2 @c This file is part of lilypond.tely
5 @c * more details about running lilypond; error messages,
6 @c compiling/viewing (emacs?)
7 @c * where to go from First steps+More basics?
9 @c Your first LilyPond score in 10 minutes?
14 This tutorial starts with a short introduction to the LilyPond music
15 language. After this first contact we will show you how to produce
16 printed output. Then you will be able to create and print your own
20 Many people learn programs by trying and fiddling around with the
21 program. This is also possible with LilyPond. If you click on a
22 picture in the HTML version of this manual, you will see the exact
23 LilyPond input that was used to generate that image.
26 @lilypond[quote,raggedright,relative=2]
27 c-\markup { \bold \huge { Click here. } }
31 By cutting and pasting the full input into a test file, you have a
32 starting template for experiments. If you like learning in this way,
33 you will probably want to print out or bookmark
37 @ref{Cheat sheet}, which is a table listing all commands for quick
43 * More about pitches::
45 * Automatic and manual beams::
47 * Music expressions explained::
49 * Adding articulation marks to notes::
50 * Combining notes into chords::
51 * Basic rhythmical commands::
52 * Commenting input files::
55 * Listening to output::
57 * Single staff polyphony::
59 * Organizing larger pieces::
60 * An orchestral part::
61 * Integrating text and music::
68 The first example demonstrates how to enter the most elementary piece
69 of music, a scale. A note can be entered by typing its name, from
70 @samp{a} through @samp{g}. So, if you enter
77 the result looks like this
79 @lilypond[quote,notime,relative=1]
83 The duration of a note is specified by a number after the note name.
84 @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
85 @samp{4} for a @rglos{quarter note} and so on
91 @lilypond[quote,notime]
92 \set Score.timing = ##f
93 \set Staff.autoBeaming = ##f
94 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
97 If you do not specify a @rglos{duration}, the duration last entered is
98 used for the next notes. The duration of the first note in input
105 @lilypond[quote,notime]
106 \set Score.timing = ##f
107 \transpose c c' { a a8 a a2 a s16_" " }
111 Rests are entered just like notes, but with the name @samp{r}
118 @lilypond[quote,notime]
119 \set Score.timing = ##f
123 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
129 @lilypond[quote,notime]
130 \set Score.timing = ##f
131 \transpose c c' { a2. a4 a8. a16 s16_" " }
134 The @rglos{meter} (or @rglos{time signature}) can be set with the
143 @c A clef here may lead to confusion, remove it.
145 \override Staff.Clef #'transparent = ##t
154 The @rglos{clef} can be set using the @code{\clef} command
156 @c what is more common name treble or violin?
157 @c in Dutch, it is violin.
158 @c in English it is definitely treble.
166 @lilypond[quote,notime]
167 \set Score.timing = ##f
178 To recognize names like @samp{c} and @samp{d} as pitches, they have to
179 be entered inside a so-called @code{\notes} block. This block is
180 formed by enclosing notes and commands are enclosed in curly braces
181 @code{@{@tie{}@dots{}@tie{}@}} and adding the keyword @code{\notes} before
193 Now the piece of music is almost ready to be printed. Enclose
194 the @code{\notes} block in a @code{\score} block
208 and the music will be converted to printable output.
210 @lilypond[quote,noindent]
219 linewidth = 55 * \staffspace
224 In many examples in this manual, both @code{\score} and @code{\notes}
225 and accompanying braces are left out for brevity. However, they must
226 be present when feeding the file to LilyPond.
228 For more elaborate information on
232 @item Entering pitches and durations
234 @ref{Pitches}, and @ref{Durations}.
239 @item Time signatures and other timing commands
240 see @ref{Time signature}.
245 @node Running LilyPond
246 @section Running LilyPond
248 @c FIXME: let's not be so casual about Emacs and VIM, but rather
249 @c instruct (how) to use them; let advanced user figure-out what
253 @c We don't have enough space to explain either VIM
254 @c or Emacs non-advanced users, and I fear that both editors will only
255 @c confuse newbies. I vote for keeping the material in footnotes.
259 In the last section we explained what kind of things you could enter
260 in a LilyPond file. In this section we will explain what commands to
261 run and how to view or print the output. If you have not used
262 LilyPond before, want to test your setup, or want to run an example
263 file yourself, read this section. The instructions that follow are
264 for Unix-like systems. Some additional instructions for Microsoft
265 Windows are given at the end of this section.
267 Begin by opening a terminal window and starting a text editor. For
268 example, you could open an xterm and execute
269 @code{joe}.@footnote{There are macro files for VIM addicts, and there
270 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
271 installed already, refer to
272 @c FIXME lousy reference.
273 the file @file{INSTALL.txt}.} In your text editor, enter the following
274 input and save the file as @file{test.ly}
278 \notes @{ c'4 e' g' @}
283 To process @file{test.ly}, proceed as follows
290 You will see something resembling
293 lilypond (GNU LilyPond) 2.2.0
294 Running lilypond-bin...
295 Now processing `/home/fred/ly/test.ly'
297 Interpreting music...[1]
298 @emph{... more interesting stuff ... }
299 DVI output to `test.dvi'...
300 PDF output to `test.pdf'...
301 PS output to `test.ps'...
305 @cindex Viewing music
308 The result is the file @file{test.pdf}@footnote{For @TeX{}
309 aficionados: there is also a @file{test.dvi} file. It can be viewed
310 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
311 not show up in the magnifying glass. The specials also mean that the
312 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
317 } which you can print or with the standard facilities of your
318 operating system.@footnote{If your system does not have any tools
319 installed, you can try @uref{Ghostscript,
320 http://www.cs.wisc.edu/~ghost/}, a freely available package for
321 viewing and printing PDF and PostScript files.}
323 On Windows, start up a text-editor@footnote{Any simple or
324 programmer-oriented editor will do, for example Notepad. Do not use a
325 word processor, its formatting codes will confuse LilyPond.} and enter
329 \notes @{ c'4 e' g' @}
333 Save it on the desktop as @file{test.ly} and make sure that it is not
334 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
335 the file and show the resulting PDF file.
338 @node More about pitches
339 @section More about pitches
341 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
342 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
343 you might expect, a @rglos{double sharp} or @rglos{double flat} is
344 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
345 derived from note naming conventions in Nordic and Germanic languages,
346 like German and Dutch.}
352 @lilypond[quote,notime]
353 \set Score.timing = ##f
354 \transpose c c' { cis1 ees fisis aeses s16_" " }
357 @cindex key signature, setting
358 The key signature is set with the command @code{\key}, followed by
359 a pitch and @code{\major} or @code{\minor}
368 @lilypond[quote,notime,fragment]
376 Key signatures together with the pitches (including alterations) are
377 used to determine when to print accidentals. This is a
378 feature that often causes confusion to newcomers, so let us explain it
382 LilyPond makes a sharp distinction between musical content and
383 layout. The alteration (flat, natural or sharp) of a note is part of
384 the pitch, and is therefore musical content. Whether an accidental (a
385 flat, natural or sharp @emph{sign}) is printed in front of the
386 corresponding note is a question of layout. Layout is something that
387 follows rules, so accidentals are printed automatically according to
388 those rules. The pitches in your music are works of art, so they will
389 not be added automatically, and you must enter what you want to hear.
393 @lilypond[quote,notime,fragment]
399 no note gets an explicit accidental, but you still must enter
407 The code @samp{d} does not mean `print a black dot just below the
408 staff.' Rather, it means: `a note with pitch D-natural.' In the key
409 of A-flat, it does get an accidental
411 @lilypond[quote,notime,fragment]
421 Adding all alterations explicitly might require a little more effort
422 when typing, but the advantage is that transposing is easier, and
423 music can be printed according to different conventions. See
424 @ref{Accidentals}, for some examples how accidentals can be printed
425 according to different rules.
428 For more information on
433 see @ref{Accidentals}.
436 see @ref{Key signature}.
441 @section Entering ties
444 A tie is created by appending a tilde @samp{~} to the first note
447 @lilypond[quote,notime,fragment,verbatim,relative=3]
451 For more information on Ties see @ref{Ties}.
455 @node Automatic and manual beams
456 @section Automatic and manual beams
458 @cindex beams, by hand
459 Beams are drawn automatically
461 @lilypond[quote,fragment,relative=2,verbatim]
466 If you do not like where beams are put, they can be entered by
467 hand. Mark the first note to be beamed with @samp{[} and the last one
470 @lilypond[quote,fragment,relative=2,verbatim]
474 For more information on beams, see @ref{Beaming}.
477 Here are key signatures, accidentals and ties in action
487 fis4 fis8 fis8 eis4 a8 gis~
493 @lilypond[quote, noindent]
495 \notes \transpose c c' {
501 fis4 fis8 fis8 eis4 a8 gis~
504 \paper { linewidth = 50 * \staffspace }
510 There are some interesting points to note in this example. Bar lines
511 and beams are drawn automatically. Line breaks are calculated
512 automatically; it does not matter where the line breaks are in the
513 source file. Finally, the order in which time, key and clef changes
514 are entered is not relevant: in the printout, these are ordered
515 according to standard notation conventions.
520 @section Octave entry
523 @c Tim wants to move this quotes example just before the: quotes-do not-work
524 @c score, but we'd need to remove quotes from the other two (key and
527 @c better to have this just before the `octaves are bad' snipped
528 @c but we'd need to remove the ', from \key and tie
529 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
530 the note name, to lower a note one octave, add a `low quote' @code{,}
531 (a comma). Middle C is @code{c'}
534 c'4 c'' c''' \clef bass c c,
537 @lilypond[quote,notime,fragment]
538 c'4 c'' c''' \clef bass c c,
541 An example of the use of quotes is in the following Mozart fragment
543 @lilypond[quote,raggedright,fragment,verbatim]
546 cis''8. d''16 cis''8 e''4 e''8
547 b'8. cis''16 b'8 d''4 d''8
551 The last example shows that music in a high register needs lots of quotes.
552 This makes the input less readable, and it is a source of errors. The
553 solution is to use `relative octave' mode. In practice, this is the
554 most convenient way to copy existing music. To use relative mode, add
555 @code{\relative} before the piece of music. You must also give a note
556 from which relative mode starts, in this case @code{c''}. If you do not
557 use octavation quotes (i.e., do not add @code{'} or @code{,} after a
558 note), relative mode chooses the note that is closest to the previous
559 one. For example, @samp{c f} goes up while @samp{c g} goes down
561 @lilypond[quote,notime,fragment,verbatim]
568 Since most music has small intervals, pieces can be written almost
569 without octavation quotes in relative mode. The previous example is
572 @lilypond[quote,raggedright,fragment,verbatim]
581 @c needed better, maybe even redundant explanation
582 @c added another example below.
583 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
584 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
585 Larger intervals are made by adding octavation quotes.
587 @lilypond[quote,notime,verbatim,fragment]
593 In summary, quotes or commas no longer determine the absolute height
594 of a note in @code{\relative} mode. Rather, the height of a note is
595 relative to the previous one, and changing the octave of a single note
596 shifts all following notes an octave up or down.
598 For more information on Relative octaves see @ref{Relative octaves},
599 and @ref{Octave check}.
602 @node Music expressions explained
603 @section Music expressions explained
606 In input files, music is represent by so-called @emph{music
607 expression}. We have already seen in the previous examples;
608 a single note is a music expression
610 @lilypond[quote,verbatim,relative=3]
614 Enclosing group of notes in braces creates a new music
617 @lilypond[quote,verbatim,relative=3]
621 Putting a bunch of music expressions (notes) in braces, means that
622 they should be played in sequence. The result again is a music
623 expression, which can be grouped with other expressions sequentially.
624 Here, the expression from the previous example is combined with two
627 @lilypond[quote,verbatim,relative=3]
631 This technique is useful for non-monophonic music. To enter music
632 with more voices or more staves, we also combine expressions in
633 parallel. Two voices that should play at the same time, are entered
634 as a simultaneous combination of two sequences. A `simultaneous'
635 music expression is formed by enclosing expressions in @code{<<} and
636 @code{>>}. In the following example, three sequences (all containing
637 two notes) are combined simultaneously
639 @lilypond[quote,verbatim,relative=3]
647 This mechanism is similar to mathematical
648 formulas: a big formula is created by composing small formulas. Such
649 formulas are called expressions, and their definition is recursive, so
650 you can make arbitrarily complex and large expressions. For example,
659 ((1 + 2) * 3) / (4 * 5)
663 @cindex music expression
664 This example shows a sequence of expressions, where each expression is
665 contained in the next one. The simplest expressions are numbers and
666 operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
667 to group expressions.
669 Like mathematical expressions, music expressions can be nested
670 arbitrarily deep@footnote{The reason for getting three staves in the
671 previous example but just a single staff in current one will be explained
674 @lilypond[quote,verbatim,relative=2]
677 << { e f } { c <<b d>> } >>
683 When spreading expressions over multiple lines, it is customary to use
684 an indent that indicates the nesting level. Formatting music like this
685 eases reading, and helps you insert the right number of closing
686 braces at the end of an expression. For example,
701 Some editors have special support for entering LilyPond, and can help
702 indenting source files. See @ref{Editor support}, for more information.
709 To print more than one staff, each piece of music that makes up a
710 staff is marked by adding @code{\new Staff} before it. These
711 @code{Staff} elements are then combined parallel with @code{<<} and
712 @code{>>}, as demonstrated here
714 @lilypond[quote,fragment,verbatim]
716 \new Staff { \clef violin c'' }
717 \new Staff { \clef bass c }
722 The command @code{\new} introduces a `notation context.' A notation
723 context is an environment in which musical events (like notes or
724 @code{\clef} commands) are interpreted. For simple pieces, such
725 notation contexts are created implicitly. For more complex pieces, it
726 is best to mark contexts explicitly. This ensures that each fragment
729 There are several types of contexts: @code{Staff}, @code{Voice} and
730 @code{Score} handle normal music notation. Other contexts are also
731 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
732 printing chord names).
735 In terms of syntax, prepending @code{\new} to a music expression
736 creates a bigger music expression. In this way it resembles the minus
737 sign in mathematics. The formula @math{(4+5)} is an expression, so
738 @math{-(4+5)} is a bigger expression.
740 We can now typeset a melody with two staves
742 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
744 @lilypond[quote,verbatim,raggedright]
763 For more information on context see the description in
764 @ref{Interpretation contexts}.
768 @node Adding articulation marks to notes
769 @section Adding articulation marks to notes
775 Common accents can be added to a note using a dash (@samp{-}) and a
778 @lilypond[quote,verbatim,relative=2]
779 c-. c-- c-> c-^ c-+ c-_
783 Similarly, fingering indications can be added to a note using a dash
784 (@samp{-}) and the digit to be printed
786 @lilypond[quote,verbatim,relative=2]
791 Dynamic signs are made by adding the markings (with a backslash) to
794 @lilypond[quote,verbatim,relative=2]
802 Crescendi and decrescendi are started with the commands @code{\<} and
803 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
804 crescendo, or the command @code{\!} can be used
806 @lilypond[quote,verbatim,relative=2]
814 A slur is a curve drawn across many notes, and indicates legato
815 articulation. The starting note and ending note are marked with
816 @samp{(} and @samp{)}, respectively
818 @lilypond[quote,fragment,relative=2,verbatim]
819 d4( c16)( cis d e c cis d e)( d4)
822 @cindex slurs versus ties
823 A slur looks like a tie, but it has a different meaning. A tie simply
824 makes the first note sound longer, and can only be used on pairs of
825 notes with the same pitch. Slurs indicate the articulations of notes,
826 and can be used on larger groups of notes. Slurs and ties are also
829 @lilypond[quote,fragment,relative=2]
830 c2~( c8 fis fis4 ~ fis2 g2)
833 @cindex phrasing slurs
834 Slurs to indicate phrasing can be entered with @code{\(} and
835 @code{\)}, so you can have both legato slurs and phrasing slurs at the
838 @lilypond[quote,fragment,relative=2,verbatim]
839 a8(\( ais b c) cis2 b'2 a4 cis, c\)
843 For more information on
848 see @ref{Fingering instructions}.
850 see @ref{Articulations}.
854 see @ref{Phrasing slurs}.
861 @node Combining notes into chords
862 @section Combining notes into chords
865 Chords can be made by surrounding pitches with angle brackets.
866 Angle brackets are the symbols @samp{<} and @samp{>}.
868 @lilypond[quote,relative=1,fragment,verbatim]
873 You can combine markings like beams and ties with chords. They must
874 be placed outside the angled brackets
876 @lilypond[quote,relative=1,fragment,verbatim]
877 r4 <c e g>8[ <c f a>]~ <c f a>
881 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
884 @lilypond[quote,relative=1,fragment]
886 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
892 @node Basic rhythmical commands
893 @section Basic rhythmical commands
897 @cindex partial measure
898 A pickup is entered with the keyword @code{\partial}. It
899 is followed by a duration: @code{\partial 4} is a quarter note upstep
900 and @code{\partial 8} an eighth note
902 @lilypond[quote,relative=2,verbatim,fragment]
909 Tuplets are made with the @code{\times} keyword. It takes two
910 arguments: a fraction and a piece of music. The duration of the piece
911 of music is multiplied by the fraction. Triplets make notes occupy
912 2/3 of their notated duration, so a triplet has 2/3 as its fraction
914 @lilypond[quote,relative=1,verbatim,fragment]
915 \times 2/3 { f8 g a }
921 Grace notes are also made by prefixing a music expression with the
922 keyword @code{\appoggiatura} or @code{\acciaccatura}
926 @lilypond[quote,relative=2,verbatim,fragment]
927 c4 \appoggiatura b16 c4
928 c4 \acciaccatura b16 c4
933 For more information on
938 see @ref{Grace notes},
942 see @ref{Partial measures}.
947 @node Commenting input files
948 @section Commenting input files
952 @cindex block comment
953 A comment is a remark for the human reader of the music input; it is
954 ignored and has no effect on the printed output. There are two types
955 of comments. The percent symbol @samp{%} introduces a line comment;
956 the rest of the line is ignored. A block comments marks a whole
957 section of music input---anything that is enclosed in @code{%@{} and
958 @code{%@}} is ignored. The following fragment shows possible uses for
962 % notes for twinkle twinkle follow
966 This line, and the notes below
967 are ignored, since they are in a
974 There is a special statement that really is a kind of comment. The
975 version statement marks for which version of LilyPond the file was
976 written. To mark a file for version 2.1.17, use
983 These annotations make future upgrades of LilyPond go more
984 smoothly. Changes in the syntax are handled with a special program,
985 @file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
986 @code{\version} to determine what rules to apply.
989 @node Printing lyrics
990 @section Printing lyrics
993 @c TODO: (c) status of the Queen fragment.
997 Lyrics are entered by separating each syllable with a space,
1000 I want to break free
1003 To prevent certain words (for example `as') as being read as a
1004 pitch, the input-mode must be switched. This is done with
1005 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
1009 \lyrics @{ I want to break free @}
1013 Again, the braces @code{@{@}} signify that the syllables are sung in
1016 By default, music expressions are interpreted in @code{Staff} context. For
1017 lyrics, this is obviously not desirable, so it is necessary
1018 to explicitly specify a @code{Lyrics} context,
1021 \new Lyrics \lyrics @{ I want to break free @}
1024 The melody for this song is as follows
1026 @lilypond[quote,fragment,relative=2]
1027 r4 c \times 2/3 { f4 g g }
1028 \times 2/3 { g4( a2) }
1031 The lyrics can be set to these notes, combining both with the
1032 @code{\lyricsto} keyword
1035 \lyricsto "@var{name}" \new Lyrics @dots{}
1039 where @var{name} identifies to which melody the lyrics should be
1040 aligned. In this case, there is only one melody, so we can leave it
1045 @lilypond[quote,verbatim,fragment,raggedright]
1049 r4 c \times 2/3 { f g g }
1050 \times 2/3 { g4( a2) }
1052 \lyricsto "" \new Lyrics \lyrics { I want to break free }
1058 @cindex extender line
1060 This melody ends on a @rglos{melisma}, a single syllable (`free')
1061 sung to more than one note. This is indicated with an @emph{extender
1062 line}. It is entered as two underscores, i.e.,
1065 \lyrics @{ I want to break free __ @}
1068 @lilypond[quote,raggedright]
1071 \notes \relative c' \new Voice {
1072 r4 c \times 2/3 { f g g }
1073 \times 2/3 { g4( a2) }
1075 \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
1080 Similarly, hyphens between words can be entered as two dashes,
1081 resulting in a centered hyphen between two syllables
1084 Twin -- kle twin -- kle
1087 @lilypond[quote,raggedright]
1090 \notes \relative f' \context Voice = bla {
1094 \new Lyrics \lyricsto "bla" \lyrics { Twin -- kle twin -- kle }
1099 More options, like putting multiple lines of lyrics below a melody are
1100 discussed in @ref{Vocal music}.
1105 @section A lead sheet
1111 In popular music, it is common to denote accompaniment as chord names.
1112 Such chords can be entered like notes,
1119 but now, each pitch is read as the root of a chord instead of a note.
1120 This mode is switched on with @code{\chords}
1122 @lilypond[quote,verbatim,raggedright]
1124 \chords { c2 f4. g8 }
1128 Other chords can be created by adding modifiers after a colon. The
1129 following example shows a few common modifiers
1131 @lilypond[quote,verbatim]
1132 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1135 For lead sheets, chords are not printed on staves, but as names on a
1136 line of themselves. Hence, we have to override the context with
1137 @code{\new}, rendering the music expression in a @code{ChordNames}
1140 @lilypond[quote,verbatim]
1141 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1145 When put together, chord names, lyrics and a melody form
1146 a lead sheet, for example,
1151 \new ChordNames \chords @{ @emph{chords} @}
1152 \notes @emph{the melody}
1153 \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
1158 @lilypond[quote,raggedright]
1161 \new ChordNames \chords { r2 c:sus4 f }
1162 \notes \relative c' {
1163 r4 c \times 2/3 { f g g }
1164 \times 2/3 { g4( a2) }
1166 \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
1171 A complete list of modifiers and other options for layout can be found
1175 @node Listening to output
1176 @section Listening to output
1181 MIDI (Musical Instrument Digital Interface) is a standard for
1182 connecting and controlling digital instruments. A MIDI file is like a
1183 tape recording of a MIDI instrument.
1185 To create a MIDI from a music piece of music, add a
1186 @code{\midi} block causes LilyPond to create a MIDI file, so you
1187 can listen to the music you entered. It is great for checking the
1188 music: octaves that are off or accidentals that were mistyped stand
1189 out very much when listening to the musical transcription.
1191 The @code{\midi} block is added to @code{\score}, for example,
1196 \midi @{ \tempo 4=72 @}
1200 Here, the tempo is specified using the @code{\tempo} command. In this
1201 case the tempo of quarter notes is set to 72 beats per minute. More
1202 information on auditory output in the notation manual can be found in
1205 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1206 be produced. If notation is needed too, a @code{\paper} block must be
1212 \midi @{ \tempo 4=72 @}
1222 Bibliographic information is entered in a separate block, the
1223 @code{\header} block. The name of the piece, its composer, etc., are
1224 entered as an assignment, within @code{\header @{@tie{}@dots{}@tie{}@}}.
1229 title = "Eight miniatures"
1230 composer = "Igor Stravinsky"
1231 tagline = "small is beautiful"
1234 \score @{ @dots{} @}
1237 @cindex bibliographic information
1240 @cindex Engraved by LilyPond
1242 When the file is processed the title and composer are printed above
1243 the music. The `tagline' is a short line printed at bottom of the last
1244 page which normally says `Engraved by LilyPond, version @dots{}'. In
1245 the example above it is replaced by the line `small is
1246 beautiful.'@footnote{Nicely printed parts are good PR for us, so
1247 please leave the tagline if you can.}
1249 Normally, the @code{\header} is put at the top of the file. However,
1250 for a document that contains multiple pieces (e.g., an etude book, or
1251 an orchestral part with multiple movements), the header can be
1252 put into the @code{\score} block as follows; in this case, the name of
1253 each piece will be printed before each movement.
1255 @cindex Engraved by LilyPond
1256 @cindex signature line
1260 title = "Eight miniatures"
1261 composer = "Igor Stravinsky"
1262 tagline = "small is beautiful"
1267 \header @{ piece = "Adagio" @}
1271 \header @{ piece = "Menuetto" @}
1275 More information on titling can be found in @ref{Invoking lilypond}.
1278 @node Single staff polyphony
1279 @section Single staff polyphony
1282 @cindex multiple voices
1283 @cindex voices, more -- on a staff
1284 When different melodic lines are combined on a single staff they are
1285 printed as polyphonic voices: each voice has its own stems, slurs and
1286 beams, and the top voice has the stems up, while the bottom voice has
1289 Entering such parts is done by entering each voice as a sequence (with
1290 @code{@{...@}}), and combining those simultaneously, separating the
1291 voices with @code{\\}
1293 @lilypond[quote,verbatim,relative=3]
1294 << { a4 g2 f4~ f4 } \\
1298 For polyphonic music typesetting, spacer rests can also be convenient: these
1299 are rests that do not print. It is useful for filling up voices that
1300 temporarily do not play. Here is the same example with a spacer rest
1301 instead of a normal rest---just use @samp{s} instead of @samp{r}
1303 @lilypond[quote,verbatim,relative=3]
1304 << { a4 g2 f4~ f4 } \\
1309 Again, these expressions can be nested arbitrarily
1311 @lilypond[quote,fragment,verbatim,relative=3]
1319 { <c, g>1 ~ <c g>4 } \\
1325 More features of polyphonic typesetting in the notation manual are
1326 described in @ref{Polyphony}.
1330 @section Piano staves
1332 @cindex staff switch, manual
1333 @cindex cross staff voice, manual
1334 @cindex @code{\context}
1335 Piano music is typeset in two staves connected by a brace. Printing
1336 such a staff is similar to the polyphonic example in @ref{More staves},
1339 << \new Staff @{ @dots{} @}
1340 \new Staff @{ @dots{} @} >>
1344 but now this entire expression must be interpreted as a
1348 \new PianoStaff << \new Staff @dots{} >>
1351 Here is a full-fledged example
1353 @lilypond[quote,verbatim,relative=1,fragment]
1355 \new Staff { \time 2/4 c4 c g' g }
1356 \new Staff { \clef bass c,, c' e c }
1360 More information on formatting piano music is in @ref{Piano music}.
1363 @node Organizing larger pieces
1364 @section Organizing larger pieces
1366 When all of the elements discussed earlier are combined to produce
1367 larger files, the @code{\score} blocks get a lot bigger, because the
1368 music expressions are longer, and, in the case of polyphonic pieces,
1369 more deeply nested. Such large expressions can become unwieldy.
1371 By using variables, also known as identifiers, it is possible to break
1372 up complex music expressions. An identifier is assigned as follows
1375 namedMusic = \notes @{ @dots{} @}
1379 The contents of the music expression @code{namedMusic}, can be used
1380 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1381 In the next example, a two-note motive is repeated two times by using
1382 variable substitution
1384 @lilypond[quote,raggedright,verbatim]
1389 \new Staff { \seufzer \seufzer }
1393 The name of an identifier should have alphabetic characters only;
1394 no numbers, underscores or dashes. The assignment should be outside of
1395 the @code{\score} block.
1397 It is possible to use variables for many other types of objects in the
1403 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1406 Depending on its contents, the identifier can be used in different
1407 places. The following example uses the above variables
1411 \notes @{ c4^\name @}
1419 More information on the possible uses of identifiers is in the
1420 technical manual, in TODO.
1423 @node An orchestral part
1424 @section An orchestral part
1426 In orchestral music, all notes are printed twice: in a part for
1427 the musicians, and in a full score for the conductor. Identifiers can
1428 be used to avoid double work: the music is entered once, and stored in
1429 a variable. The contents of that variable is then used to generate
1430 both the part and the score.
1432 It is convenient to define the notes in a special file. For example,
1433 suppose that the file @file{horn-music.ly} contains the following part
1434 of a horn/bassoon duo
1437 hornNotes = \notes \relative c @{
1444 Then, an individual part is made by putting the following in a file
1447 \include "horn-music.ly"
1449 instrument = "Horn in F"
1452 \notes \transpose f c' \hornNotes
1459 \include "horn-music.ly"
1463 substitutes the contents of @file{horn-music.ly} at this position in
1464 the file, so @code{hornNotes} is defined afterwards. The command
1465 @code{\transpose f@tie{}c'} indicates that the argument, being
1466 @code{\hornNotes}, should be transposed by a fifth downwards: sounding
1467 @samp{f} is denoted by notated @code{c'}, which corresponds with
1468 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1469 in the following output
1471 @lilypond[quote,raggedright]
1473 \notes \transpose f c' \notes \relative c {
1480 In ensemble pieces, one of the voices often does not play for many
1481 measures. This is denoted by a special rest, the multi-measure
1482 rest. It is entered with a capital @samp{R} followed by a duration
1483 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1484 duration, longer rests can be constructed. For example, this rest
1485 takes 3@tie{}measures in 2/4 time
1491 When printing the part, multi-rests
1492 must be condensed. This is done by setting a run-time variable
1495 \set Score.skipBars = ##t
1499 This command sets the property @code{skipBars} in the
1500 @code{Score} context to true (@code{##t}). Prepending the rest and
1501 this option to the music above, leads to the following result
1503 @lilypond[quote,raggedright]
1505 \notes \transpose f c' \relative c {
1507 \set Score.skipBars = ##t
1515 The score is made by combining all of the music in a @code{\score}
1516 block. Assuming that the other voice is in @code{bassoonNotes} in the
1517 file @file{bassoon-music.ly}, a score is made with
1520 \include "bassoon-music.ly"
1521 \include "horn-music.ly"
1525 \new Staff \hornNotes
1526 \new Staff \bassoonNotes
1534 @lilypond[quote,raggedright]
1536 \notes \relative c \simultaneous {
1543 r4 d,8 f | gis4 c | b bes |
1544 a8 e f4 | g d | gis f
1550 More in-depth information on preparing parts and scores can be found
1551 in the notation manual; see @ref{Orchestral music}.
1553 Setting run-time variables (`properties') is discussed in ref-TODO.
1556 @node Integrating text and music
1557 @section Integrating text and music
1559 @cindex La@TeX{}, music in
1560 @cindex HTML, music in
1561 @cindex Texinfo, music in
1562 Some texts include music examples. Examples are musicological
1563 treatises, songbooks or manuals like this. Such texts can be made by
1564 hand, simply by importing a PostScript figure into the word processor.
1565 However, there is an automated procedure to reduce the amount of work
1566 involved HTML, La@TeX{}, and Texinfo documents.
1568 A script called @code{lilypond-book} will extract the music fragments,
1569 run format them, and put back the resulting notation. This program is
1570 fully described in @ref{lilypond-book manual}. Here we show a small
1571 example. The example also contains explanatory text, so we will not
1572 comment on it further
1575 \documentclass[a4paper]@{article@}
1578 Documents for lilypond-book may freely mix music and text. For
1582 \score @{ \notes \relative c' @{
1583 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1587 If there is no \verb+\score+ block in the fragment,
1588 \texttt@{lilypond-book@} will supply one
1590 \begin[quote]@{lilypond@}
1595 In this example two things happened: a
1596 \verb+\score+ block was added, and the line width was set to natural
1599 Options are put in brackets.
1601 \begin[quote,staffsize=26,verbatim]@{lilypond@}
1605 Larger examples can be put in a separate file, and introduced with
1606 \verb+\lilypondfile+.
1608 \lilypondfile[quote,noindent]@{screech-boink.ly@}
1613 Under Unix, you can view the results as follows
1618 $ lilypond-book --output=out/ lilybook.tex
1619 lilypond-book (GNU LilyPond) 2.1.19
1620 Reading `input/tutorial/lilybook.tex'
1621 Reading `input/screech-boink.ly'
1622 @var{lots of stuff deleted}
1623 Writing `out/lilybook.tex'
1626 @var{lots of stuff deleted}
1630 To convert the file into a nice PDF document, run the following
1634 $ dvips -Ppdf -u +lilypond lilybook
1635 $ ps2pdf lilybook.ps
1638 Running lilypond-book and running latex creates a lot of temporary
1639 files, which would clutter up the working directory. To remedy this,
1640 use the @code{--output=@var{dir}} option. It will create the files in
1641 a separate subdirectory @file{dir}.
1643 Finally the result of the La@TeX{} example shown above.@footnote{Note
1644 that in this tutorial the example is processed with Texinfo. This gives
1645 slightly different results in layout.} This finishes the tutorial
1650 Documents for lilypond-book may freely mix music and text. For
1654 \score { \notes \relative c' {
1655 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1659 If there is no @code{\score} block in the fragment,
1660 @code{lilypond-book} will supply one
1667 In this example two things happened: a
1668 @code{score} block was added, and the line width was set to natural
1671 Options are put in brackets.
1673 @lilypond[quote,staffsize=26,verbatim]
1677 Larger examples can be put in a separate file, and introduced with
1678 @code{\lilypondfile}.
1680 @lilypondfile[quote,noindent]{screech-boink.ly}