2 @c This file is part of lilypond.tely
5 @c * more details about running lilypond; error messages,
6 @c compiling/viewing (emacs?)
7 @c * where to go from First steps+More basics?
9 @c Your first LilyPond score in 10 minutes?
14 This tutorial starts with a short introduction to the LilyPond music
15 language. After this first contact we will show you how to to produce
16 printed output. Then you will be able to create and print your own
20 Many people learn programs by trying and fiddling around with the
21 program. This is also possible with LilyPond. If you click on a
22 picture in the HTML version of this manual, you will see the exact
23 LilyPond input that was used to generate that image.
25 @lilypond[quote,raggedright,relative=2]
26 c-\markup { \bold \huge { Click here. } }
30 By cutting and pasting the full input into a test file, you have a
31 starting template for experiments. If you like learning in this way,
32 you will probably want to print out or bookmark
36 @ref{Cheat sheet}, which is a table listing all commands for quick
42 * More about pitches::
44 * Automatic and manual beams::
46 * Music expressions explained::
48 * Adding articulation marks to notes::
49 * Combining notes into chords::
50 * Basic rhythmical commands::
51 * Commenting input files::
54 * Listening to output::
56 * Single staff polyphony::
58 * Organizing larger pieces::
59 * An orchestral part::
60 * Integrating text and music::
67 The first example demonstrates how to enter the most elementary piece
68 of music, a scale. A note can be entered by typing its name, from
69 @samp{a} through @samp{g}. So, if you enter
76 the result looks like this
78 @lilypond[quote,notime,relative=1]
82 The duration of a note is specified by a number after the note name.
83 @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
84 @samp{4} for a @rglos{quarter note} and so on
90 @lilypond[quote,notime]
91 \set Score.timing = ##f
92 \set Staff.autoBeaming = ##f
93 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
96 If you do not specify a @rglos{duration}, the duration last entered is
97 used; the duration of the first note defaults to a quarter
98 @c FIXME: let's omit the first note rule?
99 @c The first note will be a quarter
105 @lilypond[quote,notime]
106 \set Score.timing = ##f
107 \transpose c c' { a a8 a a2 a s16_" " }
111 Rests are entered just like notes, but with the name ``@code{r}''
118 @lilypond[quote,fragment]
119 \set Score.timing = ##f
120 \set Staff.Clef = \turnOff
121 \set Staff.TimeSignature = \turnOff
127 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
133 @lilypond[quote,notime]
134 \set Score.timing = ##f
135 \transpose c c' { a2. a4 a8. a16 s16_" " }
138 The @rglos{meter} (or @rglos{time signature}) can be set with the
147 @c A clef here may lead to confusion, remove it.
149 \override Staff.Clef #'transparent = ##t
158 The @rglos{clef} can be set using the @code{\clef} command
160 @c what is more common name treble or violin?
161 @c in Dutch, it is violin.
162 @c in English it is definitely treble.
170 @lilypond[quote,notime]
171 \set Score.timing = ##f
182 To recognize names like @code{c} and @code{d} as pitches, they have to
183 be entered inside a so-called @code{\notes} block. This block is
184 formed by enclosing notes and commands are enclosed in curly braces
185 @code{@{ @dots{} @}} and adding the keyword @code{\notes} before the
197 Now the piece of music is almost ready to be printed. Enclose
198 the @code{\notes} block in a @code{\score} block
211 and the music will be converted to printable output.
213 @lilypond[quote,noindent]
222 linewidth = 55 * \staffspace
227 In many examples in this manual, both @code{\score} and @code{\notes}
228 and accompanying braces are left out for brevity. However, they must
229 be present when feeding the file to LilyPond.
231 For more elaborate information on
234 @item Entering pitches and durations
236 @ref{Pitches} and @ref{Durations}.
241 @item Time signatures and other timing commands
242 see @ref{Time signature}.
246 @node Running LilyPond
247 @section Running LilyPond
249 @c FIXME: let's not be so casual about Emacs and VIM, but rather
250 @c instruct (how) to use them; let advanced user figure-out what
254 @c We don't have enough space to explain either VIM
255 @c or Emacs non-advanced users, and I fear that both editors will only
256 @c confuse newbies. I vote for keeping the material in footnotes.
260 In the last section we explained what kind of things you could enter
261 in a LilyPond file. In this section we will explain what commands to
262 run and how to view or print the output. If you have not used
263 LilyPond before, want to test your setup, or want to run an example
264 file yourself, read this section. The instructions that follow are
265 for Unix-like systems. Some additional instructions for Microsoft
266 Windows are given at the end of this section.
268 Begin by opening a terminal window and starting a text editor. For
269 example, you could open an xterm and execute
270 @code{joe}@footnote{There are macro files for VIM addicts, and there
271 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
272 installed already, refer to
273 @c FIXME lousy reference.
274 the file @file{INSTALL.txt}}. In your text editor, enter the following
275 input and save the file as @file{test.ly}
279 \notes @{ c'4 e' g' @}
284 To process @file{test.ly}, proceed as follows
292 You will see something resembling
296 Now processing: `/home/fred/ly/test.ly'
298 Interpreting music...[1]
299 @emph{ ... more interesting stuff ... }
300 PDF output to `test.pdf'...
301 DVI output to `test.dvi'...
304 @cindex Viewing music
308 The result is the file @file{test.pdf}@footnote{For @TeX{}
309 aficionados: there is also a @file{test.dvi} file. It can be viewed
310 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
311 not show up in the magnifying glass. The specials also mean that the
312 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
317 } which you can print or with the standard facilities of your
318 operating system.@footnote{If your system does not have any tools
319 installed, you can try @uref{Ghostscript,
320 http://www.cs.wisc.edu/~ghost/}, a freely available package for
321 viewing and printing PDF and PostScript files.}
323 On Windows, start up a text-editor@footnote{Any simple or
324 programmer-oriented editor will do, for example Notepad. Do not use a
325 word processor, its formatting codes will confuse LilyPond} and enter
329 \notes @{ c'4 e' g' @}
333 Save it on the desktop as @file{test.ly} and make sure that it is not
334 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
335 the file and show the resulting PDF file.
338 @node More about pitches
339 @section More about pitches
341 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
342 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
343 you might expect, a @rglos{double sharp} or @rglos{double flat} is
344 made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
345 derived from note naming conventions in Nordic and Germanic languages,
346 like German and Dutch.}
352 @lilypond[quote,notime]
353 \set Score.timing = ##f
354 \transpose c c' { cis1 ees fisis aeses s16_" " }
357 @cindex key signature, setting
358 The key signature is set with the command ``@code{\key}'', followed by
359 a pitch and @code{\major} or @code{\minor}
367 @lilypond[quote,fragment]
368 \set Staff.TimeSignature = \turnOff
376 Key signatures together with the pitches (including alterations) are
377 used together to determine when to print accidentals. This is a
378 feature that often causes confusion to newcomers, so let us explain it
382 LilyPond makes a sharp distinction between musical content and
383 layout. The alteration (flat, natural or sharp) of a note is part of
384 the pitch, and is therefore musical content. Whether an accidental (a
385 flat, natural or sharp @emph{sign}) is a printed in front of the
386 corresponding note is a question of layout. Layout is something that
387 follows rules, so accidentals are printed automatically according to
388 those rules. The pitches in your music are works of art, so they will
389 not be added automatically, and you must enter what you want to hear.
393 @lilypond[quote,fragment]
394 \set Staff.TimeSignature = \turnOff
400 no note gets an explicit accidental, but still you enter
407 The code @code{d} does not mean ``print a black dot just below the
408 staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
409 of A-flat, it does get an accidental
411 @lilypond[quote,fragment]
412 \set Staff.TimeSignature = \turnOff
422 Adding all alterations explicitly might require a little more effort
423 when typing, but the advantage is that transposing is easier, and
424 music can be printed according to different conventions. See
425 @ref{Accidentals} for some examples how accidentals can be printed
426 according to different rules.
429 For more information on
433 see @ref{Accidentals}
436 see @ref{Key signature}
440 @section Entering ties
443 A tie is created by adding a tilde ``@code{~}'' to the first note
445 @lilypond[quote,fragment,verbatim,relative=3]
451 For more information on Ties, see @ref{Ties}.
455 @node Automatic and manual beams
456 @section Automatic and manual beams
458 @cindex beams, by hand
459 Beams are drawn automatically
461 @lilypond[quote,fragment,relative=2,verbatim]
466 If you do not like where beams are put, they can be entered by
467 hand. Mark the first note to be beamed with @code{[} and the last one
470 @lilypond[quote,fragment,relative=2,verbatim]
475 For more information on beams, see @ref{Beaming}.
478 Here are key signatures, accidentals and ties in action
488 fis4 fis8 fis8 eis4 a8 gis~
495 \notes \transpose c c' {
501 fis4 fis8 fis8 eis4 a8 gis~
504 \paper { linewidth = #(* 50 staffspace) }
509 There are some interesting points to note in this example. Bar lines
510 and beams are drawn automatically. Line breaks are calculated
511 automatically; it does not matter where the line breaks are in the
512 source file. Finally, the order in which time, key and clef changes
513 are entered is not relevant: in the printout, these are ordered
514 according to standard notation conventions.
519 @section Octave entry
522 @c Tim wants to move this quotes example just before the: quotes-do not-work
523 @c score, but we'd need to remove quotes from the other two (key and
526 @c better to have this just before the `octaves are bad' snipped
527 @c but we'd need to remove the ', from \key and tie
528 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
529 the note name, to lower a note one octave, add a ``low quote'' @code{,}
530 (a comma). Middle C is @code{c'}
533 c'4 c'' c''' \clef bass c c,
536 @lilypond[quote,fragment]
537 \set Score.timing = ##f
538 \set Staff.TimeSignature = \turnOff
539 c'4 c'' c''' \clef bass c c,
543 An example of the use of quotes is in the following Mozart fragment
544 @lilypond[quote,raggedright,fragment,verbatim]
547 cis''8. d''16 cis''8 e''4 e''8
548 b'8. cis''16 b'8 d''4 d''8
551 This example shows that music in a high register needs lots of quotes.
552 This makes the input less readable, and it is a source of errors. The
553 solution is to use ``relative octave'' mode. In practice, this is the
554 most convenient way to copy existing music. To use relative mode, add
555 @code{\relative} before the piece of music. You must also give a note
556 from which relative starts, in this case @code{c''}. If you do not
557 use octavation quotes (i.e. do not add @code{'} or @code{,} after a
558 note), relative mode chooses the note that is closest to the previous
559 one. For example, @code{c f} goes up while @code{c g} goes down
567 @lilypond[quote,fragment]
568 \set Score.timing = ##f
569 \set Staff.TimeSignature = \turnOff
577 Since most music has small intervals, pieces can be written almost
578 without octavation quotes in relative mode. The previous example is
581 @lilypond[quote,raggedright,fragment,verbatim]
590 @c needed better, maybe even redundant explanation
591 @c added another example below.
592 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
593 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
594 Larger intervals are made by adding octavation quotes.
601 @lilypond[quote,fragment]
602 \set Score.timing = ##f
603 \set Staff.TimeSignature = \turnOff
610 In @code{\relative} mode, quotes or commas no longer determine the
611 absolute height of a note. Rather, the height of a note is relative to
612 the previous one, and changing the octave of a single note shifts all
613 following notes an octave up or down.
615 For more information on Relative octaves see @ref{Relative octaves}
616 and @ref{Octave check}.
619 @node Music expressions explained
620 @section Music expressions explained
623 In input files, music is represent by so-called @emph{music
624 expression}. We have already seen in the previous examples;
625 a single note is a music expression
627 @lilypond[quote,verbatim,relative=3]
631 Enclosing group of notes in braces creates a new music
634 @lilypond[quote,verbatim,relative=3]
638 Putting a bunch of music expressions (notes) in braces, means that
639 they should be played in sequence. The result again is a music
640 expression, which can be grouped with other expressions sequentially.
641 Here, the expression from the previous example is combined with two
644 @lilypond[quote,verbatim,relative=3]
648 This technique is useful for non-monophonic music. To enter music
649 with more voices or more staves, we also combine expressions in
650 parallel. Two voices that should play at the same time, are entered
651 as a simultaneous combination of two sequences. A ``simultaneous''
652 music expression is formed by enclosing expressions in @code{<<} and
653 @code{>>}. In the following example, three sequences (all containing
654 two notes) are combined simultaneously
656 @lilypond[quote,verbatim,relative=3]
664 This mechanism is similar to mathematical
665 formulas: a big formula is created by composing small formulas. Such
666 formulas are called expressions, and their definition is recursive, so
667 you can make arbitrarily complex and large expressions. For example,
676 ((1 + 2) * 3) / (4 * 5)
679 @cindex music expression
680 This example shows a sequence of expressions, where each expression is
681 contained in the next one. The simplest expressions are numbers and
682 operators (like +, * and /). Parentheses are used to group
685 Like mathematical expressions, music expressions can be nested
686 arbitrarily deep, e.g.
687 @lilypond[quote,verbatim,relative=2]
690 << { e f } { c <<b d>> } >>
696 When spreading expressions over multiple lines, it is customary to use
697 an indent that indicates the nesting level. Formatting music like this
698 eases reading, and helps you insert the right number of closing
699 braces at the end of an expression. For example,
714 Some editors have special support for entering LilyPond, and can help
715 indenting source files. See @ref{Editor support} for more information.
722 To print more than one staff, each piece of music that makes up a
723 staff is marked by adding @code{\new Staff} before it. These
724 @code{Staff}'s are then combined parallel with @code{<<} and
725 @code{>>}, as demonstrated here
727 @lilypond[quote,fragment,verbatim]
729 \new Staff { \clef violin c'' }
730 \new Staff { \clef bass c }
735 The command @code{\new} introduces a ``notation context.'' A notation
736 context is an environment in which musical events (like notes or
737 @code{\clef} commands) are interpreted. For simple pieces, such
738 notation contexts are created implicitly. For more complex pieces, it
739 is best to mark contexts explicitly. This ensures that each fragment
742 There are several types of contexts: @code{Staff}, @code{Voice} and
743 @code{Score} handle normal music notation. Other staves are also
744 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
745 printing chord names).
748 In terms of syntax, prepending @code{\new} to a music expression
749 creates a bigger music expression. In this way it resembles the minus
750 sign in mathematics. The formula (4+5) is an expression, so -(4+5) is a bigger
753 We can now typeset a melody with two staves
755 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
757 @lilypond[quote,verbatim,raggedright]
776 For more information on context see the description in
777 @ref{Interpretation contexts}.
781 @node Adding articulation marks to notes
782 @section Adding articulation marks to notes
788 Common accents can be added to a note using a dash (`@code{-}') and a
790 @lilypond[quote,verbatim,relative=2]
791 c-. c-- c-> c-^ c-+ c-_
796 Similarly, fingering indications can be added to a note using a dash
797 (`@code{-}') and the digit to be printed
799 @lilypond[quote,verbatim,relative=2]
804 Dynamic signs are made by adding the markings (with a backslash) to
806 @lilypond[quote,verbatim,relative=2]
815 Crescendi and decrescendi are started with the commands @code{\<} and
816 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
817 crescendo, or the command @code{\!} can be used
818 @lilypond[quote,verbatim,relative=2]
827 A slur is a curve drawn across many notes, and indicates legato
828 articulation. The starting note and ending note are marked with a
829 ``@code{(}'' and a ``@code{)}'' respectively
831 @lilypond[quote,fragment,relative=2,verbatim]
832 d4( c16)( cis d e c cis d e)( d4)
835 @cindex slurs versus ties
836 A slur looks like a tie, but it has a different meaning. A tie simply
837 makes the first note sound longer, and can only be used on pairs of
838 notes with the same pitch. Slurs indicate the articulations of notes,
839 and can be used on larger groups of notes. Slurs and ties are also
842 @lilypond[quote,fragment,relative=2]
843 c2~( c8 fis fis4 ~ fis2 g2)
845 @cindex phrasing slurs
846 Slurs to indicate phrasing can be entered with @code{\(} and
847 @code{\)}, so you can have both legato slurs and phrasing slurs at the
850 @lilypond[quote,fragment,relative=2,verbatim]
851 a8(\( ais b c) cis2 b'2 a4 cis, c\)
855 For more information on
858 see @ref{Fingering instructions}
860 see @ref{Articulations}
864 see @ref{Phrasing slurs}
870 @node Combining notes into chords
871 @section Combining notes into chords
874 Chords can be made by surrounding pitches with angled brackets.
875 Angled brackets are the symbols @code{<} and @code{>}.
877 @lilypond[quote,relative=1,fragment,verbatim]
883 You can combine markings like beams and ties with chords. They must
884 be placed outside the angled brackets
885 @lilypond[quote,relative=1,fragment,verbatim]
886 r4 <c e g>8[ <c f a>]~ <c f a>
890 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
892 @lilypond[quote,relative=1,fragment]
894 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
901 @node Basic rhythmical commands
902 @section Basic rhythmical commands
906 @cindex partial measure
907 A pickup is entered with the keyword @code{\partial}. It
908 is followed by a duration: @code{\partial 4} is a quarter note upstep
909 and @code{\partial 8} an eighth note
910 @lilypond[quote,relative=2,verbatim,fragment]
916 Tuplets are made with the @code{\times} keyword. It takes two
917 arguments: a fraction and a piece of music. The duration of the piece
918 of music is multiplied by the fraction. Triplets make notes occupy
919 2/3 of their notated duration, so a triplet has 2/3 as its fraction
921 @lilypond[quote,relative=1,verbatim,fragment]
922 \times 2/3 { f8 g a }
927 Grace notes are also made by prefixing a music expression with the
928 keyword @code{\appoggiatura} or @code{\acciaccatura}
932 @lilypond[quote,relative=2,verbatim,fragment]
933 c4 \appoggiatura b16 c4
934 c4 \acciaccatura b16 c4
939 For more information on
942 see @ref{Grace notes},
946 see @ref{Partial measures}.
951 @node Commenting input files
952 @section Commenting input files
956 @cindex block comment
957 A comment is a remark for the human reader of the music input, it is
958 ignored and has no effect on the printed output. There are two types
959 of comments. The percent symbol @code{%} introduces a line comment;
960 the rest of the line is ignored. A block comments marks a whole
961 section of music input, anything that is enclosed in @code{%@{} and
962 @code{%@}} is ignored. The following fragment shows possible uses for
966 % notes for twinkle twinkle follow
970 This line, and the notes below
971 are ignored, since they are in a
978 There is a special statement that really is a kind of comment. The
979 version statement marks for which version of LilyPond the file was
980 written. To mark a file for version 2.1.17, use
986 These annotations make future upgrades of LilyPond go more
987 smoothly. Changes in the syntax are handled with a special program,
988 @file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
989 @code{\version} to determine what rules to apply.
992 @node Printing lyrics
993 @section Printing lyrics
996 @c TODO: (c) status of the Queen fragment.
1000 Lyrics are entered by separating each syllable with a space,
1003 I want to break free
1006 To prevent certain words (for example ``as'') as being read as a
1007 pitch, the input-mode must be switched. This is done with
1008 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
1011 \lyrics @{ I want to break free @}
1015 Again, the braces @code{@{@}} signify that the syllables are sung in
1018 By default, music expressions are interpreted in @code{Staff} context. For
1019 lyrics, this is obviously not desirable, so it is necessary
1020 to explicitly specify a @code{Lyrics} context,
1023 \new Lyrics \lyrics @{ I want to break free @}
1026 The melody for this song is as follows
1028 @lilypond[quote,fragment,relative=2]
1030 \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
1033 The lyrics can be set to these notes, combining both with the
1034 @code{\lyricsto} keyword
1036 \lyricsto "@var{name}" \new Lyrics @dots{}
1038 where @var{name} identifies to which melody the lyrics should be
1039 aligned. In this case, there is only one melody, so we can leave it
1043 @lilypond[quote,verbatim,fragment,raggedright]
1049 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1051 \lyricsto "" \new Lyrics \lyrics { I want to break free }
1057 @cindex extender line
1059 This melody ends on a @rglos{melisma}, a single syllable (``free'')
1060 sung to more than one note. This is indicated with an @emph{extender
1061 line}. It is entered as two underscores, i.e.
1063 \lyrics @{ I want to break free __ @}
1065 @lilypond[quote,raggedright]
1068 \notes \relative c' \new Voice {
1071 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1073 \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
1078 Similarly, hyphens between words can be entered as two dashes,
1079 resulting in a centered hyphen between two syllables
1081 Twin -- kle twin -- kle
1083 @lilypond[quote,raggedright]
1086 \notes \relative f' \context Voice = bla {
1090 \new Lyrics \lyrics \lyricsto "bla" { Twin -- kle twin -- kle }
1095 More options, like putting multiple lines of lyrics below a melody are
1096 discussed in @ref{Vocal music}.
1101 @section A lead sheet
1107 In popular music, it is common to denote accompaniment as chord-names.
1108 Such chords can be entered like notes,
1115 but now, each pitch is read as the root of a chord instead of a note.
1116 This mode is switched on with @code{\chords}
1118 @lilypond[quote,verbatim,raggedright]
1120 \chords { c2 f4. g8 }
1124 Other chords can be created by adding modifiers after a colon. The
1125 following example shows a few common modifiers
1127 @lilypond[quote,verbatim]
1128 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1131 For lead sheets, chords are not printed on staves, but as names on a
1132 line of themselves. Hence, we have to override the context with
1133 @code{\new}, rendering the music expression in a @code{ChordNames}
1136 @lilypond[quote,verbatim]
1137 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1142 When put together, chord names, lyrics and a melody form
1143 a lead sheet, for example,
1148 \new ChordNames \chords @{ @emph{chords} @}
1149 \notes @emph{the melody}
1150 \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
1154 @lilypond[quote,raggedright]
1158 \new ChordNames \chords { r8 c2:sus4 f }
1159 \notes \relative c' {
1161 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1163 \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
1169 A complete list of modifiers and other options for layout can be found
1172 @node Listening to output
1173 @section Listening to output
1178 MIDI (Musical Instrument Digital Interface) is a standard for
1179 connecting and controlling digital instruments. A MIDI file is like a
1180 tape recording of a MIDI instrument.
1182 To create a MIDI from a music piece of music, add a
1183 @code{\midi} block causes LilyPond to create a MIDI file, so you
1184 can listen to the music you entered. It is great for checking the
1185 music: octaves that are off or accidentals that were mistyped stand
1186 out very much when listening to the musical transcription.
1188 The @code{\midi} block is added to @code{\score}, for example,
1192 \midi @{ \tempo 4=72 @}
1196 Here, the tempo is specified using the @code{\tempo} command. In this
1197 case the tempo of quarter notes is set to 72 beats per minute. More
1198 information on auditory output in the notation manual, @ref{Sound}.
1200 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1201 be produced. If notation is needed too, a @code{\paper} block must be
1207 \midi @{ \tempo 4=72 @}
1217 Bibliographic information is entered in a separate block, the
1218 @code{\header} block. The name of the piece, its composer, etc. are
1219 entered as an assignment, within @code{\header @{ @dots{} @}}. For
1223 title = "Eight miniatures"
1224 composer = "Igor Stravinsky"
1225 tagline = "small is beautiful"
1228 \score @{ @dots{} @}
1231 @cindex bibliographic information
1234 @cindex Engraved by LilyPond
1236 When the file is processed the title and composer are printed above
1237 the music. The `tagline' is a short line printed at bottom of the last
1238 page which normally says ``Engraved by LilyPond, version @dots{}''. In
1239 the example above it is replaced by the line ``small is
1240 beautiful.''@footnote{Nicely printed parts are good PR for us, so
1241 please leave the tagline if you can.}
1243 Normally, the @code{\header} is put at the top of the file. However,
1244 for a document that contains multiple pieces (e.g. an etude book, or
1245 an orchestral part with multiple movements), the header can be
1246 put in the @code{\score} block as follows; in this case, the name of
1247 each piece will be printed before each movement
1250 @cindex Engraved by LilyPond
1251 @cindex signature line
1256 title = "Eight miniatures"
1257 composer = "Igor Stravinsky"
1258 tagline = "small is beautiful"
1262 \header @{ piece = "Adagio" @}
1265 \header @{ piece = "Menuetto" @}
1269 More information on titling can be found in @ref{Invoking lilypond}.
1272 @node Single staff polyphony
1273 @section Single staff polyphony
1276 @cindex multiple voices
1277 @cindex voices, more -- on a staff
1279 When different melodic lines are combined on a single staff they are
1280 printed as polyphonic voices: each voice has its own stems, slurs and
1281 beams, and the top voice has the stems up, while the bottom voice has
1284 Entering such parts is done by entering each voice as a sequence (with
1285 @code{@{ .. @}}), and combining those simultaneously, separating the
1286 voices with @code{\\}
1288 @lilypond[quote,verbatim,relative=3]
1289 << { a4 g2 f4~ f4 } \\
1293 For polyphonic music typesetting, spacer rests can also be convenient: these
1294 are rests that do not print. It is useful for filling up voices that
1295 temporarily do not play. Here is the same example with a spacer rest
1296 instead of a normal rest
1297 @lilypond[quote,relative=3]
1298 << { a4 g2 f4~ f4 } \\
1302 Again, these expressions can be nested arbitrarily
1304 @lilypond[quote,fragment,relative=3]
1312 { <c, g>1 ~ <c g>4 } \\
1318 More features of polyphonic typesetting in the notation manual
1322 @section Piano staves
1324 @cindex staff switch, manual
1325 @cindex cross staff voice, manual
1326 @cindex @code{\context}
1328 Piano music is typeset in two staves connected by a brace. Printing
1329 such a staff is similar to the polyphonic example in @ref{More staves}
1331 << \new Staff @{ @dots{} @}
1332 \new Staff @{ @dots{} @} >>
1334 but now this entire expression must be interpreted as a
1337 \new PianoStaff << \new Staff @dots{} >>
1340 Here is a full-fledged example
1342 @lilypond[quote,relative=1,fragment]
1344 \new Staff { \time 2/4 c4 c g' g }
1345 \new Staff { \clef bass c,, c' e c }
1349 More information on formatting piano music is in @ref{Piano music}.
1351 @node Organizing larger pieces
1352 @section Organizing larger pieces
1354 When all of the elements discussed earlier are combined to produce
1355 larger files, the @code{\score} blocks get a lot bigger, because the
1356 music expressions are longer, and, in the case of polyphonic pieces,
1357 more deeply nested. Such large expressions can become unwieldy.
1359 By using variables, also known as identifiers, it is possible to break
1360 up complex music expressions. An identifier is assigned as follows
1363 namedMusic = \notes @{ @dots{}
1366 The contents of the music expression @code{namedMusic}, can be used
1367 later by preceding the name with a backslash, i.e. @code{\namedMusic}.
1368 In the next example, a two note motive is repeated two times by using
1369 variable substitution
1371 @lilypond[quote,raggedright,verbatim]
1376 \new Staff { \seufzer \seufzer }
1380 The name of an identifier should have alphabetic characters only;
1381 no numbers, underscores or dashes. The assignment should be outside of
1382 the @code{\score} block.
1384 It is possible to use variables for many other types of objects in the
1389 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1391 Depending on its contents, the identifier can be used in different
1392 places. The following example uses the above variables
1395 \notes @{ c4^\name @}
1403 More information on the possible uses of identifiers is in the
1404 technical manual, in TODO.
1407 @node An orchestral part
1408 @section An orchestral part
1410 In orchestral music, all notes are printed twice: both in a part for
1411 the musicians, and in a full score for the conductor. Identifiers can
1412 be used to avoid double work: the music is entered once, and stored in
1413 a variable. The contents of that variable is then used to generate
1414 both the part and the score.
1416 It is convenient to define the notes in a special file, for example,
1417 suppose that the @file{horn-music.ly} contains the following part of a
1420 hornNotes = \notes \relative c @{
1426 Then, an individual part is made by putting the following in a file
1429 \include "horn-music.ly"
1431 instrument = "Horn in F"
1434 \notes \transpose f c' \hornNotes
1441 \include "horn-music.ly"
1445 substitutes the contents of @file{horn-music.ly} at this position in
1446 the file, so @code{hornNotes} is defined afterwards. The command
1447 @code{\transpose f c'} indicates that the argument, being
1448 @code{\hornNotes}, should be transposed by a fifth downwards: sounding
1449 @code{f} is denoted by notated @code{c'}, which corresponds with
1450 tuning of a normal French Horn in F. The transposition can be seen in
1451 the following output
1453 @lilypond[quote,raggedright]
1455 \notes \transpose f c' \notes \relative c {
1462 In ensemble pieces, one of the voices often does not play for many
1463 measures. This is denoted by a special rest, the multi-measure
1464 rest. It is entered with a capital @code{R} followed by a duration (1
1465 for a whole note, 2 for a half note, etc.) By multiplying the
1466 duration, longer rests can be constructed. For example, this rest
1467 takes 3 measures in 2/4 time
1472 When printing the part, multi-rests
1473 must be condensed. This is done by setting a run-time variable
1475 \set Score.skipBars = ##t
1479 This commands sets the property @code{skipBars} property in the
1480 @code{Score} context to true (@code{##t}). Prepending the rest and
1481 this option to the music above, leads to the following result
1483 @lilypond[quote,raggedright]
1485 \notes \transpose f c' \relative c {
1487 \set Score.skipBars = ##t
1495 The score is made by combining all of the music in a @code{\score}
1496 block. Assuming that the other voice is in @code{bassoonNotes} in the
1497 file @file{bassoon-music.ly}, a score is made with
1500 \include "bassoon-music.ly"
1501 \include "horn-music.ly"
1505 \new Staff \hornNotes
1506 \new Staff \bassoonNotes
1513 @lilypond[quote,raggedright]
1515 \notes \relative c \simultaneous {
1522 r4 d,8 f | gis4 c | b bes |
1523 a8 e f4 | g d | gis f
1529 More in-depth information on preparing parts and scores in the
1530 notation manual, in @ref{Orchestral music}.
1532 Setting run-time variables (``properties'') is discussed in ref-TODO.
1534 @node Integrating text and music
1535 @section Integrating text and music
1537 @cindex La@TeX{}, music in
1538 @cindex HTML, music in
1539 @cindex Texinfo, music in
1541 Some texts include music examples. Examples are musicological
1542 treatises, songbooks or manuals like this. Such texts can be made by
1543 hand, simply by importing a PostScript figure into the word processor.
1544 However, there is an automated procedure to reduce the amount of work
1545 involved HTML, La@TeX{}, and Texinfo documents.
1547 A script called @code{lilypond-book} will extract the music fragments,
1548 run format them, and put back the resulting notation. This program is
1549 fully described in @ref{lilypond-book manual}. Here we show a small
1550 example. The example also contains explanatory text, so we will not
1551 comment on it further
1554 \documentclass[a4paper]@{article@}
1557 Documents for lilypond-book may freely mix music and text. For
1561 \score @{ \notes \relative c' @{
1562 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1566 If there is no \verb+\score+ block in the fragment,
1567 \texttt@{lilypond-book@} will supply one
1573 In this example two things happened: a
1574 \verb+\score+ block was added, and the line width was set to natural
1577 Options are put in brackets.
1579 \begin[staffsize=26,verbatim]@{lilypond@}
1584 Larger examples can be put in a separate file, and introduced with
1585 \verb+\lilypondfile+.
1587 \lilypondfile@{screech-boink.ly@}
1592 Under Unix, you can view the results as follows
1596 $ lilypond-book --output=out/ lilybook.tex
1597 lilypond-book (GNU LilyPond) 2.1.19
1598 Reading `input/tutorial/lilybook.tex'
1599 Reading `input/screech-boink.ly'
1600 @var{lots of stuff deleted}
1601 Writing `out/lilybook.tex'
1604 @var{lots of stuff deleted}
1608 To convert the file into a nice PDF document, run the following
1611 $ dvips -Ppdf -u +lilypond lilybook
1612 $ ps2pdf lilybook.ps
1616 Running lilypond-book and running latex creates a lot of temporary
1617 files, which would clutter up the working directory. To remedy this,
1618 use the @code{output} option. It will create the files in a separate
1619 subdirectory @file{out}.
1621 The result looks more or less like
1625 Documents for lilypond-book may freely mix music and text. For
1628 @lilypond[quote,raggedright]
1630 \notes \relative c' {
1631 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1636 If you have no @code{\score} block in the fragment,
1637 @code{lilypond-book} will supply one
1643 In this example two things happened: a
1644 @code{score} block was added, and the line width was set to natural
1647 Options are put in brackets.
1649 @lilypond[quote,staffsize=26,verbatim]
1653 Larger examples can be put in a separate file, and introduced with
1654 @code{\lilypondfile}.
1656 @lilypondfile[quote,noindent]{screech-boink.ly}