1 @c -*- coding: latin-1; mode: texinfo; -*-
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 wherever possible, do not include index entries here; the
10 @c index should point to stuff in the reference manual. -gp
12 @c Your first LilyPond score in 10 minutes?
17 This tutorial starts with a short introduction to the LilyPond music
18 language. After this first contact we will show you how to produce
19 printed output. Then you will be able to create and print your own
23 Many people learn programs by trying and fiddling around with the
24 program. This is also possible with LilyPond. If you click on a
25 picture in the HTML version of this manual, you will see the exact
26 LilyPond input that was used to generate that image.
29 @lilypond[fragment,quote,raggedright,relative=2]
30 c-\markup { \bold \huge { Click here. } }
34 By cutting and pasting the full input into a test file, you have a
35 starting template for experiments. If you like learning in this way,
36 you will probably want to print out or bookmark
40 @ref{Cheat sheet}, which is a table listing all commands for quick
45 * Running LilyPond for the first time::
46 * More about pitches::
48 * Automatic and manual beams::
50 * Music expressions explained::
52 * Adding articulation marks to notes::
53 * Combining notes into chords::
54 * Advanced rhythmic commands::
55 * Commenting input files::
59 * Single staff polyphony::
61 * Organizing larger pieces::
62 * An orchestral part::
69 The first example demonstrates how to enter the most elementary piece
70 of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
71 name, from @samp{a} through @samp{g}. So, if you enter
78 the result looks like this
80 @lilypond[fragment,quote,notime,relative=1]
84 The @rglos{duration} of a note is specified by a number after the note
85 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
86 @samp{4} for a @rglos{quarter note} and so on
92 @lilypond[fragment,quote,notime,relative=2]
93 \set Staff.autoBeaming = ##f
94 { a1 a2 a4 a16 a32 s16_" " }
97 If you do not specify a duration, the duration last entered is used
98 for the next notes. The duration of the first note in input defaults
105 @lilypond[fragment,quote,notime,relative=2]
106 { a a8 a a2 a s16_" " }
110 A @rglos{rest} is entered just like a note, but with the name @samp{r}
116 @lilypond[fragment,quote,notime]
120 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
126 @lilypond[fragment,quote,notime,relative=1]
127 { a2. a4 a8. a16 s16_" " }
130 The (or @rglos{time signature}) can be set with the @code{\time}
139 @c A clef here may lead to confusion, remove it.
140 @lilypond[fragment,quote]
141 \override Staff.Clef #'transparent = ##t
150 The @rglos{clef} can be set using the @code{\clef} command
159 @lilypond[fragment,quote,notime]
171 Remember to enclose the notes and commands in curly braces
172 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
174 @lilypond[fragment,quote,noindent,linewidth=55\staffspace]
181 For more elaborate information on
185 @item Entering pitches and durations
187 @ref{Pitches}, and @ref{Durations}.
192 @item Time signatures and other timing commands
193 see @ref{Time signature}.
198 @node Running LilyPond for the first time
199 @section Running LilyPond for the first time
201 @c cheesy title to avoid clash with chapter name.
203 In the last section we explained what kind of things you can enter in
204 a LilyPond file. In this section we will explain what commands to run
205 and how to view or print the output. If you have not used LilyPond
206 before, want to test your setup, or want to run an example file
207 yourself, read this section.
209 @unnumberedsubsec MacOS X
211 If you double click LilyPond.app, it will open with an example
212 file. Save it, for example, to @file{test.ly} on your Desktop, and
213 then process it with the menu command @samp{Compile > Typeset File}.
214 The resulting PDF file will be displayed on your screen.
216 Be warned that first-ever run will take a minute or two, because all
217 of the system fonts have to be analyzed first.
219 @unnumberedsubsec Windows
221 On Windows, start up a text-editor@footnote{Any simple or
222 programmer-oriented editor will do, for example Notepad. Do not use a
223 word processor, since these insert formatting codes that will confuse
230 Save it on the desktop as @file{test.ly} and make sure that it is not
231 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
232 the file and show the resulting PDF file.
235 @unnumberedsubsec Unix
237 Begin by opening a terminal window and starting a text editor. For
238 example, you could open an xterm and execute
239 @code{joe}.@footnote{There are macro files for VIM addicts, and there
240 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
241 installed already, refer to the file @file{INSTALL.txt}.} In your
242 text editor, enter the following input and save the file as
250 To process @file{test.ly}, proceed as follows
257 You will see something resembling
264 Interpreting music... [1]
265 Preprocessing graphical objects...
266 Calculating line breaks... [2]
267 Layout output to `test.tex'...
268 Converting to `test.dvi'...
269 Converting to `test.ps'...
270 Converting to `test.pdf'...
274 @cindex Viewing music
277 The result is the file @file{test.pdf}@footnote{For @TeX{}
278 aficionados: there is also a @file{test.dvi} file. It can be viewed
279 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
280 not show up in the magnifying glass. The specials also mean that the
281 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
286 } which you can print or view with the standard facilities of your
287 operating system.@footnote{If your system does not have any tools
288 installed, you can try
289 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
290 available package for viewing and printing PDF and PostScript files.}
292 @node More about pitches
293 @section More about pitches
295 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
296 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
297 you might expect, a @rglos{double sharp} or @rglos{double flat} is
298 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
299 derived from note naming conventions in Nordic and Germanic languages,
300 like German and Dutch.}
306 @lilypond[fragment,quote,notime]
307 \set Score.timing = ##f
308 \transpose c c' { cis1 ees fisis aeses s16_" " }
311 @cindex key signature, setting
312 The key signature is set with the command @code{\key}, followed by
313 a pitch and @code{\major} or @code{\minor}
322 @lilypond[fragment,quote,notime,fragment]
330 Key signatures together with the pitches (including alterations) are
331 used to determine when to print accidentals. This is a
332 feature that often causes confusion to newcomers, so let us explain it
336 LilyPond makes a sharp distinction between musical content and
337 layout. The alteration (flat, natural or sharp) of a note is part of
338 the pitch, and is therefore musical content. Whether an accidental (a
339 flat, natural or sharp @emph{sign}) is printed in front of the
340 corresponding note is a question of layout. Layout is something that
341 follows rules, so accidentals are printed automatically according to
342 those rules. The pitches in your music are works of art, so they will
343 not be added automatically, and you must enter what you want to hear.
347 @lilypond[quote,notime,fragment]
353 no note has an explicit accidental, but you still must enter
361 The code @samp{d} does not mean `print a black dot just below the
362 staff.' Rather, it means: `a note with pitch D-natural.' In the key
363 of A-flat major, it does get an accidental
365 @lilypond[quote,notime,fragment,relative=1,verbatim]
370 Adding all alterations explicitly might require a little more effort
371 when typing, but the advantage is that transposing is easier, and
372 accidentals can be printed according to different conventions. See
373 @ref{Automatic accidentals}, for some examples how accidentals can be printed
374 according to different rules.
377 For more information on
382 see @ref{Automatic accidentals}.
385 see @ref{Key signature}.
390 @section Entering ties
393 A @rglos{tie} is created by appending a tilde @samp{~} to the first
396 @lilypond[quote,notime,fragment,verbatim,relative=3]
400 For more information on Ties see @ref{Ties}.
404 @node Automatic and manual beams
405 @section Automatic and manual beams
407 @cindex beams, by hand
408 All @rglos{beam}s are drawn automatically
410 @lilypond[quote,fragment,relative=2,verbatim]
415 If you do not like where beams are put, they can be entered by
416 hand. Mark the first note to be beamed with @samp{[} and the last one
419 @lilypond[quote,fragment,relative=2,verbatim]
423 For more information on beams, see @ref{Manual beams}.
426 Here are key signatures, accidentals and ties in action
428 @lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
435 fis4 fis8 fis8 eis4 a8 gis~
444 There are some interesting points to note in this example. Bar lines
445 and beams are drawn automatically. Line breaks are calculated
446 automatically; it does not matter where the line breaks are in the
447 source file. Finally, the order in which time, key, and clef changes
448 are entered is not relevant: in the printout, these are ordered
449 according to standard notation conventions.
454 @section Octave entry
457 @c Tim wants to move this quotes example just before the: quotes-do not-work
458 @c score, but we'd need to remove quotes from the other two (key and
461 @c better to have this just before the `octaves are bad' snipped
462 @c but we'd need to remove the ', from \key and tie
463 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
464 the note name, to lower a note one octave, add a `low quote' @code{,}
465 (comma). Middle C is @code{c'}
467 @lilypond[quote,notime,fragment,verbatim]
468 c'4 c'' c''' \clef bass c c,
471 An example of the use of quotes is in the following Mozart fragment
473 @lilypond[quote,raggedright,fragment,verbatim]
476 cis''8. d''16 cis''8 e''4 e''8
477 b'8. cis''16 b'8 d''4 d''8
481 This example shows that music in a high register needs lots of quotes.
482 This makes the input less readable, and it is a source of errors. The
483 solution is to use `relative octave' mode. This is the
484 most convenient way to copy existing music.
486 In relative mode, a note without octavation quotes (i.e. the @code{'}
487 or @code{,} after a note) is chosen so that it is closest to the
488 previous one. For example, @samp{c f} goes up while @samp{c g} goes
491 To use relative mode, add @code{\relative} before the piece of
492 music. The first note is taken relative to the middle C
493 @c no , for this sentence
498 @lilypond[quote,notime,fragment,verbatim]
505 Since most music has small intervals, pieces can be written almost
506 without octavation quotes in relative mode. The previous example is
509 @lilypond[quote,raggedright,verbatim]
513 cis'8. d16 cis8 e4 e8
518 @c needed better, maybe even redundant explanation
519 @c added another example below.
520 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
521 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
522 Larger intervals are made by adding octavation quotes.
524 @lilypond[quote,notime,verbatim,fragment]
530 In summary, quotes or commas no longer determine the absolute height
531 of a note in @code{\relative} mode. Rather, the height of a note is
532 relative to the previous one, and changing the octave of a single note
533 shifts all following notes an octave up or down.
535 For more information on relative octaves see @ref{Relative octaves},
536 and @ref{Octave check}.
539 @node Music expressions explained
540 @section Music expressions explained
543 In input files, music is represent by so-called @emph{music
544 expression}s. We have already seen some in the previous examples;
545 a single note is a music expression
547 @lilypond[fragment,quote,verbatim,relative=3]
551 Enclosing a group of notes in braces creates a new music
554 @lilypond[fragment,quote,verbatim,relative=3]
558 Putting a bunch of music expressions (e.g., notes) in braces, means that
559 they should be played in sequence. The result again is a music
560 expression, which can be grouped with other expressions sequentially.
561 Here, the expression from the previous example is combined with two
564 @lilypond[fragment,quote,verbatim,relative=3]
568 This technique is useful for non-monophonic music. To enter music
569 with more voices or more staves, we also combine expressions in
570 parallel. Two voices that should play at the same time, are entered
571 as a simultaneous combination of two sequences. A `simultaneous'
572 music expression is formed by enclosing expressions in @code{<<} and
573 @code{>>}. In the following example, three sequences (all containing
574 two separate notes) are combined simultaneously
576 @lilypond[fragment,quote,verbatim,relative=3]
584 This mechanism is similar to mathematical
585 formulas: a big formula is created by composing small formulas. Such
586 formulas are called expressions, and their definition is recursive, so
587 you can make arbitrarily complex and large expressions. For example,
596 ((1 + 2) * 3) / (4 * 5)
600 @cindex music expression
601 This is a sequence of expressions, where each expression is contained
602 in the next one. The simplest expressions are numbers, and larger
603 ones are made by combining expressions with operators (like @samp{+},
604 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
605 music expressions can be nested arbitrarily deep, which is necessary
606 for complex music like polyphonic scores.
608 Note that this example only has one staff, whereas
609 the previous example had three separate staves. That is because this
610 example begins with a single note. To determine the number of staves,
611 LilyPond looks at the first element. If it is a single note, there is one
612 staff; if there is a simultaneous expression, there is more than one staff.
614 @lilypond[fragment,quote,verbatim,relative=2]
617 << { e f } { c <<b d>> } >>
621 Music files with deep nesting can be confusing to enter and
622 maintain. One convention that helps against this confusion is
623 indenting. When entering a file with deep nesting of braces and
624 angles, it is customary to use an indent that indicates the nesting
625 level. Formatting music like this eases reading and helps you insert
626 the right number of closing braces at the end of an expression. For
640 Some editors have special support for entering LilyPond, and can help
641 indenting source files. See @ref{Editor support} for more information.
646 To print more than one staff, each piece of music that makes up a
647 staff is marked by adding @code{\new Staff} before it. These
648 @code{Staff} elements are then combined in parallel with @code{<<} and
649 @code{>>}, as demonstrated here
651 @lilypond[quote,fragment,verbatim]
653 \new Staff { \clef treble c'' }
654 \new Staff { \clef bass c }
659 The command @code{\new} introduces a `notation context.' A notation
660 context is an environment in which musical events (like notes or
661 @code{\clef} commands) are interpreted. For simple pieces, such
662 notation contexts are created automatically. For more complex pieces, it
663 is best to mark contexts explicitly. This ensures that each fragment
666 There are several types of contexts. @code{Staff}, @code{Voice} and
667 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
668 texts and @code{ChordNames} prints chord names.
670 In terms of syntax, prepending @code{\new} to a music expression
671 creates a bigger music expression. In this way it resembles the minus
672 sign in mathematics. The formula @math{(4+5)} is an expression, so
673 @math{-(4+5)} is a bigger expression.
675 We can now typeset a melody with two staves
677 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
679 @lilypond[fragment,quote,verbatim,raggedright]
696 For more information on contexts see the description in
697 @ref{Interpretation contexts}.
701 @node Adding articulation marks to notes
702 @section Adding articulation marks to notes
708 Common accents can be added to a note using a dash (@samp{-}) and a
711 @lilypond[fragment,quote,verbatim,relative=2]
712 c-. c-- c-> c-^ c-+ c-_
716 Similarly, fingering indications can be added to a note using a dash
717 (@samp{-}) and the digit to be printed
719 @lilypond[fragment,quote,verbatim,relative=2]
723 Articulations and fingerings are usually placed automatically, but you
724 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
725 also use multiple articulations on the same note. In most cases, however,
726 it is best to let LilyPond determine the articulation directions.
728 @lilypond[fragment,quote,verbatim,relative=2]
729 c_-^1 d^. f^4_2-> e^-_+
732 Dynamic signs are made by adding the markings (with a backslash) to
735 @lilypond[fragment,quote,verbatim,relative=2]
743 Crescendi and decrescendi are started with the commands @code{\<} and
744 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
745 (de)crescendo, or the command @code{\!} can be used
747 @lilypond[fragment,quote,verbatim,relative=2]
755 A @rglos{slur} is a curve drawn across many notes, and indicates
756 legato articulation. The starting note and ending note are marked
757 with @samp{(} and @samp{)}, respectively
759 @lilypond[fragment,quote,fragment,relative=2,verbatim]
760 d4( c16) cis( d e c cis d) e( d4)
763 @cindex slurs versus ties
764 A slur looks like a @rglos{tie}, but it has a different meaning. A
765 tie simply makes the first note sound longer, and can only be used on
766 pairs of notes with the same pitch. Slurs indicate the articulations
767 of notes, and can be used on larger groups of notes. Slurs and ties
770 @lilypond[quote,fragment,relative=2]
771 c2~( c8 fis fis4 ~ fis2 g2)
774 @cindex phrasing slurs
775 Slurs to indicate phrasing can be entered with @code{\(} and
776 @code{\)}, so you can have both legato slurs and phrasing slurs at the
777 same time. You cannot have simultaneous slurs or simultaneous
780 @lilypond[quote,fragment,relative=2,verbatim]
781 a8(\( ais b c) cis2 b'2 a4 cis, c\)
785 For more information on
790 see @ref{Fingering instructions}.
792 see @ref{Articulations}.
796 see @ref{Phrasing slurs}.
803 @node Combining notes into chords
804 @section Combining notes into chords
807 Chords can be made by surrounding pitches with angle brackets.
808 Angle brackets are the symbols @samp{<} and @samp{>}.
810 @lilypond[quote,relative=1,fragment,verbatim]
815 You can combine markings like beams and ties with chords. They must
816 be placed outside the angled brackets
818 @lilypond[quote,relative=1,fragment,verbatim]
819 r4 <c e g>8[ <c f a>]~ <c f a>
823 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
826 @lilypond[quote,relative=1,fragment]
828 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
832 @node Advanced rhythmic commands
833 @section Advanced rhythmic commands
837 @cindex partial measure
838 A pickup is entered with the keyword @code{\partial}. It
839 is followed by a duration: @code{\partial 4} is a quarter note upstep
840 and @code{\partial 8} an eighth note
842 @lilypond[quote,relative=2,verbatim,fragment]
849 Tuplets are made with the @code{\times} keyword. It takes two
850 arguments: a fraction and a piece of music. The duration of the piece
851 of music is multiplied by the fraction. Triplets make notes occupy
852 2/3 of their notated duration, so a triplet has 2/3 as its fraction
854 @lilypond[quote,relative=1,verbatim,fragment]
855 \times 2/3 { f8 g a }
861 Grace notes are also made by prefixing a music expression with the
862 keyword @code{\appoggiatura} or @code{\acciaccatura}
866 @lilypond[quote,relative=2,verbatim,fragment]
867 c4 \appoggiatura b16 c4
868 c4 \acciaccatura b16 c4
873 For more information on
878 see @ref{Grace notes},
882 see @ref{Partial measures}.
887 @node Commenting input files
888 @section Commenting input files
892 @cindex block comment
893 A comment is a remark for the human reader of the music input; it is
894 ignored while parsing, so it has no effect on the printed output.
895 There are two types of comments. The percent symbol @samp{%}
896 introduces a line comment; after @code{%} the rest of the line is
897 ignored. A block comment marks a whole section of music
898 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
899 ignored. The following fragment shows possible uses for comments
902 % notes for twinkle twinkle follow
906 This line, and the notes below
907 are ignored, since they are in a
914 @c TODO post-2.6 reorg
915 @c This is good info, but I wouldn't call it a comment. IMO it should
916 @c be moved somewhere else.
920 There is a special statement that is a kind of comment. The @code{\version}
921 statement marks for which version of LilyPond the file was written.
922 To mark a file for version 2.6.0, use
929 These annotations make future upgrades of LilyPond go more
930 smoothly. Changes in the syntax are handled with a special program,
931 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
932 @code{\version} to determine what rules to apply.
935 @node Printing lyrics
936 @section Printing lyrics
939 @c TODO: (c) status of the Queen fragment.
943 Lyrics are entered by separating each syllable with a space
951 @lilypond[quote,verbatim,fragment,raggedright]
953 r4 c \times 2/3 { f g g }
954 \times 2/3 { g4( a2) }
958 The lyrics can be set to these notes, combining both with the
959 @code{\addlyrics} keyword
961 @lilypond[quote,verbatim,fragment,raggedright]
964 r4 c \times 2/3 { f g g }
965 \times 2/3 { g4( a2) }
967 \addlyrics { I want to break free }
972 @cindex extender line
974 This melody ends on a @rglos{melisma}, a single syllable (`free')
975 sung to more than one note. This is indicated with an @emph{extender
976 line}. It is entered as two underscores, i.e.,
979 @{ I want to break free __ @}
982 @lilypond[fragment,quote,raggedright]
985 r4 c \times 2/3 { f g g }
986 \times 2/3 { g4( a2) }
988 \addlyrics { I want to break free __ }
992 Similarly, hyphens between words can be entered as two dashes,
993 resulting in a centered hyphen between two syllables
996 Twin -- kle twin -- kle
999 @lilypond[fragment,quote,raggedright]
1005 \addlyrics { Twin -- kle twin -- kle }
1009 More options, like putting multiple lines of lyrics below a melody are
1010 discussed in @ref{Vocal music}.
1014 @section A lead sheet
1020 @c TODO: revise this, \chords { } is shorter and more intuitive.
1022 In popular music, it is common to denote accompaniment with chord names.
1023 Such chords can be entered like notes,
1025 @lilypond[quote,verbatim,raggedright]
1026 \chordmode { c2 f4. g8 }
1030 Now each pitch is read as the root of a chord instead of a note.
1031 This mode is switched on with @code{\chordmode}
1033 Other chords can be created by adding modifiers after a colon. The
1034 following example shows a few common modifiers
1036 @lilypond[quote,verbatim,raggedright]
1037 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1040 For lead sheets, chords are not printed on staves, but as names on a
1041 line for themselves. This is achieved by using @code{\chords} instead
1042 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1043 but renders the notes in a @code{ChordNames} context, with the
1046 @lilypond[quote,verbatim,raggedright]
1047 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1051 When put together, chord names, lyrics and a melody form
1052 a lead sheet, for example,
1056 \chords @{ @emph{chords} @}
1058 \addlyrics @{ @emph{the text} @}
1063 @lilypond[quote,raggedright]
1065 \chords { r2 c:sus4 f }
1067 r4 c' \times 2/3 { f g g }
1068 \times 2/3 { g4( a2) }
1070 \addlyrics { I want to break free __ }
1074 A complete list of modifiers and other options for layout can be found
1079 @section Adding titles
1081 Bibliographic information is entered in a separate block, the
1082 @code{\header} block. The name of the piece, its composer, etc., are
1083 entered as an assignment, within @code{\header
1084 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1085 the top of the file. For example,
1090 composer = "Igor Stravinsky"
1097 When the file is processed, the title and composer are printed above
1098 the music. More information on titling can be found in @ref{Creating
1102 @node Single staff polyphony
1103 @section Single staff polyphony
1106 @cindex multiple voices
1107 @cindex voices, more -- on a staff
1108 When different melodic lines are combined on a single staff they are
1109 printed as polyphonic voices; each voice has its own stems, slurs and
1110 beams, and the top voice has the stems up, while the bottom voice has
1113 Entering such parts is done by entering each voice as a sequence (with
1114 @code{@{...@}}), and combining these simultaneously, separating the
1115 voices with @code{\\}
1117 @lilypond[quote,verbatim,relative=2,fragment]
1118 << { a4 g2 f4~ f4 } \\
1122 For polyphonic music typesetting, spacer rests can also be convenient;
1123 these are rests that do not print. They are useful for filling up
1124 voices that temporarily do not play. Here is the same example with a
1125 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1127 @lilypond[quote,verbatim,relative=2,fragment]
1128 << { a4 g2 f4~ f4 } \\
1133 Again, these expressions can be nested arbitrarily
1135 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1143 { <c, g>1 ~ <c g>4 } \\
1149 More features of polyphonic typesetting are described in this manual
1150 in section @ref{Polyphony}.
1154 @section Piano staves
1156 @cindex staff switch, manual
1157 @cindex cross staff voice, manual
1158 Piano music is typeset in two staves connected by a brace. Printing
1159 such a staff is similar to the polyphonic example in @ref{More staves},
1162 << \new Staff @{ @dots{} @}
1163 \new Staff @{ @dots{} @} >>
1167 but now this entire expression must be interpreted as a
1171 \new PianoStaff << \new Staff @dots{} >>
1174 Here is a small example
1176 @lilypond[quote,verbatim,relative=1,fragment]
1178 \new Staff { \time 2/4 c4 c g' g }
1179 \new Staff { \clef bass c,, c' e c }
1183 More information on formatting piano music is given in @ref{Piano music}.
1186 @node Organizing larger pieces
1187 @section Organizing larger pieces
1189 When all of the elements discussed earlier are combined to produce
1190 larger files, the @code{\score} blocks get a lot bigger, because the
1191 music expressions are longer, and, in the case of polyphonic pieces,
1192 more deeply nested. Such large expressions can become unwieldy.
1194 By using variables, also known as identifiers, it is possible to break
1195 up complex music expressions. An identifier is assigned as follows
1198 namedMusic = @{ @dots{} @}
1202 The contents of the music expression @code{namedMusic}, can be used
1203 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1204 In the next example, a two-note motive is repeated two times by using
1205 variable substitution
1207 @lilypond[quote,raggedright,verbatim,nofragment]
1211 { \seufzer \seufzer }
1214 The name of an identifier should have alphabetic characters only; no
1215 numbers, underscores or dashes. The assignment should be outside of
1218 It is possible to use variables for many other types of objects in the
1224 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1227 Depending on its contents, the identifier can be used in different
1228 places. The following example uses the above variables
1238 More information on the possible uses of identifiers is given in the
1239 technical manual, in @ref{Input variables and Scheme}.
1240 @c fixme: the ref is too technical.
1243 @node An orchestral part
1244 @section An orchestral part
1246 In orchestral music, all notes are printed twice. Once in a part for
1247 the musicians, and once in a full score for the conductor. Identifiers can
1248 be used to avoid double work. The music is entered once, and stored in
1249 a variable. The contents of that variable is then used to generate
1250 both the part and the full score.
1252 It is convenient to define the notes in a special file. For example,
1253 suppose that the file @file{horn-music.ly} contains the following part
1254 of a horn/@/bassoon duo
1257 hornNotes = \relative c @{
1264 Then, an individual part is made by putting the following in a file
1267 \include "horn-music.ly"
1269 instrument = "Horn in F"
1273 \transpose f c' \hornNotes
1280 \include "horn-music.ly"
1284 substitutes the contents of @file{horn-music.ly} at this position in
1285 the file, so @code{hornNotes} is defined afterwards. The command
1286 @code{\transpose f@tie{}c'} indicates that the argument, being
1287 @code{\hornNotes}, should be transposed by a fifth downwards. Sounding
1288 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1289 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1290 in the following output
1292 @lilypond[quote,raggedright]
1293 \transpose f c' \relative c {
1299 In ensemble pieces, one of the voices often does not play for many
1300 measures. This is denoted by a special rest, the multi-measure
1301 rest. It is entered with a capital @samp{R} followed by a duration
1302 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1303 duration, longer rests can be constructed. For example, this rest
1304 takes 3@tie{}measures in 2/4 time
1310 When printing the part, multi-rests
1311 must be condensed. This is done by setting a run-time variable
1314 \set Score.skipBars = ##t
1318 This command sets the property @code{skipBars} in the
1319 @code{Score} context to true (@code{##t}). Prepending the rest and
1320 this option to the music above, leads to the following result
1322 @lilypond[quote,raggedright]
1323 \transpose f c' \relative c {
1325 \set Score.skipBars = ##t
1332 The score is made by combining all of the music together. Assuming
1333 that the other voice is in @code{bassoonNotes} in the file
1334 @file{bassoon-music.ly}, a score is made with
1337 \include "bassoon-music.ly"
1338 \include "horn-music.ly"
1341 \new Staff \hornNotes
1342 \new Staff \bassoonNotes
1349 @lilypond[quote,raggedright]
1357 r4 d,8 f | gis4 c | b bes |
1358 a8 e f4 | g d | gis f
1363 More in-depth information on preparing parts and scores can be found
1364 in the notation manual; see @ref{Orchestral music}.
1366 Setting run-time variables (`properties') is discussed in
1367 @ref{Changing context properties on the fly}.
1374 * discuss expectations (?)
1378 * overview of chapters?