man fixes

[lilypond.git] / Documentation / user / tutorial.itely

@c -*-texinfo-*-

@c TODO: LilyPond LilyPond LilyPond

@node Tutorial
@chapter Tutorial

@html
<!--- @@WEB-TITLE@@=Tutorial --->
@end html

@menu
* First steps::                 Music language of LilyPond
* Cheat sheet::                 
* Running LilyPond::            Printing music
* The first real tune::         The first real tune
* Lyrics and chords::           Lyrics and chords
* More movements ::             Joining separate pieces of music
* A piano excerpt::             Piano music
* Fine tuning a piece::         
* An orchestral score::         Conductor's score and individual parts
* Integrating text and music::  Integrating text and music
* End of tutorial::             The end
@end menu

Operating lilypond is done through text files: to print a piece of
music, you enter the music in a file.  When you run lilypond, that
file is read, and after some computations, the program produces a file
containing the sheet music that you can print or view.

This tutorial starts with a small introduction to the LilyPond music
language.  After this first contact, we will show you how to run
LilyPond to produce printed output; you should then be able to create
your first sheets of music. The tutorial continues with more and more
complex examples.


@c title?

@node First steps
@section First steps

@c @node Music language of LilyPond
@c @section Music language of LilyPond

In this section, we show how to make small, very simple pieces of
music in LilyPond.  If you have not seen LilyPond input files before,
this section is for you. The contents of this section are summarized
in the Cheat Sheet (See @ref{Cheat sheet}).

You get a simple note by typing its note name, from @code{a} through
@code{g}. So if you enter
@quotation
@example
c d e f g a b
@end example
@end quotation
then the result looks like this:
@quotation
@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\transpose c'' { c d e f g a b }
@end lilypond
@end quotation
@separate

We continue showing  LilyPond input like we did previously: first a
snippet of input, then the resulting output.

The length of a note is specified by adding a number, ``@code{1}'' for a
whole note, ``@code{2}'' for a half note, and so on:

@quotation
@example
a1 a2 a4 a16 a32
@end example

@c missing clef seems to raise more questions than actual pitch of notes,
@c as these are snippets anyway
@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
%\property Staff.Clef = \turnOff
\transpose c'' { a1 a2 a4 a16 a32 }
s16_" "
@end lilypond
@end quotation
@separate

If you don't specify a duration, the previous one is used: 
@quotation
@example
a a a2 a
@end example

@c missing clef seems to raise more questions than actual pitch of notes,
@c as these are snippets anyway
@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
%\property Staff.Clef = \turnOff
\transpose c'' { a a a2 a }
s16_" "
@end lilypond
@end quotation
@separate

A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
(@texiflat{}) by adding ``@code{es}'':

@quotation
@example
cis1 ees fisis aeses
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\transpose c'' { cis1 ees fisis aeses }
s16_" "
@end lilypond
@end quotation
@separate

Add a dot ``@code{.}'' after the duration to get a dotted note:
@quotation
@example
a2. a4 a8. a16
@end example

@c missing clef seems to raise more questions than actual pitch of notes,
@c as these are snippets anyway
@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature \set #'transparent = ##t
%\property Staff.Clef = \turnOff
\transpose c'' { a2. a4 a8. a16 }
s16_" "
@end lilypond
@end quotation
@separate

The meter (or time signature) can be set with the @code{\time} command:

@quotation
@example
\time 3/4
\time 6/8
\time 4/4
@end example

@c a clef here may lead to confusion
@lilypond[fragment]
\property Staff.Clef \set #'transparent = ##t 
\time 3/4
s4_" "
\time 6/8
s4_" "
\time 4/4
s16_" "
@end lilypond
@end quotation
@separate

The clef can be set using the ``@code{\clef}'' command:

@c what is more common name treble or violin?
@c in Dutch, its violin.
@quotation
@example
\clef violin
\clef bass
\clef alto
\clef tenor
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\clef violin
s4_" "
\clef bass
s4_" "
\clef alto
s4_" "
\clef tenor
s16_" "
@end lilypond
@end quotation
@separate

From these commands and notes, a piece of music can be formed.  A piece
of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
LilyPond then knows that music follows (and not lyrics, for example):

@quotation
@example
\notes @{
   \time 3/4
   \clef bass
   c2 e4 g2.
   f4 e d c2.
@}
@end example
@end quotation
@separate

At this point, the piece of music is ready to be printed.  This is done
by combining the music with a printing command.

The printing command is the so-called ``@code{\paper}'' block.  You
will see later that the \paper block is necessary to customize all
kinds of printing specifics.  The music and the \paper block are
combined by enclosing them in ``@code{\score @{ ... @}}''.  This is
what a full LilyPond source file looks like:

@quotation
@example
\score @{
  \notes @{
     \time 3/4
     \clef bass
     c2 e4 g2.
     f4 e d c2.
  @}
  \paper @{ @}
@}
@end example

@lilypond
\score {
  \notes {
     \time 3/4
     \clef bass
     c2 e4 g2.
     f4 e d c2.
  }
  \paper { linewidth = 60 * \staffspace }
}
@end lilypond
@end quotation
@separate


We continue with the introduction of the remaining musical constructs.

@c maybe legend here?

Normal rests are entered just like notes with the name ``@code{r}'':

@quotation
@example
r2 r4 r8 r16
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.Clef = \turnOff
\property Staff.TimeSignature = \turnOff
r2 r4 r8 r16
s16_" "
@end lilypond
@end quotation
@separate

@c Tim wants to move this quotes example just before the: quotes-don't-work
@c score, but we'd need to remove quotes from the other two (key and
@c tie) examples...

@c better to have this just before the `octaves are bad' snipped
@c but we'd need to remove the ', from \key and tie 
To raise a note by an octave, add a high quote @code{'} (apostrophe) to
the note name, to lower a note one octave, add a ``low quote'' @code{,}
(a comma).  The central C is @code{c'}:

@quotation
@example
c'4 c'' c''' \clef bass c c,
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
c'4 c'' c''' \clef bass c c,
@end lilypond
@end quotation
@separate

A tie is created by entering a tilde ``@code{~}'' between the notes to
be tied.  A tie between two notes means that the second note must not be
played separately, but just makes the first note sound longer:

@quotation
@lilypond[fragment,verbatim]
g'4 ~ g' a'2 ~ a'4
@end lilypond
@end quotation
@separate

The key signature is set with the command ``@code{\key}'':
@quotation
@example
\key d \major
g'1
\key c \minor
g'
@end example

@lilypond[fragment]
\property Staff.TimeSignature = \turnOff
\key d \major
g'1
\key c \minor
g'
@end lilypond
@end quotation


@c bit on the long/complex/scary taste
@c cheating a bit: two lines makes for a friendlier look
This example shows notes, ties, octave marks, and rests in action.
Don't worry about all the quotes.

@quotation
@example
\score @{
  \notes @{
    \time 4/4
    \clef violin
    \key d \minor
    r4 r8 d''8 cis''4 e''
    d''8 a'4. ~ a' b'8
    cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
    cis''2 r2
  @}
  \paper @{ @}
@}
@end example

@lilypond
\score {
  \notes {
    \time 4/4
    \clef violin
    \key d \minor
    r4 r8 d''8 cis''4 e''
    d''8 a'4. ~ a' b'8
    cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
    cis''2 r2
  }
  \paper { linewidth = 50*\staffspace }
}
@end lilypond
@end quotation

@c accidentals...
There are some interesting points to note in this example.  Firstly,
accidentals (sharps and flats) don't have to be marked explicitly: you
just enter the note name, and LilyPond determines whether or not to
print an accidental.  Secondly, bar lines and beams are drawn
automatically.  Thirdly, LilyPond calculates line breaks for you; it
doesn't matter where you make new lines in the source file.

The example also indicates that a piece of music written in a high
register needs lots of quotes.  This makes the input less readable,
and is therefore also a potential source of errors.

@separate

The solution is to use ``relative octave'' mode.  In practice, most
music is entered using this mode.

To use relative mode, add @code{\relative} before the piece of music.
You must also give a note from which relative starts, in this case
@code{c''}.

@c In relative octave mode, quotes are used to mark large jumps in the
@c melody.  Without any quotes or commas, the interval between a note and
@c its predecessor is assumed to be a fourth or less.  Quotes and commas
@c add octaves in up and down direction.

If you type no octaviation quotes, relative mode chooses the note that
is closest to the previous one, which is often just the one you need.
@c don't use commas or quotes in this sentence
For example: @code{c f} goes up; @code{c g} goes down:

@quotation
@example
\relative c'' @{
  c f c g c
@}
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\relative c'' {
  c f c g c
}
@end lilypond
@end quotation
@separate

@c needed better, maybe even redundant explanation
@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
You can make a large interval by adding octaviation quotes.  Note that
quotes or commas do not determine the absolute height of a note;
the height of a note is relative to the previous one.
@c don't use commas or quotes in this sentence
For example: @code{c f,} goes down; @code{f, f} are both the same;
@code{c c'} are the same; and @code{c g'} goes up:

@quotation
@example
\relative c'' @{
  c f, f c' c g' c,
@}
@end example

@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\relative c'' {
  c f, f c' c g' c,
}
@end lilypond
@end quotation
@separate

A slur is drawn across many notes, and indicates bound articulation
(legato).  The starting note and ending note are marked with a
``@code{(}'' and a ``@code{)}'' respectively:

@quotation
@lilypond[fragment,relative 1, verbatim]
d4( )c16( cis d e c cis d )e( )d4
@end lilypond
@end quotation
@separate

If you need two slurs at the same time (one for articulation, one for
phrasing), you can also make a phrasing slur with @code{\(} and
@code{\)}.

@c lousy example
@quotation
@lilypond[fragment,relative 1, verbatim]
a8(\( ais b ) c cis2 b'2 a4 cis, \) c
@end lilypond
@end quotation
@separate

Beams are drawn automatically, but if you don't like the choices, you
can enter beams by hand. Surround the notes to be grouped with @code{[}
and @code{]}:
@quotation
@lilypond[fragment,relative 1, verbatim]
[a8 ais] [d es r d]
@end lilypond
@end quotation
@separate

To print more than one staff, each piece of music that makes up a staff
is marked by adding @code{\context Staff} before it.  These
@code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
demonstrated here:

@quotation
@lilypond[fragment,verbatim]
<
  \context Staff = staffA { \clef violin c'' }
  \context Staff = staffB { \clef bass c }
>
@end lilypond
@end quotation

In this example, @code{staffA} and @code{staffB} are names that are
given to the staves.  For now, it doesn't matter what names you give, as
long as each staff has a unique name.

@separate

We can typeset a melody with two staves now:

@quotation
@lilypond[verbatim]
\score {
  \notes 
  < \context Staff = staffA {
      \time 3/4
      \clef violin
      \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }  
    }
    \context Staff = staffB {
       \clef bass
       c2 e4  g2.
       f4 e d c2.
    }
  >
  \paper {} 
}
@end lilypond
@end quotation

Notice that the time signature is specified in one melody staff only
(the top staff), but is printed on both.  LilyPond knows that the time
signature should be the same for all staves.

@separate

Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
@quotation
@lilypond[verbatim,relative 1]
c-. c-- c->
@end lilypond
@end quotation
@separate

Dynamic signs are made by adding the markings to the note:
@quotation
@lilypond[verbatim,relative 1]
c-\ff c-\mf
@end lilypond
@end quotation
@separate

Crescendi are started with the commands @code{\<}  and @code{\>}. The
command @code{\!} finishes a crescendo on the following note.
@quotation
@lilypond[verbatim,relative 1]
c2\<  \!c2-\ff  \>c2  \!c2
@end lilypond
@end quotation
@separate

Chords can be made by surrounding notes with @code{<} and @code{>}:
@quotation
@lilypond[relative 0, fragment,verbatim]
r4 <c e g> <c f a> 
@end lilypond
@end quotation
@separate

@ignore
@c te diepzinnig?
@c hmm, te losjes, iig
In general, @code{ < @var{stuff} > } is used when @var{stuff} all
happens at the same time, like in chords, or (like in the two-staff
example above) in a bunch of stacked staves.
@end ignore

Of course, you can combine beams and ties with chords.  Notice that
beam and tie markings must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
@end lilypond
@end quotation

When you want to combine chords with slurs and dynamics, technical
detail crops up: you have type these commands next to the notes, which
means that they have to be inside the @code{< >}:

@quotation
@lilypond[relative 0, fragment,verbatim]
r4 <c8 e g \> ( > <c e g> <c e g>  < ) \! c8 f a>
@end lilypond
@end quotation
@separate

There is one golden rule that you should keep in mind when writing
LilyPond input:
@quotation
@strong{DO NOT START A PIECE WITH A CHORD}
@end quotation
Of course, it is a allowed, but the result might not be what you expect:
@quotation
@lilypond[verbatim,singleline]
\score { \notes <c'2 e'2> }
@end lilypond
@end quotation
@separate

Of course, it is possible to typeset pieces that start with a chord,
but you must make explicit that the notes of chord are to be put on
the same staff, in the same voice.  This is done by specifying
@code{\context Staff} for the notes:

@quotation
@lilypond[verbatim,singleline]
\score { \notes \context Voice <c'2 e'2> }
@end lilypond
@end quotation
@separate




@ignore
[TODO add some more here

* lyrics, chords (?)

* \header

* identifiers?

]
@end ignore

This is the end of the simple tutorial. You know the basic ingredients
of a music file, so this is the right moment to try your at hand at
doing it yourself: try to type some simple examples, and experiment a
little.

When you're comfortable with the basics, then you might want to read the
rest of this chapter. It also a manual in tutorial-style, but it is much
more in-depth. It will also be very intimidating if you're not familiar
with the basics.  It deals with some of the more advanced features of
LilyPond. Topics include lyrics, chords, orchestral scores and parts,
fine tuning output, polyphonic music, and integrating text and music.


@c refer to this section
@node Cheat sheet
@section Cheat sheet


@c need texinfo-4.0a or later for this


@c both Tim and my father came independently with a request for a
@c `legend' like this.

@c what should be in it?



@multitable @columnfractions .20 .20 .30  .20

@item @b{Syntax}
@tab @b{Description}
@tab @b{Example}
@tab @b{Grob name}

@item @code{1 2 8 16}
@tab durations 
@tab
@lilypond[fragment, relative 1]
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c1 c2 c8 c16
@end lilypond

@item @code{. ..}
@tab augmentation dots
@tab
@lilypond[fragment, relative 1]
\property Staff.TimeSignature = \turnOff
\property Staff.Clef = \turnOff
c4. c4..  
@end lilypond
@tab @internalsref{Dot}, @internalsref{DotColumn}

@item @code{c d e f g a b }
@tab scale 
@tab
@lilypond[fragment, relative 1]
\property Staff.TimeSignature = \turnOff
\property Staff.Clef = \turnOff
c d e f g a b
@end lilypond
@tab @internalsref{NoteHead}

@item @code{es is}
@tab flat/sharp
@tab
@lilypond[fragment, relative 2]
\property Staff.TimeSignature = \turnOff
\property Staff.Clef = \turnOff
bes4 cis4  
@end lilypond
@tab @internalsref{Accidental}

@item @code{-. -^ ->}
@tab articulations (1)
@tab
@lilypond[fragment, relative 1]
\property Staff.TimeSignature = \turnOff
\property Staff.Clef = \turnOff
c-. c-^ c->
@end lilypond
@tab @internalsref{Script}

@item @code{-\trill -\fermata}
@tab articulations (2)
@tab
@lilypond[fragment, relative 1]
\property Staff.TimeSignature = \turnOff
\property Staff.Clef = \turnOff
c-\trill c-\fermata 
@end lilypond
@tab @internalsref{Script}

@item @code{\time 3/4 \time 4/4 }
@tab time signature
@tab
@lilypond[fragment]
\property Staff.Clef \set #'transparent = ##t 
\time 3/4
s4_" "
\time 4/4
s16_" "
@end lilypond
@tab @internalsref{TimeSignature}

@item @code{\clef treble \clef bass }
@tab clefs
@tab
@lilypond[fragment]
\property Staff.TimeSignature \set #'transparent = ##t 
\clef treble
s4_" "
\clef bass
s4_" "
@end lilypond
@tab @internalsref{Clef}

@item @code{\sfz \mf }
@tab dynamics
@tab
@lilypond[fragment,relative 1]
\property Staff.TimeSignature = \turnOff
\property Staff.Clef = \turnOff
c\sfz c\mf
@end lilypond
@tab @internalsref{DynamicText}

@item @code{[ ]}
@tab beam
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
[a8 b]
@end lilypond
@tab @internalsref{Beam}

@item @code{~}
@tab tie
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
d ~ d
@end lilypond
@tab @internalsref{Tie} 

@item @code{( )}
@tab slur
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c( d )e
@end lilypond
@tab @internalsref{Slur}

@item @code{'}
@tab raise octave
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
a a'
@end lilypond
@tab

@item @code{,}
@tab lower octave
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c c,
@end lilypond
@tab

@item @code{< >}
@tab chord
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
\context Voice { <a c> }
@end lilypond
@tab 

@item @code{\< \!}
@tab crescendo
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
a\< a \!a
@end lilypond
@tab @internalsref{Hairpin}

@item @code{\> \!}
@tab decrescendo
@tab
@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
a\> a \!a
@end lilypond
@tab @internalsref{Hairpin}

@end multitable




@node Running LilyPond
@section Running LilyPond

In the last section, we explained what kind of things you could enter
in a lilypond file.  In this section we explain how to run LilyPond,
and how view or print the output.  If you have not used LilyPond
before, want to test your setup of LilyPond, or try to run an example
file yourself, then read this section.  The instructions that follow
are for running LilyPond on Unix-like systems.  Some additional
instructions for running LilyPond on Windows are given at the end of
this section.

You begin with opening a terminal window, and start up a text editor.
For example, open an xterm and execute @code{joe}.  In your text editor,
enter the following input, and save the file as @file{test.ly}:

@quotation
@example
\score @{
  \notes @{ c'4 e' g' @}
@} 
@end example
@end quotation

@cindex ly2dvi

@c now this is weird, running ly2dvi to run LilyPond
@c (therefore name change proposal) 

LilyPond is the program that computes the sheet music. All other
things, such as adding titles, page breaking and other page layout,
are done by a small wrapper program called
@code{ly2dvi}. @code{ly2dvi} calls lilypond to render the music, and
then adds the titling and page layout instructions.  To process
@file{test.ly} with ly2dvi, proceed as follows:

@quotation
@example
ly2dvi -P test.ly
@end example
@end quotation

You will see the following on your screen:

@quotation
@example
GNU LilyPond 1.4.0
Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
 @emph{ ... more interesting stuff ... }
PS output to `test.ps'...
DVI output to `test.dvi'...
@end example
@end quotation
@cindex DVI file
@cindex Viewing music
@cindex xdvi

The results of the ly2dvi run are two files, @file{test.dvi} and
@file{test.ps}.  The PS file (@file{test.ps}) is the one you can print.
You can view the PS file using the program ghostview.  If a version of
ghostview is installed on your system, one of these commands will
produce a window with some music notation on your screen:
@c eeek
@quotation
@example
  gv test.ps
  ghostview test.ps
  ggv test.ps
  kghostview test.ps
@end example
@end quotation
If you are satisfied with the looks of the music displayed on your
screen, you can print the PS file by clicking File/Print inside
ghostview.

The DVI file (@file{test.dvi}) contains the same sheet music in a
different format. DVI files are more easily processed by the computer,
so viewing them usually is quicker.  Execute @code{xdvi test.dvi}
to view the DVI file.

If your DVI viewer does not have a "Print" button, you can print the
file by executing @code{lpr test.ps}.

@c volgende alinea schrappen?  

If you can't get the examples to print, then you should look into
installing and configuring ghostscript.  Refer to GhostScript's website
at @uref{http://www.ghostscript.com}.

@cindex GhostScript
@cindex @code{lpr}
@cindex Printing output
@cindex PostScript

@unnumberedsubsec Windows users
Windows users start the terminal by clicking on the LilyPond or Cygwin
icon.  Notepad is sufficient for editing the LilyPond file.  Viewing
the PS file can be done with:
@quotation
@example
@code{gsview32 test.ps}
@end example
@end quotation
You can also print from the command line by executing:
@quotation
@example
@code{gsview32 /s test.ps}
@end example
@end quotation


@node The first real tune
@section The first real tune


The rest of this tutorial will demonstrate how to use Lilypond by
presenting examples of input along with resulting output.  We will use
English terms for notation.  In case you are not familiar with those,
you may consult the glossary that is distributed with LilyPond.

The examples discussed are included in the distribution, in the
subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
they are relative to the top directory of the source package. }

To demonstrate what LilyPond input looks like, we start off with a
full-fledged, yet simple example. It is a convoluted version
of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
is included in the distribution as  @file{minuet.ly}.
@cindex Bach, Johann Sebastian 

@lilypond[verbatim]
% all text after a percent sign is a comment
% and is ignored by LilyPond
\include "paper16.ly"
\score {
    \notes                        
    \relative c'' \sequential {
            \time 3/4                
            \key g \major

        \repeat "volta" 2 {
            d4 g,8 a b c d4 g, g |
            e'4 c8 d e fis g4 g, g |
            c4 d8( )c b a( )b4 c8 b a g |
            a4 [b8 a] [g fis] g2.  |
        }

        b'4 g8 a b g
        a4 d,8 e fis d |
        g4 e8 fis g d cis4 b8 cis a4 |
        a8-. b-. cis-. d-. e-. fis-.
        g4 fis e |
        fis a,  r8 cis8
        d2.-\fermata
        \bar "|."
    }
    \paper {
       % standard settings are too big and wide for a book
       indent = 1.0 \cm
       linewidth = 15.0 \cm
   }
}
@end lilypond

We will analyse the input, line by line.
@separate
@example
        % all text after a percent sign is a comment
        % and is ignored by LilyPond
@end example 
Percent signs introduce comments: everything after a percent sign is
ignored. You can use this If you want to write down mental notes to
yourself in a file, then you can enter preceded with a @code{%} sign.
These lines are called comments. If you have long winded mental notes,
you can make comments that span several lines by enclosing text in
@code{%@{} and @code{%@}}.
@cindex comment
@cindex block comment
@cindex line comment
@separate
@example 

        \include "paper16.ly"
 
@end example
@cindex @code{\include}
@cindex point, printer's
@cindex staff size, setting
@cindex font size, setting

By default, LilyPond will typeset the music in a size such that each
staff is 20 point (0.7 cm, or 0.27 inch) high.  We want smaller output
(16 point staff height), so we must import the settings for that size,
which is done here.
@separate
@example 

        \score @{
 
@end example 
Music is printed by combining a piece of music with directions for
outputting it.  This combination is formed in the @code{\score} block.
@separate
@example 

        \notes                
 
@end example 
Prepare LilyPond for accepting notes.
@cindex octaves, choosing
@cindex pitch
@separate
@example 

        \relative c''
 
@end example
@cindex relative
@c removed duplicate introduction to octave marks /MB
@c Shorten even more?

@c As we will see, each note is described by its note name, duration,
@c octave and possibly a chromatic alteration.  In this setup, the octave
@c is indicated by using high quotes (@code{'}) and ``lowered quotes''
@c (commas: @code{,}).  The central C is denoted by @code{c'}.  The C one
@c octave higher is @code{c''}.  One and two octaves below the central C is
@c denoted by @code{c} and @code{c,} respectively.

Even though a piece of music often spans a range of several octaves,
often melodies move in small intervals. Such melodies can be entered
easily using @code{\relative}.  In this ``relative octave mode'',
octaves of notes without quotes are chosen such that a note is as
close as possible (graphically, on the staff) to the preceding note.
If you add a high-quote an extra octave is added.  A lowered quote (a
comma) will subtract an extra octave.

Absolute starting pitch for this relative mode is given as the
argument to @code{\relative}. In this case it is the @code{c''}, one
octave above central C.
 
@separate
@example 

        \sequential @{
 
@end example 
What follows is sequential music, i.e.,
@cindex sequential music
notes that are to be played and printed after each other.
@separate
@example 

        \time 3/4
 
@end example
@cindex time signature, setting
@cindex @code{\time}
The @code{\time} command sets (or changes) the time signature of the
current piece: a 3/4 sign is printed.  This setting is also used to
generate bar lines at the right spots.
@separate
@example 

        \key g \major
 
@end example
@cindex key signature, setting
@cindex @code{\key}
Set (or change) the current key signature to G-major.  Although in this
example, the @code{\key} command happened to be entered after the
@code{\time} command, in the output the time signature will be printed
after the key signature; LilyPond knows about music typesetting
conventions.
@separate
@example 

        \repeat "volta" 2
 
@end example 
The following piece of music is played twice.  The first argument
indicates the type of repeat.  In this case, @code{"volta"} means that
prima volta/secunda volta brackets are used for the alternative
endings---if there were any.

A special notation for repeats allows you to get correct repeats in
MIDI output. However, some extra trickery is needed to get this
working, See @ref{Repeats and MIDI}.  
@separate
@example 

        @{
 
@end example 
The subject of the repeat is again sequential music.  Since
@code{\sequential} is such a common construct, a shorthand is provided:
just leave off @code{\sequential}, and the result is the same.
@separate
@example 

        d4 g,8
 
@end example 
Two notes.  The first note is a quarter note with relative pitch
@code{d}.  The relative music was started with a @code{c''}, so the real
pitch of this note is @code{d''}.  The duration of a note is designated
by a number; the @code{4} here represents a quarter note.

The second note is an eight note with relative pitch @code{g,}.  The
pitch is taken relative to the previous @code{d''}, making this
note have real pitch @code{g'}.  The @code{8} represents an eight note.
@separate
@example 

        a b
 
@end example 
Two more notes, with pitch @code{a} and @code{b}.  Because their
duration is the same as the @code{g,8}, there is no need to enter the
duration, but you may enter it anyway, i.e., @code{a8 b8}
@separate
@example 

        d4 g, g |
 
@end example
@cindex bar check
@cindex @code{|}
@cindex errors, finding 
Three more notes.  The @code{|} character is a ``bar check''.  LilyPond
will verify that bar checks are found at the start of a measure.  This can
help you track down typing errors.

@cindex alteration, chromatic
@cindex chromatic alteration
@separate
@example 

        c8 d e fis

@end example 
So far, no notes were chromatically altered.  Here is the first one
that is: @code{fis}.  LilyPond uses Dutch note names, and ``Fis'' is
the name for ``F sharp''.  There is no sharp sign in the output. The
program keeps track of key signatures, and will only print accidentals
if they are needed.  If you can not get used to Dutch names, then
there also are names available in several other languages.


For groups of eighth notes and shorter, LilyPond can determine how the
notes should form a beam.  In this case, the 4 eights are automatically
printed as a beam.
@separate
@example 

        c4 d8( )c b a( )b4 c8 b a g |
 
@end example 
The beginning and ending notes of a slur are marked with parentheses,
@code{(} and @code{)} for start and end respectively.  The line above
indicates two slurs.  These slur markers (parentheses) are entered
between the slurred notes.
@separate
@example 

        a4 [b8 a] [g fis] 
 
@end example 
Automatic beaming can be overridden by inserting beam marks, @code{[}
and @code{]}.  These beam markers (brackets) are put around the notes
you want beamed.
@separate
@example 

        g2.  |
 
@end example
@cindex augmentation dot
@cindex dotted note
A period adds a dot to the note.
@separate
@example 

        @}
 
@end example 
The end of the sequential music to be repeated.  LilyPond will typeset a
repeat bar.
@separate
@example 

        cis'4 b8 cis a4 |
 
@end example 
Accidentals are printed whenever necessary: the first C sharp of the bar
will be printed with an accidental, the second one without.
@separate
@example 

        a8-. b-. cis-. d-. e-. fis-.
 
@end example
@cindex articulation
Staccato signs are entered as a dash and a period. Some other
articulations may also be entered in this short form.
@separate
@example 

        fis a, r8 cis8
 
@end example 
 
Rests are denoted by the special note name @code{r}.  
@separate
@example 

        d2.-\fermata
 
@end example 
All articulations have a verbose form, like @code{\fermata}.  The
command @code{\fermata} is not part of the core of the language, but it
is a shorthand for a more complicated description of a fermata symbol.
@code{\fermata} names that description and is therefore called an
identifier.
@cindex identifier
@cindex @code{\fermata}
@separate
@example
        \bar "|."
        @}
@end example 
Here the music ends.  LilyPond does not automatically typeset an end
bar, we must explicitly request one, using @code{"|."}.

@separate
@example 

        \paper @{
                % standard settings are too big and wide for a book
                indent = 1.0\cm
                linewidth = 15.0\cm
        @}
 
@end example 
The @code{\paper} block specifies how entered music should be converted
to notation output.  Most of the details of the conversion (font sizes,
dimensions, etc.) have been taken care of, but to fit the output in this
document, it has to be narrower.  We do this by setting the line width
to 14 centimeters (approximately 5.5 inches).
@separate
@example 

        @}
 
@end example 
The last brace ends the @code{\score} block.




@node Lyrics and chords
@section Lyrics and chords

In this section we show how to typeset a song. This file is
included as @file{flowing.ly}.

@example 
\header @{
        title = "The river is flowing"
        composer = "Traditional"
@}
\include "paper16.ly"
melody = \notes \relative c' @{
        \partial 8
        \key c \minor
        g8 |
        c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
        c4 c8 d [es () d] c4 | d4 es8 d c4.
        \bar "|."
@}

text = \lyrics @{
        The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
        ri -- ver is flo -- wing down to the sea.
@}

accompaniment =\chords @{
        r8
        c2:3- f:3-.7 d:min es4 c8:min r8
        c2:min f:min7 g:7^3.5 c:min @}

\score @{
        \simultaneous @{
          %\accompaniment
          \context ChordNames \accompaniment

          \addlyrics
            \context Staff = mel @{        
              \property Staff.autoBeaming = ##f
              \property Staff.automaticMelismata = ##t
              \melody 
            @}
            \context Lyrics \text
        @}
        \midi  @{ \tempo 4=72 @}
        \paper @{ linewidth = 10.0\cm @}
@} 
@end example 


The result would look this.@footnote{The titling and font size shown
may differ, since the titling in this document is not generated by
@code{ly2dvi}.}

@center @strong{The river is flowing}
@center Traditional 

@lilypond[center]
\header {
        title = "The river is flowing"
        composer = "Traditional"
}
\include "paper16.ly"
melody = \notes \relative c' {
        \partial 8
        \key c \minor
        g8 |
        c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
        c4 c8 d [es () d] c4 | d4 es8 d c4.
        \bar "|."
}

text = \lyrics {
        The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
        ri -- ver is flo -- wing down to the sea.
}

accompaniment =\chords {
        r8
        c2:3- f:3-.7 d:min es4 c8:min r8
        c2:min f:min7 g:7^3.5 c:min }

\score {
        \simultaneous {
          %\accompaniment
          \context ChordNames \accompaniment

          \addlyrics
            \context Staff = mel {
              \property Staff.autoBeaming = ##f
              \property Staff.automaticMelismata = ##t
              \melody 
            }
            \context Lyrics \text
        }
        \midi  { \tempo 4=72 }
        \paper { linewidth = 10.0\cm }
}
@end lilypond

Again, we will dissect the file line by line.
@separate
@example 

        \header @{
 
@end example
@cindex @code{\header}
Information about the music you are about to typeset goes into a
@code{\header} block.  The information in this block is not used by
LilyPond, but it is passed into the output.  @file{ly2dvi} uses this
information to print titles above the music.
@separate
@example 

        title = "The river is flowing"
        composer = "Traditional (?)"
@end example
@cindex assignments
@cindex identifier assignment
the @code{\header} block contains assignments.  In each assignment, a
variable is set to a value. 
@separate
@example 

        \include "paper16.ly"
 
@end example
Smaller size for inclusion in a book.
@separate
@example 

        melody = \notes \relative c' @{
 
@end example 
The structure of the file will be the same as the previous one, a
@code{\score} block with music in it.  To keep things readable, we will
give names to the different parts of music, and use the names to
construct the music within the score block.

@separate
@example 
        \partial 8
@end example 

@cindex @code{\partial}
@cindex anacrusis
The piece starts with an anacrusis of one eighth.
@separate
@example
        \key c \minor
@end example
The key is C minor: we have three flats.

@separate
@example 

        c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
        c4 c8 d [es () d] c4 | d4 es8 d c4.
        \bar "|."
 
@end example 

@cindex manual beaming
@cindex automatic beaming, turning off
We use explicit beaming.  Since this is a song,  we turn automatic
beams off, and use explicit beaming where needed.
@separate
@example 

        @}
 
@end example 
This ends the definition of @code{melody}.  

@separate
@example 

        text = \lyrics @{
 
@end example
@cindex lyrics
@cindex identifier assignment
@cindex syllables, entering
Another identifier assignment.  This one is for the lyrics. 
Lyrics are formed by syllables that have duration, and not by
notes. To make LilyPond parse words as syllables,  switch it  into
lyrics mode with @code{\lyrics}.  Again, the brace after @code{\lyrics}
is a shorthand for @code{\sequential @{}.
@separate
@example 

  The ri -- ver is flo- __ wing,  flo -- wing and gro -- wing, the
  ri- ver is flo- __ wing down to the sea.
@}
 
@end example
@cindex extenders, lyric
@cindex hyphens, lyric 
The syllables  themselves are  separated by spaces.  You can get syllable
extenders by entering @code{__}, and centered hyphens with
@code{-}@code{-}.  We don't enter durations for  the syllables. They
are  aligned with the melody later.
@separate
@example 

        accompaniment =\chords @{
 
@end example
@cindex chords
@cindex mode, chords
We'll put chords over the music. To enter them, there is a special mode
analogous to @code{\lyrics} and @code{\notes} mode, where you can give
the names of the chords you want, instead of listing the notes
comprising the chord.
@separate
@example 

        r8
 
@end example 
There is no accompaniment during the anacrusis.
@separate
@example 

        c2:3- 
 
@end example

@cindex tonic
@cindex chord modifier
@cindex modifier, chord 
This is a c minor chord, lasting half a note.  Chord are entered by
entering the tonic. Then notes can be changed. In this case, a small third
is used. The cod for this is @code{3-}. 

@separate
@example
f:3-.7
@end example
Similarly, @code{7} modifies (adds) a seventh, which is small by
default to create the @code{f a c es} chord.  Multiple modifiers must be
separated by dots.
@separate
@example 

        d:min es4 c8:min r8
 
@end example
Some modifiers have predefined names, e.g. @code{min} is  the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.
@separate
@example 

        c2:min f:min7 g:7^3.5 c:min @}
 
@end example
@cindex named modifier

A named modifier @code{min} and a normal modifier @code{7} do not have
to be separated by a dot.  Tones from a chord are removed with chord
subtractions.  Subtractions are started with a caret, and they are
also separated by dots.  In this example, @code{g:7^3.5} produces a
minor seventh.  The brace ends the sequential music.
@separate
@example 

        \score @{
                \simultaneous @{
 
@end example 
We assemble the music in the @code{\score} block.  Melody, lyrics and
accompaniment have to sound at the same time, so they should be
@code{\simultaneous}.
@cindex @code{\simultaneous}
@separate
@example 

        %\accompaniment
 
@end example 
Chord mode generates notes grouped in @code{\simultaneous} music.  If
you remove the comment sign, you can see the chords in normal
notation: they will be printed as note heads on a separate
staff. To print them as chords names, they have to be interpreted as
being chords, not notes. This is done with the following command:  
@separate
@example 

        \context ChordNames \accompaniment
 
@end example
@cindex context
@cindex interpretation context
@cindex notation context


Normally, the notes that you enter are transformed into note heads.
Note heads alone make no sense, they need surrounding information: a key
signature, a clef, staff lines, etc.  They need @emph{context}.  In
LilyPond, these symbols are created by objects called `interpretation
contexts'.  Interpretation contexts exist for generating notation
(`notation context') and for generating sound (`performance
context'). These objects only exist during a run of LilyPond.

When LilyPond interprets music, it will create a Staff context.  If
the @code{%} sign in the previous line were removed, you could see
that mechanism in action.

We don't want that default here, because we want chord names.  The
command above explicitly creates an interpretation context of 
@code{ChordNames} type to interpret the music @code{\accompaniment}. 
@separate
@example 

        \addlyrics
 
@end example
@cindex @code{\addlyrics}
@cindex lyrics and melody, combining
@cindex combining lyrics and melody

The lyrics should be aligned with the melody.  This is done by
combining both with @code{\addlyrics}.  @code{\addlyrics} takes two
pieces of music (usually a melody and lyrics, in that order) and
aligns the syllables of the second piece under the notes of the
first piece.
@separate
@example 

        \context Staff = mel @{
 
@end example

We place the melody on a staff called @code{mel}. We give it a name to
differentiate it from the one that would contain note heads for the
chords, if you would remove the comment before the ``note heads''
version of the accompaniment. By giving this staff a name, it is
forced to be different.
@separate
@example 

        \property Staff.autoBeaming = ##f
 
@end example
@cindex \property
@cindex context variables
@cindex setting context variables
An interpretation context has variables, called properties, that tune
its behavior.  One of the variables is @code{autoBeaming}.  Setting
this @code{Staff}'s property to @code{##f}, which is the boolean value
@var{false}, turns the automatic beaming mechanism off for the current
staff.

@ignore
@cindex GUILE
@cindex Scheme
@cindex accessing Scheme
@cindex evaluating Scheme
@cindex LISP

LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
language from the LISP family. You can learn more about Scheme at
@uref{http://www.scheme.org}. It is used to represent data throughout
the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
code following the hash-sign is evaluated as Scheme.  The boolean value
@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
@code{##t}.

If Scheme scares you, don't worry. You don't need to know Scheme to
create beautiful sheet music.
@end ignore


@separate
@example 

        \property Staff.automaticMelismata = ##t
 
@end example
@cindex automaticMelismata
@cindex melismata
@cindex @code{\addlyrics} and slurs
Similarly, we  don't want to print a  syllable when there is
a slur. This sets up @code{\addlyrics} to not put lyrics under each
separate note while there is a slur.
@separate
@example 

          \melody
        @}
 
@end example 
Finally, we put the melody on the current staff.  Note that the
@code{\property} directives and @code{\melody} are grouped in sequential
music,  so the property settings are done before the melody is
processed.
@separate
@example 

        \context Lyrics \text
 
@end example 
The second argument of @code{\addlyrics} is the text. The text also
should not land on a Staff, but on a interpretation context for
syllables, extenders, hyphens etc.  This context is called
Lyrics.
@separate
@example 

        \midi  @{ \tempo 4=72@}
 
@end example 
MIDI (Musical Instrument Digital Interface) is a standard for
connecting and recording digital instruments. So a MIDI file is like a
tape recording of an instrument. The @code{\midi} block makes the
music go to a MIDI file, so you can listen to the music you entered.  It
is great for checking the music.  Whenever you hear something weird, you
probably hear a typing error.

Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
also specifies an output method. You can specify the tempo using the
@code{\tempo} command, in this case the tempo of quarter notes is set to
72 beats per minute.
@separate
@example 

        \paper @{ linewidth = 10.0\cm @}
 
@end example 
We also want notation output.  The linewidth is short so the piece
will be set in two lines.

@node More movements 
@section More movements

[FIXME: merge here with, or move this to: Other ways to run LilyPond]

You probably ran @file{ly2dvi} on the last example, and ended up with a
viewable @file{.dvi} file.  However, between there are a few steps of
which LilyPond is only one. To enhance your understanding of what's
happening under the hood when you run @code{ly2dvi}, we explain what
programs are run.

@code{ly2dvi} is a program that calls a number of programs  in sequence.
The first thing it does, is running LilyPond on the input file. After
some calculations, a @file{.tex} is produced. The contents
of this file are very  low-level instructions.

For example, consider the following file (@file{miniatures.ly}) 

@example
\version "1.5.60"
\header @{
  title = "Two miniatures"
  tagline = "small is beautiful"
@}

#(set! point-and-click line-column-location)

\paper @{ linewidth = -1.0 @}

\score @{
    \notes @{ c'4 d'4 @}
    \header @{
        opus = "Opus 1."
        piece = "Up" @}
@}
\score @{
    \notes @{ d'4 c'4 @}
    \header @{
        opus = "Opus 2."
        piece = "Down" @}
@}
@end example

The titling in this manual was not generated by ly2dvi, so we can't
exactly show what it would look like, but the result should resemble this:

@center @strong{Two miniatures}
@flushright
Opus 1.
@end flushright
@flushleft
@var{Up}
@end flushleft
@lilypond
  \score {
    \notes { c'4 d'4 }
    \paper { linewidth = -1.0 }
  }
@end lilypond
@flushright
Opus 2.
@end flushright
@flushleft
@var{Down}
@end flushleft
@lilypond
  \score {
    \notes { d'4 c'4 }
    \paper { linewidth = -1.0 }
  }
@end lilypond

This file is produced by ly2dvi in a few stages, with the help of text
formatting tools. LilyPond produces two output files,
@file{miniatures.tex} and @file{miniatures-1.tex}.  Both files contain
only graphical music notation. @file{ly2dvi} looks at what output
LilyPond produces, and adds page layout and titling to those files.  The
result is a DVI file called @file{miniatures.dvi}.

Next, now we'll look at the example line by line to explain new things.

@separate
@example 
\version "1.4.0"
@end example 
Lilypond and its language are still under development, and occasionally,
details of the syntax are changed. This fragment indicates for which
version the input file was written. When you compile this file, the
version number will be checked, and you will get a warning when the file
is too old.

This version number is also used by the @code{convert-ly} program (See
@ref{Upgrading from older LilyPond versions}), which is used to update
the file to the latest lily version.

@separate
@example
  \header @{
    title = "Two miniatures"  @}
@end example
This sets the titling information for the entire file.
@separate
@example
    tagline = "small is beautiful" 
@end example
A signature line is printed at the bottom of the last page.
 This signature is produced from the @code{tagline} field of
@code{\header}.  Many people find the default "Lily was here,
@var{version number}" too droll. If that is the case,  assign
something else to @code{tagline}, as shown above.
@separate
@example
        #(set! point-and-click line-column-location)
@end example

This piece of Scheme code sets the Scheme variable
@code{point-and-click} to the value @var{line-column-location} (which
itself is a Scheme procedure).

Editing input files can be complicated if you're working with
large files: if you're digitizing existing music, you have to
synchronize the .ly file, the sheet music on your lap and the sheet
music on the screen.  The point-and-click mechanism makes it easy to
find the origin of an error in the LY file: when you view the file with
Xdvi and click on a note, your editor will jump to the spot where that
note was entered.  For more information, see @ref{Point and click}.

@separate
@example
  \paper @{ 
@end example

The @code{\score} blocks that follow in the file don't have
@code{\paper} sections, so the settings of this block are substituted: A
paper block at top level, i.e. not in a @code{\score} block sets the
default page layout.

@separate
@example
  linewidth = -1.0 @}
@end example



The variable @code{linewidth} normally sets the length of the systems on
the page. However, a negative value has a special meaning. If
@code{linewidth} is less than 0, no line breaks are inserted into the
score, and the spacing is set to natural length: a short phrase takes up
little space, a longer phrase more space.

@separate
@example
  \score @{
    \notes @{ c'4 d'4 @}
@end example

In previous examples, notes were specified in relative octaves,
i.e. each note was put in the octave that is closest to its
predecessor. Besides relative, there is also absolute octave
specification, which you get when you don't specify @code{\relative}. In
this input mode, the central C is denoted by @code{c'}. Going down, you
get @code{c} @code{c,} @code{c,,} etc.  Going up, you get @code{c''}
@code{c'''} etc.

When you're copying music from existing sheet music, relative octaves
are probably the easiest to use: it's less typing work and errors are
easily spotted. However, if you write LilyPond input directly, either by
hand (i.e. composing) or by computer, absolute octaves may be easier to use.


@separate
@example
    \header @{
@end example

The @code{\header} is normally at the top of the file, where it sets
values for the rest of the file. If you want to typeset different pieces
from one file (for example, if there are multiple movements, or if
you're making an exercise book), you can put different @code{\score}
blocks into the input file. ly2dvi will assemble all LilyPond output
files into a big document. The contents of \header blocks specified
within each score, are used for the titling of each movement.
@separate
@example
        opus = "Opus 1."
        piece = "Up" @}
@end example
For example, the Opus number is put at the right, and the piece string
will be at the left.



@node A piano excerpt
@section A piano excerpt

Our fourth subject is a piece of piano music.  The fragment in the
input file is a piano reduction of the G major Sinfonia by Giovanni
Battista Sammartini.  It was composed around 1740.  It's in the source
package under the name @file{sammartini.ly}.

@lilypondfile[verbatim]{sammartini.ly}

As you can see, this example features multiple voices on one staff.  To
make room for those voices, their notes have to be stemmed in opposite
directions.

LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
with some other commonly used formatting instructions, but to explain how
it works, we wrote our own here.  Of course, you should use predefined
identifiers like these if possible: then you will be affected less by
the implementation changes we occasionally make.

@separate
@example 
viola = \notes \relative c'  \context Voice = viola @{ 
@end example 
In this example, you can see multiple parts on a staff.  Each part is
associated with one notation context.  This notation context handles
stems and dynamics (among others).  The type name of this context is
@code{Voice}.  For each part we have to make sure that there is
precisely one @code{Voice} context, so we give it a unique name
(`@code{viola}').

@separate
@example 
<c4-\arpeggio g' c>
@end example 
The delimiters @code{<} and @code{>} are shorthands for
@code{\simultaneous @{} and @code{@}}. The expression enclosed in
@code{<} and @code{>} is a chord.

@cindex arpeggio

@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
the chord.

@separate
@example 
   \voiceTwo
@end example 

We want the viola to have stems down, and have all the other
characteristics of a second voice. This is enforced using the
@code{\voiceTwo} command:  it inserts instructions that makes stem,
ties, slurs, etc. go down.



@separate
@example 
        g'8. b,16 
@end example 
Relative octaves work a little differently with chords.  The starting
point for the note following a chord is the first note of the chord.  So
the @code{g} gets an octave up quote: it is a fifth above the starting
note of the previous chord (the central C).

@separate
@example 
s1 s2. r4 
@end example 
@code{s} is a spacer rest.  It does not print anything, but it does have
the duration of a rest. It is useful for filling up voices that
temporarily don't play. In this case, the viola doesn't come until one
and a half measure later.

@separate
@example 
oboes = \notes \relative c'' \context Voice = oboe @{ 
@end example 
Now comes a part for two oboes.  They play homophonically, so we
print the notes as one voice that makes chords. Again, we insure that
these notes are indeed processed by precisely one context with
@code{\context}.
@separate
@example 
\voiceOne s4  g8. b,16 c8 r <e'8. g> <f16 a> 
@end example

The oboes should have stems up, so they should have stems up, to keep
them from interfering with the staff-jumping bass figure.

@separate
@example 
\grace <e8( g> < d4 )f> <c2 e> 
@end example
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
@code{\grace} introduces grace notes.  It takes one argument, in this
case a chord. A slur is introduced starting from the @code{\grace}
ending on the following chord.

@separate
@example 
\times 2/3 
@end example
@cindex tuplet
@cindex triplets
Tuplets are made with the @code{\times} keyword.  It takes two
arguments: a fraction and a piece of music.  The duration of the piece
of music is multiplied by the fraction.  Triplets make notes occupy 2/3
of their notated duration, so in this case the fraction is 2/3.
@separate
@example 
@{ <d8 f> <e g> <f a> @} 
@end example 
The piece of music to be `tripletted' is sequential music containing
three chords.

@separate
@example 
< 
@end example 
At this point, the homophonic music splits into two rhythmically
different parts.  We can't use a sequence of chords to enter this, so
we make a `chord' of sequences to do it.  We start with the upper
voice, which continues with upward stems:
@separate
@example 
 @{ \times 2/3 @{ a8 g c @} c2 @} 
@end example

@separate
@example
\\
@end example
The easiest way to enter multiple voices is demonstrated
here. Separate the components of the voice (single notes or entire
sequences) with @code{\\} in a simultaneous music expression. The
@code{\\} separators split first voice, second voice, third voice, and
so on.

As far as relative mode is concerned, the previous note is the
@code{c'''2} of the upper voice, so we have to go an octave down for
the @code{f}.
@separate
@example 

  f,8 e e2
@} > 
@end example 
This ends the two-part section.
@separate
@example 
\stemBoth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |  
@end example
@cindex trill
@cindex stemBoth

@code{\stemBoth} ends the forced stem directions. From here, stems are
positioned as if it were single part music.

The bass has a little hoom-pah melody to demonstrate parts switching
between staves.  Since it is repetitive, we use repeats:
@separate
@example 
hoomPah  =  \repeat unfold 8
@end example
@cindex unfolded @code{\repeat}
The unfolded repeat prints the notes in its argument as if they were
written out in full eight times.
@separate
@example
\notes \transpose c' @{
@end example
@cindex transposing
@cindex relative mode and transposing

Transposing can be done with @code{\transpose}, which takes two arguments.
The first specifies what central C should be transposed to.  The second
is the to-be-transposed music.  As you can see, in this case, the
transposition has no effect, as central C stays at central C.

The purpose of this no-op is to protect it from being interpreted as
relative notes.  Relative mode can not be used together with
transposition, so @code{\relative} will leave the contents of
@code{\hoomPah} alone.  We can use it without having to worry about
getting the motive in a wrong octave.
@separate
@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}

@example
        \translator Staff = down
        \stemUp
        c8
        \translator Staff = up
        \stemDown
        c'8 @}
@end example
Voices can switch between staves. Here you see two staff switching
commands. The first one moves to the lower staff, the second one to
the lower one. If you set stem directions explicitly (using the
identifiers @code{\stemUp} and @code{\stemDown}. 

@separate
@example 
bassvoices = \notes \relative c' @{
c4 g8. b,16
\autochange Staff \hoomPah \context Voice
@end example

@separate
@example
        \translator Staff = down
@end example
@cindex staff switch
@cindex cross staff voice
We want the remaining part of this melody on the lower staff, so we do a
manual staff switch here.


@separate
@example 
\context Voice = reallyLow  @{\stemDown g2 ~ | g4 c8 @} > 
@end example
@cindex tie
@cindex @code{~}
After skipping some lines, we see @code{~}.  This mark makes ties.  Note
that ties and slurs are different things.  A tie can only connect two
note heads of the same pitch, whereas a slur can connect many chords
with one curve.

@separate
@example 
\context PianoStaff 
@end example 
 A special context is needed to get cross staff beaming right.  This
context is called @code{PianoStaff}.
@separate
@example 
\context Staff = bottom < \time 2/2 \clef bass 
@end example 
The bottom staff must have a different clef.
@separate
@example 
indent = 0.0 
@end example 
To make some more room on the line, the first (in this case the only)
line is not indented.  The line still looks very cramped, but that is due
to the page layout of this document.


@ignore
[TODO:

* font-size, multi-stanza.

* Simple part combining in a Hymn
@end ignore


@node Fine tuning a piece
@section  Fine tuning a piece

In this section, we show some ways to fine tune the final output of a
piece. We do so using a single measure of a moderately complex piano
piece: a Brahms intermezzo (opus 119, no. 1).
@cindex Brahms, Johannes

The code for the untuned example shows us some new things.

@lilypondfile[verbatim]{brahms-original.ly}


@cindex dynamics
@cindex loudness
@cindex forte
@cindex crescendo
@cindex @code{\<}
@cindex @code{\!}

The crescendo is ended at the half note by the escaped exclamation
mark @code{\!}.

Hairpin dynamics can be indicated using @code{\>} to start a
decrescendo, and @code{\!} to end one. The crescendo is started using
@code{\<} and also ended using @code{\!}. Absolute dynamics can be
entered using @code{\p}, @code{\mf}, etc. All these commands apply to
the complete chord where they are entered, but for syntactical
reasons, they must be attached to one of the notes of  the chord.

@cindex fingering instructions

Fingering indications are entered simply using @code{-@var{N}}, where
@var{N} is a digit.

Now that we have the basic piece of music entered, we want to fine
tune it, so we get something that resembles the original printed
edition by Schott/Universal Edition:

@lilypondfile{brahms-tweaked.ly}

@cindex tuning grob behavior

The basic process that we follow is that we override defaults in the
printing system. We do this by setting variables in so-called grobs.
Printed symbols are internally represented by Graphical Objects
(Grobs).  Each grob is described by a bunch of settings. These setting
determine the fonts, offsets, sub-routines to be called on the grob,
etc.  The initial values of these settings are set in the Scheme file
@file{scm/grob-description.scm}.

@cindex slur attachments

We start with the slur: the slur in the upper part, running from the F
sharp to the A, runs from stem to stem in the printed edition, while
ours starts from the note head at the left. The following property
setting forces all slurs to run from stem to stem (and not from or to
note head)

@example
  \property Voice.Slur \set #'attachment = #'(stem . stem)
@end example

More precisely, this command extends the definition of the @code{Slur}
object in the current @code{Voice}.  The variable @code{attachment} is
set to the pair of symbols @code{'(stem . stem)}. 

Although this is useful information, it is not very helpful: the
lilypond backend supports approximately 240 variables like
@code{attachment}, each with their own meaning and own type
(eg. number, symbol, list, etc). Besides slur, LilyPond has 80
different types of Grobs, that may be created in 14 different context
types besides Voice.

@cindex internal documentation
@cindex finding grobs
@cindex grob descriptiosn 

The interesting information is how you can figure out which properties
to tune for your own scores. To discover this, you must have a copy of
the internals document. This is a set of HTML pages, which should be
included if you run a binary distribution@footnote{You can also
compile them by executing @code{make -C Documentation/user/
out/lilypond-internals.html} in the source package.}. This document is
also available on the web: go to the lilypond website, click
``Documentation: other'' on the side bar, click
``lilypond-internals'', under information for users.

You might want to bookmark either the HTML files on disk, or the one
on the web. One word of caution is in place here: the internals
documentation is generated from the definitions that lily uses. For
that reason, it is strongly tied to the version of LilyPond that you
use. Before you proceed, please make sure that you are using the
documentation that corresponds to the LilyPond version that you use.

Suppose that you wanted to tune the behavior of the slur. The first
step is to get some general info on slurs in lilypond. Turn to the
index, and look up slur. The section on slurs says
@quotation
The grob for this object is @internalsref{Slur}, generally in
@internalsref{Voice} context.
@end quotation

So the grob for this object is called @code{Slur}, and slurs are
created in the @code{Voice} context.  If you are reading this tutorial
in the HTML version, then you can simply click Slur, otherwise, you
must look it up the internal documentation: click ``grob overview'' ,
and select ``slur'' (the list is alphabetical.)

Now you get a list of all the properties that the slur object
supports, along with their default values. Among the properties we
find the @code{attachment} property, leading to 
@example 
 \property Voice.Slur \set #'attachment = #'(stem . stem)
@end example

If you ran the previous example, you have unknowingly already used
this kind of command.  The @file{ly/property-init.ly} contains the
definition of @code{\stemUp}
@example
  stemUp = \property Voice.Stem \set #'direction = #1
@end example  


We also want to move around the fingering `3'.  In the printed edition
it is not above the stem, but a little lower, slightly left of the
stem. From the user manual, we find that the associated grob is called
@code{Fingering}, but how do we know if we should use @code{Voice} or
@code{Staff}. In many cases, @code{Voice} is a safe bet, but you can
also deduce this information from the internals documentation: if you
visit the documentation of @code{Fingering}, you will notice
@example
Fingering grobs are created by: Fingering_engraver
@end example



Clicking @code{Fingering_engraver} will show you the documentation of
the module responsible for interpreting the fingering instructions and
translating them to a @code{Fingering} grob. Such a module is called
an @emph{engraver}. The documentation of the @code{Fingering_engraver}
says,
@example
Fingering_engraver is part of contexts: Voice and TabVoice
@end example
so tuning the settings for Fingering should be done using either
@example
  \property Voice.Fingering \set @dots{}
@end example
or
@example
  \property TabVoice.Fingering \set @dots{}
@end example

Since the @code{TabVoice} is only used for tab notation, we see that
the first guess @code{Voice} was indeed correct.

@cindex setting grob properties
@cindex @code{extra-offset}

For shifting the fingering, we use the grob property
@code{extra-offset}.  The following command manually adds an offset to
the object. We move it a little to the left, and 1.8 staff space
downwards.
@example
 \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8) 
@end example       
The @code{extra-offset} is a low-level feature: it moves around
objects in the printout; the formatting engine is completely oblivious
to these offsets.

@cindex reverting grob properties
@cindex undoing grob properties

We only want to offset a single grob, so after the F-sharp, we must
undo the setting. The technical term is to revert the grob property.
@example
  \property Voice.Fingering \revert #'extra-offset
@end example

@cindex property types
@cindex translator properties
@cindex grob properties
@cindex music properties


There is three different types of variables in LilyPond, something
which is confusing at first (and for some, it stays like that).
Variables such as @code{extra-offset} and @code{attachment} are called
grob properties. They are something different from the translator
properties, like @code{autoBeaming} and
@code{automaticMelismata}. Finally, music expressions are internally
also stored using properties, so-called music properties. You will
encounter the latter type if you run Scheme functions on music using
@code{\apply}.

The second fingering instruction should be moved up a little, to avoid
a collision with the slur. This could be achieved with
@code{extra-offset}, but in this case, a simpler mechanism also
works. We insert an empty text between the 5 and the note. The empty
text pushes the fingering instruction away:
@example
  a^" "^#'(finger "5")
@end example

Lilypond tries to put fingering instructions closer to the notes as
text instructions. To insert an empty text (@code{^" "}) between the
finger and the note, we have disguised the fingering instruction as a
text: @code{(finger "5")}.

Normally, one would specify dynamics in a single voice, and start and
end dynamics (such as @b{f} and @b{p}) will be aligned with
hairpins. In this case, we want the decrescendo to be in a different
place from the piano sign. We achieve this by putting the dynamic
markings in different voices. The crescendo should be above the upper
staff. This can be forced by the precooked command 
@example
  \dynamicsUp
@end example

However, if you do that, the decrescendo will be too close to the
upper voice, and collide with the stems. Looking at the manual for
dynamics, we notice that ``Vertical positioning of these symbols is
handled by the @internalsref{DynamicLineSpanner} grob.''. If we turn
to the documentation of @code{DynamicLineSpanner}, we find that the
@code{DynamicLineSpanner} supports several so-called
`interfaces'. This grob not only puts dynamic objects next to the
staff (@code{side-position-interface}), but it also groups dynamic
objects (@code{axis-group-interface}), is considered a dynamic sign
itself (@code{dynamic-interface}) and is a grob: it has the
@code{grob-interface}, with all the variables that come with it.

For the moment, we are interested in the side positioning:
@quotation
 side-position-interface

  Position a victim object (this one) next to other objects (the
  support).  In this case, the direction signifies where to put the
  victim object relative to the support (left or right, up or down?)
@end quotation
Between the grob and its support (in this case: the notes in the voice
going down), there should be more space. This space is controlled by
@code{padding}, so we increase it.
@example
            \property Voice.DynamicLineSpanner \override #'padding = #5.0
@end example

This command is almost like the command for setting slur attachments,
but subtly different in its details.  Grob properties can be
manipulated with two commands: @code{\override} extends the grob
variables with a setting, and @code{\revert} releases this
setting. This has a certain theoretical appeal: the operations are
simple and symmetric. For practical use, it can be cumbersome.  Both
commands act like parentheses: you should carefully balance the use of
@code{\override} and @code{\revert}. The @code{\set} command is more
friendly: it first does a @code{\revert} followed by @code{\override}.

Finally, Brahms uses music notation is a slightly unorthodox way. Ties
usually happen only within one voice. In this piece, the composer
gladly produces ties that jump voices. We deal with this by faking
these ties: whenever we need such a tie, we insert a notehead in a
different voice, and blank the stem. This is done in the following
snippet of code.

@example
          \property Voice.Stem \set #'transparent = ##t
          d'
          \property Voice.Stem \revert #'transparent
@end example

Finally, the last tie is forced up using @code{\tieUp}.


@node An orchestral score
@section An orchestral score

@menu
* The full score::              
* Extracting an individual part::  
@end menu


Our last two examples show a way to setup the music for an orchestral
score.  When typesetting a piece for several instruments, you'll want to
create a conductor's full score, alongside several individual parts.

LilyPond is well suited for this task.  We will declare the music for
each instrument individually, giving the music of each instrument its
own name.  These pieces of music are then combined in different
@code{\score} blocks to produce different combinations of the score.

This orchestral score example consists of three input files.  In the
first file, @file{os-music.ly}, we define the music for all instruments.
This file will be used both for producing the score and the separate
parts.

If you were to run LilyPond on this file, no printable output would be
produced.

@example
% os-music.ly
\header @{
  title = "Zo, goed lieverd?"
  subtitle = "How's, this babe?"
  composer = "JCN"
  opus = "1"
  piece = "Laid back"
@}
global = @{
  \time 2/4
  \skip 2*4 \bar "|."
@}
Key = \notes \key as \major
flautoI = \notes\relative c'' @{
  f8 g f g f g f g
  bes as bes as bes as bes as
@}
flautoII = \notes\relative c'' @{
  as8 bes as bes R1 d4 ~ d
@}
tromboI = \notes\relative c'' @{
  c4. c8 c8 c4. es4 r as, r
@}
tromboII = \notes\relative c'' @{
  as4. as8 as8 as4. R1*1/2 as4 es'
@}
timpani = \notes\relative c, @{
  \times 2/3 @{ f4 f f @}
  \times 4/5 @{ as8 as as as as @}
  R1
@}
corno = \notes\relative c' @{
   bes4 d f, bes d f, bes d
@}
@end example

We will not go through the input line by line, but only indicate and
explain the new elements.


@separate
@example
global = @{
  \time 2/4
  \skip 2*4 \bar "|.";
@}
@end example

Declare setting to be used globally.  The @code{\skip} command produces
no output, but moves forward in time: in this case, the duration of a
half note (@code{2}), and that four times (@code{*4}).  This brings us
to the end of the piece, and we can set the end bar.

@separate
@example
Key = \notes \key as \major
@end example
Declare the key signature of the piece and assign it to the identifier
@var{Key}.  Later on, we'll use @code{\Key} for all staves except those
for transposing instruments.

@node The full score
@subsection The full score


The second file, @file{os-score.ly} reads the definitions of the first
(@file{os-music.ly}), and defines the @code{\score} block for the full
conductor's score.


@example
% os-score.ly
\include "os-music.ly"
\include "paper13.ly"

#(set! point-and-click line-column-location)
#(define text-flat '((font-relative-size . -2)
         (music "accidentals--1")))

\score @{
  <
    \global
    \property Score.BarNumber \override #'padding = #3
    \context StaffGroup = woodwind <
      \context Staff = flauti <
        \property Staff.midiInstrument = #"flute"
        \property Staff.instrument = "2 Flauti"
        \property Staff.instr = "Fl."
        \Key
        \context Voice=one @{ \voiceOne \flautoI @}
        \context Voice=two @{ \voiceTwo \flautoII @}
      >
    >
    \context StaffGroup = timpani <
      \context Staff = timpani <
        \property Staff.midiInstrument = #"timpani"
        \property Staff.instrument = #'(lines "Timpani" "(C-G)")
        \property Staff.instr = #"Timp."
        \clef bass
        \Key
        \timpani
      >
    >
    \context StaffGroup = brass <
      \context Staff = trombe <
        \property Staff.midiInstrument = #"trumpet"
        \property Staff.instrument = #`(lines "2 Trombe" "(C)")
        \property Staff.instr = #`(lines "Tbe." "(C)")
        \Key
        \context Voice=one \partcombine Voice
          \context Thread=one \tromboI
          \context Thread=two \tromboII
      >
      \context Staff = corni <
        \property Staff.midiInstrument = #"french horn"
        \property Staff.instrument = #`(lines "Corno"
          (columns "(E" ,text-flat ")"))
        \property Staff.instr = #`(lines "Cor."
          (columns "(E" ,text-flat ")"))
        \property Staff.transposing = #3
        \notes \key bes \major
        \context Voice=one \corno
      >
    >
  >
  \paper @{
    indent = 15 * \staffspace
    linewidth = 60 * \staffspace
    textheight = 90 * \staffspace
    \translator@{
      \HaraKiriStaffContext
    @}
  @}
  \midi @{
    \tempo 4 = 75
  @}
@}
@end example

@center @strong{Zo, goed lieverd?}
@sp 1
@center How's, this babe?
@flushright
Opus 1.
@end flushright
@flushleft
@sc{Laid back}
@end flushleft

@lilypondfile{os-score.ly}

@separate
@example
\include "os-music.ly"
@end example
First, we need to include the music definitions we made in
@file{os-music.ly}.

@separate
@example
#(set! point-and-click line-column-location)
@end example
In a large orchestral score like this you're bound to make some small
mistakes, so we enable point and click (See @ref{Point and click})
editing.

@separate
@example
#(define text-flat '((font-relative-size . -2)
         (music "accidentals--1")))
@end example

When naming the tuning of the french horn, we'll need a piece of text
with a flat sign.  LilyPond has a mechanism for font selection and
kerning called Scheme markup text (See @ref{Text markup}).  The flat
sign is taken from the music font, and its name is @code{accidentals--1}
(The natural sign is called @code{accidentals-0}).  The default font is
too big for text, so we select a relative size of @code{-2}.

@separate
@example
  <
    \global
@end example
Of course, all staves are simultaneous and use the same global settings.

@separate
@example
    \property Score.BarNumber \override #'padding = #3
@end example
LilyPond prints bar numbers at the start of each line, but
unfortunately, they end up a bit too close to the staff in this
example.  A bar number internally is a Grob called @var{BarNumber}.
BarNumber Grobs can be manipulated through their
@var{side-position-interface}.  One of the properties of a
@var{side-position-interface} that can be tweaked is the
@var{padding}: the amount of extra space that is put between this Grob
and other Grobs.  We set the padding to three staff spaces.

You can find information on all these kind of properties in LilyPond's
automatically generated documentation in
@ifnottex
@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
@end ifnottex
@iftex
the online documentation.
@end iftex

@separate
@example
    \context StaffGroup = woodwind <
      \context Staff = flauti <
@end example
A new notation context: the @code{StaffGroup}.  @code{StaffGroup} can
hold one or more @code{Staff}'s, and will print a big bracket at the
left of the score.  Start a new staff group for the woodwind section
(just the flutes in this case).  Immediately after that, we start the
staff for the two flutes, that also play simultaneously.

@separate
@example
        \property Staff.midiInstrument = #"flute"
@end example
Specify the instrument for MIDI output (see @ref{MIDI instrument
names}).

@separate
@example
        \property Staff.instrument = "2 Flauti"
        \property Staff.instr = "Fl."
@end example
And define the instrument names to be printed in the margin,
@code{instrument} for the first line of the score, @code{instr} for the
rest of the score.

@separate
@example
        \Key
@end example
The flutes play in the default key.

@separate
@example
        \context Voice=one @{ \voiceOne \flautoI @}
        \context Voice=two @{ \voiceTwo \flautoII @}
@end example
Last come the actual flute parts.  Remember that we're still in
simultaneous mode.  We name both voices differently, so that LilyPond
will actually create two Voice contexts.  The flute parts are simple, so
we specify manually which voice is which: @code{\voiceOne} forces the
direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
directions down.

@separate
@example
      >
    >
@end example
Close the flutes staff and woodwind staff group.

@separate
@example
        \property Staff.instrument = #'(lines "Timpani" "(C-G)")
@end example
The timpani staff only shows a new piece of scheme markup, it sets two
lines of text.

@separate
@example
        \context Voice=one \partcombine Voice
          \context Thread=one \tromboI
          \context Thread=two \tromboII
@end example
You have seen the notation contexts Staff and Voice, but here's a new
one: Thread.  One or more Threads can be part of a Voice.  The Thread
takes care of note heads and rests, the Voice combine note heads onto a
stem.

For the trumpets we use the automatic part combiner (see @ref{Automatic
part combining}) to combine the two simultaneous trumpet parts onto the
trumpet staff.  Each trumpet gets its own Thread context, which must be
named @code{one} and @code{two}).  The part combiner makes these two
threads share a Voice when they're similar, and splits the threads up
when they're different.

@separate
@example
        \property Staff.instrument = #`(lines "Corno"
          (columns "(E" ,text-flat ")"))
@end example
The french horn has the most complex scheme markup name, made up of two
lines of text.  The second line has three elements (columns), the @code{(E},
the flat sign @code{text-flat} that we defined before and a final @code{")"}.
Note that we use a backquote instead of an ordinary quote at the
beginning of the Scheme expression to be able to access the
@code{text-flat} identifier, `unquoting' it with a @code{,}.

@separate
@example
        \property Staff.transposing = #3
@end example
The french horn is to be tuned in E-flat, so we tell the MIDI backend to
transpose this staff by three steps.

Note how we can choose different tuning for entering, printing and
playing, using @code{\transpose} and the MIDI Staff property
@var{transposing}.

@separate
@example
        \notes \key bes \major
@end example
Therefore, it has a different key.

@separate
@example
    indent = 15 * \staffspace
    linewidth = 60 * \staffspace
@end example
We specify a big indent for the first line and a small linewidth for this
tutorial.

@separate

Usually, LilyPond's predefined setup of notation contexts (Thread,
Voice, Staff, Staffgroup, Score) is just fine.  But in this case, we
want a different type of Staff context.

@example
    \translator@{
      \HaraKiriStaffContext
    @}
@end example

In orchestral scores, it often happens that one instrument has only
rests during one line of the score.  The @code{HaraKiriStaffContext} can
be used as a regular @code{StaffContext} drop-in and will take care of
the automatic removing of empty staves.

@node Extracting an individual part
@subsection Extracting an individual part

The third file, @file{os-flute-2.ly} also reads the definitions of the
first (@file{os-music.ly}), and defines the @code{\score} block for the
second flute part.

@example
\include "os-music.ly"
\include "paper16.ly"

\score @{
  \context Staff <
    \property Score.skipBars = ##t
    \property Staff.midiInstrument = #"flute"
    \global
    \Key
    \flautoII
  >
  \header @{
    instrument = "Flauto II"
  @}
  \paper @{
    linewidth = 80 * \staffspace
    textheight = 200 * \staffspace
  @}
  \midi @{
    \tempo 4 = 75
  @}
@}
@end example

@center @strong{Zo, goed lieverd?}
@sp 1
@center How's, this babe?
@center @emph{Flauto II}
@flushright
Opus 1.
@end flushright
@flushleft
@sc{Laid back}
@end flushleft
@lilypondfile{os-flute-2.ly}


Because we separated the music definitions from the @code{\score}
instantiations, we can easily define a second score with the music of
the second flute.  This then is the part for the second flute player.
Of course, we make separate parts for all individual instruments.

@separate
@example
    \flautoII
@end example
In this individual part the second flute has a whole staff for itself,
so we don't want to force stem or tie directions.

@separate
@example
  \header @{
    instrument = "Flauto II"
  @}
@end example
The @code{\header} definitions were also read from @file{os-music.ly},
but we need to set the instrument for this particular score.

@separate
@example
    \property Score.skipBars = ##t
@end example
In the conductor's full score, all bars with rests are printed, but for
the individual parts, we want to contract pieces of consecutive empty
bars.  LilyPond will do this if Score's @var{skipBars} property to
true. 


@node Integrating text and music
@section Integrating text and music

Sometimes, you might want to use music examples in a text that you are
writing. For example, if you are writing a musicological treatise, a
songbook, or (like us) the LilyPond manual.  You can make such texts by
hand, simply by importing a PostScript figure into your wordprocessor.
However, there is a also an automated procedure:

If you use HTML, La@TeX{} or texinfo, you can mix text and LilyPond
code. A script called @code{lilypond-book} will extract the music
fragments, run LilyPond on them, and put back the resulting notation.
This utility program is described fully in the chapter @ref{Merging text
and music with lilypond-book}. Here we show a small example. Since the
example also contains explanatory text, we won't comment on the
contents.

@example
\documentclass[a4paper]@{article@}
\begin@{document@}

In a lilypond-book document, you can freely mix music and text. For
example:
\begin@{lilypond@}
  \score @{ \notes \relative c' @{
     c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
  @} @}
\end@{lilypond@}
Notice that the music line length matches the margin settings of the
document.

If you have no \verb+\score+ block in the fragment,
\texttt@{lilypond-book@} will supply one:

\begin@{lilypond@}
  c'4
\end@{lilypond@}

In the example you see here, a number of things happened: a
\verb+\score+ block was added, and the line width was set to natural
length. You can specify many more options using  \LaTeX style options
in brackets:

\begin[verbatim,11pt,singleline,
  fragment,relative,intertext="hi there!"]@{lilypond@}
  c'4 f bes es
\end@{lilypond@}

\texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
the default music size, \texttt@{fragment@} adds a score block,
\texttt@{relative@} uses relative mode for the fragment, and
\texttt@{intertext@} specifies what to print between the
\texttt@{verbatim@} code and the music.

If you include large examples into the text, it may be more convenient
to put the example in a separate file:

\lilypondfile[printfilename]@{sammartini.ly@}

The \texttt@{printfilename@} option adds the file name to the output.

\end@{document@}
@end example

Under Unix, you can view the results as follows.
@example
$ cd input/tutorial
$ lilypond-book --outdir=out/ lilbook.tex
lilypond-book (GNU LilyPond) 1.3.146
Reading `input/tutorial/lilbook.tex'
Reading `input/tutorial/sammartini.ly'
@var{lots of stuff deleted}
Writing `out/lilbook.latex'
$ cd out
$ latex lilbook.latex
@var{lots of stuff deleted}
$ xdvi lilbook 
@end example

Notice the @code{outdir} option to lilypond-book. Running lilypond-book
and running latex creates a lot of temporary files, and you wouldn't want
those to clutter up your working directory. Hence, we have them created
in a separate subdirectory.

The result more or less looks like this: 

@separate

In a lilypond-book document, you can freely mix music and text. For
example:
@lilypond
  \score { \notes \relative c' {
     c2 g'2 \times 2/3 { f8 e d } c'2 g4
  } }
@end lilypond
Notice that the music line length matches the margin settings of the
document.

If you have no @code{\score} block in the fragment,
@code{lilypond-book} will supply one:

@lilypond
  c'4
@end lilypond

In the example you see here, a number of things happened: a
@code{\score} block was added, and the line width was set to natural
length. You can specify many more options using  La@TeX{} style options
in brackets:

@lilypond[verbatim,11pt,singleline,
  fragment,relative,intertext="hi there!"]
  c'4 f bes es
@end lilypond

@code{verbatim} also shows the LilyPond code, @code{11pt} selects
the default music size, @code{fragment} adds a score block,
@code{relative} uses relative mode for the fragment, and
@code{intertext} specifies what to print between the
@code{verbatim} code and the music.

If you include large examples into the text, it may be more convenient
to put the example in a separate file:

@lilypondfile[printfilename]{sammartini.ly}

The @code{printfilename} option adds the file name to the output.
@node  End of tutorial
@section End of tutorial
         
That's all folks.  From here, you can either try fiddling with input
files, or you can read the reference manual.  You can find more example
files in @file{input} and @file{input/test}.  You can also look at some
real music.  The website @uref{http://www.mutopiaproject.org} has many
examples of real music typeset by LilyPond.



@ignore

[TODO

this should be on mutopia website.

]


@c waar deze info?  is uiteindelijk wel handig, schat ik.
[TODO: cut blabla]

If you have a big music project, or just a lot of LilyPond input files,
all generated output from LilyPond, @TeX{} and metafont will clutter
your working directory.  LilyPond comes with a one-size-fits-all
pre-cooked makefile that helps you manage producing output.  It will
produce all output in the directory @file{out} , generate and track
dependencies. Also, it helps in preparing your submission to @ref{Mutopia
project}.

@file{make/ly.make}
@example
mkdir my-project
cd my-project
cp /usr/share/lilypond/make/ly.make GNUmakefile
cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
make minuet
[..]
Generated out/minuet.ps for target minuet.
@end example

Type @samp{make help} to see possible targets.

[TODO]
@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}





[TODO: rewrite completely.]

@menu
* Songs with additional verses::  
@end menu

@end ignore