1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
5 @c * more details about running lilypond; error messages,
6 @c compiling/viewing (emacs?)
7 @c * where to go from First steps+More basics?
9 @c wherever possible, do not include index entries here; the
10 @c index should point to stuff in the reference manual. -gp
12 @c Your first LilyPond score in 10 minutes?
17 This tutorial starts with a short introduction to the LilyPond music
18 language. After this first contact we will show you how to produce
19 printed output. Then you will be able to create and print your own
23 Many people learn programs by trying and fiddling around with the
24 program. This is also possible with LilyPond. If you click on a
25 picture in the HTML version of this manual, you will see the exact
26 LilyPond input that was used to generate that image.
29 @lilypond[fragment,quote,ragged-right,relative=2]
30 c-\markup { \bold \huge { Click here. } }
34 By cutting and pasting the full input into a test file, you have a
35 starting template for experiments. If you like learning in this way,
36 you will probably want to print out or bookmark
40 @ref{Cheat sheet}, which is a table listing all commands for quick
45 * Running LilyPond for the first time::
46 * More about pitches::
48 * Automatic and manual beams::
50 * Music expressions explained::
52 * Adding articulation marks to notes::
53 * Combining notes into chords::
54 * Advanced rhythmic commands::
55 * Commenting input files::
59 * Single staff polyphony::
61 * Organizing larger pieces::
62 * An orchestral part::
63 * After the tutorial::
70 The first example demonstrates how to enter the most elementary piece
71 of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
72 name, from @samp{a} through @samp{g}. So, if you enter
81 the result looks like this
83 @lilypond[fragment,quote,notime,relative=1]
87 Every piece of LilyPond input needs to have @{curly braces@} placed
88 around the input. For the rest of this manual, most examples will
89 omit these braces, but don't forget them in your own music!
91 In addition, many examples use @code{relative} mode. This is explained
92 in @ref{Octave entry}; for now simply be aware that some examples
93 should be placed inside @code{\relative @{ @emph{...music...} @}}
95 @cindex Case sensitive
96 Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
97 valid input; @code{ @{ C D E @} } will produce an error message.
99 The @rglos{duration} of a note is specified by a number after the note
100 name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
101 @samp{4} for a @rglos{quarter note} and so on
107 @lilypond[fragment,quote,notime,relative=2]
108 \set Staff.autoBeaming = ##f
109 { a1 a2 a4 a16 a32 s16_" " }
112 If you do not specify a duration, the duration last entered is used
113 for the next notes. The duration of the first note in input defaults
120 @lilypond[fragment,quote,notime,relative=2]
121 { a a8 a a2 a s16_" " }
125 A @rglos{rest} is entered just like a note, but with the name @samp{r}
131 @lilypond[fragment,quote,notime]
135 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
141 @lilypond[fragment,quote,notime,relative=1]
142 { a2. a4 a8. a16 s16_" " }
145 The (or @rglos{time signature}) can be set with the @code{\time}
154 @c A clef here may lead to confusion, remove it.
155 @lilypond[fragment,quote]
156 \override Staff.Clef #'transparent = ##t
165 The @rglos{clef} can be set using the @code{\clef} command
174 @lilypond[fragment,quote,notime]
185 Remember to enclose the notes and commands in curly braces
186 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
188 @c @li lypond[fragment,quote,noindent,line-width=55\staff-space]
189 @lilypond[fragment,quote,noindent,verbatim]
196 For more information on
200 @item Entering pitches and durations
202 @ref{Pitches}, and @ref{Durations}.
207 @item Time signatures and other timing commands
208 see @ref{Time signature}.
213 @node Running LilyPond for the first time
214 @section Running LilyPond for the first time
216 @c cheesy title to avoid clash with chapter name.
218 In the last section we explained what kind of things you can enter in
219 a LilyPond file. In this section we will explain what commands to run
220 and how to view or print the output. If you have not used LilyPond
221 before, want to test your setup, or want to run an example file
222 yourself, read this section.
224 @unnumberedsubsec MacOS X
226 If you double click LilyPond.app, it will open with an example
227 file. Save it, for example, to @file{test.ly} on your Desktop, and
228 then process it with the menu command @samp{Compile > Typeset File}.
229 The resulting PDF file will be displayed on your screen.
231 Be warned that the first-ever run will take a minute or two, because
232 all of the system fonts have to be analyzed first.
234 @unnumberedsubsec Windows
236 On Windows, start up a text-editor@footnote{Any simple or
237 programmer-oriented editor will do, for example Notepad. Do not use a
238 word processor, since these insert formatting codes that will confuse
245 Save it on the desktop as @file{test.ly} and make sure that it is not
246 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
247 the file and show the resulting PDF file.
250 @unnumberedsubsec Unix
252 Begin by opening a terminal window and starting a text editor. For
253 example, you could open an xterm and execute
254 @code{joe}.@footnote{There are macro files for VIM addicts, and there
255 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
256 installed already, refer to the file @file{INSTALL.txt}.} In your
257 text editor, enter the following input and save the file as
265 To process @file{test.ly}, proceed as follows
272 You will see something resembling
279 Interpreting music... [1]
280 Preprocessing graphical objects...
281 Calculating line breaks... [2]
282 Layout output to `test.ps'...
283 Converting to `test.pdf'...
287 @cindex Viewing music
290 The result is the file @file{test.pdf} which you can print or view
291 with the standard facilities of your operating system.@footnote{If
292 your system does not have any tools installed, you can try
293 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
294 available package for viewing and printing PDF and PostScript files.}
296 @node More about pitches
297 @section More about pitches
299 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
300 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
301 you might expect, a @rglos{double sharp} or @rglos{double flat} is
302 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
303 derived from note naming conventions in Nordic and Germanic languages,
304 like German and Dutch.}
310 @lilypond[fragment,quote,notime]
311 \set Score.timing = ##f
312 \transpose c c' { cis1 ees fisis aeses s16_" " }
315 @cindex key signature, setting
316 The key signature is set with the command @code{\key}, followed by
317 a pitch and @code{\major} or @code{\minor}
326 @lilypond[fragment,quote,notime,fragment]
334 Key signatures together with the pitches (including alterations) are
335 used to determine when to print accidentals. This is a
336 feature that often causes confusion to newcomers, so let us explain it
340 LilyPond makes a sharp distinction between musical content and
341 layout. The alteration (flat, natural or sharp) of a note is part of
342 the pitch, and is therefore musical content. Whether an accidental (a
343 flat, natural or sharp @emph{sign}) is printed in front of the
344 corresponding note is a question of layout. Layout is something that
345 follows rules, so accidentals are printed automatically according to
346 those rules. The pitches in your music are works of art, so they will
347 not be added automatically, and you must enter what you want to hear.
351 @lilypond[quote,notime,fragment]
357 no note has an explicit accidental, but you still must enter
365 The code @samp{d} does not mean `print a black dot just below the
366 staff.' Rather, it means: `a note with pitch D-natural.' In the key
367 of A-flat major, it does get an accidental
369 @lilypond[quote,notime,fragment,relative=1,verbatim]
374 Adding all alterations explicitly might require a little more effort
375 when typing, but the advantage is that transposing is easier, and
376 accidentals can be printed according to different conventions. See
377 @ref{Automatic accidentals}, for some examples how accidentals can be printed
378 according to different rules.
381 For more information on
386 see @ref{Automatic accidentals}.
389 see @ref{Key signature}.
394 @section Entering ties
397 A @rglos{tie} is created by appending a tilde @samp{~} to the first
400 @lilypond[quote,notime,fragment,verbatim,relative=3]
404 For more information on Ties see @ref{Ties}.
408 @node Automatic and manual beams
409 @section Automatic and manual beams
411 @cindex beams, by hand
412 All @rglos{beam}s are drawn automatically
414 @lilypond[quote,fragment,relative=2,verbatim]
419 If you do not like where beams are put, they can be entered by
420 hand. Mark the first note to be beamed with @samp{[} and the last one
423 @lilypond[quote,fragment,relative=2,verbatim]
427 For more information on beams, see @ref{Manual beams}.
430 Here are key signatures, accidentals and ties in action
432 @lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
439 fis4 fis8 fis8 eis4 a8 gis~
448 There are some interesting points to note in this example. Bar lines
449 and beams are drawn automatically. Line breaks are calculated
450 automatically; it does not matter where the line breaks are in the
451 source file. Finally, the order in which time, key, and clef changes
452 are entered is not relevant: in the printout, these are ordered
453 according to standard notation conventions.
458 @section Octave entry
461 @c Tim wants to move this quotes example just before the: quotes-do not-work
462 @c score, but we'd need to remove quotes from the other two (key and
465 @c better to have this just before the `octaves are bad' snipped
466 @c but we'd need to remove the ', from \key and tie
467 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
468 the note name, to lower a note one octave, add a `low quote' @code{,}
469 (comma). Middle C is @code{c'}
471 @lilypond[quote,notime,fragment,verbatim]
472 c'4 c'' c''' \clef bass c c,
475 An example of the use of quotes is in the following Mozart fragment
477 @lilypond[quote,ragged-right,fragment,verbatim]
480 cis''8. d''16 cis''8 e''4 e''8
481 b'8. cis''16 b'8 d''4 d''8
485 This example shows that music in a high register needs lots of quotes.
486 This makes the input less readable, and it is a source of errors. The
487 solution is to use `relative octave' mode. This is the
488 most convenient way to copy existing music.
490 In relative mode, a note without octavation quotes (i.e. the @code{'}
491 or @code{,} after a note) is chosen so that it is closest to the
492 previous one. For example, @samp{c f} goes up while @samp{c g} goes
495 To use relative mode, add @code{\relative} before the piece of
496 music. The first note is taken relative to the middle C
497 @c no , for this sentence
502 @lilypond[quote,notime,fragment,verbatim]
509 Since most music has small intervals, pieces can be written almost
510 without octavation quotes in relative mode. The previous example is
513 @lilypond[quote,ragged-right,verbatim]
517 cis'8. d16 cis8 e4 e8
522 @c needed better, maybe even redundant explanation
523 @c added another example below.
524 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
525 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
526 Larger intervals are made by adding octavation quotes.
528 @lilypond[quote,notime,verbatim,fragment]
534 In summary, quotes or commas no longer determine the absolute height
535 of a note in @code{\relative} mode. Rather, the height of a note is
536 relative to the previous one, and changing the octave of a single note
537 shifts all following notes an octave up or down.
539 For more information on relative octaves see @ref{Relative octaves},
540 and @ref{Octave check}.
543 @node Music expressions explained
544 @section Music expressions explained
547 In input files, music is represent by so-called @emph{music
548 expression}s. We have already seen some in the previous examples;
549 a single note is a music expression
551 @lilypond[fragment,quote,verbatim,relative=3]
555 Enclosing a group of notes in braces creates a new music
558 @lilypond[fragment,quote,verbatim,relative=3]
562 Putting a bunch of music expressions (e.g., notes) in braces, means that
563 they should be played in sequence. The result again is a music
564 expression, which can be grouped with other expressions sequentially.
565 Here, the expression from the previous example is combined with two
568 @lilypond[fragment,quote,verbatim,relative=3]
572 This technique is useful for non-monophonic music. To enter music
573 with more voices or more staves, we also combine expressions in
574 parallel. Two voices that should play at the same time, are entered
575 as a simultaneous combination of two sequences. A `simultaneous'
576 music expression is formed by enclosing expressions in @code{<<} and
577 @code{>>}. In the following example, three sequences (all containing
578 two separate notes) are combined simultaneously
580 @lilypond[fragment,quote,verbatim,relative=3]
588 This mechanism is similar to mathematical
589 formulas: a big formula is created by composing small formulas. Such
590 formulas are called expressions, and their definition is recursive, so
591 you can make arbitrarily complex and large expressions. For example,
600 ((1 + 2) * 3) / (4 * 5)
604 @cindex music expression
605 This is a sequence of expressions, where each expression is contained
606 in the next (larger) one. The simplest expressions are numbers, and larger
607 ones are made by combining expressions with operators (like @samp{+},
608 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
609 music expressions can be nested arbitrarily deep, which is necessary
610 for complex music like polyphonic scores.
612 Note that this example only has one staff, whereas
613 the previous example had three separate staves. That is because this
614 example begins with a single note. To determine the number of staves,
615 LilyPond looks at the first element. If it is a single note, there is one
616 staff; if there is a simultaneous expression, there is more than one staff.
618 @lilypond[fragment,quote,verbatim,relative=2]
621 << { e f } { c <<b d>> } >>
625 Music files with deep nesting can be confusing to enter and
626 maintain. One convention that helps against this confusion is
627 indenting. When entering a file with deep nesting of braces and
628 angles, it is customary to use an indent that indicates the nesting
629 level. Formatting music like this eases reading and helps you insert
630 the right number of closing braces at the end of an expression. For
644 Some editors have special support for entering LilyPond, and can help
645 indenting source files. See @ref{Editor support} for more information.
650 To print more than one staff, each piece of music that makes up a
651 staff is marked by adding @code{\new Staff} before it. These
652 @code{Staff} elements are then combined in parallel with @code{<<} and
653 @code{>>}, as demonstrated here
655 @lilypond[quote,fragment,verbatim]
657 \new Staff { \clef treble c'' }
658 \new Staff { \clef bass c }
663 The command @code{\new} introduces a `notation context.' A notation
664 context is an environment in which musical events (like notes or
665 @code{\clef} commands) are interpreted. For simple pieces, such
666 notation contexts are created automatically. For more complex pieces, it
667 is best to mark contexts explicitly. This ensures that each fragment
670 There are several types of contexts. @code{Staff}, @code{Voice} and
671 @code{Score} handle melodic notation, while @code{Lyrics} sets lyric
672 texts and @code{ChordNames} prints chord names.
674 In terms of syntax, prepending @code{\new} to a music expression
675 creates a bigger music expression. In this way it resembles the minus
676 sign in mathematics. The formula @math{(4+5)} is an expression, so
677 @math{-(4+5)} is a bigger expression.
679 We can now typeset a melody with two staves
681 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
683 @lilypond[fragment,quote,verbatim,ragged-right]
700 For more information on contexts see the description in
701 @ref{Interpretation contexts}.
705 @node Adding articulation marks to notes
706 @section Adding articulation marks to notes
712 Common accents can be added to a note using a dash (@samp{-}) and a
715 @lilypond[fragment,quote,verbatim,relative=2]
716 c-. c-- c-> c-^ c-+ c-_
720 Similarly, fingering indications can be added to a note using a dash
721 (@samp{-}) and the digit to be printed
723 @lilypond[fragment,quote,verbatim,relative=2]
727 Articulations and fingerings are usually placed automatically, but you
728 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
729 also use multiple articulations on the same note. In most cases, however,
730 it is best to let LilyPond determine the articulation directions.
732 @lilypond[fragment,quote,verbatim,relative=2]
733 c_-^1 d^. f^4_2-> e^-_+
736 Dynamic signs are made by adding the markings (with a backslash) to
739 @lilypond[fragment,quote,verbatim,relative=2]
747 Crescendi and decrescendi are started with the commands @code{\<} and
748 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
749 (de)crescendo, or the command @code{\!} can be used
751 @lilypond[fragment,quote,verbatim,relative=2]
759 A @rglos{slur} is a curve drawn across many notes, and indicates
760 legato articulation. The starting note and ending note are marked
761 with @samp{(} and @samp{)}, respectively
763 @lilypond[fragment,quote,fragment,relative=2,verbatim]
764 d4( c16) cis( d e c cis d) e( d4)
767 @cindex slurs versus ties
768 A slur looks like a @rglos{tie}, but it has a different meaning. A
769 tie simply makes the first note sound longer, and can only be used on
770 pairs of notes with the same pitch. Slurs indicate the articulations
771 of notes, and can be used on larger groups of notes. Slurs and ties
774 @lilypond[quote,fragment,relative=2]
775 c2~( c8 fis fis4 ~ fis2 g2)
778 @cindex phrasing slurs
779 Slurs to indicate phrasing can be entered with @code{\(} and
780 @code{\)}, so you can have both legato slurs and phrasing slurs at the
781 same time. You cannot have simultaneous slurs or simultaneous
784 @lilypond[quote,fragment,relative=2,verbatim]
785 a8(\( ais b c) cis2 b'2 a4 cis, c\)
789 For more information on
794 see @ref{Fingering instructions}.
796 see @ref{Articulations}.
800 see @ref{Phrasing slurs}.
807 @node Combining notes into chords
808 @section Combining notes into chords
811 Chords can be made by surrounding pitches with angle brackets.
812 Angle brackets are the symbols @samp{<} and @samp{>}.
814 @lilypond[quote,relative=1,fragment,verbatim]
819 You can combine markings like beams and ties with chords. They must
820 be placed outside the angled brackets
822 @lilypond[quote,relative=1,fragment,verbatim]
823 r4 <c e g>8[ <c f a>]~ <c f a>
827 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
830 @lilypond[quote,relative=1,fragment]
832 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
836 @node Advanced rhythmic commands
837 @section Advanced rhythmic commands
841 @cindex partial measure
842 A pickup is entered with the keyword @code{\partial}. It
843 is followed by a duration: @code{\partial 4} is a quarter note upstep
844 and @code{\partial 8} an eighth note
846 @lilypond[quote,relative=2,verbatim,fragment]
853 Tuplets are made with the @code{\times} keyword. It takes two
854 arguments: a fraction and a piece of music. The duration of the piece
855 of music is multiplied by the fraction. Triplets make notes occupy
856 2/3 of their notated duration, so a triplet has 2/3 as its fraction
858 @lilypond[quote,relative=1,verbatim,fragment]
859 \times 2/3 { f8 g a }
865 Grace notes are also made by prefixing a music expression with the
866 keyword @code{\appoggiatura} or @code{\acciaccatura}
870 @lilypond[quote,relative=2,verbatim,fragment]
871 c4 \appoggiatura b16 c4
872 c4 \acciaccatura b16 c4
877 For more information on
882 see @ref{Grace notes},
886 see @ref{Partial measures}.
891 @node Commenting input files
892 @section Commenting input files
896 @cindex block comment
897 A comment is a remark for the human reader of the music input; it is
898 ignored while parsing, so it has no effect on the printed output.
899 There are two types of comments. The percent symbol @samp{%}
900 introduces a line comment; after @code{%} the rest of the line is
901 ignored. A block comment marks a whole section of music
902 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
903 ignored. The following fragment shows possible uses for comments
906 % notes for twinkle twinkle follow
910 This line, and the notes below
911 are ignored, since they are in a
918 @c TODO post-2.6 reorg
919 @c This is good info, but I wouldn't call it a comment. IMO it should
920 @c be moved somewhere else.
924 There is a special statement that is a kind of comment. The @code{\version}
925 statement marks for which version of LilyPond the file was written.
926 To mark a file for version 2.6.0, use
933 These annotations make future upgrades of LilyPond go more
934 smoothly. Changes in the syntax are handled with a special program,
935 @file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
936 @code{\version} to determine what rules to apply.
939 @node Printing lyrics
940 @section Printing lyrics
943 @c TODO: (c) status of the Queen fragment.
947 Lyrics are entered by separating each syllable with a space
955 @lilypond[quote,verbatim,fragment,ragged-right]
957 r4 c \times 2/3 { f g g }
958 \times 2/3 { g4( a2) }
962 The lyrics can be set to these notes, combining both with the
963 @code{\addlyrics} keyword
965 @lilypond[quote,verbatim,fragment,ragged-right]
968 r4 c \times 2/3 { f g g }
969 \times 2/3 { g4( a2) }
971 \addlyrics { I want to break free }
976 @cindex extender line
978 This melody ends on a @rglos{melisma}, a single syllable (`free')
979 sung to more than one note. This is indicated with an @emph{extender
980 line}. It is entered as two underscores, i.e.,
983 @{ I want to break free __ @}
986 @lilypond[fragment,quote,ragged-right]
989 r4 c \times 2/3 { f g g }
990 \times 2/3 { g4( a2) }
992 \addlyrics { I want to break free __ }
996 Similarly, hyphens between words can be entered as two dashes,
997 resulting in a centered hyphen between two syllables
1000 Twin -- kle twin -- kle
1003 @lilypond[fragment,quote,ragged-right]
1009 \addlyrics { Twin -- kle twin -- kle }
1013 More options, like putting multiple lines of lyrics below a melody are
1014 discussed in @ref{Vocal music}.
1018 @section A lead sheet
1024 @c TODO: revise this, \chords { } is shorter and more intuitive.
1026 In popular music, it is common to denote accompaniment with chord names.
1027 Such chords can be entered like notes,
1029 @lilypond[quote,verbatim,ragged-right]
1030 \chordmode { c2 f4. g8 }
1034 Now each pitch is read as the root of a chord instead of a note.
1035 This mode is switched on with @code{\chordmode}
1037 Other chords can be created by adding modifiers after a colon. The
1038 following example shows a few common modifiers
1040 @lilypond[quote,verbatim,ragged-right]
1041 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1044 For lead sheets, chords are not printed on staves, but as names on a
1045 line for themselves. This is achieved by using @code{\chords} instead
1046 of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
1047 but renders the notes in a @code{ChordNames} context, with the
1050 @lilypond[quote,verbatim,ragged-right]
1051 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1055 When put together, chord names, lyrics and a melody form
1056 a lead sheet, for example,
1060 \chords @{ @emph{chords} @}
1062 \addlyrics @{ @emph{the text} @}
1067 @lilypond[quote,ragged-right]
1069 \chords { r2 c:sus4 f }
1071 r4 c' \times 2/3 { f g g }
1072 \times 2/3 { g4( a2) }
1074 \addlyrics { I want to break free __ }
1078 A complete list of modifiers and other options for layout can be found
1083 @section Adding titles
1085 Bibliographic information is entered in a separate block, the
1086 @code{\header} block. The name of the piece, its composer, etc., are
1087 entered as an assignment, within @code{\header
1088 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1089 the top of the file. For example,
1094 composer = "Igor Stravinsky"
1101 When the file is processed, the title and composer are printed above
1102 the music. More information on titling can be found in @ref{Creating
1106 @node Single staff polyphony
1107 @section Single staff polyphony
1110 @cindex multiple voices
1111 @cindex voices, more -- on a staff
1112 When different melodic lines are combined on a single staff they are
1113 printed as polyphonic voices; each voice has its own stems, slurs and
1114 beams, and the top voice has the stems up, while the bottom voice has
1117 Entering such parts is done by entering each voice as a sequence (with
1118 @code{@{...@}}), and combining these simultaneously, separating the
1119 voices with @code{\\}
1121 @lilypond[quote,verbatim,relative=2,fragment]
1122 << { a4 g2 f4~ f4 } \\
1126 For polyphonic music typesetting, spacer rests can also be convenient;
1127 these are rests that do not print. They are useful for filling up
1128 voices that temporarily do not play. Here is the same example with a
1129 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1131 @lilypond[quote,verbatim,relative=2,fragment]
1132 << { a4 g2 f4~ f4 } \\
1137 Again, these expressions can be nested arbitrarily
1139 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1147 { <c g>1 ~ <c g>4 } \\
1153 More features of polyphonic typesetting are described in this manual
1154 in section @ref{Polyphony}.
1158 @section Piano staves
1160 @cindex staff switch, manual
1161 @cindex cross staff voice, manual
1162 Piano music is typeset in two staves connected by a brace. Printing
1163 such a staff is similar to the polyphonic example in @ref{More staves},
1166 << \new Staff @{ @dots{} @}
1167 \new Staff @{ @dots{} @} >>
1171 but now this entire expression must be interpreted as a
1175 \new PianoStaff << \new Staff @dots{} >>
1178 Here is a small example
1180 @lilypond[quote,verbatim,relative=1,fragment]
1182 \new Staff { \time 2/4 c4 c g' g }
1183 \new Staff { \clef bass c,, c' e c }
1187 More information on formatting piano music is given in @ref{Piano music}.
1190 @node Organizing larger pieces
1191 @section Organizing larger pieces
1193 When all of the elements discussed earlier are combined to produce
1194 larger files, the @code{\score} blocks get a lot bigger because the
1195 music expressions are longer, and, in the case of polyphonic music,
1196 more deeply nested. Such large expressions can become unwieldy.
1198 By using variables, also known as identifiers, it is possible to break
1199 up complex music expressions. An identifier is assigned as follows
1202 namedMusic = @{ @dots{} @}
1206 The contents of the music expression @code{namedMusic}, can be used
1207 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1208 In the next example, a two-note motive is repeated two times by using
1209 variable substitution
1211 @lilypond[quote,ragged-right,verbatim,nofragment]
1215 { \seufzer \seufzer }
1218 The name of an identifier should have alphabetic characters only: no
1219 numbers, underscores, or dashes. The assignment should be outside of
1222 It is possible to use variables for many other types of objects in the
1228 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1231 Depending on its contents, the identifier can be used in different
1232 places. The following example uses the above variables
1242 More information on the possible uses of identifiers is given in the
1243 technical manual, in @ref{Input variables and Scheme}.
1244 @c fixme: the ref is too technical.
1247 @node An orchestral part
1248 @section An orchestral part
1250 In orchestral music, all notes are printed twice. Once in a part for
1251 the musicians, and once in a full score for the conductor. Identifiers can
1252 be used to avoid double work. The music is entered once, and stored in
1253 a variable. The contents of that variable is then used to generate
1254 both the part and the full score.
1256 It is convenient to define the notes in a special file. For example,
1257 suppose that the file @file{horn-music.ly} contains the following part
1258 of a horn/@/bassoon duo
1261 hornNotes = \relative c @{
1268 Then, an individual part is made by putting the following in a file
1271 \include "horn-music.ly"
1273 instrument = "Horn in F"
1277 \transpose f c' \hornNotes
1284 \include "horn-music.ly"
1288 substitutes the contents of @file{horn-music.ly} at this position in
1289 the file, so @code{hornNotes} is defined afterwards. The command
1290 @code{\transpose f@tie{}c'} indicates that the argument, being
1291 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
1292 @samp{f} is denoted by notated @code{c'}, which corresponds with the
1293 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1294 in the following output
1296 @lilypond[quote,ragged-right]
1297 \transpose f c' \relative c {
1303 In ensemble pieces, one of the voices often does not play for many
1304 measures. This is denoted by a special rest, the multi-measure
1305 rest. It is entered with a capital @samp{R} followed by a duration
1306 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
1307 etc.). By multiplying the
1308 duration, longer rests can be constructed. For example, this rest
1309 takes 3@tie{}measures in 2/4 time
1315 When printing the part, multi-rests
1316 must be condensed. This is done by setting a run-time variable
1319 \set Score.skipBars = ##t
1323 This command sets the property @code{skipBars} in the
1324 @code{Score} context to true (@code{##t}). Prepending the rest and
1325 this option to the music above, leads to the following result
1327 @lilypond[quote,ragged-right]
1328 \transpose f c' \relative c {
1330 \set Score.skipBars = ##t
1337 The score is made by combining all of the music together. Assuming
1338 that the other voice is in @code{bassoonNotes} in the file
1339 @file{bassoon-music.ly}, a score is made with
1342 \include "bassoon-music.ly"
1343 \include "horn-music.ly"
1346 \new Staff \hornNotes
1347 \new Staff \bassoonNotes
1354 @lilypond[quote,ragged-right]
1362 r4 d,8 f | gis4 c | b bes |
1363 a8 e f4 | g d | gis f
1368 More in-depth information on preparing parts and scores can be found
1369 in the notation manual; see @ref{Orchestral music}.
1371 Setting run-time variables (`properties') is discussed in
1372 @ref{Changing context properties on the fly}.
1375 @node After the tutorial
1376 @section After the tutorial
1378 After finishing the tutorial, you should probably try writing a
1379 piece or two. Start with one of the @ref{Example templates} and
1380 add notes. If you need any notation that was not covered in the
1381 tutorial, look at the Notation Reference, starting with
1382 @ref{Basic notation}. If you want to write for an instrument
1383 ensemble which is not covered in the @ref{Example templates},
1384 take a look at @ref{Extending the templates}.
1386 Once you have written a few short pieces, read the rest of
1387 the Learning Manual (chapters 3-5). There's nothing wrong
1388 with reading them now, of course! However, the rest of the
1389 Learning Manual assumes that you are familiar with
1390 LilyPond input. You may wish to skim these chapters right
1391 now, and come back to them after you have more experience.