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
124 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
130 @lilypond[quote,notime]
131 \set Score.timing = ##f
132 \transpose c c' { 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.
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[quote,notime]
168 \set Score.timing = ##f
179 To recognize names like @samp{c} and @samp{d} as pitches, they have to
180 be entered inside a so-called @code{\notes} block. This block is
181 formed by enclosing notes and commands are enclosed in curly braces
182 @code{@{@tie{}@dots{}@tie{}@}} and adding the keyword @code{\notes} before
194 Now the piece of music is almost ready to be printed. Enclose
195 the @code{\notes} block in a @code{\score} block
209 and the music will be converted to printable output.
211 @lilypond[quote,noindent]
220 linewidth = 55 * \staffspace
225 In many examples in this manual, both @code{\score} and @code{\notes}
226 and accompanying braces are left out for brevity. However, they must
227 be present when feeding the file to LilyPond.
229 For more elaborate information on
233 @item Entering pitches and durations
235 @ref{Pitches}, and @ref{Durations}.
240 @item Time signatures and other timing commands
241 see @ref{Time signature}.
246 @node Running LilyPond
247 @section Running LilyPond
249 @c FIXME: let's not be so casual about Emacs and VIM, but rather
250 @c instruct (how) to use them; let advanced user figure-out what
254 @c We don't have enough space to explain either VIM
255 @c or Emacs non-advanced users, and I fear that both editors will only
256 @c confuse newbies. I vote for keeping the material in footnotes.
260 In the last section we explained what kind of things you could enter
261 in a LilyPond file. In this section we will explain what commands to
262 run and how to view or print the output. If you have not used
263 LilyPond before, want to test your setup, or want to run an example
264 file yourself, read this section. The instructions that follow are
265 for Unix-like systems. Some additional instructions for Microsoft
266 Windows are given at the end of this section.
268 Begin by opening a terminal window and starting a text editor. For
269 example, you could open an xterm and execute
270 @code{joe}.@footnote{There are macro files for VIM addicts, and there
271 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
272 installed already, refer to
273 @c FIXME lousy reference.
274 the file @file{INSTALL.txt}.} In your text editor, enter the following
275 input and save the file as @file{test.ly}
279 \notes @{ c'4 e' g' @}
284 To process @file{test.ly}, proceed as follows
291 You will see something resembling
294 lilypond (GNU LilyPond) 2.2.0
295 Running lilypond-bin...
296 Now processing `/home/fred/ly/test.ly'
298 Interpreting music...[1]
299 @emph{... more interesting stuff ... }
300 DVI output to `test.dvi'...
301 PDF output to `test.pdf'...
302 PS output to `test.ps'...
306 @cindex Viewing music
309 The result is the file @file{test.pdf}@footnote{For @TeX{}
310 aficionados: there is also a @file{test.dvi} file. It can be viewed
311 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
312 not show up in the magnifying glass. The specials also mean that the
313 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
318 } which you can print or with the standard facilities of your
319 operating system.@footnote{If your system does not have any tools
320 installed, you can try @uref{Ghostscript,
321 http://www.cs.wisc.edu/~ghost/}, a freely available package for
322 viewing and printing PDF and PostScript files.}
324 On Windows, start up a text-editor@footnote{Any simple or
325 programmer-oriented editor will do, for example Notepad. Do not use a
326 word processor, its formatting codes will confuse LilyPond.} and enter
330 \notes @{ c'4 e' g' @}
334 Save it on the desktop as @file{test.ly} and make sure that it is not
335 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
336 the file and show the resulting PDF file.
339 @node More about pitches
340 @section More about pitches
342 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
343 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
344 you might expect, a @rglos{double sharp} or @rglos{double flat} is
345 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
346 derived from note naming conventions in Nordic and Germanic languages,
347 like German and Dutch.}
353 @lilypond[quote,notime]
354 \set Score.timing = ##f
355 \transpose c c' { cis1 ees fisis aeses s16_" " }
358 @cindex key signature, setting
359 The key signature is set with the command @code{\key}, followed by
360 a pitch and @code{\major} or @code{\minor}
369 @lilypond[quote,notime,fragment]
377 Key signatures together with the pitches (including alterations) are
378 used to determine when to print accidentals. This is a
379 feature that often causes confusion to newcomers, so let us explain it
383 LilyPond makes a sharp distinction between musical content and
384 layout. The alteration (flat, natural or sharp) of a note is part of
385 the pitch, and is therefore musical content. Whether an accidental (a
386 flat, natural or sharp @emph{sign}) is printed in front of the
387 corresponding note is a question of layout. Layout is something that
388 follows rules, so accidentals are printed automatically according to
389 those rules. The pitches in your music are works of art, so they will
390 not be added automatically, and you must enter what you want to hear.
394 @lilypond[quote,notime,fragment]
400 no note gets an explicit accidental, but you still must enter
408 The code @samp{d} does not mean `print a black dot just below the
409 staff.' Rather, it means: `a note with pitch D-natural.' In the key
410 of A-flat, it does get an accidental
412 @lilypond[quote,notime,fragment]
422 Adding all alterations explicitly might require a little more effort
423 when typing, but the advantage is that transposing is easier, and
424 music can be printed according to different conventions. See
425 @ref{Accidentals}, for some examples how accidentals can be printed
426 according to different rules.
429 For more information on
434 see @ref{Accidentals}.
437 see @ref{Key signature}.
442 @section Entering ties
445 A tie is created by appending a tilde @samp{~} to the first note
448 @lilypond[quote,notime,fragment,verbatim,relative=3]
453 For more information on Ties see @ref{Ties}.
457 @node Automatic and manual beams
458 @section Automatic and manual beams
460 @cindex beams, by hand
461 Beams are drawn automatically
463 @lilypond[quote,fragment,relative=2,verbatim]
469 If you do not like where beams are put, they can be entered by
470 hand. Mark the first note to be beamed with @samp{[} and the last one
473 @lilypond[quote,fragment,relative=2,verbatim]
478 For more information on beams, see @ref{Beaming}.
481 Here are key signatures, accidentals and ties in action
491 fis4 fis8 fis8 eis4 a8 gis~
497 @lilypond[quote, noindent]
499 \notes \transpose c c' {
505 fis4 fis8 fis8 eis4 a8 gis~
508 \paper { linewidth = 50 * \staffspace }
514 There are some interesting points to note in this example. Bar lines
515 and beams are drawn automatically. Line breaks are calculated
516 automatically; it does not matter where the line breaks are in the
517 source file. Finally, the order in which time, key and clef changes
518 are entered is not relevant: in the printout, these are ordered
519 according to standard notation conventions.
524 @section Octave entry
527 @c Tim wants to move this quotes example just before the: quotes-do not-work
528 @c score, but we'd need to remove quotes from the other two (key and
531 @c better to have this just before the `octaves are bad' snipped
532 @c but we'd need to remove the ', from \key and tie
533 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
534 the note name, to lower a note one octave, add a `low quote' @code{,}
535 (a comma). Middle C is @code{c'}
538 c'4 c'' c''' \clef bass c c,
541 @lilypond[quote,notime,fragment]
542 c'4 c'' c''' \clef bass c c,
546 An example of the use of quotes is in the following Mozart fragment
548 @lilypond[quote,raggedright,fragment,verbatim]
551 cis''8. d''16 cis''8 e''4 e''8
552 b'8. cis''16 b'8 d''4 d''8
556 The last example shows that music in a high register needs lots of quotes.
557 This makes the input less readable, and it is a source of errors. The
558 solution is to use `relative octave' mode. In practice, this is the
559 most convenient way to copy existing music. To use relative mode, add
560 @code{\relative} before the piece of music. You must also give a note
561 from which relative mode starts, in this case @code{c''}. If you do not
562 use octavation quotes (i.e., do not add @code{'} or @code{,} after a
563 note), relative mode chooses the note that is closest to the previous
564 one. For example, @samp{c f} goes up while @samp{c g} goes down
566 @lilypond[quote,notime,fragment,verbatim]
574 Since most music has small intervals, pieces can be written almost
575 without octavation quotes in relative mode. The previous example is
578 @lilypond[quote,raggedright,fragment,verbatim]
587 @c needed better, maybe even redundant explanation
588 @c added another example below.
589 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
590 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
591 Larger intervals are made by adding octavation quotes.
593 @lilypond[quote,notime,verbatim,fragment]
600 In summary, quotes or commas no longer determine the absolute height
601 of a note in @code{\relative} mode. Rather, the height of a note is
602 relative to the previous one, and changing the octave of a single note
603 shifts all following notes an octave up or down.
605 For more information on Relative octaves see @ref{Relative octaves},
606 and @ref{Octave check}.
609 @node Music expressions explained
610 @section Music expressions explained
613 In input files, music is represent by so-called @emph{music
614 expression}. We have already seen in the previous examples;
615 a single note is a music expression
617 @lilypond[quote,verbatim,relative=3]
621 Enclosing group of notes in braces creates a new music
624 @lilypond[quote,verbatim,relative=3]
628 Putting a bunch of music expressions (notes) in braces, means that
629 they should be played in sequence. The result again is a music
630 expression, which can be grouped with other expressions sequentially.
631 Here, the expression from the previous example is combined with two
634 @lilypond[quote,verbatim,relative=3]
638 This technique is useful for non-monophonic music. To enter music
639 with more voices or more staves, we also combine expressions in
640 parallel. Two voices that should play at the same time, are entered
641 as a simultaneous combination of two sequences. A `simultaneous'
642 music expression is formed by enclosing expressions in @code{<<} and
643 @code{>>}. In the following example, three sequences (all containing
644 two notes) are combined simultaneously
646 @lilypond[quote,verbatim,relative=3]
654 This mechanism is similar to mathematical
655 formulas: a big formula is created by composing small formulas. Such
656 formulas are called expressions, and their definition is recursive, so
657 you can make arbitrarily complex and large expressions. For example,
666 ((1 + 2) * 3) / (4 * 5)
670 @cindex music expression
671 This example shows a sequence of expressions, where each expression is
672 contained in the next one. The simplest expressions are numbers and
673 operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
674 to group expressions.
676 Like mathematical expressions, music expressions can be nested
677 arbitrarily deep@footnote{The reason for getting three staves in the
678 previous example but just a single staff in current one will be explained
681 @lilypond[quote,verbatim,relative=2]
684 << { e f } { c <<b d>> } >>
690 When spreading expressions over multiple lines, it is customary to use
691 an indent that indicates the nesting level. Formatting music like this
692 eases reading, and helps you insert the right number of closing
693 braces at the end of an expression. For example,
708 Some editors have special support for entering LilyPond, and can help
709 indenting source files. See @ref{Editor support}, for more information.
716 To print more than one staff, each piece of music that makes up a
717 staff is marked by adding @code{\new Staff} before it. These
718 @code{Staff} elements are then combined parallel with @code{<<} and
719 @code{>>}, as demonstrated here
721 @lilypond[quote,fragment,verbatim]
723 \new Staff { \clef violin c'' }
724 \new Staff { \clef bass c }
729 The command @code{\new} introduces a `notation context.' A notation
730 context is an environment in which musical events (like notes or
731 @code{\clef} commands) are interpreted. For simple pieces, such
732 notation contexts are created implicitly. For more complex pieces, it
733 is best to mark contexts explicitly. This ensures that each fragment
736 There are several types of contexts: @code{Staff}, @code{Voice} and
737 @code{Score} handle normal music notation. Other contexts are also
738 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
739 printing chord names).
742 In terms of syntax, prepending @code{\new} to a music expression
743 creates a bigger music expression. In this way it resembles the minus
744 sign in mathematics. The formula @math{(4+5)} is an expression, so
745 @math{-(4+5)} is a bigger expression.
747 We can now typeset a melody with two staves
749 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
751 @lilypond[quote,verbatim,raggedright]
770 For more information on context see the description in
771 @ref{Interpretation contexts}.
775 @node Adding articulation marks to notes
776 @section Adding articulation marks to notes
782 Common accents can be added to a note using a dash (@samp{-}) and a
785 @lilypond[quote,verbatim,relative=2]
786 c-. c-- c-> c-^ c-+ c-_
791 Similarly, fingering indications can be added to a note using a dash
792 (@samp{-}) and the digit to be printed
794 @lilypond[quote,verbatim,relative=2]
799 Dynamic signs are made by adding the markings (with a backslash) to
802 @lilypond[quote,verbatim,relative=2]
811 Crescendi and decrescendi are started with the commands @code{\<} and
812 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
813 crescendo, or the command @code{\!} can be used
815 @lilypond[quote,verbatim,relative=2]
824 A slur is a curve drawn across many notes, and indicates legato
825 articulation. The starting note and ending note are marked with
826 @samp{(} and @samp{)}, respectively
828 @lilypond[quote,fragment,relative=2,verbatim]
829 d4( c16)( cis d e c cis d e)( d4)
833 @cindex slurs versus ties
834 A slur looks like a tie, but it has a different meaning. A tie simply
835 makes the first note sound longer, and can only be used on pairs of
836 notes with the same pitch. Slurs indicate the articulations of notes,
837 and can be used on larger groups of notes. Slurs and ties are also
840 @lilypond[quote,fragment,relative=2]
841 c2~( c8 fis fis4 ~ fis2 g2)
844 @cindex phrasing slurs
845 Slurs to indicate phrasing can be entered with @code{\(} and
846 @code{\)}, so you can have both legato slurs and phrasing slurs at the
849 @lilypond[quote,fragment,relative=2,verbatim]
850 a8(\( ais b c) cis2 b'2 a4 cis, c\)
854 For more information on
859 see @ref{Fingering instructions}.
861 see @ref{Articulations}.
865 see @ref{Phrasing slurs}.
872 @node Combining notes into chords
873 @section Combining notes into chords
876 Chords can be made by surrounding pitches with angled brackets.
877 Angled brackets are the symbols @code{<} and @code{>}.
879 @lilypond[quote,relative=1,fragment,verbatim]
885 You can combine markings like beams and ties with chords. They must
886 be placed outside the angled brackets
888 @lilypond[quote,relative=1,fragment,verbatim]
889 r4 <c e g>8[ <c f a>]~ <c f a>
893 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
896 @lilypond[quote,relative=1,fragment]
898 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
905 @node Basic rhythmical commands
906 @section Basic rhythmical commands
910 @cindex partial measure
911 A pickup is entered with the keyword @code{\partial}. It
912 is followed by a duration: @code{\partial 4} is a quarter note upstep
913 and @code{\partial 8} an eighth note
915 @lilypond[quote,relative=2,verbatim,fragment]
922 Tuplets are made with the @code{\times} keyword. It takes two
923 arguments: a fraction and a piece of music. The duration of the piece
924 of music is multiplied by the fraction. Triplets make notes occupy
925 2/3 of their notated duration, so a triplet has 2/3 as its fraction
927 @lilypond[quote,relative=1,verbatim,fragment]
928 \times 2/3 { f8 g a }
934 Grace notes are also made by prefixing a music expression with the
935 keyword @code{\appoggiatura} or @code{\acciaccatura}
939 @lilypond[quote,relative=2,verbatim,fragment]
940 c4 \appoggiatura b16 c4
941 c4 \acciaccatura b16 c4
946 For more information on
950 see @ref{Grace notes},
954 see @ref{Partial measures}.
959 @node Commenting input files
960 @section Commenting input files
964 @cindex block comment
965 A comment is a remark for the human reader of the music input, it is
966 ignored and has no effect on the printed output. There are two types
967 of comments. The percent symbol @code{%} introduces a line comment;
968 the rest of the line is ignored. A block comments marks a whole
969 section of music input, anything that is enclosed in @code{%@{} and
970 @code{%@}} is ignored. The following fragment shows possible uses for
974 % notes for twinkle twinkle follow
978 This line, and the notes below
979 are ignored, since they are in a
986 There is a special statement that really is a kind of comment. The
987 version statement marks for which version of LilyPond the file was
988 written. To mark a file for version 2.1.17, use
994 These annotations make future upgrades of LilyPond go more
995 smoothly. Changes in the syntax are handled with a special program,
996 @file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
997 @code{\version} to determine what rules to apply.
1000 @node Printing lyrics
1001 @section Printing lyrics
1004 @c TODO: (c) status of the Queen fragment.
1008 Lyrics are entered by separating each syllable with a space,
1011 I want to break free
1014 To prevent certain words (for example `as') as being read as a
1015 pitch, the input-mode must be switched. This is done with
1016 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
1020 \lyrics @{ I want to break free @}
1024 Again, the braces @code{@{@}} signify that the syllables are sung in
1027 By default, music expressions are interpreted in @code{Staff} context. For
1028 lyrics, this is obviously not desirable, so it is necessary
1029 to explicitly specify a @code{Lyrics} context,
1032 \new Lyrics \lyrics @{ I want to break free @}
1035 The melody for this song is as follows
1037 @lilypond[quote,fragment,relative=2]
1039 \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
1042 The lyrics can be set to these notes, combining both with the
1043 @code{\lyricsto} keyword
1046 \lyricsto "@var{name}" \new Lyrics @dots{}
1050 where @var{name} identifies to which melody the lyrics should be
1051 aligned. In this case, there is only one melody, so we can leave it
1056 @lilypond[quote,verbatim,fragment,raggedright]
1062 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1064 \lyricsto "" \new Lyrics \lyrics { I want to break free }
1070 @cindex extender line
1072 This melody ends on a @rglos{melisma}, a single syllable (`free')
1073 sung to more than one note. This is indicated with an @emph{extender
1074 line}. It is entered as two underscores, i.e.,
1077 \lyrics @{ I want to break free __ @}
1080 @lilypond[quote,raggedright]
1083 \notes \relative c' \new Voice {
1086 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1088 \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
1093 Similarly, hyphens between words can be entered as two dashes,
1094 resulting in a centered hyphen between two syllables
1097 Twin -- kle twin -- kle
1100 @lilypond[quote,raggedright]
1103 \notes \relative f' \context Voice = bla {
1107 \new Lyrics \lyrics \lyricsto "bla" { Twin -- kle twin -- kle }
1112 More options, like putting multiple lines of lyrics below a melody are
1113 discussed in @ref{Vocal music}.
1118 @section A lead sheet
1124 In popular music, it is common to denote accompaniment as chord-names.
1125 Such chords can be entered like notes,
1132 but now, each pitch is read as the root of a chord instead of a note.
1133 This mode is switched on with @code{\chords}
1135 @lilypond[quote,verbatim,raggedright]
1137 \chords { c2 f4. g8 }
1141 Other chords can be created by adding modifiers after a colon. The
1142 following example shows a few common modifiers
1144 @lilypond[quote,verbatim]
1145 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1148 For lead sheets, chords are not printed on staves, but as names on a
1149 line of themselves. Hence, we have to override the context with
1150 @code{\new}, rendering the music expression in a @code{ChordNames}
1153 @lilypond[quote,verbatim]
1154 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1159 When put together, chord names, lyrics and a melody form
1160 a lead sheet, for example,
1165 \new ChordNames \chords @{ @emph{chords} @}
1166 \notes @emph{the melody}
1167 \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
1172 @lilypond[quote,raggedright]
1176 \new ChordNames \chords { r8 c2:sus4 f }
1177 \notes \relative c' {
1179 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1181 \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
1187 A complete list of modifiers and other options for layout can be found
1190 @node Listening to output
1191 @section Listening to output
1196 MIDI (Musical Instrument Digital Interface) is a standard for
1197 connecting and controlling digital instruments. A MIDI file is like a
1198 tape recording of a MIDI instrument.
1200 To create a MIDI from a music piece of music, add a
1201 @code{\midi} block causes LilyPond to create a MIDI file, so you
1202 can listen to the music you entered. It is great for checking the
1203 music: octaves that are off or accidentals that were mistyped stand
1204 out very much when listening to the musical transcription.
1206 The @code{\midi} block is added to @code{\score}, for example,
1211 \midi @{ \tempo 4=72 @}
1215 Here, the tempo is specified using the @code{\tempo} command. In this
1216 case the tempo of quarter notes is set to 72 beats per minute. More
1217 information on auditory output in the notation manual, @ref{Sound}.
1219 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1220 be produced. If notation is needed too, a @code{\paper} block must be
1226 \midi @{ \tempo 4=72 @}
1236 Bibliographic information is entered in a separate block, the
1237 @code{\header} block. The name of the piece, its composer, etc., are
1238 entered as an assignment, within @code{\header @{ @dots{} @}}. For
1243 title = "Eight miniatures"
1244 composer = "Igor Stravinsky"
1245 tagline = "small is beautiful"
1248 \score @{ @dots{} @}
1251 @cindex bibliographic information
1254 @cindex Engraved by LilyPond
1256 When the file is processed the title and composer are printed above
1257 the music. The `tagline' is a short line printed at bottom of the last
1258 page which normally says `Engraved by LilyPond, version @dots{}'. In
1259 the example above it is replaced by the line `small is
1260 beautiful.'@footnote{Nicely printed parts are good PR for us, so
1261 please leave the tagline if you can.}
1263 Normally, the @code{\header} is put at the top of the file. However,
1264 for a document that contains multiple pieces (e.g. an etude book, or
1265 an orchestral part with multiple movements), the header can be
1266 put in the @code{\score} block as follows; in this case, the name of
1267 each piece will be printed before each movement
1270 @cindex Engraved by LilyPond
1271 @cindex signature line
1276 title = "Eight miniatures"
1277 composer = "Igor Stravinsky"
1278 tagline = "small is beautiful"
1282 \header @{ piece = "Adagio" @}
1285 \header @{ piece = "Menuetto" @}
1289 More information on titling can be found in @ref{Invoking lilypond}.
1292 @node Single staff polyphony
1293 @section Single staff polyphony
1296 @cindex multiple voices
1297 @cindex voices, more -- on a staff
1299 When different melodic lines are combined on a single staff they are
1300 printed as polyphonic voices: each voice has its own stems, slurs and
1301 beams, and the top voice has the stems up, while the bottom voice has
1304 Entering such parts is done by entering each voice as a sequence (with
1305 @code{@{ .. @}}), and combining those simultaneously, separating the
1306 voices with @code{\\}
1308 @lilypond[quote,verbatim,relative=3]
1309 << { a4 g2 f4~ f4 } \\
1313 For polyphonic music typesetting, spacer rests can also be convenient: these
1314 are rests that do not print. It is useful for filling up voices that
1315 temporarily do not play. Here is the same example with a spacer rest
1316 instead of a normal rest
1318 @lilypond[quote,relative=3]
1319 << { a4 g2 f4~ f4 } \\
1323 Again, these expressions can be nested arbitrarily
1325 @lilypond[quote,fragment,relative=3]
1333 { <c, g>1 ~ <c g>4 } \\
1339 More features of polyphonic typesetting in the notation manual
1343 @section Piano staves
1345 @cindex staff switch, manual
1346 @cindex cross staff voice, manual
1347 @cindex @code{\context}
1349 Piano music is typeset in two staves connected by a brace. Printing
1350 such a staff is similar to the polyphonic example in @ref{More staves},
1353 << \new Staff @{ @dots{} @}
1354 \new Staff @{ @dots{} @} >>
1358 but now this entire expression must be interpreted as a
1362 \new PianoStaff << \new Staff @dots{} >>
1365 Here is a full-fledged example
1367 @lilypond[quote,relative=1,fragment]
1369 \new Staff { \time 2/4 c4 c g' g }
1370 \new Staff { \clef bass c,, c' e c }
1374 More information on formatting piano music is in @ref{Piano music}.
1376 @node Organizing larger pieces
1377 @section Organizing larger pieces
1379 When all of the elements discussed earlier are combined to produce
1380 larger files, the @code{\score} blocks get a lot bigger, because the
1381 music expressions are longer, and, in the case of polyphonic pieces,
1382 more deeply nested. Such large expressions can become unwieldy.
1384 By using variables, also known as identifiers, it is possible to break
1385 up complex music expressions. An identifier is assigned as follows
1388 namedMusic = \notes @{ @dots{}
1391 The contents of the music expression @code{namedMusic}, can be used
1392 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1393 In the next example, a two note motive is repeated two times by using
1394 variable substitution
1396 @lilypond[quote,raggedright,verbatim]
1401 \new Staff { \seufzer \seufzer }
1405 The name of an identifier should have alphabetic characters only;
1406 no numbers, underscores or dashes. The assignment should be outside of
1407 the @code{\score} block.
1409 It is possible to use variables for many other types of objects in the
1415 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1418 Depending on its contents, the identifier can be used in different
1419 places. The following example uses the above variables
1423 \notes @{ c4^\name @}
1431 More information on the possible uses of identifiers is in the
1432 technical manual, in TODO.
1435 @node An orchestral part
1436 @section An orchestral part
1438 In orchestral music, all notes are printed twice: both in a part for
1439 the musicians, and in a full score for the conductor. Identifiers can
1440 be used to avoid double work: the music is entered once, and stored in
1441 a variable. The contents of that variable is then used to generate
1442 both the part and the score.
1444 It is convenient to define the notes in a special file, for example,
1445 suppose that the @file{horn-music.ly} contains the following part of a
1449 hornNotes = \notes \relative c @{
1455 Then, an individual part is made by putting the following in a file
1458 \include "horn-music.ly"
1460 instrument = "Horn in F"
1463 \notes \transpose f c' \hornNotes
1470 \include "horn-music.ly"
1474 substitutes the contents of @file{horn-music.ly} at this position in
1475 the file, so @code{hornNotes} is defined afterwards. The command
1476 @code{\transpose f c'} indicates that the argument, being
1477 @code{\hornNotes}, should be transposed by a fifth downwards: sounding
1478 @code{f} is denoted by notated @code{c'}, which corresponds with
1479 tuning of a normal French Horn in F. The transposition can be seen in
1480 the following output
1482 @lilypond[quote,raggedright]
1484 \notes \transpose f c' \notes \relative c {
1491 In ensemble pieces, one of the voices often does not play for many
1492 measures. This is denoted by a special rest, the multi-measure
1493 rest. It is entered with a capital @code{R} followed by a duration (1
1494 for a whole note, 2 for a half note, etc.). By multiplying the
1495 duration, longer rests can be constructed. For example, this rest
1496 takes 3 measures in 2/4 time
1502 When printing the part, multi-rests
1503 must be condensed. This is done by setting a run-time variable
1506 \set Score.skipBars = ##t
1510 This commands sets the property @code{skipBars} property in the
1511 @code{Score} context to true (@code{##t}). Prepending the rest and
1512 this option to the music above, leads to the following result
1514 @lilypond[quote,raggedright]
1516 \notes \transpose f c' \relative c {
1518 \set Score.skipBars = ##t
1526 The score is made by combining all of the music in a @code{\score}
1527 block. Assuming that the other voice is in @code{bassoonNotes} in the
1528 file @file{bassoon-music.ly}, a score is made with
1531 \include "bassoon-music.ly"
1532 \include "horn-music.ly"
1536 \new Staff \hornNotes
1537 \new Staff \bassoonNotes
1545 @lilypond[quote,raggedright]
1547 \notes \relative c \simultaneous {
1554 r4 d,8 f | gis4 c | b bes |
1555 a8 e f4 | g d | gis f
1561 More in-depth information on preparing parts and scores in the
1562 notation manual, in @ref{Orchestral music}.
1564 Setting run-time variables (`properties') is discussed in ref-TODO.
1566 @node Integrating text and music
1567 @section Integrating text and music
1569 @cindex La@TeX{}, music in
1570 @cindex HTML, music in
1571 @cindex Texinfo, music in
1573 Some texts include music examples. Examples are musicological
1574 treatises, songbooks or manuals like this. Such texts can be made by
1575 hand, simply by importing a PostScript figure into the word processor.
1576 However, there is an automated procedure to reduce the amount of work
1577 involved HTML, La@TeX{}, and Texinfo documents.
1579 A script called @code{lilypond-book} will extract the music fragments,
1580 run format them, and put back the resulting notation. This program is
1581 fully described in @ref{lilypond-book manual}. Here we show a small
1582 example. The example also contains explanatory text, so we will not
1583 comment on it further
1586 \documentclass[a4paper]@{article@}
1589 Documents for lilypond-book may freely mix music and text. For
1593 \score @{ \notes \relative c' @{
1594 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1598 If there is no \verb+\score+ block in the fragment,
1599 \texttt@{lilypond-book@} will supply one
1605 In this example two things happened: a
1606 \verb+\score+ block was added, and the line width was set to natural
1609 Options are put in brackets.
1611 \begin[staffsize=26,verbatim]@{lilypond@}
1616 Larger examples can be put in a separate file, and introduced with
1617 \verb+\lilypondfile+.
1619 \lilypondfile@{screech-boink.ly@}
1624 Under Unix, you can view the results as follows
1629 $ lilypond-book --output=out/ lilybook.tex
1630 lilypond-book (GNU LilyPond) 2.1.19
1631 Reading `input/tutorial/lilybook.tex'
1632 Reading `input/screech-boink.ly'
1633 @var{lots of stuff deleted}
1634 Writing `out/lilybook.tex'
1637 @var{lots of stuff deleted}
1641 To convert the file into a nice PDF document, run the following
1645 $ dvips -Ppdf -u +lilypond lilybook
1646 $ ps2pdf lilybook.ps
1650 Running lilypond-book and running latex creates a lot of temporary
1651 files, which would clutter up the working directory. To remedy this,
1652 use the @code{output} option. It will create the files in a separate
1653 subdirectory @file{out}.
1655 The result looks more or less like
1659 Documents for lilypond-book may freely mix music and text. For
1662 @lilypond[quote,raggedright]
1664 \notes \relative c' {
1665 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1670 If you have no @code{\score} block in the fragment,
1671 @code{lilypond-book} will supply one
1677 In this example two things happened: a
1678 @code{score} block was added, and the line width was set to natural
1681 Options are put in brackets.
1683 @lilypond[quote,staffsize=26,verbatim]
1687 Larger examples can be put in a separate file, and introduced with
1688 @code{\lilypondfile}.
1690 @lilypondfile[quote,noindent]{screech-boink.ly}