3 @c TODO: LilyPond LilyPond LilyPond
9 <!--- @@WEB-TITLE@@=Tutorial --->
13 * First steps:: Music language of LilyPond
14 * Running LilyPond:: Printing music
17 * A melody with chords ::
19 * More movements :: Joining separate pieces of music
20 * A piano excerpt:: Piano music
21 * Fine tuning a piece::
22 * An orchestral score:: Conductor's score and individual parts
23 * Integrating text and music:: Integrating text and music
24 * End of tutorial:: The end
27 Operating lilypond is done through text files: to print a piece of
28 music, you enter the music in a file. When you run lilypond (normally
29 using the program @code{ly2dvi}) on that file, the program produces
30 another file which contains sheet music that you can print or view.
32 This tutorial starts with a small introduction to the LilyPond music
33 language. After this first contact, we will show you how to run
34 LilyPond to produce printed output; you should then be able to create
35 your first sheets of music. The tutorial continues with more and more
41 We start off by showing how very simple music is entered in
42 LilyPond: you get a note simply by typing its note name, from
43 @code{a} through @code{g}. So if you enter
49 then the result looks like this:
52 \property Score.timing = ##f
53 \property Staff.TimeSignature = \turnOff
54 \transpose c'' { c d e f g a b }
59 We will continue with this format: first we show a snippet of input,
60 then the resulting output.
62 The length of a note is specified by adding a number, ``@code{1}'' for a
63 whole note, ``@code{2}'' for a half note, and so on:
70 @c missing clef seems to raise more questions than actual pitch of notes,
71 @c as these are snippets anyway
73 \property Score.timing = ##f
74 \property Staff.TimeSignature = \turnOff
75 \property Staff.autoBeaming = ##f
76 %\property Staff.Clef = \turnOff
77 \transpose c'' { a1 a2 a4 a16 a32 }
83 If you don't specify a duration, the previous one is used:
89 @c missing clef seems to raise more questions than actual pitch of notes,
90 @c as these are snippets anyway
92 \property Score.timing = ##f
93 \property Staff.TimeSignature = \turnOff
94 %\property Staff.Clef = \turnOff
95 \transpose c'' { a a a2 a }
101 A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
102 (@texiflat{}) by adding ``@code{es}''. As you would expect, a
103 double-sharp or double-flat is made by adding ``@code{isis}'' or
112 \property Score.timing = ##f
113 \property Staff.TimeSignature = \turnOff
114 \transpose c'' { cis1 ees fisis aeses }
120 Add a dot ``@code{.}'' after the duration to get a dotted note:
126 @c missing clef seems to raise more questions than actual pitch of notes,
127 @c as these are snippets anyway
129 \property Score.timing = ##f
130 \property Staff.TimeSignature \set #'transparent = ##t
131 %\property Staff.Clef = \turnOff
132 \transpose c'' { a2. a4 a8. a16 }
138 The meter (or time signature) can be set with the @code{\time} command:
147 @c a clef here may lead to confusion
149 \property Staff.Clef \set #'transparent = ##t
160 The clef can be set using the ``@code{\clef}'' command:
162 @c what is more common name treble or violin?
163 @c in Dutch, its violin.
164 @c in English its definitely treble.
174 \property Score.timing = ##f
175 \property Staff.TimeSignature = \turnOff
188 @c From these commands and notes, a piece of music can be formed. A piece
189 @c of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
191 With these commands you can now write a piece of music. The next step
192 is to enclose your music inside ``@code{\notes @{ .. @}}''.
193 This lets LilyPond know that music (and not lyrics, for example) follows:
207 Now the piece of music is almost ready to be printed. The final step is to
208 combine the music with a printing command.
210 The printing command is the so-called ``@code{\paper}'' block. Later on
211 you will see that the @code{\paper} block is used to customize
212 printing specifics. The music and the @code{\paper} block are combined by
213 enclosing them in ``@code{\score @{ ... @}}''. This is what a full
214 LilyPond source file looks like:
237 \paper { linewidth = 60 * \staffspace }
244 @node Running LilyPond
245 @section Running LilyPond
247 In the last section we explained what kind of things you could enter
248 in a lilypond file. In this section we explain how to run LilyPond
249 and how view or print the output. If you have not used LilyPond
250 before, want to test your setup of LilyPond, or want to run an example
251 file yourself, read this section. Most of the instructions that follow
252 are for running LilyPond on Unix-like systems. Some additional
253 instructions for running LilyPond on Windows are given at the end of
256 Begin by opening a terminal window and starting a text editor.
257 For example, you could open an xterm and execute @code{joe}. In your
258 text editor, enter the following input and save the file as
264 \notes @{ c'4 e' g' @}
271 @c now this is weird, running ly2dvi to run LilyPond
272 @c (therefore name change proposal)
274 LilyPond is the program that computes the sheet music. All other
275 things, such as adding titles, page breaking and other page layout,
276 are done by a small wrapper program called
277 @code{ly2dvi}. @code{ly2dvi} calls lilypond to render the music, and
278 then adds the titling and page layout instructions. To process
279 @file{test.ly} with ly2dvi, proceed as follows:
287 You will see the following on your screen:
292 Now processing: `/home/fred/ly/test.ly'
294 Interpreting music...[1]
295 @emph{ ... more interesting stuff ... }
296 PS output to `test.ps'...
297 DVI output to `test.dvi'...
301 @cindex Viewing music
304 The results of the ly2dvi run are two files, @file{test.dvi} and
305 @file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
306 You can view the PS file using the program ghostview. If a version of
307 ghostview is installed on your system, one of these commands will
308 produce a window with some music notation on your screen:
318 If the music on your screen looks good, you can print it by clicking
319 File/Print inside ghostview.
321 The DVI file (@file{test.dvi}) contains the same sheet music in a
322 different format. DVI files are more easily processed by the computer,
323 so viewing them usually is quicker. You can run @code{xdvi test.dvi} or
324 @code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse buttons
325 activate magnifying glasses. Unfortunately, variable symbols (such as
326 beams and slurs) are not displayed in the magnifying glasses.
328 If your DVI viewer does not have a "Print" button, you can print the
329 file by executing @code{lpr test.ps}.
331 @c volgende alinea schrappen?
333 If your system does not support printing PostScript files, then you
334 can install GhostScript, a PostScript emulator. Refer to
335 GhostScript's website at @uref{http://www.ghostscript.com}.
339 @cindex Printing output
343 A final option is to use the popular PDF format. You can get a PDF
344 file by running @code{ly2dvi --pdf test.ly}. With @code{--pdf}
345 you will get DVI, PS and PDF files. Viewers for PS files also
346 accept PDF files, but there are also many other applications for
349 If you are familiar with @TeX{}, be warned: do not use other
350 DVI drivers like @code{dvilj}. The @TeX{} coming out of LilyPond
351 uses embedded PostScript code and will not render correctly if
352 you use anything other than @code{dvips}.
358 @unnumberedsubsec Windows users
359 Windows users can start the terminal by clicking on the LilyPond or
360 Cygwin icon. You can use any text editor (such as NotePad, Emacs or
361 Vim) to edit the LilyPond file. If you install the Cygwin's XFree86
362 X11 window system, tetex-x11 and ghostscript-x11 packages too, you can
363 view the @code{dvi} output doing @code{xdvi test.dvi} as described
364 above. If you have installed a PostScript/PDF viewer, such as
365 @code{GSView} from @uref{http://www.cs.wisc.edu/~ghost}, viewing the
366 PS file can be done with:
369 @code{gsview32 test.ps}
372 You can also print from the command line by executing:
375 @code{gsview32 /s test.ps}
382 To run LilyPond, input a text file, then run the command @code{ly2dvi} on
383 that file. The resulting files are either DVI or PostScript, and can
384 be viewed with @code{xdvi} (unix) and ghostview (unix and windows)
385 respectively. The following table summarizes the constructs that were
386 discussed in the previous two sections.
388 @multitable @columnfractions .3 .3 .4
394 @item @code{1 2 8 16}
397 @lilypond[fragment, relative 1]
398 \property Staff.TimeSignature = \turnOff
399 \property Staff.autoBeaming = ##f
400 \property Staff.Clef = \turnOff
405 @tab augmentation dots
407 @lilypond[fragment, relative 1]
408 \property Staff.TimeSignature = \turnOff
409 \property Staff.Clef = \turnOff
413 @item @code{c d e f g a b }
416 @lilypond[fragment, relative 1]
417 \property Staff.TimeSignature = \turnOff
418 \property Staff.Clef = \turnOff
422 @item @code{\clef treble \clef bass }
426 \property Staff.TimeSignature \set #'transparent = ##t
433 @item @code{\time 3/4 \time 4/4 }
437 \property Staff.Clef \set #'transparent = ##t
450 We continue with the introduction of the remaining musical constructs.
451 Normal rests are entered just like notes, but use the name
460 \property Score.timing = ##f
461 \property Staff.Clef = \turnOff
462 \property Staff.TimeSignature = \turnOff
469 @c Tim wants to move this quotes example just before the: quotes-don't-work
470 @c score, but we'd need to remove quotes from the other two (key and
473 @c better to have this just before the `octaves are bad' snipped
474 @c but we'd need to remove the ', from \key and tie
475 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
476 the note name, to lower a note one octave, add a ``low quote'' @code{,}
477 (a comma). Middle C is @code{c'}:
481 c'4 c'' c''' \clef bass c c,
485 \property Score.timing = ##f
486 \property Staff.TimeSignature = \turnOff
487 c'4 c'' c''' \clef bass c c,
492 A tie is created by entering a tilde ``@code{~}'' between the notes to
493 be tied. A tie between two notes means that the second note must not be
494 played separately; it just makes the first note sound longer:
497 @lilypond[fragment,verbatim]
503 The key signature is set with the command ``@code{\key}'':
513 \property Staff.TimeSignature = \turnOff
522 @c bit on the long/complex/scary taste
523 @c cheating a bit: two lines makes for a friendlier look
524 This example shows notes, ties, octave marks, and rests in action.
533 r4 r8 d''8 cis''4 e''
535 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
548 r4 r8 d''8 cis''4 e''
550 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
553 \paper { linewidth = 50*\staffspace }
559 There are some interesting points to note in this example.
560 Accidentals (sharps and flats) don't have to be marked explicitly: you
561 just enter the note name, and LilyPond determines whether or not to
562 print an accidental. Bar lines and beams are drawn automatically.
563 LilyPond calculates line breaks for you; it doesn't matter where you
564 make new lines in the source file. Finally, the order of time, key and
565 clef changes is not relevant: lilypond will use standard notation
566 conventions for ordering these items.
568 The example also indicates that a piece of music written in a high
569 register needs lots of quotes. This makes the input less readable,
570 and is therefore also a potential source of errors.
572 The solution is to use ``relative octave'' mode. In practice, this is
573 the most convenient way to copy existing music. To use relative mode,
574 add @code{\relative} before the piece of music. You must also give a
575 note from which relative starts, in this case @code{c''}. If you don't
576 use octavation quotes (ie don't add ' or , after a note), relative mode
577 chooses the note that is closest to the previous one. Since most music
578 has small intervals, you can write quite a lot in relative mode without
579 using octavation quotes.
580 @c don't use commas or quotes in this sentence
581 For example: @code{c f} goes up; @code{c g} goes down:
591 \property Score.timing = ##f
592 \property Staff.TimeSignature = \turnOff
601 @c needed better, maybe even redundant explanation
602 @c added another example below.
603 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
604 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
605 You can make larger intervals by adding octavation quotes. Note that
606 quotes or commas do not determine the absolute height of a note;
607 the height of a note is relative to the previous one.
608 @c don't use commas or quotes in this sentence
609 For example: @code{c f,} goes down; @code{f, f} are both the same;
610 @code{c' c} are the same; and @code{c g'} goes up:
620 \property Score.timing = ##f
621 \property Staff.TimeSignature = \turnOff
630 Here's an example of the difference between relative mode and
631 ``normal'' (non-relative) mode:
642 \property Score.timing = ##f
643 \property Staff.TimeSignature = \turnOff
659 \property Score.timing = ##f
660 \property Staff.TimeSignature = \turnOff
669 The following table summarizes the syntax learned so far in this section.
671 @c Is it possible to avoid page breaks directly after the
674 @multitable @columnfractions .3 .3 .4
683 @lilypond[fragment, relative 1]
684 \property Staff.TimeSignature = \turnOff
685 \property Staff.Clef = \turnOff
693 @lilypond[fragment, relative 1]
694 \property Score.timing = ##f
695 \property Staff.TimeSignature = \turnOff
696 \property Staff.autoBeaming = ##f
697 \property Staff.Clef = \turnOff
702 @item @code{\key es \major }
706 \property Staff.TimeSignature \set #'transparent = ##t
715 @lilypond[fragment, relative 1]
716 \property Score.timing = ##f
717 \property Staff.TimeSignature = \turnOff
718 \property Staff.autoBeaming = ##f
719 \property Staff.Clef = \turnOff
726 @lilypond[fragment, relative 1]
727 \property Score.timing = ##f
728 \property Staff.TimeSignature = \turnOff
729 \property Staff.autoBeaming = ##f
730 \property Staff.Clef = \turnOff
736 A slur is drawn across many notes, and indicates bound articulation
737 (legato). The starting note and ending note are marked with a
738 ``@code{(}'' and a ``@code{)}'' respectively:
741 @lilypond[fragment,relative 1, verbatim]
742 d4( )c16( cis d e c cis d )e( )d4
747 If you need two slurs at the same time (one for articulation, one for
748 phrasing), you can also make a phrasing slur with @code{\(} and
753 @c fragment of 1st hrn in Adams' The Chairman Dances, with creative
754 @c chromatic thing pasted in front. (admittedly the original doesn't
755 @c have a phrasing slur. The problem is that we don't want the slur
756 @c and the Phrasing slur to collide. We're trying to make a good
760 @lilypond[fragment,relative 1, verbatim]
761 a8(\( ais b ) c cis2 b'2 a4 cis, \) c
766 Beams are drawn automatically, but if you don't like the choices, you
767 can enter beams by hand. Surround the notes to be grouped with @code{[}
770 @lilypond[fragment,relative 1, verbatim]
776 To print more than one staff, each piece of music that makes up a staff
777 is marked by adding @code{\context Staff} before it. These
778 @code{Staff}'s are then grouped inside @code{<} and @code{>}, as is
782 @lilypond[fragment,verbatim]
784 \context Staff = staffA { \clef violin c'' }
785 \context Staff = staffB { \clef bass c }
790 In this example, @code{staffA} and @code{staffB} are names that are
791 given to the staves. It doesn't matter what names you give, as long
792 as each staff has a unique name.
796 We can now typeset a melody with two staves:
799 @lilypond[verbatim,singleline]
802 < \context Staff = staffA {
805 \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
807 \context Staff = staffB {
818 Notice that the time signature is specified in one melody staff only
819 (the top staff), but is printed on both. LilyPond knows that the time
820 signature should be the same for all staves.
824 Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
826 @lilypond[verbatim,relative 1]
832 Dynamic signs are made by adding the markings to the note:
834 @lilypond[verbatim,relative 1]
840 Crescendi are started with the commands @code{\<} and @code{\>}. The
841 command @code{\!} finishes a crescendo on the following note.
843 @lilypond[verbatim,relative 1]
844 c2\< \!c2-\ff \>c2 \!c2
849 Chords can be made by surrounding notes with @code{<} and @code{>}:
851 @lilypond[relative 0, fragment,verbatim]
859 @c hmm, te losjes, iig
860 In general, @code{ < @var{stuff} > } is used when @var{stuff} all
861 happens at the same time, like in chords, or (like in the two-staff
862 example above) in a bunch of stacked staves.
865 You can combine beams and ties with chords. Notice that
866 beam and tie markings must be placed outside the chord markers:
868 @lilypond[relative 0, fragment,verbatim]
869 r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
873 When you want to combine chords with slurs and dynamics, technical
874 detail crops up: you have type these commands next to the notes, which
875 means that they have to be inside the @code{< >}. Don't get confused
876 by the chord @code{< >} and the dynamic @code{\< \>}!
881 r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
883 @lilypond[relative 0, fragment]
885 r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
890 @c this example is a bit too strongly worded -- there's nothing wrong
891 @c with starting a piece with a chord; you just have to be careful when
892 @c you do so. I've rephrased this example below.
893 @c There is one golden rule that you should keep in mind when writing
896 @c @strong{DO NOT START A PIECE WITH A CHORD}
898 @c Of course, it is a allowed, but the result might not be what you expect:
900 @c rephrased "don't start with a chord"
901 There is one caution when using chords: if you use a chord at the very
902 beginning of the piece, LilyPond might not understand what you want:
905 @lilypond[verbatim,singleline]
906 \score { \notes <c'2 e'2> }
911 If you have a piece that begins with a chord, you must explicitly
912 state that the notes of the chord are to be put on the same staff, in
913 the same voice. This is done by specifying @code{\context Staff} or
914 @code{\context Voice} for the notes:
917 @lilypond[verbatim,singleline]
918 \score { \notes \context Voice <c'2 e'2> }
926 @multitable @columnfractions .3 .3 .4
936 @lilypond[fragment, relative 1]
937 \property Score.timing = ##f
938 \property Staff.TimeSignature = \turnOff
939 \property Staff.autoBeaming = ##f
940 \property Staff.Clef = \turnOff
948 @lilypond[fragment, relative 1]
949 \property Score.timing = ##f
950 \property Staff.TimeSignature = \turnOff
951 \property Staff.autoBeaming = ##f
952 \property Staff.Clef = \turnOff
960 @lilypond[fragment, relative 1]
961 \property Score.timing = ##f
962 \property Staff.TimeSignature = \turnOff
963 \property Staff.autoBeaming = ##f
964 \property Staff.Clef = \turnOff
969 @item @code{< \context Staff ... >}
973 < \context Staff = SA { c'1 }
974 \context Staff = SB { c'1 } >
981 @lilypond[fragment, relative 1]
982 \property Staff.TimeSignature = \turnOff
983 \property Staff.Clef = \turnOff
988 @item @code{-\mf -\sfz}
991 @lilypond[fragment, relative 1]
992 \property Staff.TimeSignature = \turnOff
993 \property Staff.Clef = \turnOff
1001 @lilypond[fragment, relative 1]
1002 \property Score.timing = ##f
1003 \property Staff.TimeSignature = \turnOff
1004 \property Staff.autoBeaming = ##f
1005 \property Staff.Clef = \turnOff
1012 @lilypond[fragment, relative 1]
1013 \property Score.timing = ##f
1014 \property Staff.TimeSignature = \turnOff
1015 \property Staff.autoBeaming = ##f
1016 \property Staff.Clef = \turnOff
1024 @lilypond[fragment, relative 1]
1025 \context Voice <c e>
1030 Now you know the basic ingredients of a music file, so this is the right
1031 moment to try your at hand at doing it yourself: try typing some
1032 simple examples, and experiment a little.
1034 When you're comfortable with the basics, you might want to read
1035 the rest of this chapter. It continues in tutorial-style, but it
1036 is much more in-depth, dealing with more advanced topics such as
1037 lyrics, chords, orchestral scores and parts, fine tuning of output,
1038 polyphonic music, and integrating text and music.
1044 @node Printing lyrics
1045 @section Printing lyrics
1048 In this section we shall explain how to typeset the following
1049 fragment of The Free Software Song:
1051 @lilypond[singleline]
1052 \score { \notes { \addlyrics
1053 \notes \relative c' {
1055 d'2 c4 b16 ( a g a b a b ) c a2
1056 b2 c4 b8 ( a16 g ) a4 g2 }
1057 \context Lyrics \lyrics {
1059 share the soft -- ware; }
1061 \paper { linewidth = -1. }
1067 @cindex @code{\lyrics}
1070 To print lyrics, you must enter them and then instruct lilypond to
1072 You can enter lyrics in a special input mode of LilyPond. This mode is
1073 called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
1074 The purpose of this mode is that you can enter lyrics as plain text,
1075 punctuation, and accents without any hassle.
1077 Syllables are entered like notes, but with pitches replaced by text. For
1078 example, @code{Twin- kle twin- kle} enters four syllables. Note that
1079 the hyphen has no special meaning for lyrics, and does not introduce
1082 Spaces can be introduced into a lyric either by using quotes:
1083 @code{"He could" not} or by using an underscore without quotes:
1084 @code{He_could not}. All unquoted underscores are converted to
1087 These are the lyrics for the free software song:
1092 share the soft -- ware; @}
1095 As you can see, extender lines are entered as @code{__}. This will
1096 create an extender, which is a line that extends over the entire
1097 duration of the lyric. This line will run all the way to the start
1098 of the next lyric, so you may want to shorten it by using a blank
1099 lyric (using @code{_}).
1102 You can use ordinary hyphens at the end of a syllable, i.e.
1106 but then the hyphen will be attached to the end of the first syllable.
1108 If you want them centered between syllables you can use the special
1109 `@code{-}@code{-}' lyric as a separate word between syllables. The
1110 hyphen will have variable length depending on the space between
1111 the syllables and it will be centered between the syllables.
1113 Normally the notes that you enter are transformed into note heads.
1114 Note heads alone make no sense, so they need surrounding information: a
1115 key signature, a clef, staff lines, etc. They need @emph{context}. In
1116 LilyPond, these symbols are created by objects called `interpretation
1117 contexts'. Interpretation contexts exist for generating notation
1118 (`notation context') and for generating sound (`performance
1119 context'). These objects only exist while LilyPond is executing.
1121 When LilyPond interprets music, it will create a Staff context.
1122 We don't want that default here, because we want lyric. The
1127 explicitly creates an interpretation context of
1128 @code{Lyrics} type to interpret the song text that we entered.
1130 The melody of the song doesn't offer anything new:
1132 \notes \relative c' @{
1134 d'2 c4 b16 ( a g a b a b ) c a2
1135 b2 c4 b8 ( a16 g ) a4 g2 @}
1138 Both can be combined with the @code{\addlyrics}:
1141 \notes \relative c' @dots{}
1142 \context Lyrics \lyrics @dots{}
1145 The lyrics are also music expressions, similar to notes. Each syllable
1146 of the lyrics is put under a note of the melody.
1147 The complete file is listed here:
1150 \score @{ \notes @{ \addlyrics
1151 \notes \relative c' @{
1153 d'2 c4 b16 ( a g a b a b ) c a2
1154 b2 c4 b8 ( a16 g ) a4 g2 @}
1155 \context Lyrics \lyrics @{
1157 share the soft -- ware; @}
1159 \paper @{ linewidth = -1. @}
1165 @node A melody with chords
1166 @section A melody with chords
1168 In this section we show how to typeset a melody with chord
1169 accompaniment. This file is included as @file{input/tutorial/flowing.ly}.
1172 \include "paper16.ly"
1173 melody = \notes \relative c' @{
1177 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1178 c4 c8 d [es () d] c4 | d4 es8 d c4.
1182 accompaniment =\chords @{
1184 c2:3- f:3-.7 d:min es4 c8:min r8
1185 c2:min f:min7 g:7^3.5 c:min @}
1190 \context ChordNames \accompaniment
1191 \context Staff = mel @{
1196 \midi @{ \tempo 4=72 @}
1197 \paper @{ linewidth = 10.0\cm @}
1202 The result would look this.
1205 \include "paper16.ly"
1206 melody = \notes \relative c' {
1210 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1211 c4 c8 d [es () d] c4 | d4 es8 d c4.
1215 accompaniment =\chords {
1217 c2:3- f:3-.7 d:min es4 c8:min r8
1218 c2:min f:min7 g:7^3.5 c:min }
1223 \context ChordNames \accompaniment
1225 \context Staff = mel {
1226 \property Staff.autoBeaming = ##f
1230 \midi { \tempo 4=72 }
1231 \paper { linewidth = 10.0\cm }
1235 We will dissect this file line by line.
1240 \include "paper16.ly"
1243 Smaller size (suitable for inclusion in a book).
1247 melody = \notes \relative c' @{
1250 The structure of the file will be the same as the previous one: a
1251 @code{\score} block with music in it. To keep things readable, we will
1252 give different names to the different parts of music, and use the names
1253 to construct the music within the score block.
1260 @cindex @code{\partial}
1262 The piece starts with an anacrusis (or ``pickup'') of one eighth.
1268 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1269 c4 c8 d [es () d] c4 | d4 es8 d c4.
1274 @cindex manual beaming
1275 @cindex automatic beaming, turning off
1276 We use explicit beaming. Since this is a song, we turn automatic
1277 beams off and use explicit beaming where needed.
1284 This ends the definition of @code{melody}.
1293 @cindex identifier assignment
1294 @cindex syllables, entering
1295 This defines the lyrics, similar to what we have seen before.
1300 accompaniment =\chords @{
1304 @cindex mode, chords
1305 We'll put chords over the music. To enter them, we use a special mode
1306 analogous to @code{\lyrics} and @code{\notes} mode, where you can give
1307 the names of the chords you want instead of listing the notes
1308 comprising the chord.
1315 There is no accompaniment during the anacrusis.
1324 @cindex chord modifier
1325 @cindex modifier, chord
1326 This is a c minor chord, lasting for a half note. Chords are entered using
1327 the tonic. Notes can be changed to create different chords. In this case,
1328 a lowered third is used (making a C major chord into a C minor chord).
1329 The code for this is @code{3-}.
1335 Similarly, @code{7} modifies (adds) a seventh, which is small by
1336 default to create the @code{f a c es} chord. Multiple modifiers must be
1344 Some modifiers have predefined names, e.g. @code{min} is the same as
1345 @code{3-}, so @code{d-min} is a minor @code{d} chord.
1349 c2:min f:min7 g:7^3.5 c:min @}
1352 @cindex named modifier
1354 A named modifier @code{min} and a normal modifier @code{7} do not have
1355 to be separated by a dot. Tones from a chord are removed with chord
1356 subtractions. Subtractions are started with a caret, and they are
1357 also separated by dots. In this example, @code{g:7^3.5} produces a
1358 minor seventh (a G7 chord without the third or the fifth). The
1359 brace ends the sequential music.
1367 We assemble the music in the @code{\score} block. Melody, lyrics and
1368 accompaniment have to sound at the same time, so they should be
1369 @code{\simultaneous}.
1370 @cindex @code{\simultaneous}
1377 Chord mode generates notes grouped in @code{\simultaneous} music. If
1378 you remove the comment sign, you can see the chords in normal
1379 notation: they will be printed as note heads on a separate
1380 staff. To print them as chords names, they have to be interpreted as
1381 being chords, not notes. This is done with the following command:
1385 \context ChordNames \accompaniment
1389 @cindex interpretation context
1390 @cindex notation context
1393 Normally the notes that you enter are transformed into note heads.
1394 Note heads alone make no sense, so they need surrounding information: a key
1395 signature, a clef, staff lines, etc. They need @emph{context}. In
1396 LilyPond, these symbols are created by objects called `interpretation
1397 contexts'. Interpretation contexts exist for generating notation
1398 (`notation context') and for generating sound (`performance
1399 context'). These objects only exist while LilyPond is executing.
1401 When LilyPond interprets music, it will create a Staff context. If
1402 the @code{%} sign in the previous line were removed, you could see
1403 that mechanism in action.
1405 We don't want that default here, because we want chord names. The
1406 command above explicitly creates an interpretation context of
1407 @code{ChordNames} type to interpret the music @code{\accompaniment}.
1412 \context Staff = mel @{
1416 We place the melody on a staff called @code{mel}. We give it a name to
1417 differentiate it from the one that would contain note heads for the
1418 chords, if you would remove the comment before the ``note heads''
1419 version of the accompaniment. By giving this staff a name, it is
1420 forced to be different.
1424 \property Staff.autoBeaming = ##f
1428 @cindex context variables
1429 @cindex setting context variables
1430 An interpretation context has variables, called properties, that tune
1431 its behavior. One of the variables is @code{autoBeaming}. Setting
1432 this @code{Staff}'s property to @code{##f}, which is the boolean value
1433 @var{false}, turns the automatic beaming mechanism off for the current
1444 Finally, we put the melody on the current staff. Note that the
1445 @code{\property} directives and @code{\melody} are grouped in sequential
1446 music, so the property settings are done before the melody is
1452 \midi @{ \tempo 4=72@}
1455 MIDI (Musical Instrument Digital Interface) is a standard for
1456 connecting and recording digital instruments. So a MIDI file is like a
1457 tape recording of an instrument. The @code{\midi} block makes the
1458 music go to a MIDI file, so you can listen to the music you entered. It
1459 is great for checking the music. Whenever you hear something weird, you
1460 probably hear a typing error.
1462 Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
1463 also specifies an output method. You can specify the tempo using the
1464 @code{\tempo} command, in this case the tempo of quarter notes is set to
1465 72 beats per minute.
1469 \paper @{ linewidth = 10.0\cm @}
1472 We also want notation output. The linewidth is short so that the piece
1473 will be set in two lines.
1476 @section More stanzas
1481 If you have multiple stanzas printed underneath each other, the vertical
1482 groups of syllables should be aligned around punctuation. LilyPond can
1483 do this if you tell it which lyric lines belong to which melody.
1484 We show how you can do this by showing how you could print a frivolous
1485 fragment of a fictional Sesame Street duet.
1487 @lilypond[singleline,verbatim]
1490 \notes \relative c'' \context Voice = duet { \time 3/4
1492 \lyrics \context Lyrics <
1493 \context LyricsVoice = "duet-1" {
1494 \property LyricsVoice . stanza = "Bert"
1495 Hi, my name is bert. }
1496 \context LyricsVoice = "duet-2" {
1497 \property LyricsVoice . stanza = "Ernie"
1498 Ooooo, ch\'e -- ri, je t'aime. }
1503 To this end, give the Voice context an identity, and set the
1504 LyricsVoice to a name starting with that identity followed by a dash.
1505 In the following example, the Voice identity is @code{duet},
1507 \context Voice = duet @{
1512 identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
1514 \context LyricsVoice = "duet-1" @{
1515 Hi, my name is bert. @}
1516 \context LyricsVoice = "duet-2" @{
1517 Ooooo, ch\'e -- ri, je t'aime. @}
1520 We add the names of the singers. This can be done by setting
1521 @code{LyricsVoice.Stanza} (for the first system) and
1522 @code{LyricsVoice.stz} for the following systems. Note that you must
1523 surround dots with spaces in @code{\lyrics} mode.
1526 \property LyricsVoice . stanza = "Bert"
1528 \property LyricsVoice . stanza = "Ernie"
1531 The convention for naming @code{LyricsVoice} and @code{Voice} must
1532 also be used to get melismata on rests correct.
1536 @node More movements
1537 @section More movements
1539 LilyPond only handles formatting sheet music. It doesn't concern
1540 itself with producing titles. This is the jobs of a simple wrapper
1541 program called ly2dvi. @code{ly2dvi} calls LilyPond to do the
1542 sheet music formatting. Then it produces titles, and ties together all
1543 inputs into a single @file{dvi} file. In this section, we show some of
1544 the options for titling. We will show how you can produce a file
1545 that looks like this:
1547 @center @strong{Two miniatures}
1557 \paper { linewidth = -1.0 }
1569 \paper { linewidth = -1.0 }
1573 For example, consider the following file (@file{miniatures.ly})
1578 title = "Two miniatures"
1579 composer = "F. Bar Baz"
1580 tagline = "small is beautiful" @}
1582 \paper @{ linewidth = -1.0 @}
1586 Mental note: discuss Schenkerian analysis of these key pieces.
1592 \notes @{ c'4 d'4 @}
1598 \notes @{ d'4 c'4 @}
1605 The information for the global titling is in a so-called header block.
1606 The information in this block is not used by
1607 LilyPond, but it is passed into the output. @file{ly2dvi} uses this
1608 information to print titles above the music.
1610 @cindex identifier assignment
1611 the @code{\header} block contains assignments. In each assignment, a
1612 variable is set to a value. The header block for this file looks like
1614 @cindex @code{\header}
1617 title = "Two miniatures"
1618 composer = "F. Bar Baz"
1619 tagline = "small is beautiful"
1623 When you process a file with ly2dvi, a signature line is printed at
1624 the bottom of the last page. This signature is produced from the
1625 @code{tagline} field of @code{\header}. The default "Lily was here,
1626 @var{version number}" is convenient for us programmers. Archived
1627 the layout of different versions can be compared using archived
1628 print-outs (that include a version number).
1630 @cindex Lily was here
1631 @cindex signature line
1634 Many people find the default tagline (``Lily was here'') too droll.
1635 If that is the case, assign something else to @code{tagline}, as shown
1644 A paper block at top level, i.e. not in a @code{\score} block sets the
1645 default page layout. The following @code{\score} blocks don't have
1646 @code{\paper} sections, so the settings of this block are substituted:
1648 The variable @code{linewidth} normally sets the length of the systems
1649 on the page. However, a negative value has a special meaning. If
1650 @code{linewidth} is less than 0, no line breaks are inserted into the
1651 score, and the spacing is set to natural length: a short phrase takes
1652 up little space, a longer phrase more space.
1657 Mental note: discuss Schenkerian analysis of these key pieces.
1662 Mental notes to yourself can be put into comments. There are two types
1663 of comments. Line comments are introduced by @code{%}, and block
1664 comments are delimited by @code{%@{} and @code{%@}}.
1669 \notes @{ c'4 d'4 @}
1672 In previous examples, notes were specified in relative octaves,
1673 i.e. each note was put in the octave that is closest to its
1674 predecessor. Besides relative, there is also absolute octave
1675 specification, which you get when you don't specify @code{\relative}. In
1676 this input mode, the central C is denoted by @code{c'}. Going down, you
1677 get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
1680 When you're copying music from existing sheet music, relative octaves
1681 are probably the easiest to use: it's less typing work and errors are
1682 easily spotted. However, if you write LilyPond input directly, either by
1683 hand (i.e. composing) or by computer, absolute octaves may be easier to use.
1691 The @code{\header} is normally at the top of the file, where it sets
1692 values for the rest of the file. If you want to typeset different pieces
1693 from one file (for example, if there are multiple movements, or if
1694 you're making an exercise book), you can put different @code{\score}
1695 blocks into the input file. ly2dvi will assemble all LilyPond output
1696 files into a big document. The contents of \header blocks specified
1697 within each score, are used for the titling of each movement.
1703 For example, the Opus number is put at the right, and the piece string
1704 will be at the left.
1711 title = "Two miniatures"
1712 composer = "F. Bar Baz"
1713 tagline = "small is beautiful" @}
1715 \paper @{ linewidth = -1.0 @}
1718 \notes @{ c'4 d'4 @}
1724 \notes @{ d'4 c'4 @}
1736 Lilypond and its language are still under development, and
1737 occasionally, details of the syntax are changed. This fragment
1738 indicates for which version the input file was written. When you
1739 compile this file, the version number will be checked, and you will
1740 get a warning when the file is too old. This version number is also
1741 used by the @code{convert-ly} program (See @ref{Older
1742 LilyPond versions}), which is used to update the file to the latest
1746 @node A piano excerpt
1747 @section A piano excerpt
1749 Our fourth subject is a piece of piano music. The fragment in the
1750 input file is a piano reduction of the G major Sinfonia by Giovanni
1751 Battista Sammartini. It was composed around 1740. It's in the source
1752 package under the name @file{input/tutorial/sammartini.ly}.
1754 @lilypondfile[smallverbatim]{sammartini.ly}
1756 As you can see, this example features multiple voices on one staff. To
1757 make room for those voices, their notes have to be stemmed in opposite
1760 LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
1761 with some other commonly used formatting instructions, but to explain how
1762 it works, we wrote our own here. Of course, you should use predefined
1763 identifiers like these if possible: then you will be affected less by
1764 the implementation changes we occasionally make.
1768 viola = \notes \relative c' \context Voice = viola @{
1770 In this example, you can see multiple parts on a staff. Each part is
1771 associated with one notation context. This notation context handles
1772 stems and dynamics (among others). The type name of this context is
1773 @code{Voice}. For each part we have to make sure that there is
1774 precisely one @code{Voice} context, so we give it a unique name
1781 The delimiters @code{<} and @code{>} are shorthands for
1782 @code{\simultaneous @{} and @code{@}}. The expression enclosed in
1783 @code{<} and @code{>} is a chord.
1787 @code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
1795 We want the viola to have stems down, and have all the other
1796 characteristics of a second voice. This is enforced using the
1797 @code{\voiceTwo} command: it inserts instructions that makes stem,
1798 ties, slurs, etc. go down.
1806 Relative octaves work a little differently with chords. The starting
1807 point for the note following a chord is the first note of the chord. So
1808 the @code{g} gets an octave up quote: it is a fifth above the starting
1809 note of the previous chord (the central C).
1815 @code{s} is a spacer rest. It does not print anything, but it does have
1816 the duration of a rest. It is useful for filling up voices that
1817 temporarily don't play. In this case, the viola doesn't come until one
1818 and a half measure later.
1822 oboes = \notes \relative c'' \context Voice = oboe @{
1824 Now comes a part for two oboes. They play homophonically, so we
1825 print the notes as one voice that makes chords. Again, we insure that
1826 these notes are indeed processed by precisely one context with
1830 \voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
1833 The oboes should have stems up, so they should have stems up, to keep
1834 them from interfering with the staff-jumping bass figure.
1838 \grace <e8( g> < d4 )f> <c2 e>
1840 @cindex @code{\grace}
1843 @code{\grace} introduces grace notes. It takes one argument, in this
1844 case a chord. A slur is introduced starting from the @code{\grace}
1845 ending on the following chord.
1853 Tuplets are made with the @code{\times} keyword. It takes two
1854 arguments: a fraction and a piece of music. The duration of the piece
1855 of music is multiplied by the fraction. Triplets make notes occupy 2/3
1856 of their notated duration, so in this case the fraction is 2/3.
1859 @{ <d8 f> <e g> <f a> @}
1861 The piece of music to be `tripletted' is sequential music containing
1868 At this point, the homophonic music splits into two rhythmically
1869 different parts. We can't use a sequence of chords to enter this, so
1870 we make a `chord' of sequences to do it. We start with the upper
1871 voice, which continues with upward stems:
1874 @{ \times 2/3 @{ a8 g c @} c2 @}
1881 The easiest way to enter multiple voices is demonstrated
1882 here. Separate the components of the voice (single notes or entire
1883 sequences) with @code{\\} in a simultaneous music expression. The
1884 @code{\\} separators split first voice, second voice, third voice, and
1887 As far as relative mode is concerned, the previous note is the
1888 @code{c'''2} of the upper voice, so we have to go an octave down for
1896 This ends the two-part section.
1900 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
1905 @code{\stemBoth} ends the forced stem directions. From here, stems are
1906 positioned as if it were single part music.
1908 The bass has a little hoom-pah melody to demonstrate parts switching
1909 between staves. Since it is repetitive, we use repeats:
1912 hoomPah = \repeat unfold 8
1914 @cindex unfolded @code{\repeat}
1915 The unfolded repeat prints the notes in its argument as if they were
1916 written out in full eight times.
1919 \notes \transpose c' @{
1922 @cindex relative mode and transposing
1924 Transposing can be done with @code{\transpose}, which takes two arguments.
1925 The first specifies what central C should be transposed to. The second
1926 is the to-be-transposed music. As you can see, in this case, the
1927 transposition has no effect, as central C stays at central C.
1929 The purpose of this no-op is to protect it from being interpreted as
1930 relative notes. Relative mode can not be used together with
1931 transposition, so @code{\relative} will leave the contents of
1932 @code{\hoomPah} alone. We can use it without having to worry about
1933 getting the motive in a wrong octave.
1935 @cindex staff switch, manual
1936 @cindex cross staff voice, manual
1937 @cindex @code{\translator}
1940 \translator Staff = down
1943 \translator Staff = up
1947 Voices can switch between staves. Here you see two staff switching
1948 commands. The first one moves to the lower staff, the second one to
1949 the lower one. If you set stem directions explicitly (using the
1950 identifiers @code{\stemUp} and @code{\stemDown}.
1954 bassvoices = \notes \relative c' @{
1956 \autochange Staff \hoomPah \context Voice
1961 \translator Staff = down
1963 @cindex staff switch
1964 @cindex cross staff voice
1965 We want the remaining part of this melody on the lower staff, so we do a
1966 manual staff switch here.
1971 \context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
1975 After skipping some lines, we see @code{~}. This mark makes ties. Note
1976 that ties and slurs are different things. A tie can only connect two
1977 note heads of the same pitch, whereas a slur can connect many chords
1984 A special context is needed to get cross staff beaming right. This
1985 context is called @code{PianoStaff}.
1988 \context Staff = bottom < \time 2/2 \clef bass
1990 The bottom staff must have a different clef.
1995 To make some more room on the line, the first (in this case the only)
1996 line is not indented. The line still looks very cramped, but that is due
1997 to the page layout of this document.
2003 * font-size, multi-stanza.
2005 * Simple part combining in a Hymn
2009 @node Fine tuning a piece
2010 @section Fine tuning a piece
2012 In this section, we show some ways to fine tune the final output of a
2013 piece. We do so using a single measure of a moderately complex piano
2014 piece: a Brahms intermezzo (opus 119, no. 1). Both fragments (the
2015 tuned and the untuned are in the @file{input/tutorial/}).
2017 The code for the untuned example shows us some new things.
2019 @lilypondfile[verbatim]{brahms-original.ly}
2029 The crescendo is ended at the half note by the escaped exclamation
2032 Hairpin dynamics can be indicated using @code{\>} to start a
2033 decrescendo, and @code{\!} to end one. The crescendo is started using
2034 @code{\<} and also ended using @code{\!}. Absolute dynamics can be
2035 entered using @code{\p}, @code{\mf}, etc. All these commands apply to
2036 the complete chord where they are entered, but for syntactical
2037 reasons, they must be attached to one of the notes of the chord.
2039 @cindex fingering instructions
2041 Fingering indications are entered simply using @code{-@var{N}}, where
2044 Now that we have the basic piece of music entered, we want to fine
2045 tune it, so we get something that resembles the original printed
2046 edition by Schott/Universal Edition:
2048 @lilypondfile{brahms-tweaked.ly}
2050 @cindex tuning grob behavior
2052 The basic process that we follow is that we override defaults in the
2053 printing system. We do this by setting variables in so-called grobs.
2054 Printed symbols are internally represented by Graphical Objects
2055 (Grobs). Each grob is described by a bunch of settings. Every
2056 setting is a variable: it has a name, and you can assign a value to
2057 the variable. These setting determine the fonts, offsets, sub-routines
2058 to be called on the grob, etc. The initial values of these settings
2059 are set in the Scheme file @file{scm/grob-description.scm}.
2061 @cindex slur attachments
2063 We start with the slur: the slur in the upper part, running from the F
2064 sharp to the A, runs from stem to stem in the printed edition, while
2065 ours starts from the note head at the left. The following property
2066 setting forces all slurs to run from stem to stem (and not from or to
2070 \property Voice.Slur \set #'attachment = #'(stem . stem)
2073 More precisely, this command extends the definition of the @code{Slur}
2074 object in the current @code{Voice}. The variable @code{attachment} is
2075 set to the pair of symbols @code{'(stem . stem)}.
2077 Although this is useful information, it is not very helpful: the
2078 lilypond back-end supports approximately 240 variables like
2079 @code{attachment}, each with their own meaning and own type
2080 (eg. number, symbol, list, etc). Besides slur, LilyPond has 80
2081 different types of Grobs, that may be created in 14 different context
2082 types besides Voice.
2084 @cindex internal documentation
2085 @cindex finding grobs
2086 @cindex grob descriptions
2088 The interesting information is how you can figure out which properties
2089 to tune for your own scores. To discover this, you must have a copy of
2090 the internals document. This is a set of HTML pages, which should be
2091 included if you run a binary distribution@footnote{You can also
2092 compile them by executing @code{make -C Documentation/user/
2093 out/lilypond-internals.html} in the source package.}. This document is
2094 also available on the web: go to the lilypond website, click
2095 ``Documentation: other'' on the side bar, click
2096 ``lilypond-internals'', under information for users.
2098 You might want to bookmark either the HTML files on disk, or the one
2099 on the web. One word of caution is in place here: the internals
2100 documentation is generated from the definitions that lily uses. For
2101 that reason, it is strongly tied to the version of LilyPond that you
2102 use. Before you proceed, please make sure that you are using the
2103 documentation that corresponds to the LilyPond version that you use.
2105 Suppose that you wanted to tune the behavior of the slur. The first
2106 step is to get some general information on slurs in lilypond. Turn to
2107 the index, and look up ``slur''. The section on slurs says
2109 The grob for this object is @internalsref{Slur}, generally in
2110 @internalsref{Voice} context.
2113 So the grob for this object is called @code{Slur}, and slurs are
2114 created in the @code{Voice} context. If you are reading this tutorial
2115 in the HTML version, then you can simply click Slur, otherwise, you
2116 must look it up the internal documentation: click ``grob overview'' ,
2117 and select ``slur'' (the list is alphabetical.)
2119 Now you get a list of all the properties that the slur object
2120 supports, along with their default values. Among the properties we
2121 find the @code{attachment} property with its default setting.
2122 The property documentation explains that the following setting will
2123 produce the desired effect:
2125 \property Voice.Slur \set #'attachment = #'(stem . stem)
2128 If you ran the previous example, you have unknowingly already used
2129 this kind of command. The @file{ly/property-init.ly} contains the
2130 definition of @code{\stemUp}
2132 stemUp = \property Voice.Stem \set #'direction = #1
2136 We also want to move around the fingering `3'. In the printed edition
2137 it is not above the stem, but a little lower, slightly left of the
2138 stem. From the user manual, we find that the associated grob is called
2139 @code{Fingering}, but how do we know if we should use @code{Voice} or
2140 @code{Staff}. In many cases, @code{Voice} is a safe bet, but you can
2141 also deduce this information from the internals documentation: if you
2142 visit the documentation of @code{Fingering}, you will notice
2144 Fingering grobs are created by: Fingering_engraver
2149 Clicking @code{Fingering_engraver} will show you the documentation of
2150 the module responsible for interpreting the fingering instructions and
2151 translating them to a @code{Fingering} grob. Such a module is called
2152 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
2155 Fingering_engraver is part of contexts: Voice and TabVoice
2157 so tuning the settings for Fingering should be done using either
2159 \property Voice.Fingering \set @dots{}
2163 \property TabVoice.Fingering \set @dots{}
2166 Since the @code{TabVoice} is only used for tab notation, we see that
2167 the first guess @code{Voice} was indeed correct.
2169 @cindex setting grob properties
2170 @cindex @code{extra-offset}
2172 For shifting the fingering, we use the grob property
2173 @code{extra-offset}. The following command manually adds an offset to
2174 the object. We move it a little to the left, and 1.8 staff space
2177 \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8)
2179 The @code{extra-offset} is a low-level feature: it moves around
2180 objects in the printout; the formatting engine is completely oblivious
2181 to these offsets. The unit of these offsets are staff-spaces.
2183 @cindex reverting grob properties
2184 @cindex undoing grob properties
2186 We only want to offset a single grob, so after the F-sharp, we must
2187 undo the setting. The technical term is to revert the grob property.
2189 \property Voice.Fingering \revert #'extra-offset
2192 @cindex property types
2193 @cindex translator properties
2194 @cindex grob properties
2195 @cindex music properties
2198 There is three different types of variables in LilyPond, something
2199 which is confusing at first (and for some, it stays like that).
2200 Variables such as @code{extra-offset} and @code{attachment} are called
2201 grob properties. They are something different from the translator
2202 properties, like @code{autoBeaming}. Finally, music expressions are
2203 internally also stored using properties, so-called music
2204 properties. You will encounter the latter type if you run Scheme
2205 functions on music using @code{\apply}.
2207 The second fingering instruction should be moved up a little, to avoid
2208 a collision with the slur. This could be achieved with
2209 @code{extra-offset}, but in this case, a simpler mechanism also
2210 works. We insert an empty text between the 5 and the note. The empty
2211 text pushes the fingering instruction away:
2213 a^" "^#'(finger "5")
2216 Lilypond tries to put fingering instructions closer to the notes as
2217 text instructions. To insert an empty text (@code{^" "}) between the
2218 finger and the note, we have disguised the fingering instruction as a
2219 text: @code{(finger "5")}.
2221 Normally, one would specify dynamics in a single voice, and start and
2222 end dynamics (such as @b{f} and @b{p}) will be aligned with
2223 hairpins. In this case, we want the decrescendo to be in a different
2224 place from the piano sign. We achieve this by putting the dynamic
2225 markings in different voices. The crescendo should be above the upper
2226 staff. This can be forced by the precooked command
2231 However, if you do that, the decrescendo will be too close to the
2232 upper voice, and collide with the stems. Looking at the manual for
2233 dynamics, we notice that ``Vertical positioning of these symbols is
2234 handled by the @internalsref{DynamicLineSpanner} grob.''. If we turn
2235 to the documentation of @code{DynamicLineSpanner}, we find that the
2236 @code{DynamicLineSpanner} supports several so-called
2237 `interfaces'. This grob not only puts dynamic objects next to the
2238 staff (@code{side-position-interface}), but it also groups dynamic
2239 objects (@code{axis-group-interface}), is considered a dynamic sign
2240 itself (@code{dynamic-interface}) and is a grob: it has the
2241 @code{grob-interface}, with all the variables that come with it.
2243 For the moment, we are interested in the side positioning:
2245 side-position-interface
2247 Position a victim object (this one) next to other objects (the
2248 support). In this case, the direction signifies where to put the
2249 victim object relative to the support (left or right, up or down?)
2251 Between the grob and its support (in this case: the notes in the voice
2252 going down), there should be more space. This space is controlled by
2253 @code{padding}, so we increase it.
2255 \property Voice.DynamicLineSpanner \override #'padding = #5.0
2258 This command is almost like the command for setting slur attachments,
2259 but subtly different in its details. Grob properties can be
2260 manipulated with two commands: @code{\override} extends the grob
2261 variables with a setting, and @code{\revert} releases this
2262 setting. This has a certain theoretical appeal: the operations are
2263 simple and symmetric. For practical use, it can be cumbersome. Both
2264 commands act like parentheses: you should carefully balance the use of
2265 @code{\override} and @code{\revert}. The @code{\set} command is more
2266 friendly: it first does a @code{\revert} followed by @code{\override}.
2268 Finally, Brahms uses music notation is a slightly unorthodox way. Ties
2269 usually happen only within one voice. In this piece, the composer
2270 gladly produces ties that jump voices. We deal with this by faking
2271 these ties: whenever we need such a tie, we insert a notehead in a
2272 different voice, and blank the stem. This is done in the following
2276 \property Voice.Stem \set #'transparent = ##t
2278 \property Voice.Stem \revert #'transparent
2281 Finally, the last tie is forced up using @code{\tieUp}.
2284 @node An orchestral score
2285 @section An orchestral score
2289 * Extracting an individual part::
2293 Our last two examples show a way to setup the music for an orchestral
2294 score. When typesetting a piece for several instruments, you'll want to
2295 create a conductor's full score, alongside several individual parts.
2297 LilyPond is well suited for this task. We will declare the music for
2298 each instrument individually, giving the music of each instrument its
2299 own name. These pieces of music are then combined in different
2300 @code{\score} blocks to produce different combinations of the score.
2302 This orchestral score example consists of three input files. In the
2303 first file, @file{os-music.ly}, we define the music for all
2304 instruments. This file will be used both for producing the score and
2305 the separate parts. Other files reference this file by doing
2306 @code{\include "os-music.ly"}.
2308 If you were to run LilyPond on this file, no printable output would be
2314 title = "Zo, goed lieverd?"
2315 subtitle = "How's, this babe?"
2324 Key = \notes \key as \major
2325 flautoI = \notes\relative c'' @{
2327 bes as bes as bes as bes as
2329 flautoII = \notes\relative c'' @{
2330 as8 bes as bes R1 d4 ~ d
2332 tromboI = \notes\relative c'' @{
2333 c4. c8 c8 c4. es4 r as, r
2335 tromboII = \notes\relative c'' @{
2336 as4. as8 as8 as4. R1*1/2 as4 es'
2338 timpani = \notes\relative c, @{
2339 \times 2/3 @{ f4 f f @}
2340 \times 4/5 @{ as8 as as as as @}
2343 corno = \notes\relative c' @{
2344 bes4 d f, bes d f, bes d
2348 We will not go through the input line by line, but only indicate and
2349 explain the new elements.
2356 \skip 2*4 \bar "|.";
2360 Declare setting to be used globally. The @code{\skip} command produces
2361 no output, but moves forward in time: in this case, the duration of a
2362 half note (@code{2}), and that four times (@code{*4}). This brings us
2363 to the end of the piece, and we can set the end bar.
2367 Key = \notes \key as \major
2369 Declare the key signature of the piece and assign it to the identifier
2370 @var{Key}. Later on, we'll use @code{\Key} for all staves except those
2371 for transposing instruments.
2373 @node The full score
2374 @subsection The full score
2377 The second file, @file{input/tutorial/os-score.ly} reads the definitions of the first
2378 (@file{input/tutorial/os-music.ly}), and defines the @code{\score} block for the full
2384 \include "os-music.ly"
2385 \include "paper13.ly"
2387 #(set! point-and-click line-column-location)
2388 #(define text-flat '((font-relative-size . -2)
2389 (music "accidentals--1")))
2394 \property Score.BarNumber \override #'padding = #3
2395 \context StaffGroup = woodwind <
2396 \context Staff = flauti <
2397 \property Staff.midiInstrument = #"flute"
2398 \property Staff.instrument = "2 Flauti"
2399 \property Staff.instr = "Fl."
2401 \context Voice=one @{ \voiceOne \flautoI @}
2402 \context Voice=two @{ \voiceTwo \flautoII @}
2405 \context StaffGroup = timpani <
2406 \context Staff = timpani <
2407 \property Staff.midiInstrument = #"timpani"
2408 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2409 \property Staff.instr = #"Timp."
2415 \context StaffGroup = brass <
2416 \context Staff = trombe <
2417 \property Staff.midiInstrument = #"trumpet"
2418 \property Staff.instrument = #`(lines "2 Trombe" "(C)")
2419 \property Staff.instr = #`(lines "Tbe." "(C)")
2421 \context Voice=one \partcombine Voice
2422 \context Thread=one \tromboI
2423 \context Thread=two \tromboII
2425 \context Staff = corni <
2426 \property Staff.midiInstrument = #"french horn"
2427 \property Staff.instrument = #`(lines "Corno"
2428 (columns "(E" ,text-flat ")"))
2429 \property Staff.instr = #`(lines "Cor."
2430 (columns "(E" ,text-flat ")"))
2431 \property Staff.transposing = #3
2432 \notes \key bes \major
2433 \context Voice=one \corno
2438 indent = 15 * \staffspace
2439 linewidth = 60 * \staffspace
2440 textheight = 90 * \staffspace
2442 \HaraKiriStaffContext
2451 @center @strong{Zo, goed lieverd?}
2453 @center How's, this babe?
2461 @lilypondfile{os-score.ly}
2465 \include "os-music.ly"
2467 First, we need to include the music definitions we made in
2472 #(set! point-and-click line-column-location)
2475 This piece of Scheme code sets the Scheme variable
2476 @code{point-and-click} to the value @var{line-column-location} (which
2477 itself is a Scheme procedure).
2479 Editing input files can be complicated if you're working with large
2480 files: if you're digitizing existing music, you have to synchronize
2481 the .ly file, the sheet music on your lap and the sheet music on the
2482 screen. The point-and-click mechanism makes it easy to find the
2483 origin of an error in the LY file: when you view the file with Xdvi
2484 and click on a note, your editor will jump to the spot where that note
2485 was entered. For more information, see @ref{Point and click}.
2490 #(define text-flat '((font-relative-size . -2)
2491 (music "accidentals--1")))
2494 When naming the tuning of the french horn, we'll need a piece of text
2495 with a flat sign. LilyPond has a mechanism for font selection and
2496 kerning called Scheme markup text (See @ref{Text markup}). The flat
2497 sign is taken from the music font, and its name is @code{accidentals--1}
2498 (The natural sign is called @code{accidentals-0}). The default font is
2499 too big for text, so we select a relative size of @code{-2}.
2506 Of course, all staves are simultaneous and use the same global settings.
2510 \property Score.BarNumber \override #'padding = #3
2512 LilyPond prints bar numbers at the start of each line, but
2513 unfortunately, they end up a bit too close to the staff in this
2514 example. A bar number internally is a Grob called @var{BarNumber}.
2515 BarNumber Grobs can be manipulated through their
2516 @var{side-position-interface}. One of the properties of a
2517 @var{side-position-interface} that can be tweaked is the
2518 @var{padding}: the amount of extra space that is put between this Grob
2519 and other Grobs. We set the padding to three staff spaces.
2521 You can find information on all these kind of properties in LilyPond's
2522 automatically generated documentation in
2524 @ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
2527 the online documentation.
2532 \context StaffGroup = woodwind <
2533 \context Staff = flauti <
2535 A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
2536 hold one or more @code{Staff}'s, and will print a big bracket at the
2537 left of the score. Start a new staff group for the woodwind section
2538 (just the flutes in this case). Immediately after that, we start the
2539 staff for the two flutes, that also play simultaneously.
2543 \property Staff.midiInstrument = #"flute"
2545 Specify the instrument for MIDI output (see @ref{MIDI instrument
2550 \property Staff.instrument = "2 Flauti"
2551 \property Staff.instr = "Fl."
2553 And define the instrument names to be printed in the margin,
2554 @code{instrument} for the first line of the score, @code{instr} for the
2561 The flutes play in the default key.
2565 \context Voice=one @{ \voiceOne \flautoI @}
2566 \context Voice=two @{ \voiceTwo \flautoII @}
2568 Last come the actual flute parts. Remember that we're still in
2569 simultaneous mode. We name both voices differently, so that LilyPond
2570 will actually create two Voice contexts. The flute parts are simple, so
2571 we specify manually which voice is which: @code{\voiceOne} forces the
2572 direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
2580 Close the flutes staff and woodwind staff group.
2584 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2586 The timpani staff only shows a new piece of scheme markup, it sets two
2591 \context Voice=one \partcombine Voice
2592 \context Thread=one \tromboI
2593 \context Thread=two \tromboII
2595 You have seen the notation contexts Staff and Voice, but here's a new
2596 one: Thread. One or more Threads can be part of a Voice. The Thread
2597 takes care of note heads and rests, the Voice combine note heads onto a
2600 For the trumpets we use the automatic part combiner (see @ref{Automatic
2601 part combining}) to combine the two simultaneous trumpet parts onto the
2602 trumpet staff. Each trumpet gets its own Thread context, which must be
2603 named @code{one} and @code{two}). The part combiner makes these two
2604 threads share a Voice when they're similar, and splits the threads up
2605 when they're different.
2609 \property Staff.instrument = #`(lines "Corno"
2610 (columns "(E" ,text-flat ")"))
2612 The french horn has the most complex scheme markup name, made up of two
2613 lines of text. The second line has three elements (columns), the @code{(E},
2614 the flat sign @code{text-flat} that we defined before and a final @code{")"}.
2615 Note that we use a backquote instead of an ordinary quote at the
2616 beginning of the Scheme expression to be able to access the
2617 @code{text-flat} identifier, `unquoting' it with a @code{,}.
2621 \property Staff.transposing = #3
2623 The french horn is to be tuned in E-flat, so we tell the MIDI back-end to
2624 transpose this staff by three steps.
2626 Note how we can choose different tuning for entering, printing and
2627 playing, using @code{\transpose} and the MIDI Staff property
2632 \notes \key bes \major
2634 Therefore, it has a different key.
2638 indent = 15 * \staffspace
2639 linewidth = 60 * \staffspace
2641 We specify a big indent for the first line and a small linewidth for this
2646 Usually, LilyPond's predefined setup of notation contexts (Thread,
2647 Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
2648 want a different type of Staff context.
2652 \HaraKiriStaffContext
2656 In orchestral scores, it often happens that one instrument has only
2657 rests during one line of the score. The @code{HaraKiriStaffContext} can
2658 be used as a regular @code{StaffContext} drop-in and will take care of
2659 the automatic removing of empty staves.
2661 @node Extracting an individual part
2662 @subsection Extracting an individual part
2664 The third file, @file{os-flute-2.ly} also reads the definitions of the
2665 first (@file{os-music.ly}), and defines the @code{\score} block for the
2669 \include "os-music.ly"
2670 \include "paper16.ly"
2674 \property Score.skipBars = ##t
2675 \property Staff.midiInstrument = #"flute"
2681 instrument = "Flauto II"
2684 linewidth = 80 * \staffspace
2685 textheight = 200 * \staffspace
2693 @center @strong{Zo, goed lieverd?}
2695 @center How's, this babe?
2696 @center @emph{Flauto II}
2703 @lilypondfile{os-flute-2.ly}
2706 Because we separated the music definitions from the @code{\score}
2707 instantiations, we can easily define a second score with the music of
2708 the second flute. This then is the part for the second flute player.
2709 Of course, we make separate parts for all individual instruments.
2715 In this individual part the second flute has a whole staff for itself,
2716 so we don't want to force stem or tie directions.
2721 instrument = "Flauto II"
2724 The @code{\header} definitions were also read from @file{os-music.ly},
2725 but we need to set the instrument for this particular score.
2729 \property Score.skipBars = ##t
2731 In the conductor's full score, all bars with rests are printed, but for
2732 the individual parts, we want to contract pieces of consecutive empty
2733 bars. LilyPond will do this if Score's @var{skipBars} property to
2737 @node Integrating text and music
2738 @section Integrating text and music
2740 Sometimes, you might want to use music examples in a text that you are
2741 writing. For example, if you are writing a musicological treatise, a
2742 songbook, or (like us) the LilyPond manual. You can make such texts by
2743 hand, simply by importing a PostScript figure into your word processor.
2744 However, there is a also an automated procedure:
2746 If you use HTML, La@TeX{} or texinfo, you can mix text and LilyPond
2747 code. A script called @code{lilypond-book} will extract the music
2748 fragments, run LilyPond on them, and put back the resulting notation.
2749 This utility program is described fully in the chapter @ref{Insert
2750 music snippets into your texts using lilypond-book}. Here we show a
2751 small example. Since the example also contains explanatory text, we
2752 won't comment on the contents.
2755 \documentclass[a4paper]@{article@}
2758 In a lilypond-book document, you can freely mix music and text. For
2761 \score @{ \notes \relative c' @{
2762 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
2765 Notice that the music line length matches the margin settings of the
2768 If you have no \verb+\score+ block in the fragment,
2769 \texttt@{lilypond-book@} will supply one:
2775 In the example you see here, a number of things happened: a
2776 \verb+\score+ block was added, and the line width was set to natural
2777 length. You can specify many more options using \LaTeX style options
2780 \begin[verbatim,11pt,singleline,
2781 fragment,relative,intertext="hi there!"]@{lilypond@}
2785 \texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
2786 the default music size, \texttt@{fragment@} adds a score block,
2787 \texttt@{relative@} uses relative mode for the fragment, and
2788 \texttt@{intertext@} specifies what to print between the
2789 \texttt@{verbatim@} code and the music.
2791 If you include large examples into the text, it may be more convenient
2792 to put the example in a separate file:
2794 \lilypondfile[printfilename]@{sammartini.ly@}
2796 The \texttt@{printfilename@} option adds the file name to the output.
2801 Under Unix, you can view the results as follows.
2804 $ lilypond-book --outdir=out/ lilbook.tex
2805 lilypond-book (GNU LilyPond) 1.3.146
2806 Reading `input/tutorial/lilbook.tex'
2807 Reading `input/tutorial/sammartini.ly'
2808 @var{lots of stuff deleted}
2809 Writing `out/lilbook.latex'
2811 $ latex lilbook.latex
2812 @var{lots of stuff deleted}
2816 Notice the @code{outdir} option to lilypond-book. Running lilypond-book
2817 and running latex creates a lot of temporary files, and you wouldn't want
2818 those to clutter up your working directory. Hence, we have them created
2819 in a separate subdirectory.
2821 The result more or less looks like this:
2825 In a lilypond-book document, you can freely mix music and text. For
2828 \score { \notes \relative c' {
2829 c2 g'2 \times 2/3 { f8 e d } c'2 g4
2832 Notice that the music line length matches the margin settings of the
2835 If you have no @code{\score} block in the fragment,
2836 @code{lilypond-book} will supply one:
2842 In the example you see here, a number of things happened: a
2843 @code{\score} block was added, and the line width was set to natural
2844 length. You can specify many more options using La@TeX{} style options
2847 @lilypond[verbatim,11pt,singleline,
2848 fragment,relative,intertext="hi there!"]
2852 @code{verbatim} also shows the LilyPond code, @code{11pt} selects
2853 the default music size, @code{fragment} adds a score block,
2854 @code{relative} uses relative mode for the fragment, and
2855 @code{intertext} specifies what to print between the
2856 @code{verbatim} code and the music.
2858 If you include large examples into the text, it may be more convenient
2859 to put the example in a separate file:
2861 @lilypondfile[printfilename]{sammartini.ly}
2863 The @code{printfilename} option adds the file name to the output.
2864 @node End of tutorial
2865 @section End of tutorial
2867 This is the end of the tutorial. If you came up till here, and
2868 have understood everything, then you're now an accomplished lilypond
2869 hacker. From here, you can try fiddling with input
2870 files, coming back to the reference manual for information.
2871 Also don't forget to check out the
2873 @uref{../../templates/out-www/templates.html,templates},
2874 @uref{../../test/out-www/test.html,example} and
2875 @uref{../../regression/out-www/regression.html,feature test}
2879 templates, example and feature test snippets.
2881 If you want to see real action lilypond, then head over to
2882 @uref{http://www.mutopiaproject.org}, which has many examples of
2883 classical music typeset by LilyPond.