2 @c This file is part of lilypond.tely
5 @c * more details about running lilypond; error messages,
6 @c compiling/viewing (emacs?)
7 @c * where to go from First steps+More basics?
9 @c Your first LilyPond score in 10 minutes?
14 This tutorial starts with a short introduction to the LilyPond music
15 language. After this first contact we will show you how to produce
16 printed output. Then you will be able to create and print your own
20 Many people learn programs by trying and fiddling around with the
21 program. This is also possible with LilyPond. If you click on a
22 picture in the HTML version of this manual, you will see the exact
23 LilyPond input that was used to generate that image.
26 @lilypond[fragment,quote,raggedright,relative=2]
27 c-\markup { \bold \huge { Click here. } }
31 By cutting and pasting the full input into a test file, you have a
32 starting template for experiments. If you like learning in this way,
33 you will probably want to print out or bookmark
37 @ref{Cheat sheet}, which is a table listing all commands for quick
42 * Running LilyPond for the first time::
43 * More about pitches::
45 * Automatic and manual beams::
47 * Music expressions explained::
49 * Adding articulation marks to notes::
50 * Combining notes into chords::
51 * Advanced rhythmic commands::
52 * Commenting input files::
56 * Single staff polyphony::
58 * Organizing larger pieces::
59 * An orchestral part::
66 The first example demonstrates how to enter the most elementary piece
67 of music, a scale. A note can be entered by typing its name, from
68 @samp{a} through @samp{g}. So, if you enter
75 the result looks like this
77 @lilypond[fragment,quote,notime,relative=1]
81 The duration of a note is specified by a number after the note name.
82 @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
83 @samp{4} for a @rglos{quarter note} and so on
89 @c FIXME: have NOTIME also remove Score.timing?
90 @lilypond[fragment,quote,notime,relative=2]
91 \set Score.timing = ##f
92 \set Staff.autoBeaming = ##f
93 { a1 a2 a4 a16 a32 s16_" " }
96 If you do not specify a @rglos{duration}, the duration last entered is
97 used for the next notes. The duration of the first note in input
104 @lilypond[fragment,quote,notime,relative=2]
105 \set Score.timing = ##f
106 { a a8 a a2 a s16_" " }
110 Rests are entered just like notes, but with the name @samp{r}
117 @lilypond[fragment,quote,notime]
118 \set Score.timing = ##f
122 Add a dot @samp{.} after the duration to get a @rglos{dotted note}
128 @lilypond[fragment,quote,notime,relative=1]
129 \set Score.timing = ##f
130 { a2. a4 a8. a16 s16_" " }
133 The @rglos{meter} (or @rglos{time signature}) can be set with the
142 @c A clef here may lead to confusion, remove it.
143 @lilypond[fragment,quote]
144 \override Staff.Clef #'transparent = ##t
153 The @rglos{clef} can be set using the @code{\clef} command
155 @c what is more common name treble or violin?
156 @c in Dutch, it is violin.
157 @c in English it is definitely treble.
165 @lilypond[fragment,quote,notime]
166 \set Score.timing = ##f
178 Remember to enclose the notes and commands in curly braces
179 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
181 @lilypond[fragment,quote,noindent,linewidth=55\staffspace]
190 For more elaborate information on
194 @item Entering pitches and durations
196 @ref{Pitches}, and @ref{Durations}.
201 @item Time signatures and other timing commands
202 see @ref{Time signature}.
207 @node Running LilyPond for the first time
208 @section Running LilyPond for the first time
210 @c cheesy title to avoid clash with chapter name.
212 In the last section we explained what kind of things you could enter
213 in a LilyPond file. In this section we will explain what commands to
214 run and how to view or print the output. If you have not used
215 LilyPond before, want to test your setup, or want to run an example
216 file yourself, read this section. The instructions that follow are
217 for Unix-like systems. Some additional instructions for Microsoft
218 Windows are given at the end of this section.
220 Begin by opening a terminal window and starting a text editor. For
221 example, you could open an xterm and execute
222 @code{joe}.@footnote{There are macro files for VIM addicts, and there
223 is a @code{LilyPond-mode} for Emacs addicts. If they have not been
224 installed already, refer to
225 @c FIXME lousy reference.
226 the file @file{INSTALL.txt}.} In your text editor, enter the following
227 input and save the file as @file{test.ly}
234 To process @file{test.ly}, proceed as follows
241 You will see something resembling
244 lilypond (GNU LilyPond) 2.2.0
246 Now processing `/home/fred/ly/test.ly'
248 Interpreting music...[1]
249 @emph{... more interesting stuff ... }
250 DVI output to `test.dvi'...
251 PDF output to `test.pdf'...
252 PS output to `test.ps'...
256 @cindex Viewing music
259 The result is the file @file{test.pdf}@footnote{For @TeX{}
260 aficionados: there is also a @file{test.dvi} file. It can be viewed
261 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
262 not show up in the magnifying glass. The specials also mean that the
263 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
268 } which you can print or with the standard facilities of your
269 operating system.@footnote{If your system does not have any tools
270 installed, you can try
271 @uref{http://www.cs.wisc.edu/~ghost/,Ghostscript}, a freely available
272 package for viewing and printing PDF and PostScript files.}
274 On Windows, start up a text-editor@footnote{Any simple or
275 programmer-oriented editor will do, for example Notepad. Do not use a
276 word processor, since these insert formatting codes that will confuse
283 Save it on the desktop as @file{test.ly} and make sure that it is not
284 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
285 the file and show the resulting PDF file.
288 @node More about pitches
289 @section More about pitches
291 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
292 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
293 you might expect, a @rglos{double sharp} or @rglos{double flat} is
294 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
295 derived from note naming conventions in Nordic and Germanic languages,
296 like German and Dutch.}
302 @lilypond[fragment,quote,notime]
303 \set Score.timing = ##f
304 \transpose c c' { cis1 ees fisis aeses s16_" " }
307 @cindex key signature, setting
308 The key signature is set with the command @code{\key}, followed by
309 a pitch and @code{\major} or @code{\minor}
318 @lilypond[fragment,quote,notime,fragment]
326 Key signatures together with the pitches (including alterations) are
327 used to determine when to print accidentals. This is a
328 feature that often causes confusion to newcomers, so let us explain it
332 LilyPond makes a sharp distinction between musical content and
333 layout. The alteration (flat, natural or sharp) of a note is part of
334 the pitch, and is therefore musical content. Whether an accidental (a
335 flat, natural or sharp @emph{sign}) is printed in front of the
336 corresponding note is a question of layout. Layout is something that
337 follows rules, so accidentals are printed automatically according to
338 those rules. The pitches in your music are works of art, so they will
339 not be added automatically, and you must enter what you want to hear.
343 @lilypond[quote,notime,fragment]
349 no note has an explicit accidental, but you still must enter
357 The code @samp{d} does not mean `print a black dot just below the
358 staff.' Rather, it means: `a note with pitch D-natural.' In the key
359 of A-flat, it does get an accidental
361 @lilypond[quote,notime,fragment]
371 Adding all alterations explicitly might require a little more effort
372 when typing, but the advantage is that transposing is easier, and
373 accidentals can be printed according to different conventions. See
374 @ref{Accidentals}, for some examples how accidentals can be printed
375 according to different rules.
378 For more information on
383 see @ref{Accidentals}.
386 see @ref{Key signature}.
391 @section Entering ties
394 A tie is created by appending a tilde @samp{~} to the first note
397 @lilypond[quote,notime,fragment,verbatim,relative=3]
401 For more information on Ties see @ref{Ties}.
405 @node Automatic and manual beams
406 @section Automatic and manual beams
408 @cindex beams, by hand
409 Beams are drawn automatically
411 @lilypond[quote,fragment,relative=2,verbatim]
416 If you do not like where beams are put, they can be entered by
417 hand. Mark the first note to be beamed with @samp{[} and the last one
420 @lilypond[quote,fragment,relative=2,verbatim]
424 For more information on beams, see @ref{Beaming}.
427 Here are key signatures, accidentals and ties in action
436 fis4 fis8 fis8 eis4 a8 gis~
443 ugr: removing the ignore block, leaving the comment line below
444 @c TODO: use relative mode, verbatim, junk \transpose and above @example
448 @lilypond[fragment,quote,noindent,linewidth=50\staffspace]
455 fis4 fis8 fis8 eis4 a8 gis~
464 There are some interesting points to note in this example. Bar lines
465 and beams are drawn automatically. Line breaks are calculated
466 automatically; it does not matter where the line breaks are in the
467 source file. Finally, the order in which time, key and clef changes
468 are entered is not relevant: in the printout, these are ordered
469 according to standard notation conventions.
474 @section Octave entry
477 @c Tim wants to move this quotes example just before the: quotes-do not-work
478 @c score, but we'd need to remove quotes from the other two (key and
481 @c better to have this just before the `octaves are bad' snipped
482 @c but we'd need to remove the ', from \key and tie
483 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
484 the note name, to lower a note one octave, add a `low quote' @code{,}
485 (a comma). Middle C is @code{c'}
488 c'4 c'' c''' \clef bass c c,
491 @lilypond[quote,notime,fragment]
492 c'4 c'' c''' \clef bass c c,
495 An example of the use of quotes is in the following Mozart fragment
497 @lilypond[quote,raggedright,fragment,verbatim]
500 cis''8. d''16 cis''8 e''4 e''8
501 b'8. cis''16 b'8 d''4 d''8
505 The last example shows that music in a high register needs lots of quotes.
506 This makes the input less readable, and it is a source of errors. The
507 solution is to use `relative octave' mode. This is the
508 most convenient way to copy existing music.
510 In relative mode, a note without octavation quotes (i.e. the @code{'}
511 or @code{,} after a note) is chosen so it it is closest to the
512 previous one. For example, @samp{c f} goes up while @samp{c g} goes
515 To use relative mode, add @code{\relative} before the piece of
516 music. The first note is taken relative to the middle C
517 @c no , for this sentence
522 @lilypond[quote,notime,fragment,verbatim]
529 Since most music has small intervals, pieces can be written almost
530 without octavation quotes in relative mode. The previous example is
533 @lilypond[quote,raggedright,verbatim]
537 cis'8. d16 cis8 e4 e8
542 @c needed better, maybe even redundant explanation
543 @c added another example below.
544 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
545 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
546 Larger intervals are made by adding octavation quotes.
548 @lilypond[quote,notime,verbatim,fragment]
554 In summary, quotes or commas no longer determine the absolute height
555 of a note in @code{\relative} mode. Rather, the height of a note is
556 relative to the previous one, and changing the octave of a single note
557 shifts all following notes an octave up or down.
559 For more information on Relative octaves see @ref{Relative octaves},
560 and @ref{Octave check}.
563 @node Music expressions explained
564 @section Music expressions explained
567 In input files, music is represent by so-called @emph{music
568 expression}. We have already seen in the previous examples;
569 a single note is a music expression
571 @lilypond[fragment,quote,verbatim,relative=3]
575 Enclosing group of notes in braces creates a new music
578 @lilypond[fragment,quote,verbatim,relative=3]
582 Putting a bunch of music expressions (notes) in braces, means that
583 they should be played in sequence. The result again is a music
584 expression, which can be grouped with other expressions sequentially.
585 Here, the expression from the previous example is combined with two
588 @lilypond[fragment,quote,verbatim,relative=3]
592 This technique is useful for non-monophonic music. To enter music
593 with more voices or more staves, we also combine expressions in
594 parallel. Two voices that should play at the same time, are entered
595 as a simultaneous combination of two sequences. A `simultaneous'
596 music expression is formed by enclosing expressions in @code{<<} and
597 @code{>>}. In the following example, three sequences (all containing
598 two other notes) are combined simultaneously
600 @lilypond[fragment,quote,verbatim,relative=3]
608 This mechanism is similar to mathematical
609 formulas: a big formula is created by composing small formulas. Such
610 formulas are called expressions, and their definition is recursive, so
611 you can make arbitrarily complex and large expressions. For example,
620 ((1 + 2) * 3) / (4 * 5)
624 @cindex music expression
625 This is a sequence of expressions, where each expression is contained
626 in the next one. The simplest expressions are numbers, and larger
627 ones are made by combining expressions with operators (like @samp{+},
628 @samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
629 music expressions can be nested arbitrarily deep, which is necessary
630 for complex music like polyphonic scores.
632 Note that this example only has one staff, whereas
633 the previous example had three seperate staves. That is because this
634 example begins with a single note. To determine the number of staves,
635 LilyPond looks at the first element. If it is a single note, there is one
636 staff; if there is a simultaneous expression, there is more than one staff.
638 @lilypond[fragment,quote,verbatim,relative=2]
641 << { e f } { c <<b d>> } >>
645 Music files with deep nesting can be confusing to enter and
646 maintain. One convention that helps against this confusion is
647 indenting. When entering a file with deep nesting of braces and
648 angles, it is customary to use an indent that indicates the nesting
649 level. Formatting music like this eases reading and helps you insert
650 the right number of closing braces at the end of an expression. For
664 Some editors have special support for entering LilyPond, and can help
665 indenting source files. See @ref{Editor support} for more information.
670 To print more than one staff, each piece of music that makes up a
671 staff is marked by adding @code{\new Staff} before it. These
672 @code{Staff} elements are then combined parallel with @code{<<} and
673 @code{>>}, as demonstrated here
675 @lilypond[quote,fragment,verbatim]
677 \new Staff { \clef treble c'' }
678 \new Staff { \clef bass c }
683 The command @code{\new} introduces a `notation context.' A notation
684 context is an environment in which musical events (like notes or
685 @code{\clef} commands) are interpreted. For simple pieces, such
686 notation contexts are created automatically. For more complex pieces, it
687 is best to mark contexts explicitly. This ensures that each fragment
690 There are several types of contexts: @code{Staff}, @code{Voice} and
691 @code{Score} handle melodic notation. Other contexts are also
692 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
693 printing chord names).
696 In terms of syntax, prepending @code{\new} to a music expression
697 creates a bigger music expression. In this way it resembles the minus
698 sign in mathematics. The formula @math{(4+5)} is an expression, so
699 @math{-(4+5)} is a bigger expression.
701 We can now typeset a melody with two staves
703 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
705 @lilypond[fragment,quote,verbatim,raggedright]
722 For more information on context see the description in
723 @ref{Interpretation contexts}.
727 @node Adding articulation marks to notes
728 @section Adding articulation marks to notes
734 Common accents can be added to a note using a dash (@samp{-}) and a
737 @lilypond[fragment,quote,verbatim,relative=2]
738 c-. c-- c-> c-^ c-+ c-_
742 Similarly, fingering indications can be added to a note using a dash
743 (@samp{-}) and the digit to be printed
745 @lilypond[fragment,quote,verbatim,relative=2]
749 Articulations and fingerings are usually placed automatically, but you
750 can specify a direction using @samp{^} (up) or @samp{_} (down). You can
751 also use multiple articulations on the same note. In most cases, it is
752 best to let LilyPond determine the articulation directions.
754 @lilypond[fragment,quote,verbatim,relative=2]
755 c_-^1 d^. f^4_2-> e^-_+
758 Dynamic signs are made by adding the markings (with a backslash) to
761 @lilypond[fragment,quote,verbatim,relative=2]
769 Crescendi and decrescendi are started with the commands @code{\<} and
770 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
771 crescendo, or the command @code{\!} can be used
773 @lilypond[fragment,quote,verbatim,relative=2]
781 A slur is a curve drawn across many notes, and indicates legato
782 articulation. The starting note and ending note are marked with
783 @samp{(} and @samp{)}, respectively
785 @lilypond[fragment,quote,fragment,relative=2,verbatim]
786 d4( c16) cis( d e c cis d) e( d4)
789 @cindex slurs versus ties
790 A slur looks like a tie, but it has a different meaning. A tie simply
791 makes the first note sound longer, and can only be used on pairs of
792 notes with the same pitch. Slurs indicate the articulations of notes,
793 and can be used on larger groups of notes. Slurs and ties can be
796 @lilypond[quote,fragment,relative=2]
797 c2~( c8 fis fis4 ~ fis2 g2)
800 @cindex phrasing slurs
801 Slurs to indicate phrasing can be entered with @code{\(} and
802 @code{\)}, so you can have both legato slurs and phrasing slurs at the
805 @lilypond[quote,fragment,relative=2,verbatim]
806 a8(\( ais b c) cis2 b'2 a4 cis, c\)
810 For more information on
815 see @ref{Fingering instructions}.
817 see @ref{Articulations}.
821 see @ref{Phrasing slurs}.
828 @node Combining notes into chords
829 @section Combining notes into chords
832 Chords can be made by surrounding pitches with angle brackets.
833 Angle brackets are the symbols @samp{<} and @samp{>}.
835 @lilypond[quote,relative=1,fragment,verbatim]
840 You can combine markings like beams and ties with chords. They must
841 be placed outside the angled brackets
843 @lilypond[quote,relative=1,fragment,verbatim]
844 r4 <c e g>8[ <c f a>]~ <c f a>
848 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
851 @lilypond[quote,relative=1,fragment]
853 r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
857 @node Advanced rhythmic commands
858 @section Advanced rhythmic commands
862 @cindex partial measure
863 A pickup is entered with the keyword @code{\partial}. It
864 is followed by a duration: @code{\partial 4} is a quarter note upstep
865 and @code{\partial 8} an eighth note
867 @lilypond[quote,relative=2,verbatim,fragment]
874 Tuplets are made with the @code{\times} keyword. It takes two
875 arguments: a fraction and a piece of music. The duration of the piece
876 of music is multiplied by the fraction. Triplets make notes occupy
877 2/3 of their notated duration, so a triplet has 2/3 as its fraction
879 @lilypond[quote,relative=1,verbatim,fragment]
880 \times 2/3 { f8 g a }
886 Grace notes are also made by prefixing a music expression with the
887 keyword @code{\appoggiatura} or @code{\acciaccatura}
891 @lilypond[quote,relative=2,verbatim,fragment]
892 c4 \appoggiatura b16 c4
893 c4 \acciaccatura b16 c4
898 For more information on
903 see @ref{Grace notes},
907 see @ref{Partial measures}.
912 @node Commenting input files
913 @section Commenting input files
917 @cindex block comment
918 A comment is a remark for the human reader of the music input; it is
919 ignored while parsing, so it has no effect on the printed output.
920 There are two types of comments. The percent symbol @samp{%}
921 introduces a line comment; after @code{%} the rest of the line is
922 ignored. A block comments marks a whole section of music
923 input. Anything that is enclosed in @code{%@{} and @code{%@}} is
924 ignored. The following fragment shows possible uses for comments
927 % notes for twinkle twinkle follow
931 This line, and the notes below
932 are ignored, since they are in a
940 @c This is good info, but I wouldn't call it a comment. IMO it should
941 @c be moved somewhere else. I don't know exactly where yet, but I'll
942 @c resolve it soon. -gp
946 There is a special statement that is a kind of comment. The @code{\version}
947 statement marks for which version of LilyPond the file was written.
948 To mark a file for version 2.1.17, use
955 These annotations make future upgrades of LilyPond go more
956 smoothly. Changes in the syntax are handled with a special program,
957 @file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
958 @code{\version} to determine what rules to apply.
961 @node Printing lyrics
962 @section Printing lyrics
965 @c TODO: (c) status of the Queen fragment.
969 Lyrics are entered by separating each syllable with a space
977 @lilypond[quote,verbatim,fragment,raggedright]
979 r4 c \times 2/3 { f g g }
980 \times 2/3 { g4( a2) }
984 The lyrics can be set to these notes, combining both with the
985 @code{\addlyrics} keyword
987 @lilypond[quote,verbatim,fragment,raggedright]
990 r4 c \times 2/3 { f g g }
991 \times 2/3 { g4( a2) }
993 \addlyrics { I want to break free }
998 @cindex extender line
1000 This melody ends on a @rglos{melisma}, a single syllable (`free')
1001 sung to more than one note. This is indicated with an @emph{extender
1002 line}. It is entered as two underscores, i.e.,
1005 @{ I want to break free __ @}
1008 @lilypond[fragment,quote,raggedright]
1011 r4 c \times 2/3 { f g g }
1012 \times 2/3 { g4( a2) }
1014 \addlyrics { I want to break free __ }
1018 Similarly, hyphens between words can be entered as two dashes,
1019 resulting in a centered hyphen between two syllables
1022 Twin -- kle twin -- kle
1025 @lilypond[fragment,quote,raggedright]
1031 \addlyrics { Twin -- kle twin -- kle }
1035 More options, like putting multiple lines of lyrics below a melody are
1036 discussed in @ref{Vocal music}.
1040 @section A lead sheet
1046 In popular music, it is common to denote accompaniment with chord names.
1047 Such chords can be entered like notes,
1049 @lilypond[quote,verbatim,raggedright]
1050 \chordmode { c2 f4. g8 }
1054 Now each pitch is read as the root of a chord instead of a note.
1055 This mode is switched on with @code{\chordmode}
1058 Other chords can be created by adding modifiers after a colon. The
1059 following example shows a few common modifiers
1061 @lilypond[quote,verbatim]
1062 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
1065 For lead sheets, chords are not printed on staves, but as names on a
1066 line of themselves. Hence, we have to override the context with
1067 @code{\new}, rendering the music expression in a @code{ChordNames}
1070 @lilypond[quote,verbatim]
1071 \chordmode { c2 f4.:m g4.:maj7 gis8:dim7 }
1075 When put together, chord names, lyrics and a melody form
1076 a lead sheet, for example,
1080 \chordmode @{ @emph{chords} @}
1082 \addlyrics @{ @emph{the text} @}
1087 @lilypond[quote,raggedright]
1089 \chordmode { r2 c:sus4 f }
1091 r4 c' \times 2/3 { f g g }
1092 \times 2/3 { g4( a2) }
1094 \addlyrics { I want to break free __ }
1098 A complete list of modifiers and other options for layout can be found
1103 @section Adding titles
1105 Bibliographic information is entered in a separate block, the
1106 @code{\header} block. The name of the piece, its composer, etc., are
1107 entered as an assignment, within @code{\header
1108 @{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
1109 the top of the file. For example,
1114 composer = "Igor Stravinsky"
1121 When the file is processed the title and composer are printed above
1122 the music. More information on titling can be found in @ref{Creating
1126 @node Single staff polyphony
1127 @section Single staff polyphony
1130 @cindex multiple voices
1131 @cindex voices, more -- on a staff
1132 When different melodic lines are combined on a single staff they are
1133 printed as polyphonic voices; each voice has its own stems, slurs and
1134 beams, and the top voice has the stems up, while the bottom voice has
1137 Entering such parts is done by entering each voice as a sequence (with
1138 @code{@{...@}}), and combining those simultaneously, separating the
1139 voices with @code{\\}
1141 @lilypond[quote,verbatim,relative=2,fragment]
1142 << { a4 g2 f4~ f4 } \\
1146 For polyphonic music typesetting, spacer rests can also be convenient;
1147 these are rests that do not print. They are useful for filling up
1148 voices that temporarily do not play. Here is the same example with a
1149 spacer rest (@code{s}) instead of a normal rest (@code{r}),
1151 @lilypond[quote,verbatim,relative=2,fragment]
1152 << { a4 g2 f4~ f4 } \\
1157 Again, these expressions can be nested arbitrarily
1159 @lilypond[quote,fragment,verbatim,relative=2,fragment]
1167 { <c, g>1 ~ <c g>4 } \\
1173 More features of polyphonic typesetting in the notation manual are
1174 described in @ref{Polyphony}.
1178 @section Piano staves
1180 @cindex staff switch, manual
1181 @cindex cross staff voice, manual
1182 @cindex @code{\context}
1183 Piano music is typeset in two staves connected by a brace. Printing
1184 such a staff is similar to the polyphonic example in @ref{More staves},
1187 << \new Staff @{ @dots{} @}
1188 \new Staff @{ @dots{} @} >>
1192 but now this entire expression must be interpreted as a
1196 \new PianoStaff << \new Staff @dots{} >>
1199 Here is a small example
1201 @lilypond[quote,verbatim,relative=1,fragment]
1203 \new Staff { \time 2/4 c4 c g' g }
1204 \new Staff { \clef bass c,, c' e c }
1208 More information on formatting piano music is in @ref{Piano music}.
1211 @node Organizing larger pieces
1212 @section Organizing larger pieces
1214 When all of the elements discussed earlier are combined to produce
1215 larger files, the @code{\score} blocks get a lot bigger, because the
1216 music expressions are longer, and, in the case of polyphonic pieces,
1217 more deeply nested. Such large expressions can become unwieldy.
1219 By using variables, also known as identifiers, it is possible to break
1220 up complex music expressions. An identifier is assigned as follows
1223 namedMusic = @{ @dots{} @}
1227 The contents of the music expression @code{namedMusic}, can be used
1228 later by preceding the name with a backslash, i.e., @code{\namedMusic}.
1229 In the next example, a two-note motive is repeated two times by using
1230 variable substitution
1232 @lilypond[quote,raggedright,verbatim,nofragment]
1236 { \seufzer \seufzer }
1239 The name of an identifier should have alphabetic characters only; no
1240 numbers, underscores or dashes. The assignment should be outside of
1243 It is possible to use variables for many other types of objects in the
1249 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1252 Depending on its contents, the identifier can be used in different
1253 places. The following example uses the above variables
1263 More information on the possible uses of identifiers is in the
1264 technical manual, in @ref{Input variables and Scheme}.
1265 @c fixme: the ref is too technical.
1268 @node An orchestral part
1269 @section An orchestral part
1271 In orchestral music, all notes are printed twice. Once in a part for
1272 the musicians, and once in a full score for the conductor. Identifiers can
1273 be used to avoid double work. The music is entered once, and stored in
1274 a variable. The contents of that variable is then used to generate
1275 both the part and the score.
1277 It is convenient to define the notes in a special file. For example,
1278 suppose that the file @file{horn-music.ly} contains the following part
1279 of a horn/bassoon duo
1282 hornNotes = \relative c @{
1289 Then, an individual part is made by putting the following in a file
1292 \include "horn-music.ly"
1294 instrument = "Horn in F"
1298 \transpose f c' \hornNotes
1305 \include "horn-music.ly"
1309 substitutes the contents of @file{horn-music.ly} at this position in
1310 the file, so @code{hornNotes} is defined afterwards. The command
1311 @code{\transpose f@tie{}c'} indicates that the argument, being
1312 @code{\hornNotes}, should be transposed by a fifth downwards. Sounding
1313 @samp{f} is denoted by notated @code{c'}, which corresponds with
1314 tuning of a normal French Horn in@tie{}F. The transposition can be seen
1315 in the following output
1317 @lilypond[quote,raggedright]
1318 \transpose f c' \relative c {
1324 In ensemble pieces, one of the voices often does not play for many
1325 measures. This is denoted by a special rest, the multi-measure
1326 rest. It is entered with a capital @samp{R} followed by a duration
1327 (1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
1328 duration, longer rests can be constructed. For example, this rest
1329 takes 3@tie{}measures in 2/4 time
1335 When printing the part, multi-rests
1336 must be condensed. This is done by setting a run-time variable
1339 \set Score.skipBars = ##t
1343 This command sets the property @code{skipBars} in the
1344 @code{Score} context to true (@code{##t}). Prepending the rest and
1345 this option to the music above, leads to the following result
1347 @lilypond[quote,raggedright]
1348 \transpose f c' \relative c {
1350 \set Score.skipBars = ##t
1357 The score is made by combining all of the music together. Assuming
1358 that the other voice is in @code{bassoonNotes} in the file
1359 @file{bassoon-music.ly}, a score is made with
1362 \include "bassoon-music.ly"
1363 \include "horn-music.ly"
1366 \new Staff \hornNotes
1367 \new Staff \bassoonNotes
1374 @lilypond[quote,raggedright]
1382 r4 d,8 f | gis4 c | b bes |
1383 a8 e f4 | g d | gis f
1388 More in-depth information on preparing parts and scores can be found
1389 in the notation manual; see @ref{Orchestral music}.
1391 Setting run-time variables (`properties') is discussed in
1392 @ref{Changing context properties on the fly}.
1399 * discuss expectations (?)
1403 * overview of chapters?