1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond-learning.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
11 Tutorial guidelines: (different from policy.txt!)
12 - unless you have a really good reason, use either
13 @lilypond[verbatim,quote,ragged-right]
15 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
17 Don't use any other relative=X commands (make it a non-fragment
18 example), and don't use fragment without relative=2.
20 - use "aes" and "ees" instead of "as" and "es". I know it's not
21 correct Dutch naming, but let's not confuse people with this
22 until we get to the Basic notation chapter.
24 - Add "Music glossary: @rglos{foo}" to the _top_ of the relevant
25 portions of the tutorial.
33 This tutorial starts with an introduction to the LilyPond music
34 language and how to produce printed music. After this first
35 contact we will explain how to create common musical notation.
39 * Single staff notation::
40 * Multiple notes at once::
49 This section gives a basic introduction to working with LilyPond.
54 * Working on text files::
55 * How to read the tutorial::
59 @node Compiling a file
60 @subsection Compiling a file
62 The first example demonstrates how to start working with LilyPond.
63 To create sheet music, we write a text file that specifies the
64 notation. For example, if we write
73 the result looks like this:
75 @c in this case we don't want verbatim
76 @lilypond[quote,ragged-right]
82 @warning{Every piece of LilyPond input needs to have
83 @strong{@{ curly braces @}} placed around the input. The braces
84 should also be surrounded by a space unless they are at the
85 beginning or end of a line to avoid ambiguities. The braces may
86 be omitted in some examples in this manual, but don't forget them
87 in your own music! For more information about the display of
88 examples in the manual, see @ref{How to read the tutorial}.}
90 @cindex Case sensitive
91 In addition, LilyPond input is @strong{case sensitive}. @code{
92 @{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
97 @subheading Entering music and viewing output
100 @cindex Viewing music
102 In this section we will explain what commands to run and how to
103 view or print the output.
105 Note that there are several other text editors available with
106 better support for LilyPond. For more information, see
107 @rprogram{Text editor support}.
109 @warning{the first time you ever run LilyPond, it may take a
110 minute or two because all of the system fonts have to be analyzed
111 first. After this, LilyPond will be much faster!}
113 @subsubheading MacOS X
115 If you double click @code{LilyPond.app}, it will open with an
116 example file. Save it, for example, to @file{test.ly} on your
117 Desktop, and then process it with the menu command @samp{Compile >
118 Typeset File}. The resulting PDF file will be displayed on your
121 For future use of LilyPond, you should begin by selecting @q{New}
122 or @q{Open}. You must save your file before typesetting it. If
123 any errors occur in processing, please see the log window.
126 @subsubheading Windows
128 On Windows, if you double-click in the LilyPond icon on the
129 Desktop, it will open a simple text editor with an example file.
130 Save it, for example, to @file{test.ly} on your Desktop and then
131 double-click on the file to process it (the file icon looks like a
132 note). After some seconds, you will get a file @file{test.pdf} on
133 your desktop. Double-click on this PDF file to view the typeset
134 score. An alternative method to process the @file{test.ly} file
135 is to drag and drop it onto the LilyPond icon using your mouse
138 To edit an existing @file{.ly} file, right-click on it and
139 select @qq{Edit source}. To get an empty file to start from, run
140 the editor as described above and use @qq{New} in
143 Double-clicking the file does not only result in a PDF file, but
144 also produces a @file{.log} file that contains some information on
145 what LilyPond has done to the file. If any errors occur, please
150 Create a file (such as @file{test.ly}) and enter:
158 To process @file{test.ly}, proceed as follows
165 You will see something resembling
172 Interpreting music...
173 Preprocessing graphical objects...
174 Finding the ideal number of pages...
175 Fitting music on 1 page...
177 Layout output to `test.ps'...
178 Converting to `test.pdf'...
182 @node Simple notation
183 @subsection Simple notation
185 LilyPond will add some notation elements automatically. In the
186 next example, we have only specified four pitches, but LilyPond
187 has added a clef, time signature, and rhythms.
189 @lilypond[verbatim,quote,ragged-right]
196 This behavior may be altered, but in most cases these automatic
202 Music glossary: @rglos{interval}, @rglos{fourth}, @rglos{scale},
203 @rglos{middle C}, @rglos{octave}.
205 The easiest way to enter notes is by using @code{\relative} mode.
206 In this mode, the @notation{interval} between the previous note and
207 the current note is assumed to be within a @notation{fourth}. We
208 begin by entering the most elementary piece of music, a
211 @lilypond[verbatim,quote,ragged-right]
218 The initial note is @notation{middle C}. Each successive note is
219 within a fourth of the previous note -- in other words, the first
220 @code{c} is the closest C to middle C. This is followed by the
221 closest D to the previous note. We can create melodies which
222 have larger intervals:
224 @lilypond[verbatim,quote,ragged-right]
232 As you may notice, this example does not start on middle C. The first
233 note -- the @code{d} -- is the closest D to middle C.
235 To add intervals that are larger than a fourth, we can raise
236 the @notation{octave} by adding a single quote @code{'} (or apostrophe)
237 to the note name. We can lower the octave by adding a comma @code{,} to
240 @lilypond[verbatim,quote,ragged-right]
248 To change a note by two (or more!) octaves, we use multiple
249 @code{''} or @code{,,} -- but be careful that you use two single
250 quotes @code{''} and not one double quote @code{"}@tie{}! The
251 initial value in @code{\relative c'} may also be modified like
255 @subheading Durations (rhythms)
257 Music glossary: @rglos{beam}, @rglos{duration}, @rglos{whole note},
258 @rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
260 The @notation{duration} of a note is specified by a number after
261 the note name. @samp{1} for a @notation{whole note}, @samp{2} for
262 a @notation{half note}, @samp{4} for a @notation{quarter note} and
263 so on. @notation{Beam}@tie{}s are added automatically.
265 @lilypond[verbatim,quote,ragged-right]
269 a16 a a a a32 a a a a64 a a a a a a a a2
274 If you do not specify a duration, the previous duration is used
275 for the next note. The duration of the first note defaults to a
278 To create @notation{dotted notes}, add a dot @samp{.} to the duration
281 @lilypond[verbatim,quote,ragged-right]
291 Music glossary: @rglos{rest}.
293 A @notation{rest} is entered just like a note with the name @samp{r}:
295 @lilypond[verbatim,quote,ragged-right]
303 @subheading Time signature
305 Music glossary: @rglos{time signature}.
307 The @notation{time signature} can be set with the @code{\time}
310 @lilypond[verbatim,quote,ragged-right]
324 Music glossary: @rglos{clef}.
326 The @notation{clef} can be set using the @code{\clef} command:
328 @lilypond[verbatim,quote,ragged-right]
342 @subheading All together
344 Here is a small example showing all these elements together:
346 @lilypond[verbatim,quote,ragged-right]
358 User manual: @ruser{Writing pitches}, @ruser{Writing rhythms},
359 @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
362 @c HERE's where I started
364 @node Working on text files
365 @subsection Working on text files
367 LilyPond input files are similar to source files in many common
368 programming languages. They are case sensitive, and white-space
369 is generally equivalent. Expressions are formed with curly braces
370 @{ @}, and comments are denoted with @code{%} or @code{%@{ ...
373 If the previous sentence sounds like nonsense, don't worry! We'll
374 explain what all these terms mean:
378 @cindex Case sensitive
379 @item @strong{Case sensitive}:
380 it matters whether you enter a letter in lower case (e.g. @code{a,
381 b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
382 lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
383 will produce an error message.
385 @item @strong{Whitespace insensitive}:
386 it does not matter how many spaces (or new lines) you add.
387 @code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
388 @tie{} @tie{} d e @}} and
396 Of course, the previous example is hard to read. A good rule of
397 thumb is to indent code blocks with either a tab or two spaces:
405 @item @strong{Expressions:}
406 Every piece of LilyPond input needs to have @strong{@{ curly
407 braces @}} placed around the input. These braces tell LilyPond
408 that the input is a single music expression, just like parentheses
409 @samp{()} in mathematics. The braces should be surrounded by a
410 space unless they are at the beginning or end of a line to avoid
413 A function (such as @code{\relative @{ @}}) also counts as a
414 single music expression.
418 @cindex block comment
419 @item @strong{Comments}:
420 A comment is a remark for the human reader of the music input; it
421 is ignored while parsing, so it has no effect on the printed
422 output. There are two types of comments. The percent symbol
423 @samp{%} introduces a line comment; anything after @samp{%} on
424 that line is ignored. A block comment marks a whole section of
425 music input as a comment. Anything that is enclosed in @code{%@{}
426 and @code{%@}} is ignored. (Comments do not nest.) The following
427 fragment shows possible uses for comments
430 % notes for twinkle twinkle follow
434 This line, and the notes below
435 are ignored, since they are in a
444 There are more tips for constructing input files in
445 @ruser{Suggestions for writing LilyPond files}.
448 @node How to read the tutorial
449 @subsection How to read the tutorial
451 As we saw in @ruser{Working on text files}, LilyPond input must be
452 surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}.
453 For the rest of this manual, most examples will omit this. To
454 replicate the examples, you may copy and paste the displayed input
455 but you @strong{must} add the @code{\relative c'' @{ @}} like
460 ... example goes here...
464 Why omit the braces? Most examples in this manual can be inserted
465 into the middle of a longer piece of music. For these examples,
466 it does not make sense to add @code{\relative c'' @{ @}} -- you
467 should not place a @code{\relative} inside another
468 @code{\relative}! If we included @code{\relative c'' @{ @}}
469 around every example, you would not be able to copy a small
470 documentation example and paste it inside a longer piece of your
471 own. Most people want to add material to an existing piece, so we
472 format the manual this way.
475 @subheading Clickable examples
477 Many people learn programs by trying and fiddling around with the
478 program. This is also possible with LilyPond. If you click on a
479 picture in the HTML version of this manual, you will see the exact
480 LilyPond input that was used to generate that image. Try it on
484 @lilypond[quote,ragged-right]
486 c-\markup { \bold \huge { Click here. } }
490 By cutting and pasting everything in the @qq{ly snippet} section,
491 you have a starting template for experiments. To see exactly the
492 same output (line-width and all), copy everything from @qq{Start
493 cut-&-pastable section} to the bottom of the file.
496 @node Single staff notation
497 @section Single staff notation
499 This section introduces common notation that is used for one voice
503 * Relative note names::
504 * Accidentals and key signatures::
506 * Articulation and dynamics::
508 * Automatic and manual beams::
509 * Advanced rhythmic commands::
513 @node Relative note names
514 @subsection Relative note names
516 Music glossary: @rglos{octave}, @rglos{fourth}, @rglos{fifth}.
518 As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
519 each note relative to the previous one@footnote{There is another mode
520 of entering pitches, @ruser{Absolute note names}, but in practice
521 relative mode is much easier and safer to use.}. If no extra
522 @notation{octave} marks (@code{'} and @code{,}) are added, it assumes
523 that each pitch is within a @notation{fourth} of the previous note.
525 LilyPond examines pitches based on the note names -- in other
526 words, an augmented fourth is @emph{not} treated the same as a
527 diminished fifth. If we begin at a C, then an F-sharp will be placed a
528 higher than the C, while a G-flat will be placed lower than the C.
530 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
538 @item Relative octaves
539 see @ruser{Relative octaves}.
541 see @ruser{Octave check}.
546 @node Accidentals and key signatures
547 @subsection Accidentals and key signatures
549 @subheading Accidentals
551 Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
552 @rglos{double flat}, @rglos{accidental}.
554 A @notation{sharp} pitch is made by adding @samp{is} to the name, and
555 a @notation{flat} pitch by adding @samp{es}. As you might expect, a
556 @notation{double sharp} or @notation{double flat} is made by adding
557 @samp{isis} or @samp{eses}@footnote{This syntax derived from note
558 naming conventions in Nordic and Germanic languages, like German
559 and Dutch. To use other names for @notation{accidentals}, see
560 @ruser{Note names in other languages}.}
562 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
563 cis1 ees fisis, aeses
566 @cindex key signature, setting
567 @subheading Key signatures
569 Music glossary: @rglos{key signature}, @rglos{major}, @rglos{minor}.
571 The @notation{key signature} is set with the command @code{\key}
572 followed by a pitch and @code{\major} or @code{\minor}.
574 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
583 @subheading Warning: key signatures and pitches
585 Music glossary: @rglos{accidental}, @rglos{key signature},
586 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}.
588 To determine whether to print an @notation{accidental}, LilyPond
589 examines the pitches and the @notation{key signature}. The key
590 signature only affects the @emph{printed} accidentals, not the note's
591 @notation{pitch}! This is a feature that often causes confusion to
592 newcomers, so let us explain it in more detail.
594 LilyPond makes a sharp distinction between musical content and
595 layout. The alteration (@notation{flat}, @notation{natural} or @notation{sharp}) of a note is part of the pitch, and is therefore
596 musical content. Whether an accidental (a @emph{printed} flat, natural
597 or sharp sign) is printed in front of the corresponding note is a
598 question of layout. Layout is something that follows rules, so
599 accidentals are printed automatically according to those rules. The
600 pitches in your music are works of art, so they will not be added
601 automatically, and you must enter what you want to hear.
605 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
611 No note has a printed accidental, but you must still add the
612 @samp{is} to @code{cis} and @code{fis}.
614 The code @samp{e} does not mean @qq{print a black dot just below
615 the first line of the staff.} Rather, it means: @qq{there is a
616 note with pitch E-natural.} In the key of A-flat major, it
617 @emph{does} get an accidental:
619 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
624 Adding all alterations explicitly might require a little more
625 effort when typing, but the advantage is that transposing is
626 easier, and accidentals can be printed according to different
627 conventions. See @ruser{Automatic accidentals}, for some examples
628 how accidentals can be printed according to different rules.
634 see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
636 see @ruser{Key signature}
638 see @rglos{Pitch names}.
644 @subsection Ties and slurs
649 Music glossary: @rglos{tie}.
651 A @notation{tie} is created by appending a tilde @samp{~} to the
652 first note being tied
654 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
662 Music glossary: @rglos{slur}.
664 A @notation{slur} is a curve drawn across many notes. The starting
665 note and ending note are marked with @samp{(} and @samp{)}
668 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
669 d4( c16) cis( d e c cis d) e( d4)
672 @cindex slurs, phrasing
673 @cindex phrasing slurs
674 @subheading Phrasing slurs
676 Music glossary: @rglos{phrasing}, @rglos{legato}.
678 Slurs to indicate longer @notation{phrasing} can be entered with
679 @code{\(} and @code{\)}. You can have both @notation{legato} slurs and
680 phrasing slurs at the same time, but you cannot have simultaneous legato
681 slurs or simultaneous phrasing slurs.
683 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
684 a8(\( ais b c) cis2 b'2 a4 cis,\)
689 @cindex slurs versus ties
690 @subheading Warnings: slurs vs. ties
692 Music glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
694 A @notation{slur} looks like a @notation{tie}, but it has a different
695 meaning. A tie simply makes the first note longer, and can only be used on pairs of notes with the same pitch. Slurs indicate the
696 @notation{articulation} of notes, and can be used on larger groups of
697 notes. Slurs and ties can be nested.
699 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
700 c2~( c8 fis fis4 ~ fis2 g2)
711 see @ruser{Phrasing slurs}.
716 @node Articulation and dynamics
717 @subsection Articulation and dynamics
722 @subheading Articulations
724 Music glossary: @rglos{articulation}.
726 Common @notation{articulation}@tie{}s can be added to a note using a
727 dash @samp{-} and a single character:
729 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
730 c-. c-- c-> c-^ c-+ c-_
734 @subheading Fingerings
736 Music glossary: @rglos{fingering}.
738 Similarly, @notation{fingering} indications can be added to a note using
739 a dash (@samp{-}) and the digit to be printed:
741 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
745 Articulations and fingerings are usually placed automatically, but
746 you can specify a direction using @samp{^} (up) or @samp{_}
747 (down). You can also use multiple articulations on the same note.
748 However, in most cases it is best to let LilyPond determine the
749 articulation directions.
751 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
752 c_-^1 d^. f^4_2-> e^-_+
757 Music glossary: @rglos{dynamics}, @rglos{crescendo},
760 Dynamic signs are made by adding the markings (with a backslash)
763 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
771 Crescendi and decrescendi are started with the commands @code{\<}
772 and @code{\>}. An ending dynamic, for example @code{\f}, will
773 finish the (de)crescendo, or the command @code{\!} can be used:
775 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
783 see @ruser{Articulations}.
785 see @ruser{Fingering instructions}.
787 see @ruser{Dynamics} (User manual) and @rglos{dynamics} (Glossary).
794 @subsection Adding text
796 Text may be added to your scores:
798 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
802 Extra formatting may be added with the @code{\markup} command:
804 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
805 c1^\markup{ \bold espr}
807 \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
812 @c Kurt: leave this alone for now.
816 User manual: @ruser{Writing text}.
819 @node Automatic and manual beams
820 @subsection Automatic and manual beams
822 @cindex beams, by hand
823 All @rglos{beam}s are drawn automatically:
825 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
826 a8 ais d ees r d c16 b a8
830 If you do not like the automatic beams, they may be overridden
831 manually. Mark the first note to be beamed with @samp{[} and the
832 last one with @samp{]}.
834 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
835 a8[ ais] d[ ees r d] a b
841 @item Automatic beams
842 see @ruser{Automatic beams}.
844 see @ruser{Manual beams}.
849 @node Advanced rhythmic commands
850 @subsection Advanced rhythmic commands
854 @cindex partial measure
855 @subheading Partial measure
857 A pickup (or @rglos{anacrusis}) is entered with the keyword
858 @code{\partial}. It is followed by a duration: @code{\partial 4}
859 is a quarter note pickup and @code{\partial 8} an eighth note.
861 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
870 Tuplets are made with the @code{\times} keyword. It takes two
871 arguments: a fraction and a piece of music. The duration of the
872 piece of music is multiplied by the fraction. Triplets make notes
873 occupy 2/3 of their notated duration, so a triplet has 2/3 as its
876 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
877 \times 2/3 { f8 g a }
879 \times 2/3 { f,8 g16[ a g a] }
886 @subheading Grace notes
888 Grace notes are created with the @code{\grace} command, although
889 they can also be created by prefixing a music expression with the
890 keyword @code{\appoggiatura} or @code{\acciaccatura}
892 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
893 c2 \grace { a32[ b] } c2
894 c2 \appoggiatura b16 c2
895 c2 \acciaccatura b16 c2
902 see @ruser{Grace notes},
906 see @ruser{Partial measures}.
911 @node Multiple notes at once
912 @section Multiple notes at once
914 This section introduces having more than one note at the same
915 time: multiple instruments, multiple staves for a single
916 instrument (i.e. piano), and chords.
918 Polyphony in music refers to having more than one voice occurring
919 in a piece of music. Polyphony in LilyPond refers to having more
920 than one voice on the same staff.
923 * Music expressions explained::
926 * Combining notes into chords::
927 * Single staff polyphony::
931 @node Music expressions explained
932 @subsection Music expressions explained
934 In LilyPond input files, music is represented by @emph{music
935 expressions}. A single note is a music expression:
937 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
941 Enclosing a note in braces creates a @emph{compound music
942 expression}. Here we have created a compound music expression
945 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
949 Putting a group of music expressions (e.g. notes) in braces means
950 that they are in sequence (i.e. each one follows the previous
951 one). The result is another music expression:
953 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
957 @subheading Simultaneous music expressions: multiple staves
959 This technique is useful for polyphonic music. To enter music
960 with more voices or more staves, we combine expressions in
961 parallel. To indicate that two voices should play at the same
962 time, simply enter a simultaneous combination of music
963 expressions. A @q{simultaneous} music expression is formed by
964 enclosing expressions inside @code{<<} and @code{>>}. In the
965 following example, three sequences (all containing two separate
966 notes) are combined simultaneously:
968 @lilypond[verbatim,quote,ragged-right]
978 Note that we have indented each level of the input with a
979 different amount of space. LilyPond does not care how much (or
980 little) space there is at the beginning of a line, but indenting
981 LilyPond code like this makes it much easier for humans to read.
983 @warning{each note is relative to the previous note in
984 the input, not relative to the @code{c''} in the initial
985 @code{\\relative} command.}
988 @subheading Simultaneous music expressions: single staff
990 To determine the number of staves in a piece, LilyPond looks at
991 the first expression. If it is a single note, there is one staff;
992 if there is a simultaneous expression, there is more than one
995 @lilypond[verbatim,quote,ragged-right]
998 << { e f } { c <<b d>> } >>
1003 @cindex music expression
1004 @subheading Analogy: mathematical expressions
1006 This mechanism is similar to mathematical formulas: a big formula
1007 is created by composing small formulas. Such formulas are called
1008 expressions, and their definition is recursive so you can make
1009 arbitrarily complex and large expressions. For example,
1018 ((1 + 2) * 3) / (4 * 5)
1021 This is a sequence of expressions, where each expression is
1022 contained in the next (larger) one. The simplest expressions are
1023 numbers, and larger ones are made by combining expressions with
1024 operators (like @samp{+}, @samp{*} and @samp{/}) and parentheses.
1025 Like mathematical expressions, music expressions can be nested
1026 arbitrarily deep, which is necessary for complex music like
1030 @node Multiple staves
1031 @subsection Multiple staves
1033 As we saw in @ruser{Music expressions explained}, LilyPond input
1034 files are constructed out of music expressions. If the score
1035 begins with simultaneous music expressions, LilyPond creates
1036 multiples staves. However, it is easier to see what happens if we
1037 create each staff explicitly.
1039 To print more than one staff, each piece of music that makes up a
1040 staff is marked by adding @code{\new Staff} before it. These
1041 @code{Staff} elements are then combined in parallel with @code{<<}
1044 @lilypond[verbatim,quote,ragged-right]
1047 \new Staff { \clef treble c }
1048 \new Staff { \clef bass c,, }
1053 The command @code{\new} introduces a @q{notation context.} A
1054 notation context is an environment in which musical events (like
1055 notes or @code{\clef} commands) are interpreted. For simple
1056 pieces, such notation contexts are created automatically. For
1057 more complex pieces, it is best to mark contexts explicitly.
1059 There are several types of contexts. @code{Score}, @code{Staff},
1060 and @code{Voice} handle melodic notation, while @code{Lyrics} sets
1061 lyric texts and @code{ChordNames} prints chord names.
1063 In terms of syntax, prepending @code{\new} to a music expression
1064 creates a bigger music expression. In this way it resembles the
1065 minus sign in mathematics. The formula @math{(4+5)} is an
1066 expression, so @math{-(4+5)} is a bigger expression.
1068 Time signatures entered in one staff affects all other
1069 staves@footnote{This behavior may be changed if desired; see
1070 @ruser{Polymetric notation}, for details.}. On the other hand, the
1071 key signature of one staff does @emph{not} affect other staves.
1073 @lilypond[verbatim,quote,ragged-right]
1076 \new Staff { \clef treble \time 3/4 c }
1077 \new Staff { \clef bass \key d \major c,, }
1086 @subsection Piano staves
1088 @cindex staff switch, manual
1089 @cindex cross staff voice, manual
1090 Piano music is typeset in two staves connected by a brace.
1091 Printing such a staff is similar to the polyphonic example in
1092 @ruser{Multiple staves}, but now this entire expression is
1093 inserted inside a @code{PianoStaff}:
1102 Here is a small example:
1104 @lilypond[verbatim,quote,ragged-right]
1107 \new Staff { \time 2/4 c4 e g g, }
1108 \new Staff { \clef bass c,, c' e c }
1115 See @ruser{Piano music}.
1119 @node Combining notes into chords
1120 @subsection Combining notes into chords
1123 Chords can be made by surrounding pitches with single angle
1124 brackets. Angle brackets are the symbols @samp{<} and @samp{>}.
1126 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1127 r4 <c e g>4 <c f a>2
1130 You can combine markings like beams and ties with chords. They
1131 must be placed outside the angle brackets
1133 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1134 r4 <c e g>8[ <c f a>]~ <c f a>2
1137 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1138 r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
1142 @node Single staff polyphony
1143 @subsection Single staff polyphony
1146 @cindex multiple voices
1147 @cindex voices, more -- on a staff
1148 When different melodic lines are combined on a single staff they
1149 are printed as polyphonic voices; each voice has its own stems,
1150 slurs and beams, and the top voice has the stems up, while the
1151 bottom voice has them down.
1153 Entering such parts is done by entering each voice as a sequence
1154 (with @code{@{...@}}) and combining these simultaneously,
1155 separating the voices with @code{\\}
1157 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1164 For polyphonic music typesetting, spacer rests can also be
1165 convenient; these are rests that do not print. They are useful
1166 for filling up voices that temporarily do not play. Here is the
1167 same example with a spacer rest (@samp{s}) instead of a normal
1170 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1178 Again, these expressions can be nested arbitrarily.
1180 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1188 { <c g>1 ~ <c g>4 } \\
1196 See @ruser{Basic polyphony}.
1203 This section introduces vocal music and simple song sheets.
1206 * Setting simple songs::
1207 * Aligning lyrics to a melody::
1208 * Lyrics to multiple staves::
1212 @node Setting simple songs
1213 @subsection Setting simple songs
1217 Here is the start of the melody to a nursery
1218 rhyme, @qq{Girls and boys come out to play}:
1220 @lilypond[verbatim,quote,ragged-right]
1224 d4 b8 c4 a8 d4 b8 g4
1228 The lyrics can be set to these notes, combining both with the
1229 @code{\addlyrics} keyword. Lyrics are entered by separating each
1230 syllable with a space.
1232 @lilypond[verbatim,quote,ragged-right]
1237 d4 b8 c4 a8 d4 b8 g4
1240 Girls and boys come out to play,
1245 Note the curly brackets delimiting both the music and the lyrics,
1246 and the angle brackets @code{<< ... >>} around the whole piece to
1247 show that the music and lyrics are to occur at the same time.
1249 @node Aligning lyrics to a melody
1250 @subsection Aligning lyrics to a melody
1253 @cindex extender line
1257 The next line in the nursery rhyme is @q{The moon doth shine as
1258 bright as day}. Let's extend it:
1260 @lilypond[verbatim,quote,ragged-right]
1265 d4 b8 c4 a8 d4 b8 g4
1266 g8 a4 b8 c b a d4 b8 g4.
1269 Girls and boys come out to play,
1270 The moon doth shine as bright as day;
1275 We see the extra lyrics do not align properly with the notes. The
1276 word @q{shine} should be sung on two notes, not one. This is
1277 called a @rglos{melisma}, a single syllable sung to more than one
1278 note. There are several ways to spread a syllable over multiple
1279 notes, the simplest being to add a slur across them (see @ref{Ties
1282 @lilypond[verbatim,quote,ragged-right]
1287 d4 b8 c4 a8 d4 b8 g4
1288 g8 a4 b8 c([ b)] a d4 b8 g4.
1291 Girls and boys come out to play,
1292 The moon doth shine as bright as day;
1297 Here we have also used manual beaming (the square brackets @code{[
1298 ]} ) to generate the beaming which is customarily used with lyrics
1299 (see @ref{Automatic and manual beams}).
1301 If a syllable extends over several notes or a single very long
1302 note an @emph{extender line} is usually drawn from the syllable
1303 extending under all the notes for that syllable. It is entered as
1304 two underscores @code{__}. Here is an example from the first
1305 three bars of Dido's Lament, from Purcell's Dido and Æneas:
1307 @lilypond[verbatim,quote,ragged-right]
1313 b c4.( bes8 a4. g8 fis4.) g8 fis1
1317 am laid __ in earth,
1322 None of the examples so far have involved words containing more
1323 than one syllable. Such words are usually split one syllable to a
1324 note, with hyphens between syllables. Such hyphens are entered as
1325 two dashes, resulting in a centered hyphen between the syllables.
1326 Here is an example showing this and everything we have learned so
1327 far about aligning lyrics to notes.
1329 @c no ragged-right here because otherwise the hyphens get lost,
1330 @c but the example is long enough to avoid looking strange.
1331 @lilypond[quote,verbatim]
1337 d4 g4 g a8( b) g4 g4
1341 A -- way in a __ man -- ger,
1342 no __ crib for a bed, __
1347 Some lyrics, especially those in Italian, require the opposite:
1348 setting more than one syllable to a single note. This is
1349 achieved by linking the syllables together with a single
1350 underscore @code{_} (with no spaces), or enclosing them in
1351 quotes. Here's an example from Rossini's Figaro, where
1352 @q{al} has to be sung on the same note as the @q{go} of
1353 @q{Largo} in Figaro's aria @q{Largo al factotum}:
1355 @c no ragged-right here because otherwise the hyphens get lost,
1356 @c but the example is long enough to avoid looking strange.
1357 @lilypond[quote,verbatim]
1363 c4.~ c8 d b c([ d)] b c d b c
1366 Lar -- go_al fac -- to -- tum del -- la cit -- tĂ
1374 More options, such as inserting explicit rhythms into lyrics,
1375 inserting lyric ties (e.g., between @q{go al}) above,
1376 alternative ways of handling melismata,
1377 and adding extra verses,
1378 are discussed in @ruser{Vocal music}.
1381 @node Lyrics to multiple staves
1382 @subsection Lyrics to multiple staves
1384 The simple approach using @code{\addlyrics} can be used for
1385 placing lyrics under more than one staff. Here is an
1386 example from Handel's Judas Maccabæus:
1388 @lilypond[verbatim,quote,ragged-right]
1394 \relative c'' { \key f \major
1395 c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
1398 Let flee -- cy flocks the hills a -- dorn, __
1400 \relative c' { \key f \major
1401 r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
1404 Let flee -- cy flocks the hills a -- dorn,
1409 but scores any more complex than this simple example are
1410 better produced by separating out the staff structure
1411 from the notes and lyrics with variables. These are
1412 discussed later (see @ref{Organizing pieces with variables}).
1416 More options, such as putting multiple stanzas below the score,
1417 setting choral music, and lyrics to divided voices,
1418 are discussed in @ruser{Vocal music}.
1423 @section Final touches
1425 This is the final section of the tutorial; it demonstrates how to
1426 add the final touches to simple pieces, and provides an
1427 introduction to the rest of the manual.
1432 * Absolute note names::
1433 * Organizing pieces with variables::
1434 * After the tutorial::
1435 * How to read the manual::
1439 @node Version number
1440 @subsection Version number
1443 The @code{\version} statement records the version of LilyPond that
1444 was used to write the file:
1451 by convention, this is placed at the top of your LilyPond file.
1453 These annotations make future upgrades of LilyPond go more
1454 smoothly. Changes in the syntax are handled with a special
1455 program, @file{convert-ly} (see @rprogram{Updating files with
1456 convert-ly}), and it uses @code{\version} to determine what rules
1461 @subsection Adding titles
1463 The title, composer, opus number, and similar information are
1464 entered in the @code{\header} block. This exists outside of the
1465 main music expression; the @code{\header} block is usually placed
1466 underneath the @ruser{Version number}.
1477 @dots{} music @dots{}
1481 When the file is processed, the title and composer are printed
1482 above the music. More information on titling can be found in
1483 @ruser{Creating titles}.
1486 @node Absolute note names
1487 @subsection Absolute note names
1489 So far we have always used @code{\relative} to define pitches.
1490 This is the easiest way to enter most music, but another way of
1491 defining pitches exists: absolute mode.
1493 If you omit the @code{\relative}, LilyPond treats all pitches as
1494 absolute values. A @code{c'} will always mean middle C, a
1495 @code{b} will always mean the note one step below middle C, and a
1496 @code{g,} will always mean the note on the bottom staff of the
1499 @lilypond[quote,verbatim,ragged-right]
1507 Here is a four-octave scale:
1509 @lilypond[quote,verbatim,ragged-right]
1524 As you can see, writing a melody in the treble clef involves a lot
1525 of quote @code{'} marks. Consider this fragment from Mozart:
1527 @lilypond[quote,verbatim,ragged-right]
1531 cis''8. d''16 cis''8 e''4 e''8
1532 b'8. cis''16 b'8 d''4 d''8
1536 All these quotes makes the input less readable and it is a source
1537 of errors. With @code{\relative}, the previous example is much
1540 @lilypond[quote,verbatim,ragged-right]
1544 cis8. d16 cis8 e4 e8
1549 If you make a mistake with an octave mark (@code{'} or @code{,})
1550 while working in @code{\relative} mode, it is very obvious -- many
1551 notes will be in the wrong octave. When working in absolute mode,
1552 a single mistake will not be as visible, and will not be as easy
1555 However, absolute mode is useful for music which has large
1556 intervals, and is extremely useful for computer-generated LilyPond
1560 @node Organizing pieces with variables
1561 @subsection Organizing pieces with variables
1563 When all of the elements discussed earlier are combined to produce
1564 larger files, the music expressions get a lot bigger. In
1565 polyphonic music with many staves, the input files can become very
1566 confusing. We can reduce this confusion by using
1569 With variables (also known as variables or macros), we can break
1570 up complex music expressions. An variable is assigned as
1574 namedMusic = @{ @dots{} @}
1577 The contents of the music expression @code{namedMusic} can be used
1578 later by placing a backslash in front of the name
1579 (@code{\namedMusic}, just like a normal LilyPond command).
1580 Variables must be defined @emph{before} the main music
1583 @lilypond[quote,verbatim,ragged-right]
1584 violin = \new Staff { \relative c'' {
1587 cello = \new Staff { \relative c {
1600 The name of an variable must have alphabetic characters only: no
1601 numbers, underscores, or dashes.
1603 It is possible to use variables for many other types of objects in
1604 the input. For example,
1609 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1612 Depending on its contents, the variable can be used in different
1613 places. The following example uses the above variables:
1624 @node After the tutorial
1625 @subsection After the tutorial
1627 After finishing the tutorial, you should probably try writing a
1628 piece or two. Start with one of the @ruser{Templates}, and add
1629 notes. If you need any notation that was not covered in the
1630 tutorial, look at the Notation Reference, starting with
1631 @ruser{Basic notation}. If you want to write for an instrument
1632 ensemble that is not covered in the templates, take a look at
1633 @ruser{Extending the templates}.
1635 Once you have written a few short pieces, read the rest of the
1636 Learning Manual (chapters 3-5). There's nothing wrong with
1637 reading it now, of course! However, the rest of the Learning
1638 Manual assumes that you are familiar with LilyPond input. You may
1639 wish to skim these chapters right now, and come back to them after
1640 you have more experience.
1643 @node How to read the manual
1644 @subsection How to read the manual
1646 As we saw in @ruser{How to read the tutorial}, many examples in
1647 the tutorial omitted a @code{\relative c'' @{ ... @}} around the
1650 In the rest of the manual, we are much more lax about the printed
1651 examples: sometimes they may have omitted a @code{\relative c'' @{
1652 ... @}}, but other times a different initial pitch may be used
1653 (such as @code{c'} or @code{c,,}), and in some cases the whole
1654 example is in absolute note mode! However, ambiguities like this
1655 only exist where the pitches are not important. In any example
1656 where the pitch matters, we have explicitly stated
1657 @code{\relative} or absolute-mode @code{@{ @}}.
1659 If you are still confused about the exact LilyPond input that was
1660 used in an example, read the HTML version (if you are not already
1661 doing so) and click on the picture of the music. This will
1662 display the exact input that LilyPond used to generate this
1665 For information about the structure of the rest of the manual, see
1666 @ruser{About this manual}.