make notes occupy
939 2/3 of their notated duration, so a triplet has 2/3 as its fraction
941 @lilypond[quote,relative=1,verbatim,fragment]
942 \times 2/3 { f8 g a }
948 Grace notes are also made by prefixing a music expression with the
949 keyword @code{\appoggiatura} or @code{\acciaccatura}
953 @lilypond[quote,relative=2,verbatim,fragment]
954 c4 \appoggiatura b16 c4
955 c4 \acciaccatura b16 c4
960 For more information on
965 see @ref{Grace notes},
969 see @ref{Partial measures}.
974 @node Commenting input files
975 @section Commenting input files
979 @cindex block comment
980 A comment is a remark for the human reader of the music input; it is
981 ignored while parsing, so it has no effect on the printed output.
982 There are two types of comments. The percent symbol @samp{%}
983 introduces a line comment; after @samp{%} the rest of the line is
984 ignored. A block comment marks a whole section of music
985 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
986 ignored. The following fragment shows possible uses for comments
989 % notes for twinkle twinkle follow
993 This line, and the notes below
994 are ignored, since they are in a
1001 @c TODO post-2.6 reorg
1002 @c This is good info, but I wouldn't call it a comment. IMO it should
1003 @c be moved somewhere else.
1007 There is a special statement that is a kind of comment. The @code{\version}
1008 statement marks for which version of LilyPond the file was written.
1009 To mark a file for version 2.10.1, use
1016 These annotations make future upgrades of LilyPond go more
1017 smoothly. Changes in the syntax are handled with a special program,
1018 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
1019 @code{\version} to determine what rules to apply.
1022 @node Printing lyrics
1023 @section Printing lyrics
1026 @c TODO: (c) status of the Queen fragment.
1030 Lyrics are entered by separating each syllable with a space
1033 I want to break free
1038 @lilypond[quote,verbatim,fragment,ragged-right]
1040 r4 c \times 2/3 { f g g }
1041 \times 2/3 { g4( a2) }
1045 The lyrics can be set to these notes, combining both with the
1046 @code{\addlyrics} keyword
1048 @lilypond[quote,verbatim,fragment,ragged-right]
1051 r4 c \times 2/3 { f g g }
1052 \times 2/3 { g4( a2) }
1054 \addlyrics { I want to break free }
1059 @cindex extender line
1061 This melody ends on a @rglos{melisma}, a single syllable (@q{free})
1062 sung to more than one note. This is indicated with an @emph{extender
1063 line}. It is entered as two underscores, i.e.,
1066 @{ I want to break free __ @}
1069 @lilypond[fragment,quote,ragged-right]
1072 r4 c \times 2/3 { f g g }
1073 \times 2/3 { g4( a2) }
1075 \addlyrics { I want to break free __ }
1079 Similarly, hyphens between words can be entered as two dashes,
1080 resulting in a centered hyphen between two syllables
1086 @c no ragged-right here, because otherwise the hypens get lost.
1087 @lilypond[fragment,quote]
1093 \addlyrics { A -- le gri -- a }
1097 More options, like putting multiple lines of lyrics below a melody are
1098 discussed in @ref{Vocal music}.
1102 @section A lead sheet
1108 @c TODO: revise this, \chords { } is shorter and more intuitive.
1110 In popular music, it is common to denote accompaniment with chord names.
1111 Such chords can be entered like notes,
1113 @lilypond[quote,verbatim,ragged-right]
1114 \chordmode { c2 f4. g8 }
1118 Now each pitch is read as the root of a chord instead of a note.
1119 This mode is switched on with @code{\chordmode}
1121 Other chords can be created by adding modifiers after a colon. The
1122 following example shows a few common modifiers
1124 @lilypond[quote,verbatim,ragged-right]
1125 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1128 For lead sheets, chords are not printed on staves, but as names on a
1129 line for themselves. This is achieved by using @code{\chords} instead
1130 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1131 but renders the notes in a @code{ChordNames} context, with the
1134 @lilypond[quote,verbatim,ragged-right]
1135 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1139 When put together, chord names, lyrics and a melody form
1140 a lead sheet, for example,
1144 \chords @{ @emph{chords} @}
1146 \addlyrics @{ @emph{the text} @}
1151 @lilypond[quote,ragged-right]
1153 \chords { r2 c:sus4 f }
1155 r4 c' \times 2/3 { f g g }
1156 \times 2/3 { g4( a2) }
1158 \addlyrics { I want to break free __ }
1162 A complete list of modifiers and other options for layout can be found
1167 @section Adding titles
1169 Bibliographic information is entered in a separate block, the
1170 @code{\header} block. The name of the piece, its composer, etc., are
1171 entered as an assignment, within @code{\header
1172 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1173 the top of the file. For example,
1178 composer = "Igor Stravinsky"
1185 When the file is processed, the title and composer are printed above
1186 the music. More information on titling can be found in @ref{Creating
1190 @node Single staff polyphony
1191 @section Single staff polyphony
1194 @cindex multiple voices
1195 @cindex voices, more -- on a staff
1196 When different melodic lines are combined on a single staff they are
1197 printed as polyphonic voices; each voice has its own stems, slurs and
1198 beams, and the top voice has the stems up, while the bottom voice has
1201 Entering such parts is done by entering each voice as a sequence (with
1202 @code{@{...@}}), and combining these simultaneously, separating the
1203 voices with @code{\\}
1205 @lilypond[quote,verbatim,relative=2,fragment]
1206 << { a4 g2 f4~ f4 } \\
1210 For polyphonic music typesetting, spacer rests can also be convenient;
1211 these are rests that do not print. They are useful for filling up
1212 voices that temporarily do not play. Here is the same example with a
1213 spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
1215 @lilypond[quote,verbatim,relative=2,fragment]
1216 << { a4 g2 f4~ f4 } \\
1221 Again, these expressions can be nested arbitrarily
1223 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1231 { <c g>1 ~ <c g>4 } \\
1237 More features of polyphonic typesetting are described in this manual
1238 in section @ref{Basic polyphony}.
1242 @section Piano staves
1244 @cindex staff switch, manual
1245 @cindex cross staff voice, manual
1246 Piano music is typeset in two staves connected by a brace. Printing
1247 such a staff is similar to the polyphonic example in @ref{More staves},
1250 << \new Staff @{ @dots{} @}
1251 \new Staff @{ @dots{} @} >>
1255 but now this entire expression must be interpreted as a
1259 \new PianoStaff << \new Staff @dots{} >>
1262 Here is a small example
1264 @lilypond[quote,verbatim,relative=1,fragment]
1266 \new Staff { \time 2/4 c4 c g' g }
1267 \new Staff { \clef bass c,, c' e c }
1271 More information on formatting piano music is given in @ref{Piano music}.
1274 @node Organizing larger pieces
1275 @section Organizing larger pieces
1277 When all of the elements discussed earlier are combined to produce
1278 larger files, the @code{\score} blocks get a lot bigger because the
1279 music expressions are longer, and, in the case of polyphonic music,
1280 more deeply nested. Such large expressions can become unwieldy.
1282 By using variables, also known as identifiers, it is possible to break
1283 up complex music expressions. An identifier is assigned as follows
1286 namedMusic = @{ @dots{} @}
1290 The contents of the music expression @code{namedMusic}, can be used
1291 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1292 In the next example, a two-note motive is repeated two times by using
1293 variable substitution
1295 @lilypond[quote,ragged-right,verbatim,nofragment]
1299 { \seufzer \seufzer }
1302 The name of an identifier should have alphabetic characters only: no
1303 numbers, underscores, or dashes. The assignment should be outside of
1306 It is possible to use variables for many other types of objects in the
1312 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1315 Depending on its contents, the identifier can be used in different
1316 places. The following example uses the above variables
1326 More information on the possible uses of identifiers is given in the
1327 technical manual, in @ref{Input variables and Scheme}.
1328 @c fixme: the ref is too technical.
1331 @node An orchestral part
1332 @section An orchestral part
1334 In orchestral music, all notes are printed twice. Once in a part for
1335 the musicians, and once in a full score for the conductor. Identifiers can
1336 be used to avoid double work. The music is entered once, and stored in
1337 a variable. The contents of that variable is then used to generate
1338 both the part and the full score.
1340 It is convenient to define the notes in a special file. For example,
1341 suppose that the file @file{horn-music.ly} contains the following part
1342 of a horn/@/bassoon duo
1345 hornNotes = \relative c @{
1352 Then, an individual part is made by putting the following in a file
1355 \include "horn-music.ly"
1357 instrument = "Horn in F"
1361 \transpose f c' \hornNotes
1368 \include "horn-music.ly"
1372 substitutes the contents of @file{horn-music.ly} at this position in
1373 the file, so @code{hornNotes} is defined afterwards. The command
1374 @code{\transpose f@tie{}c'} indicates that the argument, being
1375 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1376 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1377 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1378 in the following output
1380 @lilypond[quote,ragged-right]
1381 \transpose f c' \relative c {
1387 In ensemble pieces, one of the voices often does not play for many
1388 measures. This is denoted by a special rest, the multi-measure
1389 rest. It is entered with a capital @samp{R} followed by a duration
1390 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1391 etc.). By multiplying the
1392 duration, longer rests can be constructed. For example, this rest
1393 takes 3@tie{}measures in 2/4 time
1399 When printing the part, multi-rests
1400 must be condensed. This is done by setting a run-time variable
1403 \set Score.skipBars = ##t
1407 This command sets the property @code{skipBars} in the
1408 @code{Score} context to true (@code{##t}). Prepending the rest and
1409 this option to the music above, leads to the following result
1411 @lilypond[quote,ragged-right]
1412 \transpose f c' \relative c {
1414 \set Score.skipBars = ##t
1421 The score is made by combining all of the music together. Assuming
1422 that the other voice is in @code{bassoonNotes} in the file
1423 @file{bassoon-music.ly}, a score is made with
1426 \include "bassoon-music.ly"
1427 \include "horn-music.ly"
1430 \new Staff \hornNotes
1431 \new Staff \bassoonNotes
1438 @lilypond[quote,ragged-right]
1446 r4 d,8 f | gis4 c | b bes |
1447 a8 e f4 | g d | gis f
1452 More in-depth information on preparing parts and scores can be found
1453 in the notation manual; see @ref{Orchestral music}.
1455 Setting run-time variables (@q{properties}) is discussed in
1456 @ref{Changing context properties on the fly}.
1459 @node After the tutorial
1460 @section After the tutorial
1462 After finishing the tutorial, you should probably try writing a
1463 piece or two. Start with one of the @ref{Example templates} and
1464 add notes. If you need any notation that was not covered in the
1465 tutorial, look at the Notation Reference, starting with
1466 @ref{Basic notation}. If you want to write for an instrument
1467 ensemble which is not covered in the @ref{Example templates},
1468 take a look at @ref{Extending the templates}.
1470 Once you have written a few short pieces, read the rest of
1471 the Learning Manual (chapters 3-5). There's nothing wrong
1472 with reading them now, of course! However, the rest of the
1473 Learning Manual assumes that you are familiar with
1474 LilyPond input. You may wish to skim these chapters right
1475 now, and come back to them after you have more experience.
1478 For more information on
1482 @i tem Entering pitches and durations
1484 @r ef{Pitches}, and @ref{Durations}.
1489 @i tem Time signatures and other timing commands
1490 see @ref{Time signature}.