4 @c * more details about running lilypond; error messages,
5 @c compiling/viewing (emacs?)
6 @c * where to go from First steps+More basics?
12 <!--- @@WEB-TITLE@@=Tutorial --->
16 * First steps:: Music language of LilyPond.
17 * Running LilyPond:: Printing music.
18 * More about pitches and accidentals::
20 * Relative octave entry::
21 * Combining music into compound expressions::
22 * Adding articulation marks to notes::
23 * Combining notes into chords::
26 * Listening to output::
28 * Single staff polyphony::
31 * Fine tuning layout::
32 * Organizing larger pieces::
33 * An orchestral part::
34 * Integrating text and music:: Integrating text and music.
37 Using LilyPond comes down to encoding music in an input file. After
38 entering the music, the program is run on the file producing output
39 which can be viewed or printed. In this tutorial, we will show step
40 by step how to enter such files, by showing fragments of input and the
41 corresponding output. At the end of every section, a paragraph will
42 list where to find further information on the topics discussed.
44 Many people learn programs by trying and fiddling around with the
45 program. This is also possible with LilyPond. If you click on a
46 picture in the HTML version of this manual, you will see the exact
47 LilyPond input that was used to generate that image.
49 For example, consider the following input
50 @c TODO: intertext fixme
51 @lilypond[relative 1,singleline,verbatim,intertext="with the following output"]
52 c'^\markup { \bold \huge { Click on this image! } }
54 If you click it, you can see that the input shown is simplified a
55 little. This has been done for reasons of space and clarity. If you
56 want to fiddle, you need the full input, otherwise LilyPond will not
59 By cutting and pasting the full input into a test file, you have a
60 starting template for experiments. If you like learning in this way,
61 you will probably want to print out or bookmark
65 @ref{Cheat sheet}, which is a table listing all commands for quick
69 This tutorial starts with a short introduction to the LilyPond music
70 language. After this first contact, we will show you how to to
71 produce printed output, normally using the program @code{ly2dvi}. You
72 should then be able to create and print your first sheets of music.
78 We start off by showing how very simple music is entered in LilyPond:
79 you get a note simply by typing its @htmlref{note name}, from @samp{a}
80 through @samp{g}. So if you enter
87 then the result looks like this:
90 @c \transpose c c' { c d e f g a b }
92 @c \property Score.timing = ##f
93 @lilypond[notime, relative=2]
97 The length of a note is specified by adding a number, @samp{1} for a
98 @rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
105 \property Score.timing = ##f
106 \property Staff.autoBeaming = ##f
107 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
110 If you do not specify a @rglos{duration}, the previous one is used:
117 \property Score.timing = ##f
118 \transpose c c' { a a a2 a s16_" " }
122 Rests are entered just like notes, but with the name ``@code{r}'':
131 \property Score.timing = ##f
132 \property Staff.Clef = \turnOff
133 \property Staff.TimeSignature = \turnOff
141 Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
148 \property Score.timing = ##f
149 \transpose c c' { a2. a4 a8. a16 s16_" " }
153 The @rglos{meter} (or @rglos{time signature}) can be set with the
154 @code{\time} command:
162 @c a clef here may lead to confusion
164 \property Staff.Clef \set #'transparent = ##t
174 The @rglos{clef} can be set using the @code{\clef} command:
176 @c what is more common name treble or violin?
177 @c in Dutch, its violin.
178 @c in English its definitely treble.
187 \property Score.timing = ##f
198 Notes and commands like @code{\clef} and @code{\time} , are enclosed
199 in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
200 to @rglos{lyrics}) follows:
210 Now the piece of music is almost ready to be printed. The final step is to
211 combine the music with a printing command.
213 The printing command is the so-called @code{\paper} block. The
214 @code{\paper} block is used to customize printing specifics, but we
215 accept the defaults for now. The music and the @code{\paper} block
216 are combined by enclosing them in @code{\score @{ ... @}}. The
217 following is a complete and valid input file.
240 linewidth = 55 * \staffspace
245 During the rest of the tutorial, we will often leave out @code{\score}
246 and @code{\paper}, for clarity. However, both must be present when
247 feeding the file to LilyPond.
249 More elaborate information on entering pitches and durations is in
250 @ref{Pitches} and @ref{Durations}. Clefs are fully explained in
251 @ref{Clef}. Time signatures and other timing commands are described
252 in @ref{Time signature}.
255 @node Running LilyPond
256 @section Running LilyPond
258 In the last section we explained what kind of things you could enter
259 in a LilyPond file. In this section we explain what commands to run
260 and how to view or print the output. If you have not used LilyPond
261 before, want to test your setup, or want to run an example file
262 yourself, read this section. The instructions that follow are for
263 Unix-like systems. Some additional instructions for Microsoft Windows
264 are given at the end of this section.
266 Begin by opening a terminal window and starting a text editor. For
267 example, you could open an xterm and execute
268 @code{joe}.@footnote{There are macro files for VIM addicts, and there
269 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
270 installed already, then refer to the file @file{INSTALL.txt}}. In
271 your text editor, enter the following input and save the file as
277 \notes @{ c'4 e' g' @}
284 @c now this is weird, running ly2dvi to run LilyPond
285 @c (therefore name change proposal)
287 LilyPond is the program that computes the sheet music. All other
288 things, such as adding titles, page breaking and other page layout,
289 are done by a small wrapper program called
290 @code{ly2dvi}. @code{ly2dvi} calls LilyPond to render the music, and
291 then adds the titling and page layout instructions. To process
292 @file{test.ly} with @code{ly2dvi}, proceed as follows:
300 You will see something resembling:
305 Now processing: `/home/fred/ly/test.ly'
307 Interpreting music...[1]
308 @emph{ ... more interesting stuff ... }
309 PDF output to `test.pdf'...
310 DVI output to `test.dvi'...
314 @cindex Viewing music
317 The result of the ly2dvi is the file @file{test.pdf}.@footnote{ For
318 @TeX{} afficionados, there is also a (@file{test.dvi}) file. It can be
319 viewed with @code{xdvi}. The DVI uses a lot of PostScript specials,
320 which do not show up in the magnifying glass. The specials also mean
321 that the DVI file cannot be processed with @code{dvilj}. Use
322 @code{dvips} for printing.
326 } One the following commands should put the PDF on your
340 If the music on your screen looks good, you can print it by clicking
341 File/Print inside your viewing program.
345 @cindex Printing output
350 On Windows, the terminal is started by clicking on the LilyPond or
351 Cygwin icon. Any text editor (such as NotePad, Emacs or Vim) may be
352 used to edit the LilyPond file. If you have a PDF viewer installed,
353 use that for viewing the PDF
354 @c where on file system for double-click people?
355 If you have no viewer, then you can download @code{GSView} from
356 @uref{http://www.cs.wisc.edu/~ghost}. With @code{GSView},
357 the PDF file can viewed with
360 @code{gsview32 test.pdf}
363 Printing may be done with
366 @code{gsview32 /s test.pdf}
370 The commands for formatting and printing music are detailed in
371 @ref{Invoking LilyPond}.
373 @node More about pitches and accidentals
374 @section More about pitches and accidentals
376 A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
377 @rglos{flat} (@texiflat{}) by adding @samp{es}. As you might expect,
378 a @rglos{double sharp} or @rglos{double flat} is made by adding
379 @samp{isis} or @samp{eses}:@footnote{This syntax derived from note
380 naming conventions in Nordic and Germanic languages, like German and
388 \property Score.timing = ##f
389 \transpose c c' { cis1 ees fisis aeses s16_" " }
393 @cindex key signature, setting
395 The key signature is set with the command ``@code{\key}'', followed by
396 a pitch and @code{\major} or @code{\minor}:
406 \property Staff.TimeSignature = \turnOff
416 A tie is created by adding a tilde ``@code{~}'' to the first note
419 @lilypond[fragment,verbatim,relative 2]
425 This example shows the key signature, accidentals and ties in action.
436 fis4 fis8 fis8 eis4 a8 gis-~
445 \notes { \transpose c c' {
451 fis4 fis8 fis8 eis4 a8 gis-~
454 \paper { linewidth = #(* 50 staffspace) }
460 There are some interesting points to note in this example. Bar lines
461 and beams are drawn automatically. Line breaks are calculated
462 automatically; it does not matter where the lines breaks are in the
463 source file. Finally, the order of time, key and clef changes is not
464 relevant: in the printout, these are ordered according to standard
465 notation conventions.
467 Accidentals (sharps and flats) do not have to be marked explicitly:
468 you just enter the pitch of the note, and an accidental is printed
469 only when necessary. The flip side of this mechanism, is that you have
470 to mark notes as sharp or flat, even when they do not get accidentals.
471 For example, in this example,
474 \property Staff.TimeSignature = #'()
476 cis dis eis fis gis ais bis
478 no note gets an explicit accidental, but still you enter
482 cis dis eis fis gis ais bis
485 Adding all alterations explicitly might require some more effort when
486 typing, but the advantage is that transposing is easier. It also makes
487 it possible to use different conventions for when to print
491 @section Octave entry
494 @c Tim wants to move this quotes example just before the: quotes-do not-work
495 @c score, but we'd need to remove quotes from the other two (key and
498 @c better to have this just before the `octaves are bad' snipped
499 @c but we'd need to remove the ', from \key and tie
500 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
501 the note name, to lower a note one octave, add a ``low quote'' @code{,}
502 (a comma). Middle C is @code{c'}:
506 c'4 c'' c''' \clef bass c c,
510 \property Score.timing = ##f
511 \property Staff.TimeSignature = \turnOff
512 c'4 c'' c''' \clef bass c c,
517 An example of the use of quotes is in the following Mozart fragment.
518 @lilypond[singleline,fragment,verbatim]
521 cis''8. d''16 cis''8 e''4 e''8
522 b'8. cis''16 b'8 d''4 d''8
525 This example shows that music in a high register needs lots of quotes.
526 This makes the input less readable, and it is a source of errors. The
527 solution is to use ``relative octave'' mode. In practice, this is the
528 most convenient way to copy existing music. To use relative mode, add
529 @code{\relative} before the piece of music. You must also give a note
530 from which relative starts, in this case @code{c''}. If you do not
531 use octavation quotes (i.e. do not add ' or , after a note), relative
532 mode chooses the note that is closest to the previous one.
533 For example, @code{c f} goes up while @code{c g} goes down.
543 \property Score.timing = ##f
544 \property Staff.TimeSignature = \turnOff
553 Since most music has small intervals, in relative mode pieces can be
554 written almost without using octavation quotes. In relative mode, the
555 Mozart example is entered as
557 @lilypond[singleline,fragment,verbatim]
567 @c needed better, maybe even redundant explanation
568 @c added another example below.
569 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
570 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
571 Larger intervals are made by adding octavation quotes. Quotes or
572 commas do not determine the absolute height of a note; the height of a
573 note is relative to the previous one.
574 @c do not use commas or quotes in this sentence
575 For example: @code{c f,} goes down; @code{f, f} are both the same;
576 @code{c' c} are the same; and @code{c g'} goes up:
586 \property Score.timing = ##f
587 \property Staff.TimeSignature = \turnOff
596 Here is an example of the difference between relative mode and
597 ``normal'' (non-relative) mode:
608 \property Score.timing = ##f
609 \property Staff.TimeSignature = \turnOff
625 \property Score.timing = ##f
626 \property Staff.TimeSignature = \turnOff
636 @node Relative octave entry
637 @section Relative octave entry
641 @c fragment of 1st hrn in Adams' The Chairman Dances, with creative
642 @c chromatic thing pasted in front. (admittedly the original does not
643 @c have a phrasing slur. The problem is that we do not want the slur
644 @c and the Phrasing slur to collide. We are trying to make a good
648 @lilypond[fragment,relative 1, verbatim]
649 a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
654 @cindex beams, by hand
655 Beams are drawn automatically, but if you do not like where they are
656 put, they can be entered by hand. Mark the first note to be beamed
657 with @code{[} and the last one with @code{]}:
659 @lilypond[fragment,relative 1, verbatim]
660 a8-[ ais-] d-[ es r d-]
665 Rests are described in full detail in @ref{Rests}.
667 The notation manual discusses ties in @ref{Ties}.
672 @node Combining music into compound expressions
673 @section Combining music into compound expressions
675 To print more than one staff, each piece of music that makes up a
676 staff is marked by adding @code{\context Staff} before it. These
677 @code{Staff}'s are then grouped inside @code{\simultaneous @{} and
678 @code{@}}, as is demonstrated here:
681 @lilypond[fragment,verbatim]
683 \context Staff = staffA { \clef violin c'' }
684 \context Staff = staffB { \clef bass c }
690 In this example, @code{\simultaneous } indicates that both music
691 fragments happen at the same time, and must be printed stacked
692 vertically. The notation @code{< .. >} can also be used as a
693 shorthand for @code{\simultaneous @{ .. @}}.
695 @code{\context} introduces a ``notation context''. To understand this
696 concept, imagine that you are performing a piece of music. When you
697 perform the music, you combine the symbols printed at a certain point
698 with contextual information. For example, without knowing the current
699 clef, and the accidentals in the last measure, it would be impossible
700 to determine the pitch of a note. In other words, this information
701 forms context that helps you decipher a score. LilyPond produces
702 notation from music, so in effect, it does the inverse of reading
703 scores. Therefore, it also needs to keep track of contextual
704 information. This information is maintained in ``notation contexts.''
705 There are several types of contexts, e.g. @code{Staff}, @code{Voice}
706 and @code{Score}, but also @code{Lyrics} and
707 @code{ChordNames}. Prepending @code{\context} to a chunk of music
708 indicates what kind of context to use for interpreting it.
710 By specifying different names (in this case @code{staffA} and
711 @code{staffB}), two different contexts are created, leading to two
712 staves. It does not matter which names they are given, as long as they
713 are different. If they get the same name, the chunks of music are
714 assumed to belong on the same staff, and will be printed like that.
718 We can now typeset a melody with two staves:
721 @lilypond[verbatim,singleline]
724 < \context Staff = staffA {
728 e2-( d4 c2 b4 a8-[ a-]
729 b-[ b-] g-[ g-] a2.-) }
731 \context Staff = staffB {
742 The example shows how small chunks of music, for example the notes
743 @code{c2}, @code{e4}, etc. of the second staff, are combined to form a
744 larger chunk by enclosing it in braces. Again, a larger chunk is
745 formed by prefix @code{\context Staff} to it, and that chunk is
746 combined with @code{< >}. This mechanism is similar with mathematical
747 formulas: in a formula, a so-called expression is formed by combining
748 simpler expressions into larger expressions. For example,
757 ((1 + 2) * 3) / (4 * 5)
760 @cindex music expression
761 is a sequence of expressions, where each expression is contained in
762 the next one. The simplest expressions are numbers and operators
763 (like +, * and /). Parentheses are used to group expressions. In
764 LilyPond input, a similar mechanism is used. Here, the simplest
765 expressions are notes and rests. By enclosing expressions in @code{<
766 >} and @code{@{ @}}, more complex music is formed. The @code{\context}
767 also forms new expressions; prepending it to a music expression yields
770 Like mathematical expressions, music expressions can be nested
771 arbitrarily deep, e.g.
772 @lilypond[verbatim,relative 1]
774 < { e f } { c <b d> }
781 When spreading expressions over multiple lines, it is customary to use
782 an indent that indicates the nesting level. Formatting music like this
783 eases reading, and helps you insert the right amount of closing
784 braces at the end of an expression. For example
801 @node Adding articulation marks to notes
802 @section Adding articulation marks to notes
808 Common accents can be added to a note using a dash (`@code{-}') and a
811 @lilypond[verbatim,relative 1]
812 c-. c-- c-> c-^ c-+ c-_
818 Similarly, fingering indications can be added to a note using a dash
819 (`@code{-}') and the digit to be printed.
821 @lilypond[verbatim,relative 1]
826 Dynamic signs are made by adding the markings to the note:
828 @lilypond[verbatim,relative 1]
838 Crescendi and decrescendi are started with the commands @code{\<} and
839 @code{\>}. The command @code{\!} finishes a crescendo on the note it
842 @lilypond[verbatim,relative 1]
843 c2-\< c2-\!-\ff c2-\> c2-\!
852 A slur is drawn across many notes, and indicates bound articulation
853 (legato). The starting note and ending note are marked with a
854 ``@code{(}'' and a ``@code{)}'' respectively:
857 @lilypond[fragment,relative 1, verbatim]
858 d4-( c16-)-( cis d e c cis d e-)-( d4-)
862 @cindex slurs versus ties
863 A slur is different from a tie. A tie simply makes the first note
864 sound longer, and can only be used on pairs of notes with the same
865 pitch. Slurs indicate the articulations of notes, and can be used on
866 larger groups of notes. Slurs and ties are also nested in practice:
867 @lilypond[fragment, relative=1]
868 c2-~-( c8 fis fis4 ~ fis2 g2-)
871 @cindex phrasing slurs
872 If you need two slurs at the same time (one for articulation, one for
873 phrasing), you can also make a phrasing slur with @code{\(} and
876 More information on fingering, articulation, slurs, phrasing slurs,
877 and dynamics can be found in @ref{Fingering instructions},
878 @ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs} @ref{Dynamics}
881 @node Combining notes into chords
882 @section Combining notes into chords
885 Chords can be made by
886 surrounding pitches with @code{<<} and @code{>}>:
888 @lilypond[relative 0, fragment,verbatim]
889 r4 <<c e g>>4 <<c f a>>8
895 You can combine beams and ties with chords. Beam and tie markings
896 must be placed outside the chord markers:
898 @lilypond[relative 0, fragment,verbatim]
899 r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
905 r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
907 @lilypond[relative 0, fragment]
909 r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
917 * Basic rhythmical commands::
918 * Commenting input files::
921 @node Basic rhythmical commands
922 @subsection Basic rhythmical commands
927 @cindex partial measure
928 A pickup (or upstep) is entered with the keyword @code{\partial}. It
929 is followed by a duration: @code{\partial 4} is a quarter note upstep
930 and @code{\partial 8} an eighth note.
931 @lilypond[relative 1,verbatim,fragment]
938 Tuplets are made with the @code{\times} keyword. It takes two
939 arguments: a fraction and a piece of music. The duration of the piece
940 of music is multiplied by the fraction. Triplets make notes occupy
941 2/3 of their notated duration, so a triplet has 2/3 as its fraction.
943 @lilypond[relative 0,verbatim,fragment]
944 \times 2/3 { f8 g a }
950 Grace notes are also made by prefixing a note, or a set of notes with
951 a keyword. In this case, the keyword is @code{\grace}.
952 @lilypond[relative 1, verbatim,fragment]
954 \grace { d16-( e } d4-)
958 More information on grace notes, tuplets and upsteps are in @ref{Grace
959 notes}, @ref{Tuplets} and @ref{Partial measures}.
963 @node Commenting input files
964 @subsection Commenting input files
968 @cindex block comment
969 Comments are pieces of the input that are ignored. There are two
970 types of comments. A line comments is introduced by @code{%}: after
971 that, the rest of that line is ignored. Block comments span larger
972 sections of input. Anything that is enclosed in @code{%@{} and
973 @code{%@}} is ignored too. The following fragment shows possible uses
977 % notes for twinkle twinkle follow:
982 This line, and the notes below
983 are ignored, since they are in a
993 @node Printing lyrics
994 @section Printing lyrics
999 Lyrics are entered by separating each syllable with a space, and
1000 surrounding them with @code{\lyrics @{ @dots{} @}}, for example
1002 \lyrics @{ I want to break free @}
1005 Like notes, lyrics are also a form of music, but they must not be
1006 printed on a staff, which is the default way to print music. To print
1007 them as lyrics, they must be marked with @code{ \context Lyrics}:
1009 \context Lyrics \lyrics @{ I want to break free @}
1011 The melody for this song is as follows
1013 @lilypond[fragment,relative=1]
1016 \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
1019 The lyrics can be set to these notes, combining both with the
1020 @code{\addlyrics} keyword:
1023 \notes @{ @dots{} @}
1024 \context Lyrics @dots{}
1028 @lilypond[verbatim,linewidth=6.0cm]
1035 \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
1037 \context Lyrics \lyrics { I want to break free }
1044 @cindex extender line
1046 This melody ends on a @rglos{melisma}, a single syllable (``free'')
1047 sung to more than one note. This is indicated with a @emph{extender
1048 line}. It is entered as two underscores, i.e.,
1050 \lyrics @{ I want to break free __ @}
1059 \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
1061 %% ugh, this is to deal with bugs in the extender implementation
1065 \context Lyrics \lyrics { I want to break free __ }
1067 \paper{ linewidth = 9.0 \cm }
1071 Similarly, hyphens between words can be entered as two dashes,
1072 resulting in a centered hyphen between two syllables.
1074 Twin -- kle twin -- kle
1076 @lilypond[singleline]
1078 \addlyrics \notes \relative f' { \time 2/4
1080 \context Lyrics \lyrics { Twin -- kle twin -- kle
1082 \paper { linewidth = 6.0 \cm }
1087 More options, like putting multiple lines of lyrics below a melody are
1088 discussed in @ref{Vocal music}.
1093 @section A lead sheet
1099 In popular music, it is common to denote accompaniment as chord-names.
1100 Using them in LilyPond has two parts, just like lyrics: entering the
1101 chords (with @code{\chords}), and printing them (with @code{\context
1104 Chord names are entered by starting chords mode (with @code{\chords}).
1105 In chords mode, you can enter chords with a letter (indicating the
1106 root of the chord), and a durations following that.
1109 \chords { c2 f4. g8 }
1113 The result of @code{\chords} is a list of chords, and is equivalent
1114 to entering chords with @code{<<@dots{}>>}.
1116 Other chords can be created by adding modifiers, after a colon. The
1117 following example shows a few common modifiers
1120 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1123 Printing chords is done by adding @code{\context ChordNames}
1124 before the chords thus entered:
1127 \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1131 When put together, chord names, lyrics and a melody form
1132 a lead sheet, for example,
1137 \context ChordNames \chords @{ @emph{chords} @}
1139 \notes @emph{the melody}
1140 \context Lyrics \lyrics @{ @emph{the text} @}
1148 \context ChordNames \chords { r8 c2:sus4 f }
1150 \notes \relative c' {
1153 \times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
1154 \context Lyrics \lyrics { I want to break free __ }
1156 \paper{ raggedright = ##t }
1161 A complete list of modifiers, and other options for layout are in the
1162 reference manual section @ref{Chords}.
1164 @node Listening to output
1165 @section Listening to output
1170 MIDI (Musical Instrument Digital Interface) is a standard for
1171 connecting and recording digital instruments. A MIDI file is like a
1172 tape recording of a MIDI instrument. The @code{\midi} block makes the
1173 music go to a MIDI file, so you can listen to the music you entered.
1174 It is great for checking the music: octaves that are off, or
1175 accidentals that were mistyped, stand out very much when listening to
1176 the musical transcription.
1178 @code{\midi} can be used in similarly to @code{\paper @{ @}}, for
1183 \midi @{ \tempo 4=72 @}
1188 Here, the tempo is specified using the @code{\tempo} command. In this
1189 case the tempo of quarter notes is set to 72 beats per minute. More
1190 information on auditory output is in the @ref{Sound} section in the
1198 Bibliographic information is entered in a separate block, the
1199 @code{\header} block. The name of the piece, its composer, etc. are
1200 entered as assignment, within @code{\header @{ @dots{} @}}. For
1204 title = "Eight miniatures"
1205 composer = "Igor Stravinsky"
1206 tagline = "small is beautiful"
1209 \score @{ @dots{} @}
1212 @cindex bibliographic information
1218 When the file is processed by @code{ly2dvi}, the title and composer
1219 specified are printed above the music. The `tagline' is a short line
1220 printed at bottom of the last page, which normally says ``Lily was
1221 here, version @dots{}''. In the example above, it is replaced by the
1222 line ``small is beautiful.''
1224 Normally, the @code{\header} is put at the top of the file. However,
1225 for a document that contains multiple pieces (e.g. a etude book, or
1226 part with multiple movements), then the header can be put into the
1227 @code{\score} block as follows In this case, the name of each piece
1228 will be printed before each movement.
1231 @cindex Lily was here
1232 @cindex signature line
1237 title = "Eight miniatures"
1238 composer = "Igor Stravinsky"
1239 tagline = "small is beautiful"
1243 \header @{ piece = "Adagio" @}
1246 \header @{ piece = "Menuetto" @}
1250 More information on titling can be found in @ref{Invoking ly2dvi}.
1253 @node Single staff polyphony
1254 @section Single staff polyphony
1257 @cindex multiple voices
1258 @cindex voices, more -- on a staff
1260 When different melodic lines are combined on a single staff, these are
1261 printed as polyphonic voices: each voice has its own stems, slurs
1262 and beams, and the top voice has the stems up, while the bottom voice
1265 Entering such parts is done by entering each voice as a sequence (with
1266 @code{@{ .. @}}), and combining those simultaneously, separating the
1267 voices with @code{\\}:
1270 < @{ a4 g2 f4-~ f4 @} \\
1273 @lilypond[relative 1]
1274 \context Staff < { a4 g2 f4-~ f4 } \\
1278 For polyphonic music typesetting, spacer rests can also be convenient: these
1279 are rests that do not print. It is useful for filling up voices that
1280 temporarily do not play:
1282 < @{ a4 g2 f4-~ f4 @} \\
1285 @lilypond[relative 1]
1286 \context Staff < { a4 g2 f4-~ f4 } \\
1290 Again, these expressions can be nested arbitrarily.
1294 \context Staff = staffA
1296 < { a4 g2 f4-~ f4 } \\
1298 \context Staff = staffB
1299 < { \clef bass <<c g>>1 } \\
1306 More features of polyphonic typesetting are in the notation manual
1310 @section Piano staffs
1312 @cindex staff switch, manual
1313 @cindex cross staff voice, manual
1314 @cindex @code{\translator}
1316 Piano music is always typeset in two staffs connected by a brace.
1317 Printing such a staff is done similar to the polyphonic example in
1318 @ref{Combining music into compound expressions}:
1320 < \context Staff = up @{ @dots{} @}
1321 \context Staff = down @{ @dots{} @}
1324 but now this entire expression must be interpreted as a
1327 \context PianoStaff < \context Staff @dots{} >
1330 Here is a full-fledged example:
1332 @lilypond[relative 0,fragment]
1334 < \context Staff = up { \time 2/4
1336 \context Staff = down {
1337 \clef bass c,, c' e c }
1341 More information on formatting piano music is in @ref{Piano music}.
1343 @node Setting variables
1344 @section Setting variables
1346 When the music is converted from notes to print, it is interpreted
1347 from left-to-right order, similar to what happens when we read
1348 music. During this step, context-sensitive information, such as the
1349 accidentals to print, and where barlines must be placed, are stored in
1350 variables. These variables are called @emph{translation properties}.
1351 The properties can also be manipulated from input files. Consider this input:
1353 \property Staff.autoBeaming = ##f
1355 It sets the property named @code{autoBeaming} in the current staff to
1356 @code{##f}, which means `false'. This property controls whether beams
1357 are printed automatically:
1358 @lilypond[relative 1,fragment,verbatim]
1360 \property Staff.autoBeaming = ##f
1365 LilyPond includes a built-in programming language, namely, a dialect
1366 of Scheme. The argument to @code{\property}, @code{##f}, is an
1367 expression in that language. The first hash-mark signals that a piece
1368 of Scheme code follows. The second hash character is part of the
1369 boolean value true (@code{#t}). Values of other types may be
1372 @item a string, enclosed in double quotes, for example
1374 \property Staff.instrument = #"French Horn"
1376 @item a boolean: either @code{#t} or @code{#f}, for true and false
1379 \property Voice.autoBeaming = ##f
1380 \property Score.skipBars = ##t
1385 \property Score.currentBarNumber = #20
1388 @item a symbol, which is introduced by a quote character,
1390 \property Staff.crescendoSpanner = #'dashed-line
1393 @item a pair, which is also introduced by a quote character.
1394 The following statements set properties to the pairs (-7.5, 6) and
1395 (3, 4) respectively.
1398 \property Staff.minimumVerticalExtent = #'(-7.5 . 6)
1399 \property Staff.timeSignatureFraction = #'(3 . 4)
1405 There are many different properties, and not all of them are listed in
1406 this manual. However, the internal documentation lists them all in the
1407 @internalsref{All translation properties}, and most properties
1408 are demonstrated in one of the
1410 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
1418 @node Fine tuning layout
1419 @section Fine tuning layout
1421 Sometimes it is necessary to change music layout by hand. When music
1422 is formatted, layout objects are created for each symbol. For
1423 example, every clef and every note head is represented by a layout
1424 object. These layout objects also carry variables, which we call
1425 @emph{layout properties}. By changing these variables from their
1426 values, we can alter the look of a formatted score.
1428 @lilypond[verbatim,relative 0]
1430 \property Voice.Stem \override #'thickness = #3.0
1435 In the example shown here, the layout property @code{thickness} (a
1436 symbol) is set to 3 in the @code{Stem} layout objects of the current
1437 Voice. As a result, the notes following @code{\property} have thicker
1440 In most cases of manual overrides, only a single object must be
1441 changed. This can be achieved by prefixing @code{\once} to the
1442 @code{\property} statement, i.e.,
1445 \once \property Voice.Stem \set #'thickness = #3.0
1448 @lilypond[relative 0]
1450 \once \property Voice.Stem \set #'thickness = #3.0
1455 Some overrides are so common that predefined commands are provided as
1456 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
1457 commands are described in
1461 @ref{Notation manual}, under the sections for slurs and stems
1464 The exact tuning possibilities for each type of layout object are
1465 documented in the internal documentation of the respective
1466 object. However, many layout objects share properties, which can be
1467 used to apply generic tweaks. We mention a couple of these:
1470 @cindex @code{extra-offset}
1471 @item The @code{extra-offset} property, which
1472 has a pair of numbers as value, moves around objects in the printout.
1473 The first number controls left-right movement; a positive number will
1474 move the object to the right. The second number controls up-down
1475 movement; a positive number will move it higher. The unit of these
1476 offsets are staff-spaces. The @code{extra-offset} property is a
1477 low-level feature: the formatting engine is completely oblivious to
1480 In the following example example, the second fingering is moved a
1481 little to the left, and 1.8 staff space downwards.
1483 @cindex setting object properties
1485 @lilypond[relative 1,verbatim]
1488 \once \property Voice.Fingering
1489 \set #'extra-offset = #'(-0.3 . -1.8)
1494 Setting the @code{transparent} property will make an object be printed
1495 in `invisible ink': the object is not printed, but all its other
1496 behavior is retained. The object still takes space, it takes part in
1497 collisions, and slurs, ties and beams can be attached to it.
1499 @cindex transparent objects
1500 @cindex removing objects
1501 @cindex invisible objects
1502 The following example demonstrates how to connect different voices
1503 using ties. Normally ties only happen between notes of the same
1504 voice. By introducing a tie in a different voice, and blanking a stem
1505 in that voice, the tie appears to cross voices.
1507 @lilypond[fragment,relative 1,verbatim]
1509 \once \property Voice.Stem \set #'transparent = ##t
1517 The @code{padding} property for objects with
1518 @code{side-position-interface} can be set to increase distance between
1519 symbols that are printed above or below notes. We only give an
1520 example; a more elaborate explanation is in @ref{Constructing a
1523 @lilypond[relative 1]
1525 \property Voice.Script \set #'padding = #3
1531 More specific overrides are also possible. The notation manual
1532 discusses in depth how to figure out these statements for yourself, in
1533 @ref{Tuning output}.
1535 @node Organizing larger pieces
1536 @section Organizing larger pieces
1538 When all of the elements discussed earlier are combined to produce
1539 larger files, the @code{\score} blocks get a lot bigger, because the
1540 music expressions are longer, and, in the case of polyphonic and/or
1541 orchestral pieces, more deeply nested.
1543 By using variables, also known as identifiers, it is possible to break
1544 up complex music expressions.
1545 An identifier is assigned as follows
1547 namedMusic = \notes @{ @dots{}
1550 The contents of the music expression @code{namedMusic}, can be used
1551 later by preceding the name with a backslash, i.e. @code{\namedMusic}.
1552 In the next example, a two note motive is repeated thrice by using
1553 variable substitution:
1555 @lilypond[singleline,verbatim]
1560 \seufzer \seufzer \seufzer
1564 The name of an identifier should only have alphabetic characters only,
1565 and no numbers, underscores or dashes. The assignment should be
1566 outside of the @code{\score} block.
1568 It is possible to use variables for many other types of objects in the
1573 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1575 Depending on its contents, the identifier can be used in different
1576 places. The following example uses the above variables:
1579 \notes @{ c4^\name @}
1587 More information on the possible uses of identifiers is in the
1588 technical manual, in @ref{Scheme datatypes}.
1591 @node An orchestral part
1592 @section An orchestral part
1594 In orchestral music, all notes are printed twice: both in a part for
1595 the musicians, and in a full score for the conductor. Identifiers can
1596 be used to avoid double work: the music is entered once, and stored in
1597 variable. The contents of that variable is then used to generate
1598 both the part and the score.
1600 It is convenient to define the notes in a special file, for example,
1601 suppose that the @file{horn-music.ly} contains the following part of a
1604 hornNotes = \notes \relative c @{
1610 Then, an individual part is made by putting the following in a file
1612 \include "horn-music.ly"
1614 instrument = "Horn in F"
1617 \notes \transpose c' f \hornNotes
1620 The @code{\include} command substitutes the contents of the file at
1621 this position in the file, so that @code{hornNotes} is defined
1622 afterwards. Since the horn is tuned in F, the @code{\transpose}
1623 command is used. The code @code{\transpose c' f} indicates that the
1624 argument, being @code{\hornNotes}, should be transposed by a fifth
1625 downwards: the @code{c'} becomes a @code{f}. The transposition can be
1626 seen in the following output:
1628 @lilypond[singleline]
1630 \notes \transpose c' f \notes \relative c' {
1637 In ensemble pieces, one of the voices often does not play for many
1638 measures. This is denoted by a special rest, the multi-measure
1639 rest. It is entered with a capital R, and followed by a duration (1
1640 for a whole note, 2 for a half note, etc.) By multiplying the
1641 duration, longer rests can be constructed. For example, the next rest
1642 takes 3 measures in 2/4 time.
1647 When printing the part, the following @code{skipBars} property must be
1648 set to false, to prevent the rest from being expanded in three one bar
1651 \property Score.skipBars = ##t
1653 Prepending the rest and the property setting above, leads to the
1656 @lilypond[singleline]
1657 \score {\notes { \transpose c' f \relative c' { \time 2/4
1658 \property Score.skipBars = ##t
1660 r4 f8 a cis4 f e d } }}
1663 The score is made by combining all of the music in a @code{\score}
1664 block, assuming that the other voice is in @code{bassoonNotes}, in the
1665 file @file{bassoon-music.ly}:
1667 \include "bassoon-music.ly"
1668 \include "horn-music.ly"
1672 \context Staff = hornStaff \hornNotes
1673 \context Staff = bsnStaff \bassoonNotes
1677 This would lead to the simple score depicted below.
1679 @lilypond[singleline]
1681 \notes \relative c \simultaneous {
1682 \context Staff = hornStaff { \time 2/4
1684 r4 f8 a cis4 f e d }
1685 \context Staff = fagStaff { \clef bass
1686 r4 d,8 f | gis4 c | b bes |
1687 a8 e f4 | g d | gis f }
1691 More in-depth information on preparing parts and scores is in the
1692 notation manual, in @ref{Orchestral music}.
1695 @node Integrating text and music
1696 @section Integrating text and music
1698 @cindex La@TeX{}, music in
1699 @cindex HTML, music in
1700 @cindex Texinfo, music in
1702 Sometimes you might want to use music examples in a text that you are
1703 writing (for example a musicological treatise, a songbook, or (like us)
1704 the LilyPond manual). You can make such texts by hand, simply by
1705 importing a PostScript figure into your word processor. However,
1706 there is an automated procedure to reduce the amount of work.
1708 If you use HTML, La@TeX{}, or Texinfo, you can mix text and LilyPond
1709 code. A script called @code{lilypond-book} will extract the music
1710 fragments, run LilyPond on them, and put back the resulting notation.
1711 This program is fully described in @ref{lilypond-book manual}. Here
1712 we show a small example. Since the example also contains explanatory
1713 text, we will not comment it further.
1716 \documentclass[a4paper]@{article@}
1719 In a lilypond-book document, you can freely mix music and text. For
1722 \score @{ \notes \relative c' @{
1723 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1727 Notice that the music line length matches the margin settings of the
1730 If you have no \verb+\score+ block in the fragment,
1731 \texttt@{lilypond-book@} will supply one:
1737 In the example you see here, two things happened: a
1738 \verb+\score+ block was added, and the line width was set to natural
1739 length. You can specify options by putting them in brackets:
1741 \begin[26pt,verbatim]@{lilypond@}
1745 If you want to include large examples into the text, it is more
1746 convenient to put it in a separate file:
1748 \lilypondfile@{screech-boink.ly@}
1753 Under Unix, you can view the results as follows.
1757 $ lilypond-book --outdir=out/ lilbook.tex
1758 lilypond-book (GNU LilyPond) 1.7.23
1759 Reading `input/tutorial/lilbook.tex'
1760 Reading `input/screech-boink6.ly'
1761 @var{lots of stuff deleted}
1762 Writing `out/lilbook.latex'
1764 $ latex lilbook.latex
1765 @var{lots of stuff deleted}
1769 Running lilypond-book and running latex creates a lot of temporary
1770 files, and you would not want those to clutter up your working
1771 directory. The @code{outdir} option to lilypond-book creates the
1772 temporary files in a separate subdirectory @file{out}.
1774 The result looks more or less like this:
1778 In a lilypond-book document, you can freely mix music and text. For
1782 \notes \relative c' {
1783 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1791 Notice that the music line length matches the margin settings of the
1794 If you have no @code{\score} block in the fragment,
1795 @code{lilypond-book} will supply one:
1801 In the example you see here, two things happened: a
1802 @code{score} block was added, and the line width was set to natural
1803 length. You can specify options by putting them in brackets:
1805 @lilypond[26pt,verbatim]
1809 If you want to include large examples into the text, it is more
1810 convenient to put it in a separate file:
1812 @lilypondfile{screech-boink.ly}