@c -*-texinfo-*-

@node Tutorial
@chapter Tutorial

@menu
* Introduction::                   Introduction
* Running LilyPond::               Getting started
* The first tune::                 The first tune
* Lyrics and chords::              Lyrics and chords
* More movements::                 More than one movement in a file
* Piano music::                    Piano music
* end of tutorial::                The end
@end menu

@node Introduction
@section Introduction

  
LilyPond prints music from a specification that you, the user, supply.
You have to give that specification using a @emph{language}.  This
chapter is a gentle introduction to that language.

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

@cindex examples, tutorial

The examples discussed are included in the distribution, in the
subdirectory @file{input/tutorial/}.@footnote{When we refer
to filenames, they are relative to the top directory of the source
package.
@cindex file names
} We recommend that you experiment with writing Lilypond input yourself,
to get a feel for how the program behaves.


@node Running LilyPond
@section Running LilyPond

Before we dive into describing the input language of LilyPond, we first
show you through the procedure for getting notes on your screen and out
of your printer.

The first step is creating an input file. Using your favorite
text-editor, create @file{test.ly} containing

@example
\header @{
 title = "Test";
@}

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

@unnumberedsubsec Unix

@cindex Unix, Running lilypond on

If you run Unix, proceed as follows: run lilypond on the file, i.e.,
@example
  lilypond test
@end example
You will the following on your screen:
@example
GNU LilyPond 1.3.125.
Now processing: `input/tutorial/test.ly'
Parsing...
Interpreting music...[1]
Preprocessing elements... 
Calculating column positions... [2]
paper output to test.tex...
@end example

Now, run @TeX{}@footnote{@TeX{} is a text-typesetting system that is
especially suited for typesetting mathematics}. The result should
resemble this: 
@example
This is TeX, Version 3.14159 (Web2C 7.3.1)
(test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
(/home/hanwen/usr/share/lilypond/tex/lilypond-plaintex.tex
LilyPond Plain TeX settings) (/home/hanwen/usr/src/  ...
(/home/hanwen/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty]
(/home/hanwen/usr/share/lilypond/tex/fetdefs.tex)) [1] )
Output written on test.dvi (1 page, 3716 bytes).
Transcript written on test.log.
@end example
The result of the @TeX{} run is a @TeX{} ``DeVice Independent'' file
(@file{test.dvi}).
@cindex DVI file
@cindex @TeX{}

@cindex Viewing music
@cindex @code{xdvi}
To view the output, run Xdvi, i.e.
@example
        xdvi test
@end example
You should will see this
@lilypond
\header {
 title = "Test";
}

\score {
  \notes { c'4 e'4 g'4 }
  \paper { }
} 
@end lilypond
along with some buttons in a window.

@cindex postscript, converting to
When you're satisfied with the result, you can print it. For printing,
you have to generate a postscript file:
@example
        dvips -o test.ps test.dvi
@end example
which looks like this:
@example
This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
' TeX output 2001.01.27:1806' -> test.ps
<texc.pro><special.pro>. [1]
@end example

@cindex PostScript
@cindex Printing output
@cindex GhostScript
@cindex @code{lpr}
PostScript is a page description language, similar to PDF. Some printers
can understand a postscript file directly, but the cheapers need the
intervention of GhostScript, a PostScript   emulator that runs on your
computer instead of your printer. Most Linux distributions nowadays have
GhostScript running ``in the  background'', so any configured printer
will act as a PostScript printer.  Assuming this,  the
following command will print the  file
@example
        lpr test.ps
@end example
If this does not make your printer produce a page of music, then you
should look into installing and configuring ghostscript.  Refer to
GhostScript's website at @uref{http://www.ghostscript.com}.  

There are two different routes: firstly, you can add titling to the
output. This is done by a separate program called ly2dvi: this program
first calls LilyPond to process the @file{.ly} file, and then runs
@TeX{} on it to produce a @file{.dvi} file with proper margin settings
and titling.

@cindex titles, adding
@cindex ly2dvi

@example
        ly2dvi test.ly
@end example
After some disk-activity, you should end up with a @file{.dvi} file.
6
Secondly, you can generate PostScript directly. This is not very useful
currently, but here goes:
@cindex PostScript output
@example
      lilypond -f ps test.ly  
@end example

[treat FAQs here, eg. about env vars.]


@unnumberedsubsec Windows

[todo]


@node The first tune
@section The first tune


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

@lilypond[verbatim]
% lines preceded by a percent are comments which
% are ignored by Lilypond.
\include "paper16.ly"
\score {
    \notes                        
    \relative c'' \sequential{                
            \time 3/4;                
            \key g \major;

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

        b'4 g8 a b g
        a4 d,8 e fis d |
        g4 e8 fis g d cis4 b8 cis a4 |
        a8-. b-. cis-. d-. e-. fis-.
        g4 fis e |
        fis a,  r8 cis8
        d2.-\fermata
        \bar "|.";
    }
    \paper {
       % standard settings are too wide for a book
       linewidth = 14.0 \cm;
   }
}
@end lilypond

We will analyse the input, line by line. 
@example
        % lines preceded by a percent are comments which
        % are ignored by Lilypond.
@end example 
The percent sign, @code{%}, introduces a line comment.  If you want to
make larger comments, you can use block comments. These are delimited
by @code{%@{} and @code{%@}}
@cindex comment
@cindex block comment
@cindex line comment

@example 

        \include "paper16.ly"
 
@end example
@cindex @code{\include}
@cindex point, printer's
@cindex staff size setting 
By default, LilyPond will use definitions for a staff that is 20
point@footnote {A point is the standard measure of length for printing;
one point is 1/72.27 inch. [TODO: mm vs. pt]} high.  We want smaller
output (16 point staff height), so we must import the settings for that
size, which is done here.
@example 

        \score @{
 
@end example 
A lilypond file combines music with directions for outputting that
music.  The music is combined with the output directions by putting
them into a @code{\score} block.
@example 

        \notes                
 
@end example 
 This makes LilyPond ready for accepting notes.
@example 

        \relative c''
 
@end example

@cindex octaves, choosing
@cindex pitch
As we will see, pitches are combinations of octave, note name and
chromatic alteration.  In this scheme, the octave is indicated by
using raised quotes (@code{'}) and ``lowered'' quotes (commas:
@code{,}).  The central C is denoted by @code{c'}.  The C one octave
higher is @code{c''}.  One and two octaves below the central C is
denoted by @code{c} and @code{c,} respectively.

@cindex relative
For pitches in a long piece you might have to type many quotes.  To
remedy this, LilyPond has a ``relative'' octave entry mode.  In this
mode, octaves of notes without quotes are chosen such that a note is
as close as possible (graphically, on the staff) to the the preceding
note.  If you add a high-quote an extra octave is added.  The lowered
quote (a comma) will subtract an extra octave.  Because the first note
has no predecessor, you have to give the (absolute) pitch of the note
to start with.
@example 

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

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

        \key g \major;
 
@end example
@cindex key signature, setting
@cindex @code{\key}
  This command changes the current key signature to G-major.  Although this
command comes after the @code{\time} command, in the output, the key
signature comes before the time signature: LilyPond knows about music
typesetting conventions.
@example 

        \repeat "volta" 2
 
@end example 
  This command tells LilyPond that the following piece of music must be
played twice. The first argument indicates the type of repeat. In this
case, @code{"volta"} means that volta brackets are be used for
alternatives---if there were any.
@example 

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

        d4
 
@end example 
 This is a note with pitch @code{d} (determined up to octaves).  The
relative music was started with a @code{c''}, so the real pitch of this
note is @code{d''}.  The @code{4} designates the duration of the note
(it is a quarter note).
@example 

        a b
 
@end example 
These are notes with pitch @code{a} and @code{b}.  Because their
duration is the same as the @code{g}, there is no need to enter the
duration (You may enter it anyway, e.g. @code{a4 b4})
@example 

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

@cindex alteration, chromatic
@cindex chromatic alteration
So far, no notes were chromatically altered.  Here is the first one
that is: @code{fis}. Lilypond by default uses Dutch note names, and
``Fis'' is the Dutch note name for ``F sharp''.  However, there is no
sharp sign in the output. The program keeps track of key signatures,
and will only print accidentals if they are needed.
@example 

        c8 d e fis
 
@end example 
LilyPond guesses were beams can be added to eighth and shorter notes.
In this case, a beam over 4 eighths is added.
@example 

        c4 d8( )c b a( )b4 c8 b a g |
 
@end example 
  The next line shows how to make a slur: the beginning and ending note
of the slur is marked with an opening and closing parenthesis
respectively.  In the line shown above, this is done for two slurs.
Slur markers (parentheses) are put between the slurred notes.
@example 

        a4 [b8 a] [g fis] 
 
@end example 
Automatic beaming can be overridden by inserting beam marks
(brackets).  Brackets are put around the notes you want beamed.
@example 

        g2.  |
 
@end example
@cindex augmentation dot
@cindex dot
A duration with augmentation dot  is notated
with the duration number followed by a period.
@example 

        @}
 
@end example 
  This ends the sequential music to be repeated.  LilyPond will typeset
a repeat bar.
@example 

        cis'4 b8 cis a4 |
 
@end example 
 This line shows that Lily will print an accidental if that is
needed: the first C sharp of the bar will be printed with an accidental,
the second one without.
@example 

        a8-. b-. cis-. d-. e-. fis-.
 
@end example
@cindex articulation
You can enter articulation signs either in a verbose form using a
shorthand.  Here we demonstrate the shorthand: it is formed by a dash
and the character for the articulation to use, e.g. @code{-.} for
staccato as shown above.
@example 

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

        d2.-\fermata
 
@end example 
 All articulations have a verbose form, like @code{\fermata}.  The
command @code{\fermata} is not part of the core of the language (most
of the other discussed elements are), but it is a shorthand for a more
complicated description of a fermata.  @code{\fermata} names that
description and is therefore called an identifier.
@cindex identifier
@cindex @code{\fermata}
@example 

        @}
 
@end example 
 
Here the music ends.
@example 

        \paper @{
                linewidth = 14.0\cm;
        @}
 
@end example 
This specifies a conversion from music to notation output.  Most of
the details of this conversions (font sizes, dimensions, etc.) have
been taken care of, but  to fit the output  in this document, it has
to be smaller.  We do this by setting the line width to 14 centimeters
(approximately 5.5 inches).
@example 

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




@node Lyrics and chords
@section Lyrics and chords

In this section we show how to typeset a song.@footnote{The author would
welcome information about the origin of this song.}. This file is
included as @file{flowing.ly}.

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

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

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

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

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


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

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

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

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

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

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

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

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

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

        title = "The river is flowing";
        composer = "Traditional (?)"; 
@end example
@cindex assignments
@cindex identifier assignment
the @code{\header} block contains assignments.  An assignment starts
with a string.  (which is unquoted, in this case). Then comes the
equal sign.  After the equal sign comes the expression you
want to store.  In this case, you want to put in strings.  The
information has to be quoted here, because it contains spaces. Each
assignment is finished with a semicolon.
@example 

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

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

@example 
        \partial 8;
@end example 

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

@example 

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

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

        @}
 
@end example 
This ends the definition of @code{melody}.  Note that there are no
semicolons after assignments at top level.
@example 

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

  The4 ri -- ver is flo- __ wing,  flo -- wing and gro -- wing, the
  ri- ver is flo- __ wing down to the sea.
@}
 
@end example
@cindex extenders, lyric
@cindex hyphens, lyric 
The syllables  themselves are  separated by spaces.  You can get syllable
extenders by entering @code{__}, and centered hyphens with
`@code{-}@code{-}'.  We enter the syllables as if they are all quarter notes
in length (hence the @code{4}), and use a feature to align the
syllables to the music (which obviously isn't all quarter notes.)
@example 

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

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

        c2:3- f:3-.7
 
@end example

@cindex tonic
@cindex chord modifier
@cindex modifier, chord 
A chord is started by  the tonic of the chord. The
first one lasts a half note.  An unadorned note creates a major
triad, while a minor triad is wanted.  @code{3-} modifies the third to
be small. @code{7} modifies (adds) a seventh, which is small by default
to create the @code{f a c es} chord.  Multiple modifiers must be
separated by a dot.
@example 

        d:min es4 c8:min r8
 
@end example

Some modifiers have predefined names, eg. @code{min} is  the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.
@example 

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

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

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

        %\accompaniment
 
@end example 
Chord mode generates notes grouped in @code{\simultaneous} music.  If
you remove the comment sign, you can see the chords in normal
notation: they will be printed as note heads on a separate
staff.
@example 

        \context ChordNames \accompaniment
 
@end example
@cindex context
@cindex interpretation context
@cindex notation context
Normally, the notes that you enter are transformed into note heads.
The note heads alone make no sense, they need surrounding information:
a key signature, a clef, staff lines, etc.  They need @emph{context}.  In
LilyPond, these symbols are created by objects called `interpretation
contexts'.  Interpretation contexts only exist during a run of
LilyPond.  Interpretation contexts that are for printing music (as
opposed to playing music) are called `notation contexts'.

By default, LilyPond will create a Staff context for you.  If you
removed the @code{%} sign in the previous line, you would see that
mechanism in action.

We don't want that default here, because we want chord names, not note heads.
An interpretation context can also created upon explicit request. The
keyword for such a request is @code{\context}.  It takes two arguments.
The first is the name of an interpretation context.  The name is a
string, it can be quoted with double quotes).  The second argument is
the music that should be interpreted in this context.  For the previous
line, we could have written @code{\context Staff \accompaniment}, and
get the same effect.
@example 

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

The lyrics need to be aligned with the melody.  This is done by
combining both with @code{\addlyrics}.  @code{\addlyrics} takes two
pieces of music (usually a melody and lyrics, in that order) and
aligns the syllables of the second piece under the notes of the
first piece.  If you would reverse the order, the notes would be
aligned on the lyrics, which is not very useful. (Besides, it looks
silly.)
@example 

        \context Staff = mel @{
 
@end example

This is the argument of @code{\addlyrics}.  We instantiate a
@code{Staff} context explicitly: should you chose to remove the comment
before the ``note heads'' version of the accompaniment, the
accompaniment will be on a nameless staff.  The melody has to be on a
different staff as the accompaniment.  This is accomplished by giving
the melody staff a different name.
@example 

        \property Staff.noAutoBeaming = ##t
 
@end example
@cindex \property
@cindex context variables
@cindex setting context variables
An interpretation context has variables that tune its behaviour.  One of
the variables is @code{noAutoBeaming}.  If set to @code{##t}, which is
the boolean value @var{true}, LilyPond will not try to put automatic beaming
on the current staff.

@cindex GUILE
@cindex Scheme
@cindex accessinng Scheme
@cindex evaluating Scheme
@cindex LISP

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

@example 

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

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

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

        @}
 
@end example 
This ends @code{\simultaneous}.
@example 

        \midi  @{ \tempo 4=72;@}
 
@end example 
This makes the music go to a MIDI file.  MIDI is great for checking
music you enter.  You listen to the MIDI file: if you hear something
unexpected, it's probably a typing error.  @code{\midi} starts an output
definition, a declaration that specifies how to output music analogous
to @code{\paper @{ @}}. You can specify the tempo using the
@code{\tempo} command, in this case the tempo of quarter notes is set to
72 beats per minute.
@example 

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

        @}
 
@end example 
End the score block.

@node More movements 
@section More movements

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

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

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

@example
  \version "1.3.124";
  \header @{ title = "Two miniatures";  @}
  
  #(set! point-and-click #t)
  
  \paper @{
        linewidth = -1.0; @}

  \score @{
    \notes @{ c'4 d'4 @}
    \header @{
        opus = "Opus 1.";
        piece = "Up"; @}
  @}
  \score @{
    \notes @{ d'4 c'4  @}
    \header @{
        opus = "Opus 2.";
        piece = "Down"; @}
  @}
@end example
 results in something like this@footnote{The titling in this manual was
not generated by ly2dvi, so details will differ.}

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

This file is produced by ly2dvi in a few stages, with the help of text
formatting tools. LilyPond produces two output files, @file{layout.tex}
and @file{layout-1.tex}.  They both look like this:

@example
        ...
  \placebox@{-5  \outputscale @}%
  @{  8.7229  \outputscale @}%
  @{\magfontWXGEomMMBo\char90 @}%
  
  \placebox@{-4  \outputscale @}%
  @{ 81.0647  \outputscale @}%
        ...
@end example

@file{ly2dvi} analyses the progress indication that LilyPond spews out,
and generates a file called @file{layout_ly1.tex}. This file contains
formatting instructions for the title and page layout.  A fragment might
look like
@example

        \geometry@{width=540.602362pt,headheight=2mm, ...
        \renewcommand@{\@@oddfoot@}@{\parbox@{\textwidth@}@{\mbox@{@}   ...
        \begin@{document@}
        \lilypondtitle@{foo@}%
        \makelilytitle
        \input@{ly2dvi.tex@}

@end example

@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
built on top of @TeX{}. It's very popular in the academic world. If LaTeX
is successful, this will produce a @file{.dvi} file, containing both the
titling and notes.  @code{ly2dvi} completes its task by deleting the two
temporary files, leaving only @file{layout.dvi}.

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

@example 
\version "1.3.124";
@end example 
Lilypond and its language are still under development, and occasionally,
details of the syntax are changed. This fragment indicates for which
version the input file was written. When you compile this file, the
version number will be checked, and you will get a warning when the file
is too old.

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

@example
  \header @{ title = "Two miniatures";  @}
@end example
This sets the titling information for the entire file.

@example
        #(set! point-and-click #t)
@end example

This is Scheme code. It sets the variable @code{point-and-click} to the
value @var{true}. 

Editing input files can be quite complicated if you're working with
large files: if you're digitizing existing music, you have to
synchronize the .ly file, the sheet music on your lap and the sheet
music on the screen.  The point-and-click mechanism makes it easy to
find the origin of an error in the .ly file: @footnote{This feature is
presently only available on X-windows using  patched versions of Xdvi
and emacs} when you view the file with Xdvi and click on a note using
control-right button, [checkme], you editor will jump to the spot where
that note was entered.

More information is in in @ref{Point and click} 

@example
  \paper @{ 
@end example

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

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



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

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

In previous examples, notes were specified in relative octaves,
i.e. each note was put in the octave that would put it closest to its
predecessor. Besides relative, there is also absolute octave
specification, and it is turned on by default. In this input mode, the
central C is denoted by @code{c'}. Going down, you get @code{c}
@code{c,} @code{c,,} etc.  Going up, you get @code{c''} @code{c'''} etc.

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


@example
    \header @{
@end example

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



@node Piano music
@section Piano music

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

@lilypond[verbatim]
\include "paper16.ly";

stemdown = \property Voice.Stem \override #'direction = #-1
stemup = \property Voice.Stem \override #'direction = #1
stemboth = \property Voice.Stem \revert #'direction  

viola = \notes \relative c' \context Voice = viola {
	<c4-\f-\arpeggio g' c>
	\stemdown g'8. b,16
	s1 s2. r4
	g
}

oboes = \notes \relative c'' \context Voice = oboe {
	\stemup s4  g8. b,16 c8 r <e'8.^\p g> <f16 a>
	\grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
	<
	  { \times 2/3 { a8 g c } \! c2 }
	  \context Voice = oboeTwo {
		\stemdown
		\grace {
		  \property Grace.Stem \override #'direction = #-1
		  [f,16 g] }
		f8 e e2
	} >
	\stemboth
	\grace <c,8( e> <)b8. d8.-\trill> <c16 e> | 
	[<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r  |
	[<c16( e>  < )e8. g>] <c8 e,>
}

hoomPah  =  \repeat unfold 8
  \notes  \transpose c' { c8 \stemdown c'8 \stemup }

bassvoices = \notes \relative c' {
	c4 g8. b,16
	\autochange Staff \hoomPah
	\translator Staff = down
	\stemdown [c8 c'8] r4
	<g d'> r4
	< {\stemup r2 <e4 c'> <c8 g'> }
	  \context Voice = reallyLow  {\stemdown g2 ~ | g4 c8 } >
}

\score {
	\context PianoStaff \notes <
		\context Staff = up < \time 2/2;
			\viola
			\oboes
		>
		\context Staff = down < \time 2/2; \clef bass;
			\bassvoices
		>
	>
	\midi { }
	\paper {
	  indent = 0.0;
	  linewidth = 15.0 \cm; }
}
@end lilypond

If it looks like incomprehensible gibberish to you, then you are right.
This example has been doctored to have as many quirks as possible.

@example
 stemdown =  \property Voice.Stem \override #'direction = #-1
@end example

As you can see, this example features more voices on one staff. To make
room for those voices, their notes have to be stemmed in opposite
directions. These are the commands to make that happen.

The symbols that are printed, are internally represented by so-called
Graphical Objects (or more colloquially: Grobs).  These statements
concern the grob called `Stem'. Each grob is described by a bunch of
settings. These setting determine the fonts, offsets, sub-routines to be
called on the grob, etc.  The initial values of these settings are set
in the Scheme file @file{scm/grob-description.scm}.

This statement adds a the setting for all Stem grobs in the current
Voice: @code{direction} is set to @code{-1}, which encodes down. The
setting remains in effect until it is reverted.  

@example
 \property Voice.Stem \revert #'direction  
@end example

This statement reverts the old setting. If you do this, the effect of a
@code{\stemdown} or @code{\stemup} is neutralised.

@code{\override} and @code{\revert} function like a stack: you can push
values onto the grob-setting-stack with @code{\override} and you pop
them with @code{\revert}.

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

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

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

@cindex dynamics
@cindex loudness
@cindex forte
@cindex arpeggio

@code{\f} places a forte symbol under the chord. The forte applies to
the whole chord, but the syntax requires that commands like forte and
arpeggio are attached to a note, so here we attach them to the first
note.

@code{\arpeggio} draws an vertical wavy line before the chord,
signifying an arpeggio.

@example 
   \stemdown
@end example 


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

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

@example 
oboes = \notes \relative c'' \context Voice = oboe @{ 
@end example 
Now comes a part for two oboes.  They play homophonically, so we
print the notes as one voice that makes chords. Again, we insure that
these notes are indeed processed by precisely one context with
@code{\context}.
@example 
\stemup s4  g8. b,16 c8 r <e'8.-\p g> <f16 a> 
@end example 
@code{\stemup} is a reference to the @code{\property \override} command
defined above.   .
@example 
\grace <e8 g> < d4 f> <c2 e> 
@end example
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes

@code{\grace} introduces grace notes.  It takes one argument, in this
case a chord.

@ignore
The slur started on the @code{e} of the chord
will be attached to the next note.@footnote{LilyPond will squirm
about unended Slurs.  In this case, you can ignore the warning}.
@end ignore
@example 
\times 2/3 
@end example
@cindex tuplet
@cindex triplets
Tuplets are made with the @code{\times} keyword.  It takes two
arguments: a fraction and a piece of music.  The duration of the piece
of music is multiplied by the fraction.  Triplets make notes occupy 2/3
of their notated duration, so in this case the fraction is 2/3.
@example 
@{ <d8 \< f> <e g> <f a> @} 
@end example 
The piece of music to be `tripletted' is sequential music containing
three notes.  On the first chord, a crescendo is started with
@code{\<}. To be precise, the crescendo start is syntactically attached
to the preceding note, the @code{d}.

@cindex dynamics
@cindex crescendo
@cindex @code{\<}

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

@cindex @code{\!}

The crescendo is ended at the half note by the escaped exclamation
mark @code{\!}.
@example 
\context Voice = oboeTwo @{
\stemDown 
@end example 
We can't share stems with the other voice, so we have to create a new
@code{Voice} context.  We give it the name @code{oboeTwo} to distinguish
it from the other context.  Stems go down in this voice.
@example 
\grace @{  
@end example
@cindex Grace context
When a grace section is processed, a @code{Grace} context is
created. This context acts like a miniature score of its own.  It has
its own time bookkeeping, and you can make notes, beams, slurs
etc. Here we fiddle with a property and make a beam.  The argument of
@code{\grace} is sequential music.

@example 
\property Grace.Stem \override #'direction = #-1
[f,16 g] @}
@end example 

Normally, grace notes are always stem up, but in this case, the upper
voice interferes. We set the stems down here.

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

  f8 e e2
@} > 
@end example 
This ends the two-part section.
@example 
\stemboth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |  
@end example
@cindex trill
@cindex stemboth

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

The bass has a little hoom-pah melody to demonstrate parts switching
between staffs.  Since it is repetitive, we use repeats:
@example 
hoomPah  =  \repeat unfold 8
@end example
@cindex unfolded @code{\repeat}
This repeat print the following sequence notes eight times.
@example
\notes \transpose c' @{
@end example
@cindex transposing
@cindex relative mode and transposing

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

The purpose of this no-op is circumventing relative mode.  Relative mode
can not be used together with transposition, so @code{\relative} will
leave the contents of @code{\hoomPah} alone.  We can use it without
having to worry about getting the motive in a wrong octave.
@example 
bassvoices = \notes \relative c' @{
c4 g8. b,16
\autochange Staff \hoomPah 
@end example
@cindex staff switch, automatic
@cindex cross staff voice, automatic
@cindex @code{\autochange}

Voices can switch between staffs. The easiest way to get this, is to use
@code{\autochange}. This command looks at the pitch of each note, and if
necessary, will cross to the other staff. For this to work, the two
staffs must be called @code{"up"} and @code{"down"}. 
@example
        \translator Staff = down
@end example
@cindex staff switch
@cindex cross staff voice
The rest of this melody must be in the lower staff, so we do a manual
staff switch here.


@example 
\context Voice = reallyLow  @{\stemDown g2 ~ | g4 c8 @} > 
@end example
@cindex tie
@cindex @code{~}
After skipping some lines, we see @code{~}.  This mark makes ties.
@example 
\context PianoStaff 
@end example 
 A special context is needed to get cross staff beaming right.  This
context is called @code{PianoStaff}.
@example 
\context Staff = bottom < \time 2/2; \clef bass; 
@end example 
The bottom staff must have a different clef.
@example 
indent = 0.0; 
@end example 
To make some more room on the line, the first (in this case the only)
line is not indented.  The line still looks very cramped, but that is due
to the page layout of this document.


[TODO:

* arpeggio, glissando, 

* \apply, \outputproperty, \translator @{@}, \molecule hacking.

* font-size, cadenza. rhythmic staff, multi-stanza.


* Orchestral: demonstrate Hara-Kiri, part combining, part extraction,
scores, transposition, instrument names,

]

@node  end of tutorial
@section The end        
         
That's all folks.  From here, you can either try fiddling with input
files, or you can read the reference manual.