@c -*-texinfo-*- @c TODO: @c * LilyPond Lilypond lilypond (sometimes: the program) @c * more details about running lilypond; error messages, @c compiling/viewing (emacs?) @c * where to go from First steps+More basics? @node Tutorial @chapter Tutorial @html @end html @menu * First steps:: Music language of LilyPond * Running LilyPond:: Printing music * More basics:: * Printing lyrics:: * A lead sheet:: * Listening to output:: * Titling :: * Single staff polyphony :: * Piano staffs:: * Organising larger pieces:: * Fine tuning a piece:: * An orchestral score:: Conductor's score and individual parts * Integrating text and music:: Integrating text and music @end menu Operating is done through text files: To print a piece of music, you enter the music in a file. When LilyPond is run (normally using the program @code{ly2dvi}) on that file, another file containing formatted sheet music, is produced. That file may be printed or viewed. This tutorial starts with a small introduction to the LilyPond music language. After this first contact, we will show which commands to run to produce printed output, so you should then be able to create your first sheets of music. When starting out, it will be convenient to print out @ifhtml the @end ifhtml @ref{Cheat sheet}, which is a table listing all commands for convenient reference. @node First steps @section First steps We start off by showing how very simple music is entered in LilyPond: you get a note simply by typing its @htmlref{note name}, from @samp{a} through @samp{g}. So if you enter @example c d e f g a b @end example @noindent then the result looks like this: @c ? @c \transpose c c' { c d e f g a b } @c @lily pond[notime] @c \property Score.timing = ##f @lilypond[notime, relative=2] c d e f g a b @end lilypond We will continue with this format: First we show a snippet of input, then the resulting output. The length of a note is specified by adding a number, @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note}, and so on: @example a1 a2 a4 a16 a32 @end example @lilypond[notime] \property Score.timing = ##f \property Staff.autoBeaming = ##f \transpose c c' { a1 a2 a4 a16 a32 s16_" " } @end lilypond If you do not specify a @rglos{duration}, the previous one is used: @example a4 a a2 a @end example @lilypond[notime] \property Score.timing = ##f \transpose c c' { a a a2 a s16_" " } @end lilypond A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a @rglos{flat} (@texiflat{}) by adding @samp{es}. As you might expect, a @rglos{double sharp} or @rglos{double flat} is made by adding @samp{isis} or @samp{eses}:@footnote{This syntax derived from note naming conventions in Nordic and Germanic languages, like German and Dutch} @example cis1 ees fisis aeses @end example @lilypond[notime] \property Score.timing = ##f \transpose c c' { cis1 ees fisis aeses s16_" " } @end lilypond Add a dot @samp{.} after the duration to get a @rglos{dotted note}: @example a2. a4 a8. a16 @end example @lilypond[notime] \property Score.timing = ##f \transpose c c' { a2. a4 a8. a16 s16_" " } @end lilypond Entering pitches and durations is fully explained in @ref{Pitches} and @ref{Durations}. The @rglos{meter} (or @rglos{time signature}) can be set with the @code{\time} command: @example \time 3/4 \time 6/8 \time 4/4 @end example @c a clef here may lead to confusion @lilypond \property Staff.Clef \set #'transparent = ##t \time 3/4 s4_" " \time 6/8 s4_" " \time 4/4 s16_" " @end lilypond Time signatures and other timing commands are described in @ref{Time signature}. The @rglos{clef} can be set using the @code{\clef} command: @c what is more common name treble or violin? @c in Dutch, its violin. @c in English its definitely treble. @example \clef treble \clef bass \clef alto \clef tenor @end example @lilypond[notime] \property Score.timing = ##f \clef violin s4_" " \clef bass s4_" " \clef alto s4_" " \clef tenor s16_" " @end lilypond Clefs are fully explained in @ref{Clef}. When you enter these commands in a file, you must to enclose them in @code{\notes @{@dots{}@}}. This lets LilyPond know that music (as opposed to @rglos{lyrics}) follows: @example \notes @{ \time 3/4 \clef bass c2 e4 g2. f4 e d c2. @} @end example Now the piece of music is almost ready to be printed. The final step is to combine the music with a printing command. The printing command is the so-called @code{\paper} block. Later on you will see that the @code{\paper} block is used to customize printing specifics. The music and the @code{\paper} block are combined by enclosing them in @code{\score @{ ... @}}. This is what a full source file looks like: @example \score @{ \notes @{ \time 3/4 \clef bass c2 e4 g2. f4 e d c2. @} \paper @{ @} @} @end example @lilypond[noindent] \score { \notes { \time 3/4 \clef bass c2 e4 g2. f4 e d c2. } \paper { linewidth = 55 * \staffspace } } @end lilypond @node Running LilyPond @section Running LilyPond In the last section we explained what kind of things you could enter in a LilyPond file. In this section we explain what commands to run and how to view or print the output. If you have not used LilyPond before, want to test your setup, or want to run an example file yourself, read this section. The instructions that follow are for Unix-like systems. Some additional instructions for Microsoft Windows are given at the end of this section. Begin by opening a terminal window and starting a text editor. For example, you could open an xterm and execute @code{joe}. In your text editor, enter the following input and save the file as @file{test.ly}: @quotation @example \score @{ \notes @{ c'4 e' g' @} @} @end example @end quotation @cindex ly2dvi @c now this is weird, running ly2dvi to run LilyPond @c (therefore name change proposal) LilyPond is the program that computes the sheet music. All other things, such as adding titles, page breaking and other page layout, are done by a small wrapper program called @code{ly2dvi}. @code{ly2dvi} calls LilyPond to render the music, and then adds the titling and page layout instructions. To process @file{test.ly} with @code{ly2dvi}, proceed as follows: @quotation @example ly2dvi -p test.ly @end example @end quotation You will see the following on your screen: @quotation @example GNU LilyPond 1.7.16 Now processing: `/home/fred/ly/test.ly' Parsing... Interpreting music...[1] @emph{ ... more interesting stuff ... } PDF output to `test.pdf'... DVI output to `test.dvi'... @end example @end quotation @cindex DVI file @cindex Viewing music @cindex xdvi The results of the ly2dvi run are two files, @file{test.dvi} and @file{test.pdf}. The PDF file (@file{test.pdf}) is the one you can print or view. For example, viewing PDF can be done with ghostview. If a version of ghostview is installed on your system, one of these commands will produce a window with some music notation on your screen: @c eeek @quotation @example gv test.pdf ghostview test.pdf ggv test.pdf kghostview test.pdf xpdf test.pdf gpdf test.pdf @end example @end quotation If the music on your screen looks good, you can print it by clicking File/Print inside ghostview. The DVI file (@file{test.dvi}) contains the same sheet music in a different format. DVI files are more easily processed by the computer, so viewing them usually is quicker. You can run @code{xdvi test.dvi} @c KDVI doesn't grok the PS specials. @c or @c @code{kdvi test.dvi} @c to view the DVI file. In Xdvi, the mouse buttons activate magnifying glasses. Unfortunately, variable symbols (such as beams and slurs) are not displayed in the magnifying glasses. @cindex Ghostscript @cindex @code{lpr} @cindex Printing output @cindex PostScript @cindex PDF If you are familiar with @TeX{}, be warned: do not use other DVI drivers like @code{dvilj}. LilyPond DVI use embedded PostScript code and will not render correctly with other DVI drivers besides @code{dvips}. @cindex dvips @cindex dvilj @cindex DVI driver Various commands for formatting and printing music are detailed in @ref{Invoking LilyPond}. @unnumberedsubsec Windows users On Windows, the terminal is started by clicking on the LilyPond or Cygwin icon. Any text editor (such as NotePad, Emacs or Vim) may be used to edit the LilyPond file. When Cygwin's @code{XFree86} X11 window system is installed along with @code{tetex-x11} and @code{ghostscript-x11} packages, then the @code{dvi} output may be viewed with @code{xdvi test.dvi} as described above. If you have installed a PostScript/PDF viewer, such as @code{GSView} from @uref{http://www.cs.wisc.edu/~ghost}, viewing the PDF file can be done with: @quotation @example @code{gsview32 test.pdf} @end example @end quotation Printing may be done by executing @quotation @example @code{gsview32 /s test.pdf} @end example @end quotation @node More basics @section More basics We continue with the introduction of more musical constructs. Normal rests are entered just like notes with the name ``@code{r}'': @quotation @example r2 r4 r8 r16 @end example @lilypond[fragment] \property Score.timing = ##f \property Staff.Clef = \turnOff \property Staff.TimeSignature = \turnOff r2 r4 r8 r16 s16_" " @end lilypond @end quotation @separate Rests are described in full detail in @ref{Rests}. @c Tim wants to move this quotes example just before the: quotes-do not-work @c score, but we'd need to remove quotes from the other two (key and @c tie) examples... @c better to have this just before the `octaves are bad' snipped @c but we'd need to remove the ', from \key and tie To raise a note by an octave, add a high quote @code{'} (apostrophe) to the note name, to lower a note one octave, add a ``low quote'' @code{,} (a comma). Middle C is @code{c'}: @quotation @example c'4 c'' c''' \clef bass c c, @end example @lilypond[fragment] \property Score.timing = ##f \property Staff.TimeSignature = \turnOff c'4 c'' c''' \clef bass c c, @end lilypond @end quotation @separate A tie is created by adding a tilde ``@code{~}'' to the first note being tied. @quotation @lilypond[fragment,verbatim] g'4-~ g' a'2-~ a'4 @end lilypond @end quotation @separate A tie is different from a slur. A tie simply makes the first note sound longer, and can only be used on pairs of notes with the same pitch. Slurs indicate the articulations of notes, and can be used on larger groups of notes. Slurs and ties are also nested in practice: @lilypond[fragment, relative=1] c2-~-( c8 fis fis4 ~ fis2 g2-) @end lilypond The notation manual discusses ties in @ref{Ties}. The key signature is set with the command ``@code{\key}'', followed by a pitch and @code{\major} or @code{\minor}: @quotation @example \key d \major g'1 \key c \minor g' @end example @lilypond[fragment] \property Staff.TimeSignature = \turnOff \key d \major g'1 \key c \minor g' @end lilypond @end quotation @c bit on the long/complex/scary taste @c cheating a bit: two lines makes for a friendlier look This example shows notes, ties, octave marks, and rests in action. @quotation @example \score @{ \notes @{ \time 4/4 \key d \minor \clef violin r4 r8 d''8 cis''4 e'' d''8 a'4.-~ a' b'8 cis''4 cis''8 cis'' bis'4 d''8 cis''-~ cis''2 r2 @} \paper @{ @} @} @end example @lilypond \score { \notes { \time 4/4 \clef violin \key d \minor r4 r8 d''8 cis''4 e'' d''8 a'4.-~ a' b'8 cis''4 cis''8 cis'' bis'4 d''8 cis''-~ cis''2 r2 } \paper { linewidth = 50*\staffspace } } @end lilypond @end quotation @c accidentals... There are some interesting points to note in this example. Accidentals (sharps and flats) do not have to be marked explicitly: you just enter the note name, and an accidental is printed automatically, only when necessary. Bar lines and beams are drawn automatically. Line breaks are calculated automatically; it does not matter where the lines breaks are in the source file. Finally, the order of time, key and clef changes is not relevant: in the printout, these are ordered using standard notation conventions. The example also indicates that a piece of music written in a high register needs lots of quotes. This makes the input less readable, and is also a potential source of errors. The solution is to use ``relative octave'' mode. In practice, this is the most convenient way to copy existing music. To use relative mode, add @code{\relative} before the piece of music. You must also give a note from which relative starts, in this case @code{c''}. If you do not use octavation quotes (i.e. do not add ' or , after a note), relative mode chooses the note that is closest to the previous one. @c do not use commas or quotes in this sentence For example: @code{c f} goes up; @code{c g} goes down: @quotation @example \relative c'' @{ c f c g c @} @end example @lilypond[fragment] \property Score.timing = ##f \property Staff.TimeSignature = \turnOff \relative c'' { c f c g c } @end lilypond @end quotation @separate Since most music has small intervals, in relative mode pieces can be written almost without using octavation quotes. @c needed better, maybe even redundant explanation @c added another example below. @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep. @c in eerste instantie drong het `relative' niet door zonder extra uitleg. Larger intervals are made by adding octavation quotes. Quotes or commas do not determine the absolute height of a note; the height of a note is relative to the previous one. @c do not use commas or quotes in this sentence For example: @code{c f,} goes down; @code{f, f} are both the same; @code{c' c} are the same; and @code{c g'} goes up: @quotation @example \relative c'' @{ c f, f c' c g' c, @} @end example @lilypond[fragment] \property Score.timing = ##f \property Staff.TimeSignature = \turnOff \relative c'' { c f, f c' c g' c, } @end lilypond @end quotation @separate Here is an example of the difference between relative mode and ``normal'' (non-relative) mode: @quotation @example \relative a @{ \clef bass a d a e d c' d' @} @end example @lilypond[fragment] \property Score.timing = ##f \property Staff.TimeSignature = \turnOff \relative a { \clef bass a d a e d c' d' } @end lilypond @end quotation @separate @quotation @example \clef bass a d a e d c' d' @end example @lilypond[fragment] \property Score.timing = ##f \property Staff.TimeSignature = \turnOff \clef bass a d a e d c' d' @end lilypond @end quotation @separate A slur is drawn across many notes, and indicates bound articulation (legato). The starting note and ending note are marked with a ``@code{(}'' and a ``@code{)}'' respectively: @quotation @lilypond[fragment,relative 1, verbatim] d4-( c16-)-( cis d e c cis d e-)-( d4-) @end lilypond @end quotation @separate If you need two slurs at the same time (one for articulation, one for phrasing), you can also make a phrasing slur with @code{\(} and @code{\)}. @c lousy example @c ? --hwn @c fragment of 1st hrn in Adams' The Chairman Dances, with creative @c chromatic thing pasted in front. (admittedly the original does not @c have a phrasing slur. The problem is that we do not want the slur @c and the Phrasing slur to collide. We are trying to make a good @c impression here. @quotation @lilypond[fragment,relative 1, verbatim] a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\) @end lilypond @end quotation @separate Beams are drawn automatically, but if you do not like where they are put, they can be entered by hand. Mark the first note to be beamed with @code{[} and the last one with @code{]}: @quotation @lilypond[fragment,relative 1, verbatim] a8-[ ais-] d-[ es r d-] @end lilypond @end quotation @separate To print more than one staff, each piece of music that makes up a staff is marked by adding @code{\context Staff} before it. These @code{Staff}'s are then grouped inside @code{\simultaneous @{} and @code{@}}, as is demonstrated here: @quotation @lilypond[fragment,verbatim] \simultaneous { \context Staff = staffA { \clef violin c'' } \context Staff = staffB { \clef bass c } } @end lilypond @end quotation In this example, @code{staffA} and @code{staffB} are names that are given to the staves. It does not matter what names you give, as long as each staff has a different name. If you give them the same name, they are assumed to belong on the same staff, and will be printed like that. @code{\simultaneous } indicates that both fragments happen at the same time, and must be printed stacked vertically. @separate We can now typeset a melody with two staves: @quotation @lilypond[verbatim,singleline] \score { \notes < \context Staff = staffA { \time 3/4 \clef violin \relative c'' { e2-( d4 c2 b4 a8-[ a-] b-[ b-] g-[ g-] a2.-) } } \context Staff = staffB { \clef bass c2 e4 g2. f4 e d c2. } > \paper {} } @end lilypond @end quotation The time signature is specified in one melody staff only (the top staff), but is printed on both, since common practice dictates that all staves have the same time signature. @separate Common accents can be added to a note using @code{-.}, @code{--}, @code{->}: @quotation @lilypond[verbatim,relative 1] c-. c-- c-> @end lilypond @end quotation @separate Similarly, fingering indications can be added to a note using @code{-} and the digit to be printed. @lilypond[verbatim,relative 1] c-3 e-5 b-2 a-1 @end lilypond Dynamic signs are made by adding the markings to the note: @quotation @lilypond[verbatim,relative 1] c-\ff c-\mf @end lilypond @end quotation @separate Crescendi and decrescendi are started with the commands @code{\<} and @code{\>}. The command @code{\!} finishes a crescendo on the note it is attached to. @quotation @lilypond[verbatim,relative 1] c2-\< c2-\!-\ff c2-\> c2-\! @end lilypond @end quotation @separate Chords can be made by surrounding pitches with @code{<<} and @code{>}>: @quotation @lilypond[relative 0, fragment,verbatim] r4 <>4 <>8 @end lilypond @end quotation @separate You can combine beams and ties with chords. Beam and tie markings must be placed outside the chord markers: @quotation @lilypond[relative 0, fragment,verbatim] r4 <>8-[ <>-]-~ <> @end lilypond @end quotation @quotation @example r4 <>8-\>-( <> <> <>8-\!-) @end example @lilypond[relative 0, fragment] \slurUp r4 <>8-\>-( <> <> <>8-\!-) @end lilypond @end quotation @separate A pickup (or upstep) is entered with the keyword @code{\partial}. It is followed by a duration: @code{\partial 4} is a quarter note upstep and @code{\partial 8} an eighth note. @lilypond[relative 1,verbatim,fragment] \partial 8 f8 c2 d e @end lilypond 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 a triplet has 2/3 as its fraction. @c @lilypond[relative 0,verbatim,fragment] \times 2/3 { f8 g a } \times 2/3 { c r c } @end lilypond TODO: grace notes Comments are pieces of the input that are ignored. There are two types of comments. A line comments are introduced by @code{%}: after that, the rest of that line is ignored. Block comments span larger sections of input. Anything that is enclosed in @code{%@{} and @code{%@}} is ignored too. The following fragment shows possible uses for comments. @example % notes for twinkle twinkle follow: c4 c g' g a a %@{ This line, and the notes below are ignored, since they are in a block comment. g g f f e e d d c2 %@} @end example @node Printing lyrics @section Printing lyrics @cindex lyrics Lyrics are entered by separating each syllable with a space, and surrounding them with @code{\lyrics @{ @dots{} @}}, for example @example \lyrics @{ I want to break free @} @end example Like notes, lyrics are also a form of music, but they must not be printed on a staff, which is the default way to print music. To print them as lyrics, they must be marked with @code{ \context Lyrics}: @example \context Lyrics \lyrics @{ I want to break free @} @end example The melody for this song is as follows @lilypond[fragment,relative=1] \partial 8 c8 \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) } @end lilypond The lyrics can be set to these notes, combining both with the @code{\addlyrics} keyword: @example \addlyrics \notes @{ @dots{} @} \context Lyrics @dots{} @end example The final result is @lilypond[singleline,verbatim] \score { \notes { \addlyrics \relative c' { \partial 8 c8 \times 2/3 { f g g } \times 2/3 { g4-( a2-) } } \context Lyrics \lyrics { I want to break free } } \paper{ } } @end lilypond This melody ends on a @rglos{melisma}, a single syllable (``free'') sung to more than one note. This is indicated with a @emph{extender line}. It is entered as two underscores, i.e., @example \lyrics @{ I want to break free __ @} @end example @lilypond[singleline] \score { \notes { \addlyrics \relative c' { \partial 8 c8 \times 2/3 { f g g } \times 2/3 { g4-( a2-) } } \context Lyrics \lyrics { I want to break free __ } } \paper{ } } @end lilypond TODO: fix extender lines here. Similarly, hyphens between words can be entered as two dashes, resulting in a centered hyphen between two syllables. @example Twin -- kle twin -- kle @end example @lilypond[singleline] \score { \addlyrics \notes \relative f' { \time 2/4 f4 f c' c' } \context Lyrics \lyrics { Twin -- kle twin -- kle } \paper { linewidth = 6.0 \cm } } @end lilypond More options, like putting multiple lines of lyrics below a melody are discussed in @ref{Vocal music}. @node A lead sheet @section A lead sheet In popular music, it is common to denote accompaniment as chord-names. Using them in LilyPond has two parts, just like lyrics: entering the chords (with @code{\chords}), and printing them (with @code{\context ChordNames}). Chord names are entered by starting chords mode (with @code{\chords}). In chords mode, you can enter chords with a letter (indicating the root of the chord), and a durations following that. @c @lilypond[verbatim] \chords { c2 f4. g8 } @end lilypond @noindent The result of @code{\chords} is a list of chords, and is equivalent to entering chords with @code{<<@dots{}>>}. Other chords can be created by adding modifiers, after a colon. The following example shows a few common modifiers @c @lilypond[verbatim] \chords { c2 f4:m g4:maj7 gis1:dim7 } @end lilypond Printing chords is done by adding @code{\context ChordNames} before the chords thus entered: @c @lilypond[verbatim] \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 } @end lilypond A complete list of modifiers, and other options for layout are in the reference manual section @ref{Chords}. @cindex lead sheet When put together, chord names, lyrics and a melody form a lead sheet, for example, @example \score @{ < \context ChordNames \chords @{ @emph{chords} @} \addlyrics \notes @emph{the melody} \context Lyrics \lyrics @{ @emph{the text} @} > \paper @{ @} @} @end example @lilypond[] \score { < \context ChordNames \chords { r8 c2:sus4 f } \addlyrics \notes \relative c' { \partial 8 c8 \times 2/3 { f g g } \times 2/3 { g4-( a2-) } } \context Lyrics \lyrics { I want to break free __ } > \paper{ raggedright = ##t } } @end lilypond @node Listening to output @section Listening to output MIDI (Musical Instrument Digital Interface) is a standard for connecting and recording digital instruments. A MIDI file is like a tape recording of a MIDI instrument. The @code{\midi} block makes the music go to a MIDI file, so you can listen to the music you entered. It is great for checking the music: octaves that are off, or accidentals that were mistyped, stand out very much when listening to the musical transcription. @code{\midi} can be used in similarly to @code{\paper @{ @}}, for example @example \score @{ @var{..music..} \midi @{ \tempo 4=72 @} \paper @{ @} @} @end example Here, the tempo is specified using the @code{\tempo} command. In this case the tempo of quarter notes is set to 72 beats per minute. More information on auditory output is in the @ref{Sound} section in the notation manual. @node Titling @section Titling Bibliographic information is entered in a separate block, the @code{\header} block. The name of the piece, its composer, etc. are entered as assignment within @code{\header @{ @dots{} @}}. For example, @example \header @{ title = "Eight miniatures" composer = "Igor Stravinsky" tagline = "small is beautiful" @} \score @{ @dots{} @} @end example @cindex bibliographic information @cindex titles @cindex composer @cindex ly2dvi When the file is processed by @code{ly2dvi}, the title and composer specified are printed above the music. The `tagline' is a short line printed at bottom of the last page, which normally says ``Lily was here, version @dots{}''. In the example above, it is replaced by the line ``small is beautiful.'' Normally, the @code{\header} is put at the top of the file. However, for a document that contains multiple pieces (e.g. a etude book, or part with multiple movements), then the header can be put into the @code{\score} block as follows In this case, the name of each piece will be printed before each movement. @cindex Lily was here @cindex signature line @cindex tag line @example \header @{ title = "Eight miniatures" composer = "Igor Stravinsky" tagline = "small is beautiful" @} \score @{ @dots{} \header @{ piece = "Adagio" @} @} \score @{ @dots{} \header @{ piece = "Menuetto" @} @} @end example More information on titling can be found in @ref{Invoking ly2dvi}. @node Single staff polyphony @section Single staff polyphony When different melodic lines are combined on a single staff, these are printed as polyphonic voices: each voice has its own stems, slurs and beams, and the top voice has the stems up, while the bottom voice has stems down. Entering such parts is done by entering each voice as a sequence (with @code{@{ .. @}}), and combing those simultaneously, separating the voices with @code{\\}: @lilypond[verbatim,relative] < { a4 g2 f4-~ f4 } \\ { r4 g4 f2 f4 } > @end lilypond The notation @code{< .. >} is a shorthand for @code{\simultaneous @{ .. @}}. More features of polyphonic typesetting are in the notation manual, @ref{Polyphony}. @node Piano staffs @section Piano staffs @cindex staff switch, manual @cindex cross staff voice, manual @cindex @code{\translator} @node Organising larger pieces @section Organising larger pieces TODO: discuss identifiers, p&c, . @separate @example \version "1.5.72" @end example Lilypond and its language are still under development, and occasionally details of the syntax are changed. The @code{version} fragment indicates which LilyPond version the input file was written for. When you compile this file, the version number will be checked. When the file is too old, a warning is issued. The version number is also used by the @code{convert-ly} program (See @ref{Invoking convert-ly}), which updates the file to the latest version automatically. @separate @example s1 s2. r4 @end example @code{s} is a spacer rest. It does not print anything, but it does have the duration of a rest. It is useful for filling up voices that temporarily do not play. In this case, the viola does not come until one and a half measure later. @separate @example \grace <>-( <>4-) <>2 @end example @cindex @code{\grace} @cindex ornaments @cindex grace notes @code{\grace} introduces grace notes. It takes one argument, in this case a chord. A slur is introduced starting from the @code{\grace} ending on the following chord. @separate @example \times 2/3 @end example @cindex tuplet @cindex triplets @separate @example @{ <>8 <> <> @} @end example The piece of music to be `tripletted' is sequential music containing three chords. The bass has a little hoom-pah melody to demonstrate parts switching between staves. Since it is repetitive, we use repeats: @separate @example hoomPah = \repeat unfold 8 @end example @cindex unfolded @code{\repeat} The unfolded repeat prints the notes in its argument as if they were written out in full eight times. @separate @node Fine tuning a piece @section Fine tuning a piece In this section we show some ways to fine tune the final output of a piece. We do so using a single measure of a moderately complex piano piece: a Brahms intermezzo (opus 119, no. 1). Both fragments (the tuned and the untuned versions) are in @file{input/tutorial/}. The code for the untuned example shows us some new things. @lilypondfile[verbatim]{brahms-original.ly} @cindex dynamics @cindex loudness @cindex forte @cindex crescendo Now that we have the basic piece of music entered, we want to fine tune it so that we get something that resembles the original printed edition by Schott/Universal Edition: @lilypondfile{brahms-tweaked.ly} @cindex tuning graphical objects Fine tuning involves overriding the defaults of the printing system. We do this by setting variables which control how Lilypond prints symbols. Printed symbols are called graphical objects (often abbreviated to @emph{grob}). Each object is described by a bunch of settings. Every setting is a variable: it has a name and a value which you can change. These values determine the fonts, offsets, sub-routines to be called on the object, etc. The initial values of these settings are set in the Scheme file @file{scm/grob-description.scm}. @cindex slur attachments We start with the slur in the upper part, running from F sharp to A. In the printed edition, this slur runs from stem to stem; in our version, the slur begins at the note head of the F sharp. The following property setting forces all slurs to run from stem to stem (not from or to note heads!). @example \property Voice.Slur \set #'attachment = #'(stem . stem) @end example More precisely, this command modifies the definition of the @code{Slur} object in the current @code{Voice}. The variable @code{attachment} is set to the pair of symbols @code{'(stem . stem)}. @cindex internal documentation @cindex finding graphical objects @cindex graphical object descriptions This command fixes one particular problem with a slur. The rest of this section explains how to figure out which properties to tune for your own scores. To discover this, you must have a copy of the internals document. This is a set of HTML pages which should be included if you installed a binary distribution. [TODO: revise for new site.] These HTML pages are also available on the web: go to the LilyPond website, click ``Documentation: Index'' on the side bar, look in the ``Information for uses'' section, and click on ``Documentation of internals.'' You might want to bookmark either the HTML files on your disk, or the one on the web (the HTML on your hard drive will load much faster than the ones on the web!). One word of caution: the internals documentation is generated from the definitions that the program uses. Hence, the internals documentation is strongly tied to the version you use. Before you proceed, make sure that the program and documentation have matching version numbers. @c TODO: the quote is incorrect, although that shouldn't be a big @c problem for the reader. Suppose that you wanted to tune the behavior of the slur. The first step is to get some general information on slurs in LilyPond. Turn to the index, and look up ``slur''. The section on slurs says @quotation The grob for this object is @internalsref{Slur}, generally in @internalsref{Voice} context. @end quotation So the graphical object for this object is called @code{Slur}, and slurs are created in the @code{Voice} context. If you are reading this tutorial in the HTML version, then you can simply click Slur, otherwise, you should look it up the internal documentation: click ``grob overview'' and select ``slur'' (the list is alphabetical). Now you get a list of all the properties that the slur object supports, along with their default values. Among the properties we find the @code{attachment} property with its default setting. The property documentation explains that the following setting will produce the desired effect: @example \property Voice.Slur \set #'attachment = #'(stem . stem) @end example @c this is a long section, and adding an extra space here helps to @c break it into smaller subsections and thus is easier to understand. @separate Next we want to move the fingering `3'. In the printed edition it is not above the stem, but a little lower and slightly left of the stem. From the user manual we find that the associated graphical object is called @code{Fingering}, but how do we know if we should use @code{Voice} or @code{Staff}? In many cases, @code{Voice} is a safe bet, but you can also deduce this information from the internals documentation: if you visit the documentation of @code{Fingering}, you will notice @example Fingering grobs are created by: Fingering_engraver @end example Clicking @code{Fingering_engraver} will show you the documentation of the module responsible for interpreting the fingering instructions and translating them to a @code{Fingering} object. Such a module is called an @emph{engraver}. The documentation of the @code{Fingering_engraver} says @example Fingering_engraver is part of contexts: Voice and TabVoice @end example so tuning the settings for Fingering should be done using either @example \property Voice.Fingering \set @dots{} @end example or @example \property TabVoice.Fingering \set @dots{} @end example Since the @code{TabVoice} is only used for tab notation, we see that the first guess @code{Voice} was indeed correct. @cindex setting object properties @cindex @code{extra-offset} For shifting the fingering, we use the property @code{extra-offset}. The following command manually adds an offset to the object. We move it a little to the left, and 1.8 staff space downwards. @example \once \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8) @end example The @code{extra-offset} is a low-level feature: it moves around objects in the printout; the formatting engine is completely oblivious to these offsets. The unit of these offsets are staff-spaces. The first number controls left-right movement; a positive number will move the object to the right. The second number controls up-down movement; a positive number will move it higher. We only want to offset a single object, so this statement is adorned with @code{\once}. @cindex property types @cindex translator properties @cindex grob properties @cindex music properties @separate There are three different types of variables in LilyPond, something which can be confusing at first (and for some people it stays confusing). Variables such as @code{extra-offset} and @code{attachment} are called grob properties. They are not the same as translator properties, like @code{autoBeaming}. Finally, music expressions are internally stored using properties (so-called music properties). You will encounter music properties if you run Scheme functions on music using @code{\apply}. The second fingering instruction should be moved up a little to avoid a collision with the slur. This could be achieved with @code{extra-offset}, but in this case, a simpler mechanism also works. We insert an empty text between the 5 and the note. The empty text pushes the fingering instruction away: @example a-)^" "^\markup @{ \finger "5" @} @end example A fingering instruction, which would be entered as @code{^5}, is put as close to the notes as possible, closer than the space entered to push away the 5. Hence, the 5 is entered as a normal text, with the formatting of fingering instructions. @separate Normally one would specify all dynamics in the same voice, so that dynamics (such as @b{f} and @b{p}) will be aligned with hairpins. But in this case, we do not want the decrescendo to be aligned with the piano sign. We achieve this by putting the dynamic markings in different voices. The crescendo should be above the upper staff. This can be forced by using the precooked command @example \dynamicsUp @end example However, if you do that the decrescendo will be too close to the upper voice and collide with the stems. Looking at the manual for dynamics, we notice that ``Vertical positioning of these symbols is handled by the @internalsref{DynamicLineSpanner} grob.''. If we turn to the documentation of @code{DynamicLineSpanner}, we find that @code{DynamicLineSpanner} supports several so-called `interfaces'. This object not only puts objects next to the staff (@code{side-position-interface}), but it also groups dynamic objects (@code{axis-group-interface}), is considered a dynamic sign itself (@code{dynamic-interface}), and is an spanning object (@code{spanner-interface}). It also has the standard @code{grob-interface} with all the variables that come with it. For the moment we are interested in side positioning: @quotation side-position-interface Position a victim object (this one) next to other objects (the support). In this case, the direction signifies where to put the victim object relative to the support (left or right, up or down?) @end quotation Between the object and its support (in this case, the descending notes), there should be more space. This space is controlled by @code{padding}, so we increase it. @example \property Voice.DynamicLineSpanner \override #'padding = #5.0 @end example @separate Brahms uses music notation is a slightly unorthodox way. Ties usually happen only within one voice. In this piece, the composer gladly produces ties that jump voices. We deal with this by faking these ties: whenever we need such a tie, we insert a notehead in a different voice, and blank the stem. This is done in the following snippet of code. @cindex transparent objects @cindex removing objects @cindex invisible objects @example \property Voice.Stem \set #'transparent = ##t d' @end example Blanking the stem should be done for only one object. One of the ways to achieve that, is by setting the property before a note. Reverting it afterwards is tedious, so for setting a property only once, we have the syntax @code{\once}: it reverts the property directly before proceeding to the next step in time. The @code{\once} keyword is added to @code{\property}. Finally, the last tie is forced up using @code{\tieUp}. @separate Here is the complete ``fine tuned'' version, which includes all the modifications we discussed in this section: @lilypondfile[verbatim]{brahms-tweaked.ly} @node An orchestral part @section An orchestral part TODO: \markup, mmrest, transposing, cue notes, identifiers?. @node Integrating text and music @section Integrating text and music @cindex La@TeX{}, music in @cindex HTML, music in @cindex Texinfo, music in Sometimes you might want to use music examples in a text that you are writing (for example a musicological treatise, a songbook, or (like us) the LilyPond manual). You can make such texts by hand, simply by importing a PostScript figure into your word processor. However, there is an automated procedure to reduce the amount of work. If you use HTML, La@TeX{}, or Texinfo, you can mix text and LilyPond code. A script called @code{lilypond-book} will extract the music fragments, run LilyPond on them, and put back the resulting notation. This program is fully described in @ref{lilypond-book manual}. Here we show a small example. Since the example also contains explanatory text, we will not comment it further. @example \documentclass[a4paper]@{article@} \begin@{document@} In a lilypond-book document, you can freely mix music and text. For example: \begin@{lilypond@} \score @{ \notes \relative c' @{ c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4 @} @} \end@{lilypond@} Notice that the music line length matches the margin settings of the document. If you have no \verb+\score+ block in the fragment, \texttt@{lilypond-book@} will supply one: \begin@{lilypond@} c'4 \end@{lilypond@} In the example you see here, two things happened: a \verb+\score+ block was added, and the line width was set to natural length. You can specify many more options using \LaTeX style options in brackets: \begin[verbatim,11pt,singleline, fragment,relative,intertext="hi there!"]@{lilypond@} c'4 f bes es \end@{lilypond@} The option \texttt@{verbatim@} prints the LilyPond code in addition to the graphical score, \texttt@{11pt@} selects the default music size, \texttt@{fragment@} adds a score block, \texttt@{relative@} uses relative mode for the fragment, and \texttt@{intertext@} specifies what to print between the \texttt@{verbatim@} code and the music. If you want to include large examples into the text, it may be more convenient to put the example in a separate file: \lilypondfile[printfilename]@{screech-boink.ly@} The \texttt@{printfilename@} option adds the file name to the output. \end@{document@} @end example Under Unix, you can view the results as follows. @example $ cd input/tutorial $ mkdir -p out/ $ lilypond-book --outdir=out/ lilbook.tex lilypond-book (GNU LilyPond) 1.7.16 Reading `input/tutorial/lilbook.tex' Reading `input/screech-boink6.ly' @var{lots of stuff deleted} Writing `out/lilbook.latex' $ cd out $ latex lilbook.latex @var{lots of stuff deleted} $ xdvi lilbook @end example Notice the @code{outdir} option to lilypond-book. Running lilypond-book and running latex creates a lot of temporary files, and you would not want those to clutter up your working directory. Hence, we have them created in a separate subdirectory. The result looks more or less like this: @separate In a lilypond-book document, you can freely mix music and text. For example: @lilypond \score { \notes \relative c' { c2 g'2 \times 2/3 { f8 e d } c'2 g4 } \paper { raggedright = ##t } } @end lilypond Notice that the music line length matches the margin settings of the document. If you have no @code{\score} block in the fragment, @code{lilypond-book} will supply one: @lilypond c'4 @end lilypond In the example you see here, a number of things happened: a @code{\score} block was added, and the line width was set to natural length. You can specify many more options using La@TeX{} style options in brackets: @lilypond[verbatim,11pt,singleline, fragment,relative,intertext="hi there!"] c'4 f bes es @end lilypond The option @code{verbatim} also shows the LilyPond code, @code{11pt} selects the default music size, @code{fragment} adds a score block, @code{relative} uses relative mode for the fragment, and @code{intertext} specifies what to print between the @code{verbatim} code and the music. If you include large examples into the text, it may be more convenient to put the example in a separate file: @lilypondfile[printfilename]{screech-boink.ly} The @code{printfilename} option adds the file name to the output.