3 @c TODO: LilyPond LilyPond LilyPond
9 <!--- @@WEB-TITLE@@=Tutorial --->
13 * First steps:: Music language of LilyPond
14 * Simple legend:: Small table of music language symbols
15 * Running LilyPond:: Printing music
16 * The first real tune:: The first real tune
17 * Lyrics and chords:: Lyrics and chords
18 * More movements :: Joining separate pieces of music
19 * A piano excerpt:: Piano music
20 * An orchestral score:: Conductor's score and individual parts
21 * Other ways to run LilyPond:: Other ways to run LilyPond
22 * Integrating text and music:: Integrating text and music
23 * End of tutorial:: The end
27 The music is described in a text file, using a simple music language.
28 LilyPond reads that text file and generates music that you can print or
31 Therefore, creating music notation with LilyPond is done in two steps.
32 Using a text editor, you write down the notes to print. Then, you run
33 LilyPond to get your printed output.
35 This tutorial starts with a small introduction to the LilyPond music
36 language. After this first contact, we will show you how to run
37 LilyPond to produce printed output; you should then be able to create
38 your first sheets of music.
40 The tutorial continues with a slightly more elaborate example of real music.
41 This piece introduces and explains some finer details of LilyPond.
42 Then, a number of more complex examples follow, that will help you to
43 produce most complex music with LilyPond.
51 @c @node Music language of LilyPond
52 @c @section Music language of LilyPond
54 This section shows how easy writing music with LilyPond actually is. If
55 you have not seen LilyPond input source before, this section is for you.
57 The next section has a table (see @ref{Simple legend}) of all symbols
58 that are introduced here, you may want to keep an eye on that.
60 Writing music with LilyPond is explained below by a number of small
61 examples. Each example has a small piece of text; the LilyPond input
62 that you should type, with the resulting music printed below it.
64 You get a simple note by typing its note name, from @code{a} through
73 \property Score.timing = ##f
74 \property Staff.TimeSignature = \turnOff
75 \transpose c'' { c d e f g a b }
80 The length of a note is specified by adding a number, ``@code{1}'' for a
81 whole note, ``@code{2}'' for a half note, and so on:
88 @c missing clef seems to raise more questions than actual pitch of notes,
89 @c as these are snippets anyway
91 \property Score.timing = ##f
92 \property Staff.TimeSignature = \turnOff
93 \property Staff.noAutoBeaming = ##t
94 %\property Staff.Clef = \turnOff
95 \transpose c'' { a1 a2 a4 a16 a32 }
101 If you don't specify a duration, the previous duration is used:
108 @c missing clef seems to raise more questions than actual pitch of notes,
109 @c as these are snippets anyway
111 \property Score.timing = ##f
112 \property Staff.TimeSignature = \turnOff
113 %\property Staff.Clef = \turnOff
114 \transpose c'' { a a a2 a }
120 A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
121 (@texiflat{}) by adding ``@code{es}'':
129 \property Score.timing = ##f
130 \property Staff.TimeSignature = \turnOff
131 \transpose c'' { cis1 ees fisis aeses }
137 Add a dot ``@code{.}'' after the duration to get a dotted note:
143 @c missing clef seems to raise more questions than actual pitch of notes,
144 @c as these are snippets anyway
146 \property Score.timing = ##f
147 \property Staff.TimeSignature = \turnOff
148 %\property Staff.Clef = \turnOff
149 \transpose c'' { a2. a4 a8. a16 }
155 The meter (or time signature) can be set with the ``@code{\time}'' command:
164 @c a clef here may lead to confusion
166 \property Staff.Clef = \turnOff
177 The clef can be set using the ``@code{\clef}'' command:
179 @c what is more common name treble or violin?
180 @c in Dutch, its violin.
190 \property Score.timing = ##f
191 \property Staff.TimeSignature = \turnOff
204 From these commands and notes, a piece of music can be formed. A piece
205 of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
206 LilyPond then knows that music follows (and not lyrics, for example):
220 At this point, the piece of music is ready to be printed. This is done
221 by combining the music with a printing command.
223 The printing command is the so-called ``@code{\paper}'' block. You will
224 see later that the \paper block is necessary to customize all kinds of
225 printing specifics. The music and the \paper block are combined by
226 enclosing them in ``@code{\score @{ ... @}}''. This is what a full
227 LilyPond source file looks like:
250 \paper { linewidth = 60 * \staffspace }
257 We continue with the introduction of the remaining musical constructs.
259 @c maybe legend here?
261 Normal rests are entered just like notes with the name ``@code{r}'':
269 \property Score.timing = ##f
270 \property Staff.Clef = \turnOff
271 \property Staff.TimeSignature = \turnOff
278 @c Tim wants to move this quotes example just before the: quotes-don't-work
279 @c score, but we'd need to remove quotes from the other two (key and
282 @c better to have this just before the `octaves are bad' snipped
283 @c but we'd need to remove the ', from \key and tie
284 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
285 the note name, to lower a note one octave, add a ``low quote'' @code{,}
286 (a comma). The central C is @code{c'}:
290 c'4 c'' c''' \clef bass c c,
294 \property Score.timing = ##f
295 \property Staff.TimeSignature = \turnOff
296 c'4 c'' c''' \clef bass c c,
301 A tie is created by entering a tilde ``@code{~}'' between the notes to
302 be tied. A tie between two notes means that the second note must not be
303 played separately, but just makes the first note sound longer:
306 @lilypond[fragment,verbatim]
312 The key signature is set with the command ``@code{\key}'':
322 \property Staff.TimeSignature = \turnOff
331 @c bit on the long/complex/scary taste
332 @c cheating a bit: two lines makes for a friendlier look
333 This example shows notes, ties, octave marks, and rests in action.
334 Don't worry about all the quotes.
343 r4 r8 d''8 cis''4 e''
345 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
358 r4 r8 d''8 cis''4 e''
360 cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
363 \paper { linewidth = 50*\staffspace }
369 There are some interesting points to note in this example. Firstly,
370 accidentals (sharps and flats) don't have to be marked explicitly: you
371 just enter the note name, and LilyPond determines whether or not to
372 print an accidental. Secondly, bar lines and beams are drawn
373 automatically. Thirdly, LilyPond calculates line breaks for you; it
374 doesn't matter where you make new lines in the source file.
376 The example also indicates that a piece of music written in a high
377 register needs lots of quotes. This makes the input a bit unreadable,
378 and is therefore also a potential source of errors.
382 The solution is to use ``relative octave'' mode. In practice, most
383 music is entered using this mode.
385 To use relative mode, add @code{\relative} before the piece of music.
386 You must also give a note from which relative starts, in this case
389 @c In relative octave mode, quotes are used to mark large jumps in the
390 @c melody. Without any quotes or commas, the interval between a note and
391 @c its predecessor is assumed to be a fourth or less. Quotes and commas
392 @c add octaves in up and down direction.
394 If you type no octaviation quotes, relative mode chooses the note that
395 is closest to the previous one, which is often just the one you need.
396 @c don't use commas or quotes in this sentence
397 For example: @code{c f} goes up; @code{c g} goes down:
407 \property Score.timing = ##f
408 \property Staff.TimeSignature = \turnOff
416 @c needed better, maybe even redundant explanation
417 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
418 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
419 You can make a large interval by adding octaviation quotes. Note that
420 quotes or commas do not determine the absolute height of a note;
421 the height of a note is relative to the previous one.
422 @c don't use commas or quotes in this sentence
423 For example: @code{c f,} goes down; @code{f, f} are both the same;
424 @code{c c'} are the same; and @code{c g'} goes up:
434 \property Score.timing = ##f
435 \property Staff.TimeSignature = \turnOff
443 A slur is drawn across many notes, and indicates bound articulation
444 (legato). The starting note and ending note are marked with a
445 ``@code{(}'' and a ``@code{)}'' respectively:
448 @lilypond[fragment,relative 1, verbatim]
449 d4( )c16( cis d e c cis d )e( )d4
454 If you need two slurs at the same time (one for articulation, one for
455 phrasing), you can also make a phrasing slur with @code{\(} and
460 @lilypond[fragment,relative 1, verbatim]
461 a8(\( ais b ) c cis2 b'2 a4 cis, \) c
466 Beams are drawn automatically, but if you don't like the choices, you
467 can enter beams by hand. Surround the notes to be grouped with @code{[}
470 @lilypond[fragment,relative 1, verbatim]
476 To print more than one staff, each piece of music that makes up a staff
477 is marked by adding @code{\context Staff} before it. These
478 @code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
482 @lilypond[fragment,verbatim]
484 \context Staff = staffA { \clef violin c'' }
485 \context Staff = staffB { \clef bass c }
490 In this example, @code{staffA} and @code{staffB} are names that are
491 given to the staves. For now, it doesn't matter what names you give, as
492 long as each staff has a unique name.
496 We can typeset a melody with two staves now:
502 < \context Staff = staffA {
505 \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
507 \context Staff = staffB {
518 Notice that the time signature is specified in one melody staff only
519 (the top staff), but is printed on both. LilyPond knows that the time
520 signature should be the same for all staves.
524 Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
526 @lilypond[verbatim,relative 1]
532 Dynamic signs are made by adding the markings to the note:
534 @lilypond[verbatim,relative 1]
540 Crescendi are started with the commands @code{\<} and @code{\>}. The
541 command @code{\!} finishes a crescendo on the following note.
543 @lilypond[verbatim,relative 1]
544 c2\< \!c2-\ff \>c2 \!c2
549 Chords can be made by surrounding notes with @code{<} and @code{>}:
551 @lilypond[relative 0, fragment,verbatim]
559 @c hmm, te losjes, iig
560 In general, @code{ < @var{stuff} > } is used when @var{stuff} all
561 happens at the same time, like in chords, or (like in the two-staff
562 example above) in a bunch of stacked staves.
565 Of course, you can combine beams and ties with chords. Notice that
566 beam and tie markings are placed outside the chord markers:
568 @lilypond[relative 0, fragment,verbatim]
569 r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
573 When you want to combine chords with slurs and dynamics, an annoying
574 technical detail crops up: you have type these commands next to the
575 notes, which means that they have to be inside the @code{< >}:
578 @lilypond[relative 0, fragment,verbatim]
579 r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
584 A nasty technical detail also crops up when you start a score with a
588 @lilypond[verbatim,singleline]
589 \score { \notes <c'1 e'1> }
594 The program can not guess that you want the notes on only one staff. To
595 force the chord on a staff, add @code{\context Staff} like this:
598 @lilypond[verbatim,singleline]
599 \score { \notes \context Staff <c'1 e'1> }
608 [TODO add some more here
619 This is the end of the simple tutorial. You know the basic ingredients
620 of a music file, so this is the right moment to try your at hand at
621 doing it yourself: try to type some simple examples, and experiment a
624 When you're comfortable with the basics, then you might want to read the
625 rest of this chapter. It also a manual in tutorial-style, but it is much
626 more in-depth. It will also be very intimidating if you're not familiar
627 with the basics. It deals with some of the more advanced features of
628 LilyPond. Topics include lyrics, chords, orchestral scores and parts,
629 fine tuning output, polyphonic music, and integrating text and music.
632 @c refer to this section
634 @section Simple legend
637 @c need texinfo-4.0a or later for this
640 @c both Tim and my father came independently with a request for a
641 @c `legend' like this.
643 @c what should be in it?
648 @multitable @columnfractions .10 .20 .40
653 @lilypond[fragment, relative 1]
654 \property Score.timing = ##f
655 \property Staff.TimeSignature = \turnOff
656 \property Staff.noAutoBeaming = ##t
657 \property Staff.Clef = \turnOff
664 @lilypond[fragment, relative 1]
665 \property Score.timing = ##f
666 \property Staff.TimeSignature = \turnOff
667 \property Staff.noAutoBeaming = ##t
668 \property Staff.Clef = \turnOff
675 @lilypond[fragment, relative 1]
676 \property Score.timing = ##f
677 \property Staff.TimeSignature = \turnOff
678 \property Staff.noAutoBeaming = ##t
679 \property Staff.Clef = \turnOff
685 @lilypond[fragment, relative 1]
686 \property Score.timing = ##f
687 \property Staff.TimeSignature = \turnOff
688 \property Staff.noAutoBeaming = ##t
689 \property Staff.Clef = \turnOff
696 @lilypond[fragment, relative 1]
697 \property Score.timing = ##f
698 \property Staff.TimeSignature = \turnOff
699 \property Staff.noAutoBeaming = ##t
700 \property Staff.Clef = \turnOff
707 @lilypond[fragment, relative 1]
708 \property Score.timing = ##f
709 \property Staff.TimeSignature = \turnOff
710 \property Staff.noAutoBeaming = ##t
711 \property Staff.Clef = \turnOff
712 \context Voice { <a c> }
718 @lilypond[fragment, relative 1]
719 \property Score.timing = ##f
720 \property Staff.TimeSignature = \turnOff
721 \property Staff.noAutoBeaming = ##t
722 \property Staff.Clef = \turnOff
729 @lilypond[fragment, relative 1]
730 \property Score.timing = ##f
731 \property Staff.TimeSignature = \turnOff
732 \property Staff.noAutoBeaming = ##t
733 \property Staff.Clef = \turnOff
742 @node Running LilyPond
743 @section Running LilyPond
745 You write music with LilyPond as follows: first you edit a text file
746 containing a description of the notes. Then you run LilyPond on the
747 file. This leaves you with an output file, which you can view or print.
749 In this section we explain how to run LilyPond, and view or print the
750 output. If you have not used LilyPond before, want to test your setup
751 of LilyPond, or try to run an example file yourself, then read this
754 The instructions that follow are for running LilyPond on Unix-like
755 systems. Some additional instructions for running LilyPond on Windows
756 are given at the end of this section.
758 You begin with opening a terminal window, and start up a text editor.
759 For example, open an xterm and execute @code{joe}. In your text editor,
760 enter the following input, and save the file as @file{test.ly}:
765 \notes @{ c'4 e' g' @}
772 @c now this is weird, running ly2dvi to run LilyPond
773 @c (therefore name change proposal)
775 To run LilyPond, you invoke ly2dvi to compile your LilyPond source file:
783 You will see the following on your screen:
788 Now processing: `/home/fred/ly/test.ly'
790 Interpreting music...[1]
791 @emph{ ... more interesting stuff ... }
792 PS output to `test.ps'...
793 DVI output to `test.dvi'...
797 @cindex Viewing music
800 The results of the ly2dvi run are two files, @file{test.dvi} and
801 @file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
802 You can view the PS file using the program ghostview. If a version of
803 ghostview is installed on your system, one of these commands will
804 produce a window with some music notation on your screen:
814 If you are satisfied with the looks of the music displayed on your
815 screen, you can print the PS file by clicking File/Print inside
818 The DVI file (@file{test.dvi}) contains the same sheet music in a
819 different format. DVI files are more easily processed by the computer,
820 so viewing them usually is quicker. Execute @code{xdvi test.dvi}
821 to view the DVI file.
823 If your DVI viewer does not have a "Print" button, you can print the
824 file by executing @code{lpr test.ps}.
826 @c volgende alinea schrappen?
828 If you can't get the examples to print, then you should look into
829 installing and configuring ghostscript. Refer to GhostScript's website
830 at @uref{http://www.ghostscript.com}.
834 @cindex Printing output
837 @unnumberedsubsec Windows users
838 Windows users start the terminal by clicking on the LilyPond or Cygwin
839 icon. Notepad is sufficient for editing the LilyPond file. Viewing
840 the PS file can be done with:
843 @code{gsview32 test.ps}
846 You can also print from the command line by executing:
849 @code{gsview32 /s test.ps}
854 @node The first real tune
855 @section The first real tune
858 The rest of this tutorial will demonstrate how to use Lilypond by
859 presenting examples of input along with resulting output. We will use
860 English terms for notation. In case you are not familiar with those,
861 you may consult the glossary that is distributed with LilyPond.
863 The examples discussed are included in the distribution, in the
864 subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
865 they are relative to the top directory of the source package. }
867 To demonstrate what LilyPond input looks like, we start off with a
868 full-fledged, yet simple example. It is a convoluted version
869 of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
870 is included in the distribution as @file{minuet.ly}.
871 @cindex Bach, Johann Sebastian
874 % all text after a percent sign is a comment
875 % and is ignored by LilyPond
876 \include "paper16.ly"
879 \relative c'' \sequential {
884 d4 g,8 a b c d4 g, g |
885 e'4 c8 d e fis g4 g, g |
886 c4 d8( )c b a( )b4 c8 b a g |
887 a4 [b8 a] [g fis] g2. |
892 g4 e8 fis g d cis4 b8 cis a4 |
893 a8-. b-. cis-. d-. e-. fis-.
900 % standard settings are too big and wide for a book
907 We will analyse the input, line by line.
910 % all text after a percent sign is a comment
911 % and is ignored by LilyPond
913 Percent signs introduce comments: everything after a percent sign is
914 ignored. You can use this to write down mental notes to yourself. You
915 can also make longer comments by enclosing text in @code{%@{} and
918 @cindex block comment
923 \include "paper16.ly"
926 @cindex @code{\include}
927 @cindex point, printer's
928 @cindex staff size, setting
929 @cindex font size, setting
931 By default, LilyPond will typeset the music in a size such that each
932 staff is 20 point (0.7 cm, or 0.27 inch) high. We want smaller output
933 (16 point staff height), so we must import the settings for that size,
941 Music is printed by combining a piece of music with directions for
942 outputting it. This combination is formed in the @code{\score} block.
949 Prepare LilyPond for accepting notes.
950 @cindex octaves, choosing
959 @c removed duplicate introduction to octave marks /MB
960 @c Shorten even more?
962 @c As we will see, each note is described by its note name, duration,
963 @c octave and possibly a chromatic alteration. In this setup, the octave
964 @c is indicated by using high quotes (@code{'}) and ``lowered quotes''
965 @c (commas: @code{,}). The central C is denoted by @code{c'}. The C one
966 @c octave higher is @code{c''}. One and two octaves below the central C is
967 @c denoted by @code{c} and @code{c,} respectively.
969 Even though a piece of music often spans a range of several octaves, it
970 mostly moves in small intervals. LilyPond has a special entry mode to
971 save typing in this situation. In this ``relative'' octave mode,
972 octaves of notes without quotes are chosen such that a note is as close
973 as possible (graphically, on the staff) to the preceding note. If you
974 add a high-quote an extra octave is added. A lowered quote (a comma)
975 will subtract an extra octave.
977 Because the first note has no predecessor,
978 you have to give the (absolute) pitch of the note to start with.
985 What follows is sequential music, i.e.,
986 @cindex sequential music
987 notes that are to be played and printed after each other.
994 @cindex time signature, setting
996 Set (or change) the time signature of the current piece: a 3/4 sign is
997 printed. The time signature setting is also used to generate bar lines
1005 @cindex key signature, setting
1007 Set (or change) the current key signature to G-major. Although in this
1008 example, the @code{\key} command happened to be entered after the
1009 @code{\time} command, in the output the time signature will be printed
1010 after the key signature; LilyPond knows about music typesetting
1018 The following piece of music is played twice. The first argument
1019 indicates the type of repeat. In this case, @code{"volta"} means that
1020 prima volta/secunda volta brackets are used for the alternative
1021 endings---if there were any.
1023 A special notation for repeats allows you to get correct repeats in
1024 MIDI output. However, some extra trickery is needed to get this
1025 working, See @ref{Repeats and MIDI}.
1032 The subject of the repeat is again sequential music. Since
1033 @code{\sequential} is such a common construct, a shorthand is provided:
1034 just leave off @code{\sequential}, and the result is the same.
1041 Two notes. The first note is a quarter note with relative pitch
1042 @code{d}. The relative music was started with a @code{c''}, so the real
1043 pitch of this note is @code{d''}. The duration of a note is designated
1044 by a number; the @code{4} here represents a quarter note.
1046 The second note is an eight note with relative pitch @code{g,}. The
1047 pitch is taken relative to the previous @code{d''}, making this
1048 note have real pitch @code{g'}. The @code{8} represents an eight note.
1055 Two more notes, with pitch @code{a} and @code{b}. Because their
1056 duration is the same as the @code{g,8}, there is no need to enter the
1057 duration, but you may enter it anyway, i.e., @code{a8 b8}
1066 @cindex errors, finding
1067 Three more notes. The @code{|} character is a ``bar check''. LilyPond
1068 will verify that bar checks are found at the start of a measure. This can
1069 help you track down typing errors.
1071 @cindex alteration, chromatic
1072 @cindex chromatic alteration
1079 So far, no notes were chromatically altered. Here is the first one that
1080 is: @code{fis}. LilyPond by default uses Dutch@footnote{Note names are
1081 available in several languages, but we find the Dutch names quite
1082 convenient.} note names, and ``Fis'' is the Dutch note name for ``F
1083 sharp''. However, there is no sharp sign in the output. The program
1084 keeps track of key signatures, and will only print accidentals if they
1087 For groups of eighth notes and shorter, LilyPond can determine how the
1088 notes should form a beam. In this case, the 4 eights are automatically
1093 c4 d8( )c b a( )b4 c8 b a g |
1096 The beginning and ending notes of a slur are marked with parentheses,
1097 @code{(} and @code{)} for start and end respectively. The line above
1098 indicates two slurs. These slur markers (parentheses) are entered
1099 between the slurred notes.
1106 Automatic beaming can be overridden by inserting beam marks, @code{[}
1107 and @code{]}. These beam markers (brackets) are put around the notes
1115 @cindex augmentation dot
1117 A period adds a dot to the note.
1124 The end of the sequential music to be repeated. LilyPond will typeset a
1132 Accidentals are printed whenever necessary: the first C sharp of the bar
1133 will be printed with an accidental, the second one without.
1137 a8-. b-. cis-. d-. e-. fis-.
1140 @cindex articulation
1141 You can enter articulation signs either in a verbose form or using a
1142 shorthand. Here we demonstrate the shorthand: it is formed by a dash
1143 and the character for the articulation to use, e.g. @code{-.} for
1144 staccato as shown above.
1152 Rests are denoted by the special note name @code{r}.
1159 All articulations have a verbose form, like @code{\fermata}. The
1160 command @code{\fermata} is not part of the core of the language, but it
1161 is a shorthand for a more complicated description of a fermata symbol.
1162 @code{\fermata} names that description and is therefore called an
1165 @cindex @code{\fermata}
1171 Here the music ends. LilyPond does not automatically typeset an end
1172 bar, we must explicitly request one, using @code{"|."}.
1178 % standard settings are too big and wide for a book
1184 The @code{\paper} block specifies how entered music should be converted
1185 to notation output. Most of the details of the conversion (font sizes,
1186 dimensions, etc.) have been taken care of, but to fit the output in this
1187 document, it has to be narrower. We do this by setting the line width
1188 to 14 centimeters (approximately 5.5 inches).
1195 The last brace ends the @code{\score} block.
1200 @node Lyrics and chords
1201 @section Lyrics and chords
1203 In this section we show how to typeset a song. This file is
1204 included as @file{flowing.ly}.
1208 title = "The river is flowing"
1209 composer = "Traditional"
1211 \include "paper16.ly"
1212 melody = \notes \relative c' @{
1216 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1217 c4 c8 d [es () d] c4 | d4 es8 d c4.
1222 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1223 ri -- ver is flo -- wing down to the sea.
1226 accompaniment =\chords @{
1228 c2:3- f:3-.7 d:min es4 c8:min r8
1229 c2:min f:min7 g:7^3.5 c:min @}
1234 \context ChordNames \accompaniment
1237 \context Staff = mel @{
1238 \property Staff.noAutoBeaming = ##t
1239 \property Staff.automaticMelismata = ##t
1242 \context Lyrics \text
1244 \midi @{ \tempo 4=72 @}
1245 \paper @{ linewidth = 10.0\cm @}
1250 The result would look this.@footnote{The titling and font size shown
1251 may differ, since the titling in this document is not generated by
1254 @center @strong{The river is flowing}
1259 title = "The river is flowing"
1260 composer = "Traditional"
1262 \include "paper16.ly"
1263 melody = \notes \relative c' {
1267 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1268 c4 c8 d [es () d] c4 | d4 es8 d c4.
1273 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1274 ri -- ver is flo -- wing down to the sea.
1277 accompaniment =\chords {
1279 c2:3- f:3-.7 d:min es4 c8:min r8
1280 c2:min f:min7 g:7^3.5 c:min }
1285 \context ChordNames \accompaniment
1288 \context Staff = mel {
1289 \property Staff.noAutoBeaming = ##t
1290 \property Staff.automaticMelismata = ##t
1293 \context Lyrics \text
1295 \midi { \tempo 4=72 }
1296 \paper { linewidth = 10.0\cm }
1300 Again, we will dissect the file line by line.
1307 @cindex @code{\header}
1308 Information about the music you are about to typeset goes into a
1309 @code{\header} block. The information in this block is not used by
1310 LilyPond, but it is passed into the output. @file{ly2dvi} uses this
1311 information to print titles above the music.
1315 title = "The river is flowing"
1316 composer = "Traditional (?)"
1319 @cindex identifier assignment
1320 the @code{\header} block contains assignments. In each assignment, a
1321 variable is set to a value. Lexically, both the variable name and the
1322 assigned value are strings. The values have to be quoted here, because
1323 they contain spaces. The variable names could also be put within quotes
1324 but it is not necessary.
1328 \include "paper16.ly"
1331 Smaller size for inclusion in a book.
1335 melody = \notes \relative c' @{
1338 The structure of the file will be the same as the previous one, a
1339 @code{\score} block with music in it. To keep things readable, we will
1340 give names to the different parts of music, and use the names to
1341 construct the music within the score block.
1348 @cindex @code{\partial}
1350 The piece starts with an anacrusis of one eighth.
1355 The key is C minor: we have three flats.
1360 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
1361 c4 c8 d [es () d] c4 | d4 es8 d c4.
1366 @cindex manual beaming
1367 @cindex automatic beaming, turning off
1368 We use explicit beaming. Since this is a song, we turn automatic
1369 beams off, and use explicit beaming where needed.
1376 This ends the definition of @code{melody}.
1385 @cindex identifier assignment
1386 @cindex syllables, entering
1387 Another identifier assignment. This one is for the lyrics.
1388 Lyrics are formed by syllables that have duration, and not by
1389 notes. To make LilyPond parse words as syllables, switch it into
1390 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
1391 is a shorthand for @code{\sequential @{}.
1395 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
1396 ri- ver is flo- __ wing down to the sea.
1400 @cindex extenders, lyric
1401 @cindex hyphens, lyric
1402 The syllables themselves are separated by spaces. You can get syllable
1403 extenders by entering @code{__}, and centered hyphens with
1404 @code{-}@code{-}. We enter the syllables as if they are all quarter notes
1405 in length (hence the @code{4}), and use a feature to align the
1406 syllables to the music, which obviously isn't all quarter notes.
1410 accompaniment =\chords @{
1414 @cindex mode, chords
1415 We'll put chords over the music. To enter them, there is a special mode
1416 analogous to @code{\lyrics} and @code{\notes} mode, where you can give
1417 the names of the chords you want, instead of listing the notes
1418 comprising the chord.
1425 There is no accompaniment during the anacrusis.
1434 @cindex chord modifier
1435 @cindex modifier, chord
1436 A chord is started by the tonic of the chord. The
1437 first one lasts a half note. An unadorned note creates a major
1438 triad. Since a minor triad is wanted, @code{3-} is added to modify the
1439 third to be small. @code{7} modifies (adds) a seventh, which is small by
1440 default to create the @code{f a c es} chord. Multiple modifiers must be
1449 Some modifiers have predefined names, e.g. @code{min} is the same as
1450 @code{3-}, so @code{d-min} is a minor @code{d} chord.
1454 c2:min f:min7 g:7^3.5 c:min @}
1457 @cindex named modifier
1459 A named modifier @code{min} and a normal modifier @code{7} do not have
1460 to be separated by a dot. Tones from a chord are removed with chord
1461 subtractions. Subtractions are started with a caret, and they are
1462 also separated by dots. In this example, @code{g:7^3.5} produces a
1463 minor seventh. The brace ends the sequential music.
1471 We assemble the music in the @code{\score} block. Melody, lyrics and
1472 accompaniment have to sound at the same time, so they should be
1473 @code{\simultaneous}.
1474 @cindex @code{\simultaneous}
1481 Chord mode generates notes grouped in @code{\simultaneous} music. If
1482 you remove the comment sign, you can see the chords in normal
1483 notation: they will be printed as note heads on a separate
1484 staff. To print them as chords names, they have to be interpreted as
1485 being chords, not notes. This is done with the following command:
1489 \context ChordNames \accompaniment
1493 @cindex interpretation context
1494 @cindex notation context
1497 Normally, the notes that you enter are transformed into note heads.
1498 Note heads alone make no sense, they need surrounding information: a key
1499 signature, a clef, staff lines, etc. They need @emph{context}. In
1500 LilyPond, these symbols are created by objects called `interpretation
1501 contexts'. Interpretation contexts exist for generating notation
1502 (`notation context') and for generating sound (`performance
1503 context'). These objects only exist during a run of LilyPond.
1505 By default, LilyPond will create a Staff context for you. If you would
1506 remove the @code{%} sign in the previous line, you would see that
1507 mechanism in action.
1509 We don't want that default here, because we want chord names. The
1510 command above explicitly creates an interpretation context of
1511 @code{ChordNames} type to interpret the music @code{\accompaniment}.
1518 @cindex @code{\addlyrics}
1519 @cindex lyrics and melody, combining
1520 @cindex combining lyrics and melody
1522 The lyrics should be aligned with the melody. This is done by
1523 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
1524 pieces of music (usually a melody and lyrics, in that order) and
1525 aligns the syllables of the second piece under the notes of the
1526 first piece. If you would reverse the order, the notes would be
1527 aligned on the lyrics, which is not very useful, and looks
1532 \context Staff = mel @{
1536 The first argument of @code{\addlyrics} is the melody. We instantiate
1537 a @code{Staff} context explicitly: should you choose to remove the
1538 comment before the ``note heads'' version of the accompaniment, the
1539 accompaniment will be on a nameless staff. The melody has to be on
1540 staff different from the accompaniment. This is accomplished by giving
1541 the melody and accompaniment staves different names.
1545 \property Staff.noAutoBeaming = ##t
1549 @cindex context variables
1550 @cindex setting context variables
1551 An interpretation context has variables, called properties, that tune
1552 its behavior. One of the variables is @code{noAutoBeaming}. Setting
1553 this @code{Staff}'s property to @code{##t}, which is the boolean value
1554 @var{true}, turns the automatic beaming mechanism off for the current
1558 @cindex accessing Scheme
1559 @cindex evaluating Scheme
1562 LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
1563 language from the LISP family. You can learn more about Scheme at
1564 @uref{http://www.scheme.org}. It is used to represent data throughout
1565 the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
1566 code following the hash-sign is evaluated as Scheme. The boolean value
1567 @var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
1570 If Scheme scares you, don't worry. You don't need to know Scheme to
1571 create beautiful sheet music.
1578 \property Staff.automaticMelismata = ##t
1581 @cindex automaticMelismata
1583 @cindex @code{\addlyrics} and slurs
1584 Similarly, we don't want to print a syllable when there is
1585 a slur. This sets up @code{\addlyrics} to not put lyrics under each
1586 separate note while there is a slur.
1594 Finally, we put the melody on the current staff. Note that the
1595 @code{\property} directives and @code{\melody} are grouped in sequential
1596 music, so the property settings are done before the melody is
1601 \context Lyrics \text
1604 The second argument of @code{\addlyrics} is the text. The text also
1605 should not land on a Staff, but on a interpretation context for
1606 syllables, extenders, hyphens etc. This context is called
1611 \midi @{ \tempo 4=72@}
1614 MIDI (Musical Instrument Digital Interface) is a standard for
1615 connecting and recording digital instruments. So a MIDI file is like a
1616 tape recording of an instrument. The @code{\midi} block makes the
1617 music go to a MIDI file, so you can listen to the music you entered. It
1618 is great for checking the music. Whenever you hear something weird, you
1619 probably hear a typing error.
1621 Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
1622 also specifies an output method. You can specify the tempo using the
1623 @code{\tempo} command, in this case the tempo of quarter notes is set to
1624 72 beats per minute.
1628 \paper @{ linewidth = 10.0\cm @}
1631 We also want notation output. The linewidth is short so the piece
1632 will be set in two lines.
1634 @node More movements
1635 @section More movements
1637 [FIXME: merge here with, or move this to: Other ways to run LilyPond]
1639 You probably ran @file{ly2dvi} on the last example, and ended up with a
1640 viewable @file{.dvi} file. However, between there are a few steps of
1641 which LilyPond is only one. To enhance your understanding of what's
1642 happening under the hood when you run @code{ly2dvi}, we explain what
1645 @code{ly2dvi} is a program that calls a number of programs in sequence.
1646 The first thing it does, is running LilyPond on the input file. After
1647 some calculations, a @file{.tex} is produced. The contents
1648 of this file are very low-level instructions.
1650 For example, consider the following file (@file{miniatures.ly})
1655 title = "Two miniatures"
1656 tagline = "small is beautiful"
1659 #(set! point-and-click line-column-location)
1661 \paper @{ linewidth = -1.0 @}
1664 \notes @{ c'4 d'4 @}
1670 \notes @{ d'4 c'4 @}
1677 The titling in this manual was not generated by ly2dvi, so we can't
1678 exactly show what it would look like, but the result should resemble this:
1680 @center @strong{Two miniatures}
1690 \paper { linewidth = -1.0 }
1702 \paper { linewidth = -1.0 }
1706 This file is produced by ly2dvi in a few stages, with the help of text
1707 formatting tools. LilyPond produces two output files,
1708 @file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
1709 only graphical music notation. @file{ly2dvi} looks at what output
1710 LilyPond produces, and adds page layout and titling to those files. The
1711 result is a DVI file called @file{miniatures.dvi}.
1713 Next, now we'll look at the example line by line to explain new things.
1719 Lilypond and its language are still under development, and occasionally,
1720 details of the syntax are changed. This fragment indicates for which
1721 version the input file was written. When you compile this file, the
1722 version number will be checked, and you will get a warning when the file
1725 This version number is also used by the @code{convert-ly} program (See
1726 @ref{convert-ly}), which is used to update the file to the latest lily
1732 title = "Two miniatures" @}
1734 This sets the titling information for the entire file.
1737 tagline = "small is beautiful"
1739 A signature line is printed at the bottom of the last page.
1740 This signature is produced from the @code{tagline} field of
1741 @code{\header}. Many people find the default "Lily was here,
1742 @var{version number}" too droll. If that is the case, assign
1743 something else to @code{tagline}, as shown above.
1746 #(set! point-and-click line-column-location)
1749 This piece of Scheme code sets the Scheme variable
1750 @code{point-and-click} to the value @var{line-column-location} (which
1751 itself is a Scheme procedure).
1753 Editing input files can be quite complicated if you're working with
1754 large files: if you're digitizing existing music, you have to
1755 synchronize the .ly file, the sheet music on your lap and the sheet
1756 music on the screen. The point-and-click mechanism makes it easy to
1757 find the origin of an error in the LY file: when you view the file with
1758 Xdvi and click on a note, your editor will jump to the spot where that
1759 note was entered. For more information, see @ref{Point and click}.
1766 The @code{\score} blocks that follow in the file don't have
1767 @code{\paper} sections, so the settings of this block are substituted: A
1768 paper block at top level, i.e. not in a @code{\score} block sets the
1769 default page layout.
1778 The variable @code{linewidth} normally sets the length of the systems on
1779 the page. However, a negative value has a special meaning. If
1780 @code{linewidth} is less than 0, no line breaks are inserted into the
1781 score, and the spacing is set to natural length: a short phrase takes up
1782 little space, a longer phrase more space.
1787 \notes @{ c'4 d'4 @}
1790 In previous examples, notes were specified in relative octaves,
1791 i.e. each note was put in the octave that is closest to its
1792 predecessor. Besides relative, there is also absolute octave
1793 specification, which you get when you don't specify @code{\relative}. In
1794 this input mode, the central C is denoted by @code{c'}. Going down, you
1795 get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
1798 When you're copying music from existing sheet music, relative octaves
1799 are probably the easiest to use: it's less typing work and errors are
1800 easily spotted. However, if you write LilyPond input directly, either by
1801 hand (i.e. composing) or by computer, absolute octaves may be easier to use.
1809 The @code{\header} is normally at the top of the file, where it sets
1810 values for the rest of the file. If you want to typeset different pieces
1811 from one file (for example, if there are multiple movements, or if
1812 you're making an exercise book), you can put different @code{\score}
1813 blocks into the input file. ly2dvi will assemble all LilyPond output
1814 files into a big document. The contents of \header blocks specified
1815 within each score, are used for the titling of each movement.
1821 For example, the Opus number is put at the right, and the piece string
1822 will be at the left.
1826 @node A piano excerpt
1827 @section A piano excerpt
1829 Our fourth subject is a piece of piano music. The fragment in the
1830 input file is a piano reduction of the G major Sinfonia by Giovanni
1831 Battista Sammartini. It was composed around 1740. It's in the source
1832 package under the name @file{sammartini.ly}.
1835 \include "paper16.ly"
1837 stemDown = \property Voice.Stem \override #'direction = #-1
1838 stemUp = \property Voice.Stem \override #'direction = #1
1839 stemBoth = \property Voice.Stem \revert #'direction
1841 viola = \notes \relative c' \context Voice = viola {
1842 <c4-\f-\arpeggio g' c>
1848 oboes = \notes \relative c'' \context Voice = oboe {
1849 \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
1850 \grace <e8( g> <d4 )f> <c2 e>
1851 \times 2/3 { <d8 \< f> <e g> <f a> }
1853 { \times 2/3 { a8 g c } \! c2 }
1854 \context Voice = oboeTwo {
1857 \property Voice.Stem \override #'direction = #-1
1859 \property Voice.Stem \revert #'direction
1865 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
1866 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
1867 [<c16( e> < )e8. g>] <c8 e,>
1870 hoomPah = \repeat unfold 8 \notes
1871 \transpose c' { \stemUp c8 \stemBoth \stemDown g'8 \stemBoth }
1873 bassvoices = \notes \relative c' {
1875 \autochange Staff \context Voice \hoomPah
1876 \translator Staff = down
1877 \stemDown [c8 c'8] r4
1879 < {\stemUp r2 <e4 c'> <c8 g'> }
1880 \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
1884 \context PianoStaff \notes <
1885 \context Staff = up < \time 2/2
1889 \context Staff = down < \time 2/2 \clef bass
1896 linewidth = 15.0 \cm }
1900 If this looks like incomprehensible gibberish to you, you are right.
1901 This example has been doctored to have as many quirks as possible.
1903 As you can see, this example features multiple voices on one staff. To
1904 make room for those voices, their notes have to be stemmed in opposite
1907 Printed symbols are internally represented by so-called Graphical
1908 Objects (more colloquially: Grobs). These statements concern the
1909 grob called `Stem'. Each grob is described by a bunch of settings. These
1910 setting determine the fonts, offsets, sub-routines to be called on the
1911 grob, etc. The initial values of these settings are set in the Scheme
1912 file @file{scm/grob-description.scm}.
1916 stemDown = \property Voice.Stem \override #'direction = #-1
1919 Set a property for all Stem grobs in the current Voice:
1920 @code{direction} is set to @code{-1}, which encodes down. The setting
1921 remains in effect until it is reverted.
1925 \property Voice.Stem \revert #'direction
1928 Revert the to the previous setting. The effect of precisely one
1929 @code{\stemDown} or @code{\stemUp} is neutralized.
1932 LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
1933 with some other commonly used formatting instructions, but to explain how
1934 it works, we wrote our own here. Of course, you should use predefined
1935 identifiers like these if possible: then you will be affected less by
1936 the implementation changes we occasionally make.
1940 viola = \notes \relative c' \context Voice = viola @{
1942 In this example, you can see multiple parts on a staff. Each part is
1943 associated with one notation context. This notation context handles
1944 stems and dynamics (among others). The type name of this context is
1945 @code{Voice}. For each part we have to make sure that there is
1946 precisely one @code{Voice} context, so we give it a unique name
1951 <c4-\f-\arpeggio g' c>
1953 The delimiters @code{<} and @code{>} are shorthands for
1954 @code{\simultaneous @{} and @code{@}}. The expression enclosed in
1955 @code{<} and @code{>} is a chord.
1962 @code{\f} places a forte symbol under the chord. The forte applies to
1963 the whole chord, but the syntax requires that commands like forte and
1964 arpeggio are attached to a note, so here we attach them to the first
1967 @code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
1980 Relative octaves work a little differently with chords. The starting
1981 point for the note following a chord is the first note of the chord. So
1982 the @code{g} gets an octave up quote: it is a fifth above the starting
1983 note of the previous chord (the central C).
1989 @code{s} is a spacer rest. It does not print anything, but it does have
1990 the duration of a rest. It is useful for filling up voices that
1991 temporarily don't play. In this case, the viola doesn't come until one
1992 and a half measure later.
1996 oboes = \notes \relative c'' \context Voice = oboe @{
1998 Now comes a part for two oboes. They play homophonically, so we
1999 print the notes as one voice that makes chords. Again, we insure that
2000 these notes are indeed processed by precisely one context with
2004 \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
2006 @code{\stemUp} is a reference to the @code{\property \override} command
2010 \grace <e8 g> < d4 f> <c2 e>
2012 @cindex @code{\grace}
2015 @code{\grace} introduces grace notes. It takes one argument, in this
2019 The slur started on the @code{e} of the chord
2020 will be attached to the next note.@footnote{LilyPond will squirm
2021 about unended Slurs. In this case, you can ignore the warning}.
2029 Tuplets are made with the @code{\times} keyword. It takes two
2030 arguments: a fraction and a piece of music. The duration of the piece
2031 of music is multiplied by the fraction. Triplets make notes occupy 2/3
2032 of their notated duration, so in this case the fraction is 2/3.
2035 @{ <d8 \< f> <e g> <f a> @}
2037 The piece of music to be `tripletted' is sequential music containing
2038 three notes. On the first chord, a crescendo is started with
2039 @code{\<}. To be precise, the crescendo start is syntactically attached
2040 to the preceding note, the @code{d}.
2050 At this point, the homophonic music splits into two rhythmically
2051 different parts. We can't use a sequence of chords to enter this, so
2052 we make a `chord' of sequences to do it. We start with the upper
2053 voice, which continues with upward stems:
2056 @{ \times 2/3 @{ a8 g c @} \! c2 @}
2061 The crescendo is ended at the half note by the escaped exclamation
2065 \context Voice = oboeTwo @{
2068 We can't share stems with the other voice, so we have to create a new
2069 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
2070 it from the other context. Stems go down in this voice.
2075 @cindex Grace context
2076 When a grace section is processed, a @code{Grace} context is
2077 created. This context acts like a miniature score of its own. It has
2078 its own time bookkeeping, and you can make notes, beams, slurs
2079 etc. Here we fiddle with a property and make a beam. The argument of
2080 @code{\grace} is sequential music.
2084 \property Voice.Stem \override #'direction = #-1
2086 \property Voice.Stem \revert #'direction
2089 Normally, grace notes are always stem up, but in this case, the upper
2090 voice interferes, so we set the stems down here.
2092 As far as relative mode is concerned, the previous note is the
2093 @code{c'''2} of the upper voice, so we have to go an octave down for
2101 This ends the two-part section.
2105 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
2110 @code{\stemBoth} ends the forced stem directions. From here, stems are
2111 positioned as if it were single part music.
2113 The bass has a little hoom-pah melody to demonstrate parts switching
2114 between staves. Since it is repetitive, we use repeats:
2117 hoomPah = \repeat unfold 8
2119 @cindex unfolded @code{\repeat}
2120 The unfolded repeat prints the notes in its argument as if they were
2121 written out in full eight times.
2124 \notes \transpose c' @{
2127 @cindex relative mode and transposing
2129 Transposing can be done with @code{\transpose}, which takes two arguments.
2130 The first specifies what central C should be transposed to. The second
2131 is the to-be-transposed music. As you can see, in this case, the
2132 transposition has no effect, as central C stays at central C.
2134 The purpose of this no-op is circumventing relative mode. Relative mode
2135 can not be used together with transposition, so @code{\relative} will
2136 leave the contents of @code{\hoomPah} alone. We can use it without
2137 having to worry about getting the motive in a wrong octave.
2140 bassvoices = \notes \relative c' @{
2142 \autochange Staff \hoomPah \context Voice
2144 @cindex staff switch, automatic
2145 @cindex cross staff voice, automatic
2146 @cindex @code{\autochange}
2148 Voices can switch between staves. The easiest way to get this, is to use
2149 @code{\autochange}. This command looks at the pitch of each note, and if
2150 necessary, will cross to the other staff. For this to work, the two
2151 staves must be called @code{"up"} and @code{"down"}.
2154 \translator Staff = down
2156 @cindex staff switch
2157 @cindex cross staff voice
2158 We want the remaining part of this melody on the lower staff, so we do a
2159 manual staff switch here.
2164 \context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
2168 After skipping some lines, we see @code{~}. This mark makes ties. Note
2169 that ties and slurs are different things. A tie can only connect two
2170 note heads of the same pitch, whereas a slur can connect many chords
2177 A special context is needed to get cross staff beaming right. This
2178 context is called @code{PianoStaff}.
2181 \context Staff = bottom < \time 2/2 \clef bass
2183 The bottom staff must have a different clef.
2188 To make some more room on the line, the first (in this case the only)
2189 line is not indented. The line still looks very cramped, but that is due
2190 to the page layout of this document.
2196 * font-size, multi-stanza.
2198 * Simple part combining in a Hymn
2202 @node An orchestral score
2203 @section An orchestral score
2207 * Extracting an individual part::
2211 Our last two examples show a way to setup the music for an orchestral
2212 score. When typesetting a piece for several instruments, you'll want to
2213 create a conductor's full score, alongside several individual parts.
2215 LilyPond is well suited for this task. We will declare the music for
2216 each instrument individually, giving the music of each instrument its
2217 own name. These pieces of music are then combined in different
2218 @code{\score} blocks to produce different combinations of the score.
2220 This orchestral score example consists of three input files. In the
2221 first file, @file{os-music.ly}, we define the music for all instruments.
2222 This file will be used both for producing the score and the separate
2225 If you were to run LilyPond on this file, no printable output would be
2231 title = "Zo, goed lieverd?"
2232 subtitle = "How's, this babe?"
2241 Key = \notes \key as \major
2242 flautoI = \notes\relative c'' @{
2244 bes as bes as bes as bes as
2246 flautoII = \notes\relative c'' @{
2247 as8 bes as bes R1 d4 ~ d
2249 tromboI = \notes\relative c'' @{
2250 c4. c8 c8 c4. es4 r as, r
2252 tromboII = \notes\relative c'' @{
2253 as4. as8 as8 as4. R1*1/2 as4 es'
2255 timpani = \notes\relative c, @{
2256 \times 2/3 @{ f4 f f @}
2257 \times 4/5 @{ as8 as as as as @}
2260 corno = \notes\relative c' @{
2261 bes4 d f, bes d f, bes d
2265 We will not go through the input line by line, but only indicate and
2266 explain the new elements.
2273 \skip 2*4 \bar "|.";
2277 Declare setting to be used globally. The @code{\skip} command produces
2278 no output, but moves forward in time: in this case, the duration of a
2279 half note (@code{2}), and that four times (@code{*4}). This brings us
2280 to the end of the piece, and we can set the end bar.
2284 Key = \notes \key as \major
2286 Declare the key signature of the piece and assign it to the identifier
2287 @var{Key}. Later on, we'll use @code{\Key} for all staves except those
2288 for transposing instruments.
2290 @node The full score
2291 @subsection The full score
2294 The second file, @file{os-score.ly} reads the definitions of the first
2295 (@file{os-music.ly}), and defines the @code{\score} block for the full
2301 \include "os-music.ly"
2302 \include "paper13.ly"
2304 #(set! point-and-click line-column-location)
2305 #(define text-flat '((font-relative-size . -2)
2306 (music "accidentals--1")))
2311 \property Score.BarNumber \override #'padding = #3
2312 \context StaffGroup = woodwind <
2313 \context Staff = flauti <
2314 \property Staff.midiInstrument = #"flute"
2315 \property Staff.instrument = "2 Flauti"
2316 \property Staff.instr = "Fl."
2318 \context Voice=one @{ \voiceOne \flautoI @}
2319 \context Voice=two @{ \voiceTwo \flautoII @}
2322 \context StaffGroup = timpani <
2323 \context Staff = timpani <
2324 \property Staff.midiInstrument = #"timpani"
2325 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2326 \property Staff.instr = #"Timp."
2332 \context StaffGroup = brass <
2333 \context Staff = trombe <
2334 \property Staff.midiInstrument = #"trumpet"
2335 \property Staff.instrument = #`(lines "2 Trombe" "(C)")
2336 \property Staff.instr = #`(lines "Tbe." "(C)")
2338 \context Voice=one \partcombine Voice
2339 \context Thread=one \tromboI
2340 \context Thread=two \tromboII
2342 \context Staff = corni <
2343 \property Staff.midiInstrument = #"french horn"
2344 \property Staff.instrument = #`(lines "Corno"
2345 (columns "(E" ,text-flat ")"))
2346 \property Staff.instr = #`(lines "Cor."
2347 (columns "(E" ,text-flat ")"))
2348 \property Staff.transposing = #3
2349 \notes \key bes \major
2350 \context Voice=one \corno
2355 indent = 15 * \staffspace
2356 linewidth = 60 * \staffspace
2357 textheight = 90 * \staffspace
2359 \HaraKiriStaffContext
2368 @center @strong{Zo, goed lieverd?}
2370 @center How's, this babe?
2378 @lilypondfile{os-score.ly}
2382 \include "os-music.ly"
2384 First, we need to include the music definitions we made in
2389 #(set! point-and-click line-column-location)
2391 In a large orchestral score like this you're bound to make some small
2392 mistakes, so we enable point and click (See @ref{Point and click})
2397 #(define text-flat '((font-relative-size . -2)
2398 (music "accidentals--1")))
2401 When naming the tuning of the french horn, we'll need a piece of text
2402 with a flat sign. LilyPond has a mechanism for font selection and
2403 kerning called Scheme markup text (See @ref{Text markup}). The flat
2404 sign is taken from the music font, and its name is @code{accidentals--1}
2405 (The natural sign is called @code{accidentals-0}). The default font is
2406 too big for text, so we select a relative size of @code{-2}.
2413 Of course, all staves are simultaneous and use the same global settings.
2417 \property Score.BarNumber \override #'padding = #3
2419 LilyPond prints bar numbers at the start of each line, but
2420 unfortunately, they end up a bit too close to the staff in this example.
2421 A bar number internally is a Grob called @var{BarNumber}. BarNumber
2422 Grobs can be manipulated through their @var{side-position-interface}. One
2423 of the properties of a @var{side-position-interface} that can be tweaked
2424 is the @var{padding}: the amount of extra space that is put between this
2425 Grob and other Grobs. We set the padding to three staff spaces.
2427 You can find information on all these kind of properties in LilyPond's
2428 automatically generated documentation in
2430 @ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
2433 the online documentation.
2438 \context StaffGroup = woodwind <
2439 \context Staff = flauti <
2441 A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
2442 hold one or more @code{Staff}'s, and will print a big bracket at the
2443 left of the score. Start a new staff group for the woodwind section
2444 (just the flutes in this case). Immediately after that, we start the
2445 staff for the two flutes, that also play simultaneously.
2449 \property Staff.midiInstrument = #"flute"
2451 Specify the instrument for MIDI output (see @ref{MIDI instrument
2456 \property Staff.instrument = "2 Flauti"
2457 \property Staff.instr = "Fl."
2459 And define the instrument names to be printed in the margin,
2460 @code{instrument} for the first line of the score, @code{instr} for the
2467 The flutes play in the default key.
2471 \context Voice=one @{ \voiceOne \flautoI @}
2472 \context Voice=two @{ \voiceTwo \flautoII @}
2474 Last come the actual flute parts. Remember that we're still in
2475 simultaneous mode. We name both voices differently, so that LilyPond
2476 will actually create two Voice contexts. The flute parts are simple, so
2477 we specify manually which voice is which: @code{\voiceOne} forces the
2478 direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
2486 Close the flutes staff and woodwind staff group.
2490 \property Staff.instrument = #'(lines "Timpani" "(C-G)")
2492 The timpani staff only shows a new piece of scheme markup, it sets two
2497 \context Voice=one \partcombine Voice
2498 \context Thread=one \tromboI
2499 \context Thread=two \tromboII
2501 You have seen the notation contexts Staff and Voice, but here's a new
2502 one: Thread. One or more Threads can be part of a Voice. The Thread
2503 takes care of note heads and rests, the Voice combine note heads onto a
2506 For the trumpets we use the automatic part combiner (see @ref{Automatic
2507 part combining}) to combine the two simultaneous trumpet parts onto the
2508 trumpet staff. Each trumpet gets its own Thread context, which must be
2509 named @code{one} and @code{two}). The part combiner makes these two
2510 threads share a Voice when they're similar, and splits the threads up
2511 when they're different.
2515 \property Staff.instrument = #`(lines "Corno"
2516 (columns "(E" ,text-flat ")"))
2518 The french horn has the most complex scheme markup name, made up of two
2519 lines of text. The second line has three elements (columns), the @code{(E},
2520 the flat sign @code{text-flat} that we defined before and a final @code{")"}.
2521 Note that we use a backquote instead of an ordinary quote at the
2522 beginning of the Scheme expression to be able to access the
2523 @code{text-flat} identifier, `unquoting' it with a @code{,}.
2527 \property Staff.transposing = #3
2529 The french horn is to be tuned in E-flat, so we tell the MIDI backend to
2530 transpose this staff by three steps.
2532 Note how we can choose different tuning for entering, printing and
2533 playing, using @code{\transpose} and the MIDI Staff property
2538 \notes \key bes \major
2540 Therefore, it has a different key.
2544 indent = 15 * \staffspace
2545 linewidth = 60 * \staffspace
2547 We specify a big indent for the first line and a small linewidth for this
2552 Usually, LilyPond's predefined setup of notation contexts (Thread,
2553 Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
2554 want a different type of Staff context.
2558 \HaraKiriStaffContext
2562 In orchestral scores, it often happens that one instrument has only
2563 rests during one line of the score. The @code{HaraKiriStaffContext} can
2564 be used as a regular @code{StaffContext} drop-in and will take care of
2565 the automatic removing of empty staves.
2567 @node Extracting an individual part
2568 @subsection Extracting an individual part
2570 The third file, @file{os-flute-2.ly} also reads the definitions of the
2571 first (@file{os-music.ly}), and defines the @code{\score} block for the
2575 \include "os-music.ly"
2576 \include "paper16.ly"
2580 \property Score.skipBars = ##t
2581 \property Staff.midiInstrument = #"flute"
2587 instrument = "Flauto II"
2590 linewidth = 80 * \staffspace
2591 textheight = 200 * \staffspace
2599 @center @strong{Zo, goed lieverd?}
2601 @center How's, this babe?
2602 @center @emph{Flauto II}
2609 @lilypondfile{os-flute-2.ly}
2612 Because we separated the music definitions from the @code{\score}
2613 instantiations, we can easily define a second score with the music of
2614 the second flute. This then is the part for the second flute player.
2615 Of course, we make separate parts for all individual instruments.
2621 In this individual part the second flute has a whole staff for itself,
2622 so we don't want to force stem or tie directions.
2627 instrument = "Flauto II"
2630 The @code{\header} definitions were also read from @file{os-music.ly},
2631 but we need to set the instrument for this particular score.
2635 \property Score.skipBars = ##t
2637 In the conductor's full score, all bars with rests are printed, but for
2638 the individual parts, we want to contract pieces of consecutive empty
2639 bars. LilyPond will do this if Score's @var{skipBars} property to
2643 @node Other ways to run LilyPond
2644 @section Other ways to run LilyPond
2646 Until now, you have been using @file{ly2dvi} to invoke LilyPond.
2647 There are three other routes. Firstly, there is a script called
2648 @code{lilypond-book}, that allows you to freely mix LilyPond input with
2649 Texinfo or \LaTeX input. For example, this manual was written using
2650 @code{lilypond-book}. It is discussed below and in @ref{lilypond-book}.
2653 Secondly, you can generate PostScript directly. This is useful if you
2654 can not or do not want to run @TeX{} on your system. To obtain direct
2655 PostScript output, invoke LilyPond as follows:
2656 @cindex PostScript output
2658 lilypond -f ps test.ly
2660 You have to set some environment variables to view or print this output.
2661 More information can be found in @ref{Invoking LilyPond}. Since the
2662 direct Postscript generation has some problems, it is recommended
2663 to use @file{ly2dvi}.
2666 Thirdly, if you want to do special things with your output, you can run
2667 invoke LilyPond directly:
2671 to produce plain @TeX{} output. Note that La@TeX{} will not work on the
2672 resulting @file{test.tex}. You must run plain @TeX{} on it.
2680 @node Integrating text and music
2681 @section Integrating text and music
2683 Sometimes, you might want to use music examples in a text that you are
2684 writing. For example, if you are writing a musicological treatise, a
2685 songbook, or (like us) the LilyPond manual. You can make such texts by
2686 hand, simply by importing a PostScript figure into your wordprocessor.
2687 However, there is a also an automated procedure:
2689 If you use La@TeX{} or texinfo, you can mix text and LilyPond code. A
2690 script called @code{lilypond-book} will extract the music fragments, run
2691 LilyPond on them, and put back the resulting notation. lilypond-book is
2692 described fully in @ref{lilypond-book}, but here we show a small
2693 example. Since the example also contains explanatory text, we won't
2694 comment on the contents.
2697 \documentclass[a4paper]@{article@}
2700 In a lilypond-book document, you can freely mix music and text. For
2703 \score @{ \notes \relative c' @{
2704 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
2707 Notice that the music line length matches the margin settings of the
2710 If you have no \verb+\score+ block in the fragment,
2711 \texttt@{lilypond-book@} will supply one:
2717 In the example you see here, a number of things happened: a
2718 \verb+\score+ block was added, and the line width was set to natural
2719 length. You can specify many more options using \LaTeX style options
2722 \begin[verbatim,11pt,singleline,
2723 fragment,relative,intertext="hi there!"]@{lilypond@}
2727 \texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
2728 the default music size, \texttt@{fragment@} adds a score block,
2729 \texttt@{relative@} uses relative mode for the fragment, and
2730 \texttt@{intertext@} specifies what to print between the
2731 \texttt@{verbatim@} code and the music.
2733 If you include large examples into the text, it may be more convenient
2734 to put the example in a separate file:
2736 \lilypondfile[printfilename]@{sammartini.ly@}
2738 The \texttt@{printfilename@} option adds the file name to the output.
2743 Under Unix, you can view the results as follows.
2746 $ lilypond-book --outdir=out/ lilbook.tex
2747 lilypond-book (GNU LilyPond) 1.3.146
2748 Reading `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/lilbook.tex'
2750 `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/sammartini.ly'
2751 @var{lots of stuff deleted}
2752 Writing `out/lilbook.latex'
2754 $ latex lilbook.latex
2755 @var{lots of stuff deleted}
2759 Notice the @code{outdir} option to lilypond-book. Running lilypond-book
2760 and running latex creates a lot of temporary files, and you wouldn't want
2761 those to clutter up your working directory. Hence, we have them created
2762 in a separate subdirectory.
2764 The result more or less looks like this:
2768 In a lilypond-book document, you can freely mix music and text. For
2771 \score { \notes \relative c' {
2772 c2 g'2 \times 2/3 { f8 e d } c'2 g4
2775 Notice that the music line length matches the margin settings of the
2778 If you have no @code{\score} block in the fragment,
2779 @code{lilypond-book} will supply one:
2785 In the example you see here, a number of things happened: a
2786 @code{\score} block was added, and the line width was set to natural
2787 length. You can specify many more options using La@TeX{} style options
2790 @lilypond[verbatim,11pt,singleline,
2791 fragment,relative,intertext="hi there!"]
2795 @code{verbatim} also shows the LilyPond code, @code{11pt} selects
2796 the default music size, @code{fragment} adds a score block,
2797 @code{relative} uses relative mode for the fragment, and
2798 @code{intertext} specifies what to print between the
2799 @code{verbatim} code and the music.
2801 If you include large examples into the text, it may be more convenient
2802 to put the example in a separate file:
2804 @lilypondfile[printfilename]{sammartini.ly}
2806 The @code{printfilename} option adds the file name to the output.
2807 @node End of tutorial
2808 @section End of tutorial
2810 That's all folks. From here, you can either try fiddling with input
2811 files, or you can read the reference manual. You can find more example
2812 files in @file{input} and @file{input/test}. You can also look at some
2813 real music. The website @uref{http://www.mutopiaproject.org} has many
2814 examples of real music typeset by LilyPond.
2822 this should be on mutopia website.
2827 @c waar deze info? is uiteindelijk wel handig, schat ik.
2830 If you have a big music project, or just a lot of LilyPond input files,
2831 all generated output from LilyPond, @TeX{} and metafont will clutter
2832 your working directory. LilyPond comes with a one-size-fits-all
2833 pre-cooked makefile that helps you manage producing output. It will
2834 produce all output in the directory @file{out} , generate and track
2835 dependencies. Also, it helps in preparing your submission to @ref{Mutopia
2842 cp /usr/share/lilypond/make/ly.make GNUmakefile
2843 cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
2846 Generated out/minuet.ps for target minuet.
2849 Type @samp{make help} to see possible targets.
2852 @file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
2858 [TODO: rewrite completely.]
2861 * Songs with additional verses::