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?
14 Using LilyPond comes down to encoding music in an input file. After
15 entering the music, the program is run on the file producing output
16 which can be viewed or printed. In this tutorial, we will show step
17 by step how to enter such files, and illustrate the process with
18 fragments of input and the corresponding output. At the end of every
19 section, a paragraph will list where to find further information on
22 Many people learn programs by trying and fiddling around with the
23 program. This is also possible with LilyPond. If you click on a
24 picture in the HTML version of this manual, you will see the exact
25 LilyPond input that was used to generate that image.
28 @lilypond[raggedright]
29 c''^\markup { \bold \huge { Click on this image! } }
33 By cutting and pasting the full input into a test file, you have a
34 starting template for experiments. If you like learning in this way,
35 you will probably want to print out or bookmark
39 @ref{Cheat sheet}, which is a table listing all commands for quick
43 This tutorial starts with a short introduction to the LilyPond music
44 language. After this first contact, we will show you how to to
45 produce printed output. You should then be able to create and print
46 your first sheets of music.
51 * More about pitches::
53 * Automatic and manual beams::
55 * Music expressions explained::
57 * Adding articulation marks to notes::
58 * Combining notes into chords::
59 * Basic rhythmical commands::
60 * Commenting input files::
63 * Listening to output::
65 * Single staff polyphony::
67 * Organizing larger pieces::
68 * An orchestral part::
69 * Integrating text and music::
76 The first example demonstrates how to enter the very simple piece of
77 music, a scale. A note can be entered by typing its name, from
78 @samp{a} through @samp{g}. So, if you enter
85 the result looks like this:
87 @lilypond[notime,relative]
91 The duration of a note is specified by a number after the note name.
92 @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
100 \set Score.timing = ##f
101 \set Staff.autoBeaming = ##f
102 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
105 If you do not specify a @rglos{duration}, then the duration last
106 entered is used, and the first note will be a quarter
113 \set Score.timing = ##f
114 \transpose c c' { a a8 a a2 a s16_" " }
118 Rests are entered just like notes, but with the name ``@code{r}'':
127 \set Score.timing = ##f
128 \set Staff.Clef = \turnOff
129 \set Staff.TimeSignature = \turnOff
137 Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
144 \set Score.timing = ##f
145 \transpose c c' { a2. a4 a8. a16 s16_" " }
149 The @rglos{meter} (or @rglos{time signature}) can be set with the
150 @code{\time} command:
158 @c a clef here may lead to confusion
160 \override Staff.Clef #'transparent = ##t
170 The @rglos{clef} can be set using the @code{\clef} command:
172 @c what is more common name treble or violin?
173 @c in Dutch, it is violin.
174 @c in English it is definitely treble.
183 \set Score.timing = ##f
194 To recognize names like @code{c} and @code{d} as pitches, they have to
195 be entered inside a so-called @code{\notes} block. This block is
196 formed by enclosing notes and commands are enclosed in curly braces,
206 and adding the keyword @code{\notes} before the opening brace
207 @code{@{}, for example,
218 Now the piece of music is almost ready to be printed. When this
219 enclosed a @code{\score} block, i.e. braces @code{@{ @dots{} @}} with
220 keyword @code{\score} in front, like
233 then the music will be converted to printable output:
244 linewidth = 55 * \staffspace
249 In many examples in this manual, both @code{\score} and @code{\notes}
250 and accompanying braces are left out for brevity. However, they must
251 be present when feeding the file to LilyPond.
253 For more elaborate information on
256 @item Entering pitches and durations
258 @ref{Pitches} and @ref{Durations}.
263 @item Time signatures and other timing commands
264 see @ref{Time signature}.
267 @node Running LilyPond
268 @section Running LilyPond
270 In the last section we explained what kind of things you could enter
271 in a LilyPond file. In this section we will explain what commands to run
272 and how to view or print the output. If you have not used LilyPond
273 before, want to test your setup, or want to run an example file
274 yourself, read this section. The instructions that follow are for
275 Unix-like systems. Some additional instructions for Microsoft Windows
276 are given at the end of this section.
278 Begin by opening a terminal window and starting a text editor. For
279 example, you could open an xterm and execute
280 @code{joe}.@footnote{There are macro files for VIM addicts, and there
281 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
282 installed already, then refer to the file @file{INSTALL.txt}}. In
283 your text editor, enter the following input and save the file as
289 \notes @{ c'4 e' g' @}
294 To process @file{test.ly}, proceed as follows:
302 You will see something resembling:
307 Now processing: `/home/fred/ly/test.ly'
309 Interpreting music...[1]
310 @emph{ ... more interesting stuff ... }
311 PDF output to `test.pdf'...
312 DVI output to `test.dvi'...
316 @cindex Viewing music
319 The result is the file @file{test.pdf}@footnote{For @TeX{}
320 aficionados: there is also a @file{test.dvi} file. It can be viewed
321 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
322 not show up in the magnifying glass. The specials also mean that the
323 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
328 } which you can print or with the standard facilities of your
329 operating system.@footnote{If your system does not have any tools
330 installed, you can try @uref{Ghostscript,
331 http://www.cs.wisc.edu/~ghost/}, a freely available package for
332 viewing and printing PDF and PostScript files.}
334 On Windows, start up a text-editor@footnote{Any programmer-oriented
335 editor will do, for example Notepad. Do not use word processor. Its
336 formatting codes will confuse LilyPond} and enter
342 \notes @{ c'4 e' g' @}
347 Save it on the desktop as @file{test.ly} and make sure that it is not
348 called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
349 the file and show the resulting PDF file.
352 @node More about pitches
353 @section More about pitches
355 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
356 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
357 you might expect, a @rglos{double sharp} or @rglos{double flat} is
358 made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
359 derived from note naming conventions in Nordic and Germanic languages,
360 like German and Dutch.}
367 \set Score.timing = ##f
368 \transpose c c' { cis1 ees fisis aeses s16_" " }
372 @cindex key signature, setting
374 The key signature is set with the command ``@code{\key}'', followed by
375 a pitch and @code{\major} or @code{\minor}:
385 \set Staff.TimeSignature = \turnOff
394 Key signatures together with the pitches (including alterations) are
395 used together to determine when to print accidentals. This is a
396 feature that often causes confusion to newcomers, so let us explain it
400 LilyPond makes a sharp distinction between musical content and
401 layout. The alteration (flat, natural or sharp) of a note is part of
402 the pitch, and is therefore musical content. Whether an accidental (a
403 flat, natural or sharp @emph{sign}) is a printed in front of the
404 corresponding note is a question of layout. Layout is something that
405 follows rules, so accidentals are printed automatically according to
406 those rules. The pitches in your music are works of art, so they will
407 not be added automatically, and you must enter what you want to hear.
412 \set Staff.TimeSignature = \turnOff
418 no note gets an explicit accidental, but still you enter
425 The code @code{d} does not mean ``print a black dot just below the
426 staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
427 of A-flat, it does get an accidental:
430 \set Staff.TimeSignature = \turnOff
441 Adding all alterations explicitly might require a little more effort
442 when typing, but the advantage is that transposing is easier, and
443 music can be printed according to different conventions. See
444 @ref{Accidentals} for some examples how accidentals can be printed
445 according to different rules.
448 For more information on
452 see @ref{Accidentals}
455 see @ref{Key signature}
459 @section Entering ties
462 A tie is created by adding a tilde ``@code{~}'' to the first note
465 @lilypond[fragment,verbatim,relative=2]
472 For more information on Ties, see @ref{Ties}.
476 @node Automatic and manual beams
477 @section Automatic and manual beams
479 @cindex beams, by hand
480 Beams are drawn automatically
484 @lilypond[fragment,relative=1,verbatim]
490 If you do not like where beams are put, they can be entered by
491 hand. Mark the first note to be beamed with @code{[} and the last one
496 @lilypond[fragment,relative=1,verbatim]
502 For more information on beams, see @ref{Beaming}.
505 Here are key signatures, accidentals and ties in action:
516 fis4 fis8 fis8 eis4 a8 gis~
524 \notes { \transpose c c' {
530 fis4 fis8 fis8 eis4 a8 gis~
533 \paper { linewidth = #(* 50 staffspace) }
539 There are some interesting points to note in this example. Bar lines
540 and beams are drawn automatically. Line breaks are calculated
541 automatically; it does not matter where the line breaks are in the
542 source file. Finally, the order in which time, key and clef changes
543 are entered is not relevant: in the printout, these are ordered
544 according to standard notation conventions.
549 @section Octave entry
552 @c Tim wants to move this quotes example just before the: quotes-do not-work
553 @c score, but we'd need to remove quotes from the other two (key and
556 @c better to have this just before the `octaves are bad' snipped
557 @c but we'd need to remove the ', from \key and tie
558 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
559 the note name, to lower a note one octave, add a ``low quote'' @code{,}
560 (a comma). Middle C is @code{c'}:
564 c'4 c'' c''' \clef bass c c,
568 \set Score.timing = ##f
569 \set Staff.TimeSignature = \turnOff
570 c'4 c'' c''' \clef bass c c,
575 An example of the use of quotes is in the following Mozart fragment:
576 @lilypond[raggedright,fragment,verbatim]
579 cis''8. d''16 cis''8 e''4 e''8
580 b'8. cis''16 b'8 d''4 d''8
583 This example shows that music in a high register needs lots of quotes.
584 This makes the input less readable, and it is a source of errors. The
585 solution is to use ``relative octave'' mode. In practice, this is the
586 most convenient way to copy existing music. To use relative mode, add
587 @code{\relative} before the piece of music. You must also give a note
588 from which relative starts, in this case @code{c''}. If you do not
589 use octavation quotes (i.e. do not add @code{'} or @code{,} after a
590 note), relative mode chooses the note that is closest to the previous
591 one. For example, @code{c f} goes up while @code{c g} goes down:
601 \set Score.timing = ##f
602 \set Staff.TimeSignature = \turnOff
611 Since most music has small intervals, pieces can be written almost
612 without octavation quotes in relative mode. The previous example is
615 @lilypond[raggedright,fragment,verbatim]
625 @c needed better, maybe even redundant explanation
626 @c added another example below.
627 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
628 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
629 Larger intervals are made by adding octavation quotes.
638 \set Score.timing = ##f
639 \set Staff.TimeSignature = \turnOff
647 In @code{\relative} mode, quotes or commas no longer determine the
648 absolute height of a note. Rather, the height of a note is relative to
649 the previous one, and changing the octave of a single note shifts all
650 following notes an octave up or down.
652 For more information on Relative octaves see @ref{Relative octaves}
653 and @ref{Octave check}.
656 @node Music expressions explained
657 @section Music expressions explained
660 In input files, music is represent by so-called @emph{music
661 expression}. We have already seen in the previous examples;
662 a single note is a music expression:
664 @lilypond[verbatim,relative=2]
668 Enclosing group of notes in braces creates a new music
671 @lilypond[verbatim,relative=2]
675 Putting a bunch of music expressions (notes) in braces, means that
676 they should be played in sequence. The result again is a music
677 expression, which can be grouped with other expressions sequentially.
678 Here, the expression from the previous example is combined with two
681 @lilypond[verbatim,relative=2]
685 This technique becomes useful for non-monophonic music. To enter music
686 with more voices or more staves, we also combine expressions in
687 parallel. Two voices that should play at the same time, are entered as
688 a simultaneous combination of two sequences. A ``simultaneous'' music
689 expression is formed by enclosing expressions in @code{<<} and
690 @code{>>}. In the following example, three sequences (all containing
691 two notes) are combined simultaneously:
693 @lilypond[verbatim,relative=2]
701 This mechanism is similar to mathematical
702 formulas: a big formula is created by composing small formulas. Such
703 formulas are called expressions, and their definition is recursive, so
704 you can make arbitrarily complex and large expressions. For example,
713 ((1 + 2) * 3) / (4 * 5)
716 @cindex music expression
717 This example shows a sequence of expressions, where each expression is
718 contained in the next one. The simplest expressions are numbers and
719 operators (like +, * and /). Parentheses are used to group
722 Like mathematical expressions, music expressions can be nested
723 arbitrarily deep, e.g.
724 @lilypond[verbatim,relative=1]
726 << { e f } { c <<b d>> }
734 When spreading expressions over multiple lines, it is customary to use
735 an indent that indicates the nesting level. Formatting music like this
736 eases reading, and helps you insert the right number of closing
737 braces at the end of an expression. For example,
752 Some editors have special support for entering LilyPond, and can help
753 indenting source files. See @ref{Editor support} for more information.
760 To print more than one staff, each piece of music that makes up a
761 staff is marked by adding @code{\new Staff} before it. These
762 @code{Staff}'s are then combined parallel with @code{<<} and
763 @code{>>}, as demonstrated here:
766 @lilypond[fragment,verbatim]
768 \new Staff { \clef violin c'' }
769 \new Staff { \clef bass c }
775 The command @code{\new} introduces a ``notation context.'' A notation
776 context is an environment in which musical events (like notes or
777 @code{\clef} commands) are interpreted. For simple pieces, such
778 notation contexts are created implicitly. For more complex pieces, it
779 is best to mark contexts explicitly. This ensures that each fragment
782 There are several types of contexts: @code{Staff}, @code{Voice} and
783 @code{Score} handle normal music notation. Other staves are also
784 @code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
785 printing chord names).
788 In terms of syntax, prepending @code{\new} to a music expression
789 creates a bigger music expression. In this way it resembles the minus
790 sign in mathematics. The formula (4+5) is an expression, so -(4+5) is a bigger
793 We can now typeset a melody with two staves:
795 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
799 @lilypond[verbatim,raggedright]
819 For more information on context see the description in
820 @ref{Interpretation contexts}.
824 @node Adding articulation marks to notes
825 @section Adding articulation marks to notes
831 Common accents can be added to a note using a dash (`@code{-}') and a
834 @lilypond[verbatim,relative=1]
835 c-. c-- c-> c-^ c-+ c-_
841 Similarly, fingering indications can be added to a note using a dash
842 (`@code{-}') and the digit to be printed:
844 @lilypond[verbatim,relative=1]
849 Dynamic signs are made by adding the markings (with a backslash) to
852 @lilypond[verbatim,relative=1]
862 Crescendi and decrescendi are started with the commands @code{\<} and
863 @code{\>}. An ending dynamic, for example @code{\f}, will finish the
864 crescendo, or the command @code{\!} can be used:
866 @lilypond[verbatim,relative=1]
876 A slur is a curve drawn across many notes, and indicates legato
877 articulation. The starting note and ending note are marked with a
878 ``@code{(}'' and a ``@code{)}'' respectively:
881 @lilypond[fragment,relative=1,verbatim]
882 d4( c16)( cis d e c cis d e)( d4)
886 @cindex slurs versus ties
887 A slur looks like a tie, but it has a different meaning. A tie simply
888 makes the first note sound longer, and can only be used on pairs of
889 notes with the same pitch. Slurs indicate the articulations of notes,
890 and can be used on larger groups of notes. Slurs and ties are also
893 @lilypond[fragment,relative=1]
894 c2~( c8 fis fis4 ~ fis2 g2)
897 @cindex phrasing slurs
898 Slurs to indicate phrasing can be entered with @code{\(} and
899 @code{\)}, so you can have both legato slurs and phrasing slurs at the
903 @lilypond[fragment,relative=1,verbatim]
904 a8(\( ais b c) cis2 b'2 a4 cis, c\)
909 For more information on
912 see @ref{Fingering instructions}
914 see @ref{Articulations}
918 see @ref{Phrasing slurs}
924 @node Combining notes into chords
925 @section Combining notes into chords
928 Chords can be made by surrounding pitches with angled brackets.
929 Angled brackets are the symbols @code{<} and @code{>}.
932 @lilypond[relative,fragment,verbatim]
939 You can combine markings like beams and ties with chords. They must
940 be placed outside the angled brackets:
942 @lilypond[relative,fragment,verbatim]
943 r4 <c e g>8[ <c f a>]~ <c f a>
949 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
951 @lilypond[relative,fragment]
953 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
961 @node Basic rhythmical commands
962 @section Basic rhythmical commands
966 @cindex partial measure
967 A pickup is entered with the keyword @code{\partial}. It
968 is followed by a duration: @code{\partial 4} is a quarter note upstep
969 and @code{\partial 8} an eighth note:
970 @lilypond[relative=1,verbatim,fragment]
977 Tuplets are made with the @code{\times} keyword. It takes two
978 arguments: a fraction and a piece of music. The duration of the piece
979 of music is multiplied by the fraction. Triplets make notes occupy
980 2/3 of their notated duration, so a triplet has 2/3 as its fraction:
982 @lilypond[relative,verbatim,fragment]
983 \times 2/3 { f8 g a }
989 Grace notes are also made by prefixing a music expression with the
990 keyword @code{\appoggiatura} or @code{\acciaccatura}
994 @lilypond[relative=1,verbatim,fragment]
995 c4 \appoggiatura b16 c4
996 c4 \acciaccatura b16 c4
1001 For more information on
1004 see @ref{Grace notes},
1008 see @ref{Partial measures}.
1013 @node Commenting input files
1014 @section Commenting input files
1017 @cindex line comment
1018 @cindex block comment
1019 Comments are pieces of the input that are ignored. There are two
1020 types of comments. The percent symbol @code{%} introduces a line
1021 comment; the rest of the line is ignored. Block comments span larger
1022 sections of input. Anything that is enclosed in @code{%@{} and
1023 @code{%@}} is ignored too. The following fragment shows possible uses
1027 % notes for twinkle twinkle follow:
1032 This line, and the notes below
1033 are ignored, since they are in a
1043 @node Printing lyrics
1044 @section Printing lyrics
1047 @c TODO: (c) status of the Queen fragment.
1051 Lyrics are entered by separating each syllable with a space,
1054 I want to break free
1057 To prevent certain words (for example ``as'') as being read as a
1058 pitch, the input-mode must be switched. This is done with
1059 @code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
1062 \lyrics @{ I want to break free @}
1066 Again, the braces @code{@{@}} signify that the syllables are sung in
1069 By default, music expressions are interpreted in @code{Staff} context. For
1070 lyrics, this is obviously not desirable, so it is necessary
1071 to explicitly specify a @code{Lyrics} context,
1074 \new Lyrics \lyrics @{ I want to break free @}
1077 The melody for this song is as follows:
1079 @lilypond[fragment,relative=1]
1081 \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
1084 The lyrics can be set to these notes, combining both with the
1085 @code{\lyricsto} keyword:
1087 \lyricsto "@var{name}" \new Lyrics @dots{}
1089 where @var{name} identifies to which melody the lyrics should be
1090 aligned. In this case, there is only one melody, so we can leave it
1094 @lilypond[verbatim,fragment,raggedright]
1100 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1102 \lyricsto "" \new Lyrics \lyrics { I want to break free }
1108 @cindex extender line
1110 This melody ends on a @rglos{melisma}, a single syllable (``free'')
1111 sung to more than one note. This is indicated with an @emph{extender
1112 line}. It is entered as two underscores, i.e.
1114 \lyrics @{ I want to break free __ @}
1116 @lilypond[raggedright]
1119 \relative c' \new Voice {
1122 \times 2/3 { f g g } \times 2/3 { g4( a2) } }
1123 \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
1128 Similarly, hyphens between words can be entered as two dashes,
1129 resulting in a centered hyphen between two syllables:
1131 Twin -- kle twin -- kle
1133 @lilypond[raggedright]
1135 << \notes \relative f'
1136 \context Voice = bla { \time 2/4
1138 \new Lyrics \lyrics \lyricsto "bla" { Twin -- kle twin -- kle }
1140 \paper { raggedright = ##t }
1144 More options, like putting multiple lines of lyrics below a melody are
1145 discussed in @ref{Vocal music}.
1150 @section A lead sheet
1156 In popular music, it is common to denote accompaniment as chord-names.
1157 Such chords can be entered like notes,
1164 but now, each pitch is read as the root of a chord instead of a note.
1165 This mode is switched on with @code{\chords}:
1169 \chords { c2 f4. g8 }
1173 Other chords can be created by adding modifiers after a colon. The
1174 following example shows a few common modifiers:
1177 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1180 For lead sheets, chords are not printed on staves, but as names on a
1181 line of themselves. Hence, we have to override the context with
1182 @code{\new}, rendering the music expression in a @code{ChordNames}
1186 \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1191 When put together, chord names, lyrics and a melody form
1192 a lead sheet, for example,
1197 \new ChordNames \chords @{ @emph{chords} @}
1198 \notes @emph{the melody}
1199 \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
1207 \new ChordNames \chords { r8 c2:sus4 f }
1208 \notes \relative c' {
1210 \times 2/3 { f g g } \times 2/3 { g4( a2) } }
1211 \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
1213 \paper{ raggedright = ##t }
1218 A complete list of modifiers and other options for layout are in the
1219 reference manual section @ref{Chords}.
1221 @node Listening to output
1222 @section Listening to output
1227 MIDI (Musical Instrument Digital Interface) is a standard for
1228 connecting and controlling digital instruments. A MIDI file is like a
1229 tape recording of a MIDI instrument.
1231 To create a MIDI from a music piece of music, add a
1232 @code{\midi} block causes LilyPond to create a MIDI file, so you
1233 can listen to the music you entered. It is great for checking the
1234 music: octaves that are off or accidentals that were mistyped stand
1235 out very much when listening to the musical transcription.
1237 The @code{\midi} block is added to @code{\score}, for example,
1241 \midi @{ \tempo 4=72 @}
1245 Here, the tempo is specified using the @code{\tempo} command. In this
1246 case the tempo of quarter notes is set to 72 beats per minute. More
1247 information on auditory output is in the @ref{Sound} section in the
1250 If there is a @code{\midi} command in a @code{\score}, then only MIDI
1251 will be produced. If notation is needed too, then a @code{\paper}
1252 block must be added too:
1257 \midi @{ \tempo 4=72 @}
1267 Bibliographic information is entered in a separate block, the
1268 @code{\header} block. The name of the piece, its composer, etc. are
1269 entered as an assignment, within @code{\header @{ @dots{} @}}. For
1273 title = "Eight miniatures"
1274 composer = "Igor Stravinsky"
1275 tagline = "small is beautiful"
1278 \score @{ @dots{} @}
1281 @cindex bibliographic information
1284 @cindex Engraved by LilyPond
1286 When the file is processed the title and composer are printed above
1287 the music. The `tagline' is a short line printed at bottom of the last
1288 page which normally says ``Engraved by LilyPond, version @dots{}''. In
1289 the example above it is replaced by the line ``small is
1290 beautiful.''@footnote{Nicely printed parts are good PR for us, so
1291 please leave the tagline if you can.}
1293 Normally, the @code{\header} is put at the top of the file. However,
1294 for a document that contains multiple pieces (e.g. an etude book, or
1295 an orchestral part with multiple movements), the header can be
1296 put in the @code{\score} block as follows; in this case, the name of
1297 each piece will be printed before each movement:
1300 @cindex Engraved by LilyPond
1301 @cindex signature line
1306 title = "Eight miniatures"
1307 composer = "Igor Stravinsky"
1308 tagline = "small is beautiful"
1312 \header @{ piece = "Adagio" @}
1315 \header @{ piece = "Menuetto" @}
1319 More information on titling can be found in @ref{Invoking lilypond}.
1322 @node Single staff polyphony
1323 @section Single staff polyphony
1326 @cindex multiple voices
1327 @cindex voices, more -- on a staff
1329 When different melodic lines are combined on a single staff they are
1330 printed as polyphonic voices: each voice has its own stems, slurs and
1331 beams, and the top voice has the stems up, while the bottom voice has
1334 Entering such parts is done by entering each voice as a sequence (with
1335 @code{@{ .. @}}), and combining those simultaneously, separating the
1336 voices with @code{\\}:
1338 @lilypond[verbatim,relative=2]
1339 << { a4 g2 f4~ f4 } \\
1343 For polyphonic music typesetting, spacer rests can also be convenient: these
1344 are rests that do not print. It is useful for filling up voices that
1345 temporarily do not play. Here is the same example with a spacer rest
1346 instead of a normal rest
1347 @lilypond[relative=2]
1348 << { a4 g2 f4~ f4 } \\
1352 Again, these expressions can be nested arbitrarily:
1354 @lilypond[fragment,relative=2]
1357 << { a4 g2 f4~ f4 } \\
1362 { <c, g>1 ~ <c g>4 } \\
1369 More features of polyphonic typesetting are in the notation manual
1373 @section Piano staves
1375 @cindex staff switch, manual
1376 @cindex cross staff voice, manual
1377 @cindex @code{\context}
1379 Piano music is always typeset in two staves connected by a brace.
1380 Printing such a staff is similar to the polyphonic example in
1383 << \new Staff @{ @dots{} @}
1384 \new Staff @{ @dots{} @}
1387 but now this entire expression must be interpreted as a
1390 \new PianoStaff << \new Staff @dots{} >>
1393 Here is a full-fledged example:
1395 @lilypond[relative,fragment]
1397 << \new Staff { \time 2/4
1400 \clef bass c,, c' e c }
1404 More information on formatting piano music is in @ref{Piano music}.
1406 @node Organizing larger pieces
1407 @section Organizing larger pieces
1409 When all of the elements discussed earlier are combined to produce
1410 larger files, the @code{\score} blocks get a lot bigger, because the
1411 music expressions are longer, and, in the case of polyphonic pieces,
1412 more deeply nested. Such large expressions can become unwieldy.
1414 By using variables, also known as identifiers, it is possible to break
1415 up complex music expressions. An identifier is assigned as follows:
1418 namedMusic = \notes @{ @dots{}
1421 The contents of the music expression @code{namedMusic}, can be used
1422 later by preceding the name with a backslash, i.e. @code{\namedMusic}.
1423 In the next example, a two note motive is repeated two times by using
1424 variable substitution:
1426 @lilypond[raggedright,verbatim]
1435 The name of an identifier should have alphabetic characters only;
1436 no numbers, underscores or dashes. The assignment should be outside of
1437 the @code{\score} block.
1439 It is possible to use variables for many other types of objects in the
1444 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1446 Depending on its contents, the identifier can be used in different
1447 places. The following example uses the above variables:
1450 \notes @{ c4^\name @}
1458 More information on the possible uses of identifiers is in the
1459 technical manual, in TODO.
1462 @node An orchestral part
1463 @section An orchestral part
1465 In orchestral music, all notes are printed twice: both in a part for
1466 the musicians, and in a full score for the conductor. Identifiers can
1467 be used to avoid double work: the music is entered once, and stored in
1468 a variable. The contents of that variable is then used to generate
1469 both the part and the score.
1471 It is convenient to define the notes in a special file, for example,
1472 suppose that the @file{horn-music.ly} contains the following part of a
1475 hornNotes = \notes \relative c @{
1481 Then, an individual part is made by putting the following in a file
1484 \include "horn-music.ly"
1486 instrument = "Horn in F"
1489 \notes \transpose f c' \hornNotes
1496 \include "horn-music.ly"
1500 substitutes the contents of @file{horn-music.ly} at this position in
1501 the file, so @code{hornNotes} is defined afterwards. The command
1502 @code{\transpose f c'} indicates that the argument, being
1503 @code{\hornNotes}, should be transposed by a fifth downwards: sounding
1504 @code{f} is denoted by notated @code{c'}, which corresponds with
1505 tuning of a normal French Horn in F. The transposition can be seen in
1506 the following output:
1508 @lilypond[raggedright]
1510 \notes \transpose f c' \notes \relative c {
1517 In ensemble pieces, one of the voices often does not play for many
1518 measures. This is denoted by a special rest, the multi-measure
1519 rest. It is entered with a capital @code{R} followed by a duration (1
1520 for a whole note, 2 for a half note, etc.) By multiplying the
1521 duration, longer rests can be constructed. For example, this rest
1522 takes 3 measures in 2/4 time:
1527 When printing the part, multi-rests
1528 must be condensed. This is done by setting a run-time variable:
1530 \set Score.skipBars = ##t
1534 This commands sets the property @code{skipBars} property in the
1535 @code{Score} context to true (@code{##t}). Prepending the rest and
1536 this option to the music above, leads to the following result:
1538 @lilypond[raggedright]
1539 \score {\notes { \transpose f c' \relative c { \time 2/4
1540 \set Score.skipBars = ##t
1542 r4 f8 a cis4 f e d } }}
1546 The score is made by combining all of the music in a @code{\score}
1547 block. Assuming that the other voice is in @code{bassoonNotes} in the
1548 file @file{bassoon-music.ly}, a score is made with
1551 \include "bassoon-music.ly"
1552 \include "horn-music.ly"
1556 \new Staff \hornNotes
1557 \new Staff \bassoonNotes
1563 @lilypond[raggedright]
1565 \notes \relative c \simultaneous {
1566 \new Staff { \time 2/4
1568 r4 f8 a cis4 f e d }
1569 \new Staff { \clef bass
1570 r4 d,8 f | gis4 c | b bes |
1571 a8 e f4 | g d | gis f }
1575 More in-depth information on preparing parts and scores is in the
1576 notation manual, in @ref{Orchestral music}.
1578 Setting run-time variables (``properties'') is discussed in ref-TODO.
1580 @node Integrating text and music
1581 @section Integrating text and music
1583 @cindex La@TeX{}, music in
1584 @cindex HTML, music in
1585 @cindex Texinfo, music in
1587 Some texts include music examples. Examples are musicological
1588 treatises, songbooks or manuals like this. Such texts can be made by
1589 hand, simply by importing a PostScript figure into the word processor.
1590 However, there is an automated procedure to reduce the amount of work
1591 involved HTML, La@TeX{}, and Texinfo documents.
1594 A script called @code{lilypond-book} will extract the music fragments,
1595 run format them, and put back the resulting notation. This program is
1596 fully described in @ref{lilypond-book manual}. Here we show a small
1597 example. The example also contains explanatory text, so we will not
1598 comment on it further:
1601 \documentclass[a4paper]@{article@}
1604 Documents for lilypond-book may freely mix music and text. For
1608 \score @{ \notes \relative c' @{
1609 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1613 If there is no \verb+\score+ block in the fragment,
1614 \texttt@{lilypond-book@} will supply one
1620 In this example two things happened: a
1621 \verb+\score+ block was added, and the line width was set to natural
1624 Options are put in brackets.
1626 \begin[staffsize=26,verbatim]@{lilypond@}
1631 Larger examples can be put in a separate file, and introduced with
1632 \verb+\lilypondfile+.
1634 \lilypondfile@{screech-boink.ly@}
1639 Under Unix, you can view the results as follows:
1643 $ lilypond-book --output=out/ lilybook.tex
1644 lilypond-book (GNU LilyPond) 2.1.19
1645 Reading `input/tutorial/lilybook.tex'
1646 Reading `input/screech-boink.ly'
1647 @var{lots of stuff deleted}
1648 Writing `out/lilybook.tex'
1651 @var{lots of stuff deleted}
1655 To convert the file into a nice PDF document, run the following
1658 $ dvips -Ppdf -u +lilypond lilybook
1659 $ ps2pdf lilybook.ps
1663 Running lilypond-book and running latex creates a lot of temporary
1664 files, which would clutter up the working directory. To remedy this,
1665 use the @code{output} option. It will create the files in a separate
1666 subdirectory @file{out}.
1668 The result looks more or less like
1672 Documents for lilypond-book may freely mix music and text. For
1677 \notes \relative c' {
1678 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1686 If you have no @code{\score} block in the fragment,
1687 @code{lilypond-book} will supply one:
1693 In this example two things happened: a
1694 @code{score} block was added, and the line width was set to natural
1697 Options are put in brackets.
1699 @lilypond[staffsize=26,verbatim]
1703 Larger examples can be put in a separate file, and introduced with
1704 @code{\lilypondfile}.
1706 @lilypondfile{screech-boink.ly}