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[fragment,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[fragment,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 @c FIXME: have NOTIME also remove Score.timing?
92 @lilypond[fragment,quote,notime,relative=1]
93 \set Score.timing = ##f
94 \set Staff.autoBeaming = ##f
95 { a1 a2 a4 a16 a32 s16_" " }
98 If you do not specify a @rglos{duration}, the duration last entered is
99 used for the next notes. The duration of the first note in input
100 defaults to a quarter
106 @lilypond[fragment,quote,notime,relative=1]
107 \set Score.timing = ##f
108 { a a8 a a2 a s16_" " }
112 Rests are entered just like notes, but with the name @samp{r}
119 @lilypond[fragment,quote,notime]
120 \set Score.timing = ##f
124 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
130 @lilypond[fragment,quote,notime,relative=1]
131 \set Score.timing = ##f
132 { a2. a4 a8. a16 s16_" " }
135 The @rglos{meter} (or @rglos{time signature}) can be set with the
144 @c A clef here may lead to confusion, remove it.
145 @lilypond[fragment,quote]
146 \override Staff.Clef #'transparent = ##t
155 The @rglos{clef} can be set using the @code{\clef} command
157 @c what is more common name treble or violin?
158 @c in Dutch, it is violin.
159 @c in English it is definitely treble.
167 @lilypond[fragment,quote,notime]
168 \set Score.timing = ##f
180 Remember to enclose the notes and commands in curly braces
181 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
183 @lilypond[fragment,quote,noindent,linewidth=55\staffspace]
192 For more elaborate information on
196 @item Entering pitches and durations
198 @ref{Pitches}, and @ref{Durations}.
203 @item Time signatures and other timing commands
204 see @ref{Time signature}.
209 @node Running LilyPond
210 @section Running LilyPond
212 @c FIXME: let's not be so casual about Emacs and VIM, but rather
213 @c instruct (how) to use them; let advanced user figure-out what
217 @c We don't have enough space to explain either VIM
218 @c or Emacs non-advanced users, and I fear that both editors will only
219 @c confuse newbies. I vote for keeping the material in footnotes.
223 In the last section we explained what kind of things you could enter
224 in a LilyPond file. In this section we will explain what commands to
225 run and how to view or print the output. If you have not used
226 LilyPond before, want to test your setup, or want to run an example
227 file yourself, read this section. The instructions that follow are
228 for Unix-like systems. Some additional instructions for Microsoft
229 Windows are given at the end of this section.
231 Begin by opening a terminal window and starting a text editor. For
232 example, you could open an xterm and execute
233 @code{joe}.@footnote{There are macro files for VIM addicts, and there
234 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
235 installed already, refer to
236 @c FIXME lousy reference.
237 the file @file{INSTALL.txt}.} In your text editor, enter the following
238 input and save the file as @file{test.ly}
245 To process @file{test.ly}, proceed as follows
252 You will see something resembling
255 lilypond (GNU LilyPond) 2.2.0
257 Now processing `/home/fred/ly/test.ly'
259 Interpreting music...[1]
260 @emph{... more interesting stuff ... }
261 DVI output to `test.dvi'...
262 PDF output to `test.pdf'...
263 PS output to `test.ps'...
267 @cindex Viewing music
270 The result is the file @file{test.pdf}@footnote{For @TeX{}
271 aficionados: there is also a @file{test.dvi} file. It can be viewed
272 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
273 not show up in the magnifying glass. The specials also mean that the
274 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
279 } which you can print or with the standard facilities of your
280 operating system.@footnote{If your system does not have any tools
281 installed, you can try
282 @uref{http://www.cs.wisc.edu/~ghost/,Ghostscript}, a freely available
283 package for viewing and printing PDF and PostScript files.}
285 On Windows, start up a text-editor@footnote{Any simple or
286 programmer-oriented editor will do, for example Notepad. Do not use a
287 word processor, its formatting codes will confuse LilyPond.} and enter
293 Save it on the desktop as @file{test.ly} and make sure that it is not
294 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
295 the file and show the resulting PDF file.
298 @node More about pitches
299 @section More about pitches
301 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
302 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
303 you might expect, a @rglos{double sharp} or @rglos{double flat} is
304 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
305 derived from note naming conventions in Nordic and Germanic languages,
306 like German and Dutch.}
312 @lilypond[fragment,quote,notime]
313 \set Score.timing = ##f
314 \transpose c c' { cis1 ees fisis aeses s16_" " }
317 @cindex key signature, setting
318 The key signature is set with the command @code{\key}, followed by
319 a pitch and @code{\major} or @code{\minor}
328 @lilypond[fragment,quote,notime,fragment]
336 Key signatures together with the pitches (including alterations) are
337 used to determine when to print accidentals. This is a
338 feature that often causes confusion to newcomers, so let us explain it
342 LilyPond makes a sharp distinction between musical content and
343 layout. The alteration (flat, natural or sharp) of a note is part of
344 the pitch, and is therefore musical content. Whether an accidental (a
345 flat, natural or sharp @emph{sign}) is printed in front of the
346 corresponding note is a question of layout. Layout is something that
347 follows rules, so accidentals are printed automatically according to
348 those rules. The pitches in your music are works of art, so they will
349 not be added automatically, and you must enter what you want to hear.
353 @lilypond[quote,notime,fragment]
359 no note gets an explicit accidental, but you still must enter
367 The code @samp{d} does not mean `print a black dot just below the
368 staff.' Rather, it means: `a note with pitch D-natural.' In the key
369 of A-flat, it does get an accidental
371 @lilypond[quote,notime,fragment]
381 Adding all alterations explicitly might require a little more effort
382 when typing, but the advantage is that transposing is easier, and
383 music can be printed according to different conventions. See
384 @ref{Accidentals}, for some examples how accidentals can be printed
385 according to different rules.
388 For more information on
393 see @ref{Accidentals}.
396 see @ref{Key signature}.
401 @section Entering ties
404 A tie is created by appending a tilde @samp{~} to the first note
407 @lilypond[quote,notime,fragment,verbatim,relative=3]
411 For more information on Ties see @ref{Ties}.
415 @node Automatic and manual beams
416 @section Automatic and manual beams
418 @cindex beams, by hand
419 Beams are drawn automatically
421 @lilypond[quote,fragment,relative=2,verbatim]
426 If you do not like where beams are put, they can be entered by
427 hand. Mark the first note to be beamed with @samp{[} and the last one
430 @lilypond[quote,fragment,relative=2,verbatim]
434 For more information on beams, see @ref{Beaming}.
437 Here are key signatures, accidentals and ties in action
446 fis4 fis8 fis8 eis4 a8 gis~
453 ugr: removing the ignore block, leaving the comment line below
454 @c TODO: use relative mode, verbatim, junk \transpose and above @example
458 @lilypond[fragment,quote,noindent,linewidth=50\staffspace]
465 fis4 fis8 fis8 eis4 a8 gis~
474 There are some interesting points to note in this example. Bar lines
475 and beams are drawn automatically. Line breaks are calculated
476 automatically; it does not matter where the line breaks are in the
477 source file. Finally, the order in which time, key and clef changes
478 are entered is not relevant: in the printout, these are ordered
479 according to standard notation conventions.
484 @section Octave entry
487 @c Tim wants to move this quotes example just before the: quotes-do not-work
488 @c score, but we'd need to remove quotes from the other two (key and
491 @c better to have this just before the `octaves are bad' snipped
492 @c but we'd need to remove the ', from \key and tie
493 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
494 the note name, to lower a note one octave, add a `low quote' @code{,}
495 (a comma). Middle C is @code{c'}
498 c'4 c'' c''' \clef bass c c,
501 @lilypond[quote,notime,fragment]
502 c'4 c'' c''' \clef bass c c,
505 An example of the use of quotes is in the following Mozart fragment
507 @lilypond[quote,raggedright,fragment,verbatim]
510 cis''8. d''16 cis''8 e''4 e''8
511 b'8. cis''16 b'8 d''4 d''8
515 The last example shows that music in a high register needs lots of quotes.
516 This makes the input less readable, and it is a source of errors. The
517 solution is to use `relative octave' mode. In practice, this is the
518 most convenient way to copy existing music. To use relative mode, add
519 @code{\relative} before the piece of music.
521 FIXME: move to notation manual?
522 You must also give a note
523 from which relative mode starts, in this case @code{c''}.
526 use octavation quotes (i.e., do not add @code{'} or @code{,} after a
527 note), relative mode chooses the note that is closest to the previous
528 one. For example, @samp{c f} goes up while @samp{c g} goes down
530 @lilypond[quote,notime,fragment,verbatim]
537 Since most music has small intervals, pieces can be written almost
538 without octavation quotes in relative mode. The previous example is
541 @lilypond[quote,raggedright,fragment,verbatim]
545 cis''8. d16 cis8 e4 e8
550 @c needed better, maybe even redundant explanation
551 @c added another example below.
552 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
553 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
554 Larger intervals are made by adding octavation quotes.
556 @lilypond[quote,notime,verbatim,fragment]
562 In summary, quotes or commas no longer determine the absolute height
563 of a note in @code{\relative} mode. Rather, the height of a note is
564 relative to the previous one, and changing the octave of a single note
565 shifts all following notes an octave up or down.
567 For more information on Relative octaves see @ref{Relative octaves},
568 and @ref{Octave check}.
571 @node Music expressions explained
572 @section Music expressions explained
575 In input files, music is represent by so-called @emph{music
576 expression}. We have already seen in the previous examples;
577 a single note is a music expression
579 @lilypond[fragment,quote,verbatim,relative=3]
583 Enclosing group of notes in braces creates a new music
586 @lilypond[fragment,quote,verbatim,relative=3]
590 Putting a bunch of music expressions (notes) in braces, means that
591 they should be played in sequence. The result again is a music
592 expression, which can be grouped with other expressions sequentially.
593 Here, the expression from the previous example is combined with two
596 @lilypond[fragment,quote,verbatim,relative=3]
600 This technique is useful for non-monophonic music. To enter music
601 with more voices or more staves, we also combine expressions in
602 parallel. Two voices that should play at the same time, are entered
603 as a simultaneous combination of two sequences. A `simultaneous'
604 music expression is formed by enclosing expressions in @code{<<} and
605 @code{>>}. In the following example, three sequences (all containing
606 two notes) are combined simultaneously
608 @lilypond[fragment,quote,verbatim,relative=3]
616 This mechanism is similar to mathematical
617 formulas: a big formula is created by composing small formulas. Such
618 formulas are called expressions, and their definition is recursive, so
619 you can make arbitrarily complex and large expressions. For example,
628 ((1 + 2) * 3) / (4 * 5)
632 @cindex music expression
633 This example shows a sequence of expressions, where each expression is
634 contained in the next one. The simplest expressions are numbers and
635 operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
636 to group expressions.
638 Like mathematical expressions, music expressions can be nested
639 arbitrarily deep@footnote{The reason for getting three staves in the
640 previous example but just a single staff in the current one will be
643 @lilypond[fragment,quote,verbatim,relative=2]
646 << { e f } { c <<b d>> } >>
652 When spreading expressions over multiple lines, it is customary to use
653 an indent that indicates the nesting level. Formatting music like this
654 eases reading, and helps you insert the right number of closing
655 braces at the end of an expression. For example,
675 Some editors have special support for entering LilyPond, and can help
676 indenting source files. See @ref{Editor support}, for more information.
681 To print more than one staff, each piece of music that makes up a
682 staff is marked by adding @code{\new Staff} before it. These
683 @code{Staff} elements are then combined parallel with @code{<<} and
684 @code{>>}, as demonstrated here
686 @lilypond[quote,fragment,verbatim]
688 \new Staff { \clef violin c'' }
689 \new Staff { \clef bass c }
694 The command @code{\new} introduces a `notation context.' A notation
695 context is an environment in which musical events (like notes or
696 @code{\clef} commands) are interpreted. For simple pieces, such
697 notation contexts are created implicitly. For more complex pieces, it
698 is best to mark contexts explicitly. This ensures that each fragment
701 There are several types of contexts: @code{Staff}, @code{Voice} and
702 @code{Score} handle normal music notation. Other contexts are also
703 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
704 printing chord names).
707 In terms of syntax, prepending @code{\new} to a music expression
708 creates a bigger music expression. In this way it resembles the minus
709 sign in mathematics. The formula @math{(4+5)} is an expression, so
710 @math{-(4+5)} is a bigger expression.
712 We can now typeset a melody with two staves
714 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
716 @lilypond[fragment,quote,verbatim,raggedright]
733 For more information on context see the description in
734 @ref{Interpretation contexts}.
738 @node Adding articulation marks to notes
739 @section Adding articulation marks to notes
745 Common accents can be added to a note using a dash (@samp{-}) and a
748 @lilypond[fragment,quote,verbatim,relative=2]
749 c-. c-- c-> c-^ c-+ c-_
753 Similarly, fingering indications can be added to a note using a dash
754 (@samp{-}) and the digit to be printed
756 @lilypond[fragment,quote,verbatim,relative=2]
761 Dynamic signs are made by adding the markings (with a backslash) to
764 @lilypond[fragment,quote,verbatim,relative=2]
772 Crescendi and decrescendi are started with the commands @code{\<} and
773 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
774 crescendo, or the command @code{\!} can be used
776 @lilypond[fragment,quote,verbatim,relative=2]
784 A slur is a curve drawn across many notes, and indicates legato
785 articulation. The starting note and ending note are marked with
786 @samp{(} and @samp{)}, respectively
788 @lilypond[fragment,quote,fragment,relative=2,verbatim]
789 d4( c16)( cis d e c cis d e)( d4)
792 @cindex slurs versus ties
793 A slur looks like a tie, but it has a different meaning. A tie simply
794 makes the first note sound longer, and can only be used on pairs of
795 notes with the same pitch. Slurs indicate the articulations of notes,
796 and can be used on larger groups of notes. Slurs and ties are also
799 @lilypond[quote,fragment,relative=2]
800 c2~( c8 fis fis4 ~ fis2 g2)
803 @cindex phrasing slurs
804 Slurs to indicate phrasing can be entered with @code{\(} and
805 @code{\)}, so you can have both legato slurs and phrasing slurs at the
808 @lilypond[quote,fragment,relative=2,verbatim]
809 a8(\( ais b c) cis2 b'2 a4 cis, c\)
813 For more information on
818 see @ref{Fingering instructions}.
820 see @ref{Articulations}.
824 see @ref{Phrasing slurs}.
831 @node Combining notes into chords
832 @section Combining notes into chords
835 Chords can be made by surrounding pitches with angle brackets.
836 Angle brackets are the symbols @samp{<} and @samp{>}.
838 @lilypond[quote,relative=1,fragment,verbatim]
843 You can combine markings like beams and ties with chords. They must
844 be placed outside the angled brackets
846 @lilypond[quote,relative=1,fragment,verbatim]
847 r4 <c e g>8[ <c f a>]~ <c f a>
851 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
854 @lilypond[quote,relative=1,fragment]
856 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
862 @node Basic rhythmical commands
863 @section Basic rhythmical commands
867 @cindex partial measure
868 A pickup is entered with the keyword @code{\partial}. It
869 is followed by a duration: @code{\partial 4} is a quarter note upstep
870 and @code{\partial 8} an eighth note
872 @lilypond[quote,relative=2,verbatim,fragment]
879 Tuplets are made with the @code{\times} keyword. It takes two
880 arguments: a fraction and a piece of music. The duration of the piece
881 of music is multiplied by the fraction. Triplets make notes occupy
882 2/3 of their notated duration, so a triplet has 2/3 as its fraction
884 @lilypond[quote,relative=1,verbatim,fragment]
885 \times 2/3 { f8 g a }
891 Grace notes are also made by prefixing a music expression with the
892 keyword @code{\appoggiatura} or @code{\acciaccatura}
896 @lilypond[quote,relative=2,verbatim,fragment]
897 c4 \appoggiatura b16 c4
898 c4 \acciaccatura b16 c4
903 For more information on
908 see @ref{Grace notes},
912 see @ref{Partial measures}.
917 @node Commenting input files
918 @section Commenting input files
922 @cindex block comment
923 A comment is a remark for the human reader of the music input; it is
924 ignored and has no effect on the printed output. There are two types
925 of comments. The percent symbol @samp{%} introduces a line comment;
926 the rest of the line is ignored. A block comments marks a whole
927 section of music input---anything that is enclosed in @code{%@{} and
928 @code{%@}} is ignored. The following fragment shows possible uses for
932 % notes for twinkle twinkle follow
936 This line, and the notes below
937 are ignored, since they are in a
944 There is a special statement that really is a kind of comment. The
945 version statement marks for which version of LilyPond the file was
946 written. To mark a file for version 2.1.17, use
953 These annotations make future upgrades of LilyPond go more
954 smoothly. Changes in the syntax are handled with a special program,
955 @file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
956 @code{\version} to determine what rules to apply.
959 @node Printing lyrics
960 @section Printing lyrics
963 @c TODO: (c) status of the Queen fragment.
967 Lyrics are entered by separating each syllable with a space
975 @lilypond[quote,verbatim,fragment,raggedright]
977 r4 c \times 2/3 { f g g }
978 \times 2/3 { g4( a2) }
982 The lyrics can be set to these notes, combining both with the
983 @code{\addlyrics} keyword
985 @lilypond[quote,verbatim,fragment,raggedright]
988 r4 c \times 2/3 { f g g }
989 \times 2/3 { g4( a2) }
991 \addlyrics { I want to break free }
996 @cindex extender line
998 This melody ends on a @rglos{melisma}, a single syllable (`free')
999 sung to more than one note. This is indicated with an @emph{extender
1000 line}. It is entered as two underscores, i.e.,
1003 @{ I want to break free __ @}
1006 @lilypond[fragment,quote,raggedright]
1009 r4 c \times 2/3 { f g g }
1010 \times 2/3 { g4( a2) }
1012 \addlyrics { I want to break free __ }
1016 Similarly, hyphens between words can be entered as two dashes,
1017 resulting in a centered hyphen between two syllables
1020 Twin -- kle twin -- kle
1023 @lilypond[fragment,quote,raggedright]
1029 \addlyrics { Twin -- kle twin -- kle }
1033 More options, like putting multiple lines of lyrics below a melody are
1034 discussed in @ref{Vocal music}.
1036 @c FIXME: too geeky, for notation manual?
1037 @c or introduce using foo = \lyrics { a b c } ?
1039 When using variables for a piece of lyrics
1040 To prevent certain words (for example `as') as being read as a
1041 pitch, the input-mode must be switched. This is done with
1042 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
1046 myText = \lyrics @{ I want to break free @}
1050 The braces @code{@{@}} signify that the syllables are sung in
1054 By default, music expressions are interpreted in @code{Staff} context. For
1055 lyrics, this is obviously not desirable, so it is necessary
1056 to explicitly specify a @code{Lyrics} context,
1059 \lyrics @{ I want to break free @}
1062 The melody for this song is as follows
1064 @lilypond[fragment,quote,fragment,relative=2]
1065 r4 c \times 2/3 { f4 g g }
1066 \times 2/3 { g4( a2) }
1073 @section A lead sheet
1079 In popular music, it is common to denote accompaniment as chord names.
1080 Such chords can be entered like notes,
1087 but now, each pitch is read as the root of a chord instead of a note.
1088 This mode is switched on with @code{\chords}
1090 @lilypond[quote,verbatim,raggedright]
1091 \chords { c2 f4. g8 }
1094 Other chords can be created by adding modifiers after a colon. The
1095 following example shows a few common modifiers
1097 @lilypond[quote,verbatim]
1098 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1101 For lead sheets, chords are not printed on staves, but as names on a
1102 line of themselves. Hence, we have to override the context with
1103 @code{\new}, rendering the music expression in a @code{ChordNames}
1106 @lilypond[quote,verbatim]
1107 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1111 When put together, chord names, lyrics and a melody form
1112 a lead sheet, for example,
1116 \new ChordNames \chords @{ @emph{chords} @}
1118 \addlyrics @{ @emph{the text} @}
1123 @lilypond[quote,raggedright]
1125 \new ChordNames \chords { r2 c:sus4 f }
1127 r4 c' \times 2/3 { f g g }
1128 \times 2/3 { g4( a2) }
1130 \addlyrics { I want to break free __ }
1134 A complete list of modifiers and other options for layout can be found
1137 @c FIXME: we talk about \midi before mentioning \paper (or \layout?)
1138 @node Listening to output
1139 @section Listening to output
1144 MIDI (Musical Instrument Digital Interface) is a standard for
1145 connecting and controlling digital instruments. A MIDI file is like a
1146 tape recording of a MIDI instrument.
1148 To create a MIDI from a music piece of music, add a @code{\midi}
1149 block. This causes LilyPond to create a MIDI file, so you can listen
1150 to what you just entered. It is great for checking the music.
1151 Octaves that are off or accidentals that were mistyped stand out very
1152 much when listening to the musical transcription.
1154 The @code{\midi} block is added to @code{\score}, for example,
1159 \midi @{ \tempo 4=72 @}
1163 Here, the tempo is specified using the @code{\tempo} command. In this
1164 case the tempo of quarter notes is set to 72 beats per minute. More
1165 information on auditory output in the notation manual can be found in
1168 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1169 be produced. If notation is needed too, a @code{\paper} block must be
1175 \midi @{ \tempo 4=72 @}
1183 @section Adding titles
1185 Bibliographic information is entered in a separate block, the
1186 @code{\header} block. The name of the piece, its composer, etc., are
1187 entered as an assignment, within @code{\header
1188 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1189 the top of the file. For example,
1193 title = "Eight miniatures"
1194 composer = "Igor Stravinsky"
1195 tagline = "small is beautiful"
1201 @cindex bibliographic information
1204 @cindex Engraved by LilyPond
1206 When the file is processed the title and composer are printed above
1207 the music. The `tagline' is a short line printed at bottom of the last
1208 page which normally says `Engraved by LilyPond, version @dots{}'. In
1209 the example above it is replaced by the line `small is
1210 beautiful.'@footnote{Nicely printed parts are good PR for us, so
1211 please leave the tagline if you can.}
1214 The @code{\header} block is usually put at the top of the file.
1216 A document may contains multiple pieces of music, examples are an
1217 etude book, or an orchestral part with multiple movements.
1218 @c FIXME: ugh. \header can only live at toplevel, or inside \score.
1219 @c If we allow it also to live inside \book, we do not need \score here?
1220 The @code{\book} block is used to group the individual @code{\score}
1223 The header for each piece of music can be put inside the @code{\score}
1224 block. The @code{piece} name from the header will be printed before
1229 FIXME: introduce \BOOK
1231 FIXME: Using "Adagio" as a name is confusing, it's more common to be
1232 a plain tempo indication.
1234 Since today (CVS-1.211) we also allow headers and composite music
1247 @cindex Engraved by LilyPond
1248 @cindex signature line
1253 title = "Eight miniatures"
1254 composer = "Igor Stravinsky"
1255 tagline = "small is beautiful"
1261 \header @{ piece = "Adagio" @}
1265 \header @{ piece = "Menuetto" @}
1270 More information on titling can be found in @ref{Invoking lilypond}.
1273 @node Single staff polyphony
1274 @section Single staff polyphony
1277 @cindex multiple voices
1278 @cindex voices, more -- on a staff
1279 When different melodic lines are combined on a single staff they are
1280 printed as polyphonic voices; each voice has its own stems, slurs and
1281 beams, and the top voice has the stems up, while the bottom voice has
1284 Entering such parts is done by entering each voice as a sequence (with
1285 @code{@{...@}}), and combining those simultaneously, separating the
1286 voices with @code{\\}
1288 @lilypond[quote,verbatim,relative=3]
1289 << { a4 g2 f4~ f4 } \\
1293 For polyphonic music typesetting, spacer rests can also be convenient; these
1294 are rests that do not print. It is useful for filling up voices that
1295 temporarily do not play. Here is the same example with a spacer rest
1296 instead of a normal rest---just use @samp{s} instead of @samp{r}
1298 @lilypond[quote,verbatim,relative=3]
1299 << { a4 g2 f4~ f4 } \\
1304 Again, these expressions can be nested arbitrarily
1306 @lilypond[quote,fragment,verbatim,relative=3]
1314 { <c, g>1 ~ <c g>4 } \\
1320 More features of polyphonic typesetting in the notation manual are
1321 described in @ref{Polyphony}.
1325 @section Piano staves
1327 @cindex staff switch, manual
1328 @cindex cross staff voice, manual
1329 @cindex @code{\context}
1330 Piano music is typeset in two staves connected by a brace. Printing
1331 such a staff is similar to the polyphonic example in @ref{More staves},
1334 << \new Staff @{ @dots{} @}
1335 \new Staff @{ @dots{} @} >>
1339 but now this entire expression must be interpreted as a
1343 \new PianoStaff << \new Staff @dots{} >>
1346 Here is a full-fledged example
1348 @lilypond[quote,verbatim,relative=1,fragment]
1350 \new Staff { \time 2/4 c4 c g' g }
1351 \new Staff { \clef bass c,, c' e c }
1355 More information on formatting piano music is in @ref{Piano music}.
1358 @node Organizing larger pieces
1359 @section Organizing larger pieces
1361 When all of the elements discussed earlier are combined to produce
1362 larger files, the @code{\score} blocks get a lot bigger, because the
1363 music expressions are longer, and, in the case of polyphonic pieces,
1364 more deeply nested. Such large expressions can become unwieldy.
1366 By using variables, also known as identifiers, it is possible to break
1367 up complex music expressions. An identifier is assigned as follows
1370 namedMusic = @{ @dots{} @}
1374 The contents of the music expression @code{namedMusic}, can be used
1375 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1376 In the next example, a two-note motive is repeated two times by using
1377 variable substitution
1379 @lilypond[quote,raggedright,verbatim,nofragment]
1383 { \seufzer \seufzer }
1386 The name of an identifier should have alphabetic characters only;
1387 no numbers, underscores or dashes. The assignment should be outside of
1390 It is possible to use variables for many other types of objects in the
1396 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1399 Depending on its contents, the identifier can be used in different
1400 places. The following example uses the above variables
1410 More information on the possible uses of identifiers is in the
1411 technical manual, in TODO.
1414 @node An orchestral part
1415 @section An orchestral part
1417 In orchestral music, all notes are printed twice; in a part for
1418 the musicians, and in a full score for the conductor. Identifiers can
1419 be used to avoid double work. The music is entered once, and stored in
1420 a variable. The contents of that variable is then used to generate
1421 both the part and the score.
1423 It is convenient to define the notes in a special file. For example,
1424 suppose that the file @file{horn-music.ly} contains the following part
1425 of a horn/bassoon duo
1428 hornNotes = \relative c @{
1435 Then, an individual part is made by putting the following in a file
1438 \include "horn-music.ly"
1440 instrument = "Horn in F"
1444 \transpose f c' \hornNotes
1451 \include "horn-music.ly"
1455 substitutes the contents of @file{horn-music.ly} at this position in
1456 the file, so @code{hornNotes} is defined afterwards. The command
1457 @code{\transpose f@tie{}c'} indicates that the argument, being
1458 @code{\hornNotes}, should be transposed by a fifth downwards. Sounding
1459 @samp{f} is denoted by notated @code{c'}, which corresponds with
1460 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1461 in the following output
1463 @lilypond[quote,raggedright]
1464 \transpose f c' \relative c {
1470 In ensemble pieces, one of the voices often does not play for many
1471 measures. This is denoted by a special rest, the multi-measure
1472 rest. It is entered with a capital @samp{R} followed by a duration
1473 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1474 duration, longer rests can be constructed. For example, this rest
1475 takes 3@tie{}measures in 2/4 time
1481 When printing the part, multi-rests
1482 must be condensed. This is done by setting a run-time variable
1485 \set Score.skipBars = ##t
1489 This command sets the property @code{skipBars} in the
1490 @code{Score} context to true (@code{##t}). Prepending the rest and
1491 this option to the music above, leads to the following result
1493 @lilypond[quote,raggedright]
1494 \transpose f c' \relative c {
1496 \set Score.skipBars = ##t
1503 The score is made by combining all of the music together. Assuming
1504 that the other voice is in @code{bassoonNotes} in the file
1505 @file{bassoon-music.ly}, a score is made with
1508 \include "bassoon-music.ly"
1509 \include "horn-music.ly"
1512 \new Staff \hornNotes
1513 \new Staff \bassoonNotes
1520 @lilypond[quote,raggedright]
1528 r4 d,8 f | gis4 c | b bes |
1529 a8 e f4 | g d | gis f
1534 More in-depth information on preparing parts and scores can be found
1535 in the notation manual; see @ref{Orchestral music}.
1537 Setting run-time variables (`properties') is discussed in ref-TODO.
1540 @node Integrating text and music
1541 @section Integrating text and music
1543 @cindex La@TeX{}, music in
1544 @cindex HTML, music in
1545 @cindex Texinfo, music in
1546 Some texts contain music examples. These texts are musicological
1547 treatises, songbooks or manuals like this. Such texts can be made by
1548 hand, simply by importing a PostScript figure into the word processor.
1549 However, there is an automated procedure to reduce the amount of work
1550 involved HTML, La@TeX{}, and Texinfo documents.
1552 A script called @code{lilypond-book} will extract the music fragments,
1553 run format them, and put back the resulting notation. This program is
1554 fully described in @ref{lilypond-book manual}. Here we show a small
1555 example. The example also contains explanatory text, so we will not
1556 comment on it further
1559 \documentclass[a4paper]@{article@}
1562 Documents for lilypond-book may freely mix music and text. For
1567 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1571 Options are put in brackets.
1573 \begin[fragment,quote,staffsize=26,verbatim]@{lilypond@}
1577 Larger examples can be put in a separate file, and introduced with
1578 \verb+\lilypondfile+.
1580 \lilypondfile[quote,noindent]@{screech-boink.ly@}
1585 Under Unix, you can view the results as follows
1590 $ lilypond-book --output=out/ lilybook.tex
1591 lilypond-book (GNU LilyPond) 2.1.19
1592 Reading `input/tutorial/lilybook.tex'
1593 Reading `input/screech-boink.ly'
1594 @var{lots of stuff deleted}
1595 Writing `out/lilybook.tex'
1598 @var{lots of stuff deleted}
1602 To convert the file into a nice PDF document, run the following
1606 $ dvips -Ppdf -u+lilypond -u+ec-mftrace lilybook
1607 $ ps2pdf lilybook.ps
1610 Running lilypond-book and running latex creates a lot of temporary
1611 files, which would clutter up the working directory. To remedy this,
1612 use the @code{--output=@var{dir}} option. It will create the files in
1613 a separate subdirectory @file{dir}.
1615 Finally the result of the La@TeX{} example shown above.@footnote{Note
1616 that in this tutorial the example is processed with Texinfo. This gives
1617 slightly different results in layout.} This finishes the tutorial
1622 Documents for lilypond-book may freely mix music and text. For
1627 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1631 Options are put in brackets.
1633 @lilypond[fragment,quote,staffsize=26,verbatim]
1637 Larger examples can be put in a separate file, and introduced with
1638 @code{\lilypondfile}.
1640 @lilypondfile[quote,noindent]{screech-boink.ly}