Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.19.21"
@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
on one staff.
@menu
-* Accidentals and key signatures::
+* Bar lines and bar checks::
+* Pitches and key signatures::
* Ties and slurs::
* Articulation and dynamics::
* Adding text::
* Advanced rhythmic commands::
@end menu
+@node Bar lines and bar checks
+@subsection Bar lines and bar checks
+
+@menu
+* Bar lines::
+* Bar checks::
+@end menu
+
+@node Bar lines
+@unnumberedsubsubsec Bar lines
+
+
+Single bar lines are automatically placed in the music so
+there is no need to add them manually. Other types of bar
+lines are added using @code{\bar}, for example
+@code{\bar "||"} for a double bar line, or @code{\bar "|."}
+for an ending bar line. For a full list of bar lines see
+the @ruser{Bar lines}.
+
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
+@end lilypond
-@node Accidentals and key signatures
-@subsection Accidentals and key signatures
+@node Bar checks
+@unnumberedsubsubsec Bar checks
-@warning{New users are often confused by these -- please read the
-warning at the bottom of this page, especially if you are not
-familiar with music theory!}
-@subheading Accidentals
+Though not strictly necessary, @emph{bar checks} should be
+used in the input code to show where bar lines are expected
+to fall. They are entered using the bar symbol, @code{|}.
+With bar checks, the program can verify that you've entered
+durations that make each measure add up to the correct
+length. Bar checks also make your input code easier to
+read, since they help to keep things organized.
+
+@c This example deliberately produces a warning
+@lilypond[verbatim,quote]
+\relative {
+ g'1 | e1 | c2. c' | g4 c g e | c4 r r2 |
+}
+@end lilypond
+
+If you compile the code in the example above, you should see a
+warning in the console output:
+
+@example
+warning: barcheck failed at: 1/2
+ g'1 | e1 | c2. c'
+ | g4 c g e | c4 r r2 |
+@end example
+
+Although the missing duration is clear in the musical output in this
+simple example, the warning in the console output is far more
+effective in drawing attention to the missing @code{4} in bar 3.
+
+@seealso
+Notation Reference:
+@ruser{Bar and bar number checks}.
+
+
+@node Pitches and key signatures
+@subsection Pitches and key signatures
+
+@menu
+* Pitch alterations::
+* Key signatures::
+* Warning key signatures and pitches::
+@end menu
+
+@warning{New users often misunderstand how LilyPond uses the key
+signature -- please read the warning at the bottom of this page.}
+
+@node Pitch alterations
+@unnumberedsubsubsec Pitch alterations
+
@cindex accidentals
-@cindex accidentals and key signatures
+@cindex natural
@cindex sharp
@cindex double sharp
@cindex sharp, double
Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
@rglos{double flat}, @rglos{accidental}.
+Note-names in LilyPond identify pitches. For example, @code{c}
+always means C-natural, regardless of the key signature.
+
A @notation{sharp} pitch is made by adding @code{is} to the name,
and a @notation{flat} pitch by adding @code{es}. As you might
expect, a @notation{double sharp} or @notation{double flat} is
made by adding @code{isis} or @code{eses}. This syntax is derived
from note naming conventions in Nordic and Germanic languages,
like German and Dutch. To use other names for
-@notation{accidentals}, see @ruser{Note names in other languages}.
+@notation{alterations}, see @ruser{Note names in other languages}.
-@lilypond[verbatim,quote,relative=2]
-cis1 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
@cindex key signature, setting
-@subheading Key signatures
+
+@node Key signatures
+@unnumberedsubsubsec Key signatures
+
@cindex key signature
@cindex major
@cindex layout vs. content
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Music Glossary: @rglos{key signature}, @rglos{major},
@rglos{minor}.
The @notation{key signature} is set with the command @code{\key}
followed by a pitch and @code{\major} or @code{\minor}.
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-a1
-\key c \minor
-a
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ d'4 fis a c |
+ \bar "||" \key c \minor
+ c,4 ees g b |
+}
@end lilypond
@smallspace
-@subheading Warning: key signatures and pitches
+@node Warning key signatures and pitches
+@unnumberedsubsubsec Warning: key signatures and pitches
+
Music Glossary: @rglos{accidental}, @rglos{key signature},
@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
-@rglos{transposition}.
-
-To determine whether to print an @notation{accidental}, LilyPond
-examines the pitches and the @notation{key signature}. The key
-signature only affects the @emph{printed} accidentals, not the
-note's @notation{pitch}! This is a feature that often causes
-confusion to newcomers, so let us explain it in more detail.
-
-LilyPond makes a sharp distinction between musical content and
-layout. The alteration (@notation{flat}, @notation{natural sign} or
-@notation{sharp}) of a note is part of the pitch, and is therefore
-musical content. Whether an accidental (a @emph{printed} flat,
-natural or sharp sign) is printed in front of the corresponding
-note is a question of layout. Layout is something that follows
-rules, so accidentals are printed automatically according to those
-rules. The pitches in your music are works of art, so they will
-not be added automatically, and you must enter what you want to
-hear.
+@rglos{transposition}, @rglos{Pitch names}.
+
+LilyPond makes a distinction between musical content and
+its printed representation. Input such as @code{d4 e fis2}
+defines the pitches and durations of notes, which is musical
+content. The @notation{key signature} is part of the printed
+representation. The key signature also sets rules for the
+printed representations of notes. LilyPond compares each input
+pitch to the key signature to determine whether to print an
+@notation{accidental}.
+
+The command @code{\key} sets the @notation{key signature}, which
+affects the printed representation, but does @emph{not} change
+the pitch assigned to a note such as @code{c} in the input.
In this example:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-d cis fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
note with pitch B-natural.} In the key of A-flat major, it
@emph{does} get an accidental:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-b
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
-If the above seems confusing, consider this: if you were playing a
-piano, which key would you hit? If you would press a black key,
-then you @emph{must} add @code{-is} or @code{-es} to the note
-name!
+Whenever you enter a pitch that is a black key on the piano, you
+@emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note name.
Adding all alterations explicitly might require a little more
effort when typing, but the advantage is that
@ruser{Automatic accidentals},
@ruser{Key signature}.
-Music Glossary:
-@rglos{Pitch names}.
-
@node Ties and slurs
@subsection Ties and slurs
@funindex ( ... )
@funindex \( ... \)
-@subheading Ties
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Warnings slurs vs. ties::
+@end menu
+@node Ties
+@unnumberedsubsubsec Ties
Music Glossary: @rglos{tie}.
A @notation{tie} is created by appending a tilde @code{~} to the
-first note being tied.
+first of the two notes being tied.
-@lilypond[verbatim,quote,relative=2]
-g4~ g c2~
-c4~ c8 a8~ a2
+@lilypond[verbatim,quote]
+\relative { g'4~ g c2~ | c4~ c8 a~ a2 | }
@end lilypond
-@subheading Slurs
+@cindex bare duration
+@cindex duration, bare
+
+When the pitch does not change, as is always the case with tied notes,
+subsequent pitches may be omitted, specifying just the bare duration:
+
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
+@end lilypond
+
+This shorthand may be useful in other places where the rhythm changes
+with an unchanging pitch, but remember that a bare pitch followed by a
+space and a bare duration will be interpreted as a single note. In
+other words, @code{c4 a 8 8} would be interpreted as @code{c4 a8 a8},
+not as @code{c4 a4 a8 a8}. Write instead @code{c4 a4 8 8 }.
+
+@node Slurs
+@unnumberedsubsubsec Slurs
Music Glossary: @rglos{slur}.
starting note and ending note are marked with @code{(} and
@code{)} respectively.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
-@subheading Phrasing slurs
+@node Phrasing slurs
+@unnumberedsubsubsec Phrasing slurs
+
Music Glossary: @rglos{slur}, @rglos{phrasing}.
Slurs to indicate longer @notation{phrasing} can be entered with
-@code{\(} and @code{\)}. You can have both @notation{slurs}
-and phrasing slurs at the same time, but you cannot have
-simultaneous slurs or simultaneous phrasing slurs.
+@code{\(} and @code{\)}. You can have both @notation{slurs} and
+phrasing slurs at the same time.
-@lilypond[verbatim,quote,relative=2]
-a8(\( ais b c) cis2 b'2 a4 cis,\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@smallspace
@cindex slurs versus ties
-@subheading Warnings: slurs vs. ties
+
+@node Warnings slurs vs. ties
+@unnumberedsubsubsec Warnings: slurs vs. ties
+
Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
indicate the @notation{articulation} of notes, and can be used on
larger groups of notes. Slurs and ties can be nested.
-@lilypond[verbatim,quote,relative=2]
-c2~( c8 fis fis4~ fis2 g2)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
@node Articulation and dynamics
@subsection Articulation and dynamics
+@menu
+* Articulations::
+* Fingerings::
+* Dynamics::
+@end menu
+
+@node Articulations
+@unnumberedsubsubsec Articulations
-@subheading Articulations
@cindex articulation
@cindex accent
Common @notation{articulations} can be added to a note using a
dash @code{-} and a single character:
-@lilypond[verbatim,quote,relative=2]
-c-. c-- c-> c-^ c-+ c-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
-@subheading Fingerings
+@node Fingerings
+@unnumberedsubsubsec Fingerings
+
@cindex fingering
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
-@lilypond[verbatim,quote,relative=2]
-c-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Articulations and fingerings are usually placed automatically, but
articulations on the same note. However, in most cases it is best
to let LilyPond determine the articulation directions.
-@lilypond[verbatim,quote,relative=2]
-c_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
-@subheading Dynamics
+@node Dynamics
+@unnumberedsubsubsec Dynamics
+
@cindex dynamics
@cindex decrescendo
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Music Glossary: @rglos{dynamics}, @rglos{crescendo},
@rglos{decrescendo}.
@notation{Dynamic} signs are made by adding the markings (with a
backslash) to the note:
-@lilypond[verbatim,quote,relative=2]
-c\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
example @code{\f}, will end the (de)crescendo, or the command
@code{\!} can be used:
-@lilypond[verbatim,quote,relative=2]
-c2\< c2\ff\> c2 c2\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
@cindex markup
@funindex \markup
-@funindex markup
Text may be added to your scores:
-@lilypond[verbatim,quote,relative=2]
-c1^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Extra formatting may be added with the @code{\markup} command:
-@lilypond[verbatim,quote,relative=2]
-c1^\markup{ \bold espr }
-a1_\markup{
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Music Glossary: @rglos{beam}.
All @notation{beams} are drawn automatically:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
If you do not like the automatic beams, they may be overridden
manually. To correct just an occasional beam mark the first note
to be beamed with @code{[} and the last one with @code{]}.
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] a b
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
If you want to turn off automatic beaming entirely or for an
to turn off automatic beaming and @code{\autoBeamOn} to turn it
on again.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4
-\autoBeamOn
-a8 c b4 d8. c16 b4
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
@node Advanced rhythmic commands
@subsection Advanced rhythmic commands
-@subheading Partial measure
+@menu
+* Partial measure::
+* Tuplets::
+* Grace notes::
+@end menu
+
+@node Partial measure
+@unnumberedsubsubsec Partial measure
+
@cindex pickup
@cindex anacrusis
@cindex partial measure
@funindex \partial
-@funindex partial
Music Glossary: @rglos{anacrusis}.
@code{\partial}. It is followed by a duration: @code{\partial 4}
is a quarter note pickup and @code{\partial 8} an eighth note.
-@lilypond[verbatim,quote,relative=2]
-\partial 8
-f8 c2 d
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
-@subheading Tuplets
+@node Tuplets
+@unnumberedsubsubsec Tuplets
+
@cindex tuplets
@cindex triplets
-@funindex \times
-@funindex times
+@funindex \tuplet
Music Glossary: @rglos{note value}, @rglos{triplet}.
-@notation{Tuplets} are made with the @code{\times} keyword. It
+@notation{Tuplets} are made with the @code{\tuplet} 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
-@notation{triplet} has 2/3 as its fraction
-
-@lilypond[verbatim,quote,relative=2]
-\times 2/3 { f8 g a }
-\times 2/3 { c r c }
-\times 2/3 { f,8 g16[ a g a] }
-\times 2/3 { d4 a8 }
+fraction is the number of tuplet notes over the number
+of notes normally filling the same duration.
+For triplets, there are three notes instead of two, so
+@notation{triplets} have 3/2 as their fraction.
+
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
-@subheading Grace notes
+@node Grace notes
+@unnumberedsubsubsec Grace notes
+
@cindex grace notes
@cindex acciaccatura
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
although they can also be created by prefixing a music expression
with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32[ b] } c2
-c2 \appoggiatura b16 c2
-c2 \acciaccatura b16 c2
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
@cindex compound music expression
@cindex music expression, compound
+@menu
+* Analogy mathematical expressions::
+* Simultaneous music expressions multiple staves::
+* Simultaneous music expressions single staff::
+@end menu
+
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression:
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
Enclosing a note in braces creates a @emph{compound music
expression}. Here we have created a compound music expression
with two notes:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Putting a group of music expressions (e.g. notes) in braces means
that they are in sequence (i.e. each one follows the previous
one). The result is another music expression:
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
-@subheading Analogy: mathematical expressions
+@node Analogy mathematical expressions
+@unnumberedsubsubsec Analogy: mathematical expressions
+
This mechanism is similar to mathematical formulas: a big formula
is created by composing small formulas. Such formulas are called
polyphonic scores.
-@subheading Simultaneous music expressions: multiple staves
+@node Simultaneous music expressions multiple staves
+@unnumberedsubsubsec Simultaneous music expressions: multiple staves
+
@cindex multiple staves
@cindex staves, multiple
notes) are combined simultaneously:
@lilypond[verbatim,quote]
-\relative c'' {
- <<
- { a4 g }
- { f e }
- { d b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Note that we have indented each level of the input with a
little) space there is at the beginning of a line, but indenting
LilyPond code like this makes it much easier for humans to read.
-@warning{each note is relative to the previous note in
-the input, not relative to the @code{c''} in the initial
+@warning{each note is relative to the previous note in the input,
+only the first is relative to the @code{c''} in the initial
@code{@bs{}relative} command.}
-@subheading Simultaneous music expressions: single staff
+@node Simultaneous music expressions single staff
+@unnumberedsubsubsec Simultaneous music expressions: single staff
+
To determine the number of staves in a piece, LilyPond looks at
the beginning of the first expression. If there is a single note,
out on a single staff.
@lilypond[verbatim,quote]
-\relative c'' {
- c2 <<c e>>
- << { e f } { c <<b d>> } >>
+\relative {
+ c''2 <<c e>> |
+ << { e2 f } { c2 <<b d>> } >> |
}
@end lilypond
@cindex notation context
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
and @code{>>}:
@lilypond[verbatim,quote]
-\relative c'' {
- <<
- \new Staff { \clef treble c }
- \new Staff { \clef bass c,, }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
The command @code{\new} introduces a @q{notation context.} A
than polyrhythmic scores.
@lilypond[verbatim,quote]
-\relative c'' {
- <<
- \new Staff { \clef treble \key d \major \time 3/4 c }
- \new Staff { \clef bass c,, }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
-
-
-
@node Staff groups
@subsection Staff groups
@funindex GrandStaff
@funindex ChoirStaff
-Music Glossary: @rglos{brace}.
+Music Glossary:
+@rglos{brace},
+@rglos{staff},
+@rglos{system}.
Piano music is typeset in two staves connected by a
@notation{brace}.
Here is a small example:
@lilypond[verbatim,quote]
-\relative c'' {
- \new PianoStaff <<
- \new Staff { \time 2/4 c4 e g g, }
- \new Staff { \clef bass c,, c' e c }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Other staff groupings are introduced with @code{\new GrandStaff},
@node Combining notes into chords
@subsection Combining notes into chords
+Music Glossary: @rglos{chord}
+
@cindex chords
@cindex note durations in chords
@funindex >
@funindex < ... >
-Music Glossary: @rglos{chord}.
-
We saw earlier how notes can be combined into @notation{chords} by
indicating they are simultaneous by enclosing them in double angle
brackets. However, the normal way of indicating a chord is to
all the notes in a chord must have the same duration, and that the
duration is placed after the closing bracket.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>4 <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Think of chords as almost equivalent to single notes:
brackets. For example, you can combine markings like beams and
ties with chords. They must be placed outside the angle brackets.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>8[ <c f a>]~ <c f a>2
-r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
+@lilypond[verbatim,quote]
+\relative {
+ r4 <c'' e g>~ <c f a>2 |
+ <c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+ r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+}
@end lilypond
+@seealso
+Notation Reference:
+@ruser{Chorded notes}.
+
@node Single staff polyphony
@subsection Single staff polyphony
Polyphonic music in lilypond, while not difficult, uses concepts
that we haven't discussed yet, so we're not going to introduce
-them here. Instead, the following sections introduce these concepts
+them here. Instead, the following sections introduce these concepts
and explain them thoroughly.
@seealso
@cindex songs
@funindex \addlyrics
-@funindex addlyrics
Music Glossary: @rglos{lyrics}.
rhyme, @notation{Girls and boys come out to play}:
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d''4 b8 c4 a8 | d4 b8 g4
}
@end lilypond
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d''4 b8 c4 a8 | d4 b8 g4
}
\addlyrics {
Girls and boys come out to play,
>>
@end lilypond
-Note the curly brackets delimiting both the music and the lyrics.
-It is essential that the final syllable is separated from the
-terminating curly bracket by a space or a newline, or it will be
-assumed to be part of the syllable, giving rise to an obscure
-error, see @rprogram{Apparent error in ../ly/init.ly}.
-
-Note also the double angle brackets @w{@code{<< ... >>}} around the
+Note the double angle brackets @w{@code{<<@dots{}>>}} around the
whole piece to show that the music and lyrics are to occur at the
same time.
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c b a d4 b8 g4.
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
+ a4 b8 c b a | d4 b8 g4. |
}
\addlyrics {
Girls and boys come out to play,
>>
@end lilypond
-We see the extra lyrics do not align properly with the notes. The
-word @notation{shine} should be sung on two notes, not one. This
-is called a @notation{melisma}, a single syllable sung to more
-than one note. There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them, for
-details, see @ref{Ties and slurs}:
+Looking at the music, we see that the extra lyrics do not align
+properly with the notes. The word @notation{shine} should be sung
+on two notes, not one. This is called a @notation{melisma}, a
+single syllable sung to more than one note. There are several
+ways to spread a syllable over multiple notes, the simplest being
+to add a slur across them, for details, see @ref{Ties and slurs}:
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c( b) a d4 b8 g4.
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
+ a4 b8 c( b) a | d4 b8 g4. |
}
\addlyrics {
Girls and boys come out to play,
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b]) a d4 b8 g4.
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
+ a4 b8 c([ b]) a | d4 b8 g4. |
}
\addlyrics {
Girls and boys come out to play,
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c[ b] a d4 b8 g4.
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
+ a4 b8 c[ b] a | d4 b8 g4. |
}
\addlyrics {
Girls and boys come out to play,
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \minor
\time 3/2
- g2 a bes bes( a)
- b c4.( bes8 a4. g8 fis4.) g8 fis1
+ g'2 a bes | bes2( a) b2 |
+ c4.( bes8 a4. g8 fis4.) g8 | fis1
}
\addlyrics {
When I am laid,
@c but the example is long enough to avoid looking strange.
@lilypond[verbatim,quote,noragged-right]
<<
- \relative c' {
+ \relative {
\key g \major
\time 3/4
\partial 4
- d4 g4 g a8( b) g4 g4
- b8( c) d4 d e4 c2
+ d'4 | g4 g a8( b) | g4 g b8( c) |
+ d4 d e | c2
}
\addlyrics {
A -- way in a __ man -- ger,
- no __ crib for a bed, __
+ no __ crib for a bed,
}
>>
@end lilypond
@c but the example is long enough to avoid looking strange.
@lilypond[verbatim,quote,noragged-right]
<<
- \relative c' {
- \clef bass
+ \relative {
+ \clef "bass"
\key c \major
\time 6/8
- c4.~ c8 d b c([ d]) b c d b c
+ c'4.~ 8 d b | c8([ d]) b c d b | c8
}
\addlyrics {
Lar -- go_al fac -- to -- tum del -- la cit -- tà
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key f \major
\time 6/8
\partial 8
- c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
+ c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn, __
}
- \relative c' {
+ \relative {
\key f \major
\time 6/8
\partial 8
- r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
+ r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn,
@lilypond[verbatim,quote]
violin = \new Staff {
- \relative c'' {
- a4 b c b
+ \relative {
+ a'4 b c b
}
}
+
cello = \new Staff {
- \relative c {
- \clef bass
+ \relative {
+ \clef "bass"
e2 d
}
}
+
{
<<
\violin
@end lilypond
@noindent
-The name of a variable must have alphabetic characters only, no
-numbers, underscores, or dashes.
+By convention, variable names consist of alphabetic characters only.
Variables must be defined @emph{before} the main music
expression, but may be used as many times as required anywhere after
section of music is repeated many times.
@lilypond[verbatim,quote]
-tripletA = \times 2/3 { c,8 e g }
+tripletA = \relative { \tuplet 3/2 { c'8 e g } }
barA = { \tripletA \tripletA \tripletA \tripletA }
-\relative c'' {
- \barA \barA
-}
+{ \barA \barA }
@end lilypond
Variables may be used for many other types of objects in
\aFivePaper
line-width = \width
@}
+
@{
c4^\name
@}
@cindex header block
@funindex \header
-@funindex header
The title, composer, opus number, and similar information are
entered in the @code{\header} block. This exists outside of the
@example
\version @w{"@version{}"}
+
\header @{
title = "Symphony"
composer = "Me"
When the file is processed, the title and composer are printed
above the music. More information on titling can be found in
-@ruser{Creating titles}.
+@ruser{Creating titles headers and footers}.
@node Absolute note names
@cindex pitches, absolute values
@cindex absolute note names
-So far we have always used @code{\relative} to define pitches.
-This is the easiest way to enter most music, but another way of
-defining pitches exists: absolute mode.
+So far we have used @code{\relative} to define pitches.
+This is usually the fastest way to enter most music. Without
+@code{\relative}, pitches are interpreted in absolute mode.
-If you omit the @code{\relative}, LilyPond treats all pitches as
-absolute values. A @code{c'} will always mean middle C, a
-@code{b} will always mean the note one step below middle C, and a
-@code{g,} will always mean the note on the bottom staff of the
-bass clef.
+In this mode, LilyPond treats all pitches as absolute values. A
+@code{c'} will always mean middle@tie{}C, a @code{b} will always mean
+the note one step below middle@tie{}C, and a @code{g,} will always mean
+the note on the bottom staff of the bass clef.
@lilypond[verbatim,quote]
{
- \clef bass
- c' b g, g,
- g, f, f c'
+ \clef "bass"
+ c'4 b g, g, |
+ g,4 f, f c' |
}
@end lilypond
-Here is a four-octave scale:
+Writing a melody in the treble clef involves a lot
+of quote @code{'} marks. Consider this fragment from Mozart:
@lilypond[verbatim,quote]
{
- \clef bass
- c, d, e, f,
- g, a, b, c
- d e f g
- a b c' d'
- \clef treble
- e' f' g' a'
- b' c'' d'' e''
- f'' g'' a'' b''
- c'''1
+ \key a \major
+ \time 6/8
+ cis''8. d''16 cis''8 e''4 e''8 |
+ b'8. cis''16 b'8 d''4 d''8 |
}
@end lilypond
-As you can see, writing a melody in the treble clef involves a lot
-of quote @code{'} marks. Consider this fragment from Mozart:
+@funindex \fixed
+Common octave marks can be indicated just once, using the command
+@code{\fixed} followed by a reference pitch:
@lilypond[verbatim,quote]
-{
+\fixed c'' {
\key a \major
\time 6/8
- cis''8. d''16 cis''8 e''4 e''8
- b'8. cis''16 b'8 d''4 d''8
+ cis8. d16 cis8 e4 e8 |
+ b,8. cis16 b,8 d4 d8 |
}
@end lilypond
-All these quotes makes the input less readable and they are a source
-of errors. With @code{\relative}, the previous example is much
-easier to read and type:
+With @code{\relative}, the previous example needs no octave marks
+because this melody moves in steps no larger than three staff positions:
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\key a \major
\time 6/8
- cis8. d16 cis8 e4 e8
- b8. cis16 b8 d4 d8
+ cis''8. d16 cis8 e4 e8 |
+ b8. cis16 b8 d4 d8 |
}
@end lilypond
However, absolute mode is useful for music which has large
intervals, and is extremely useful for computer-generated LilyPond
-files.
+files. When cutting and pasting melody fragments, absolute mode
+preserves the original octave.
+
+Sometimes music is arranged in more complex ways. If you are
+using @code{\relative} inside of @code{\relative}, the outer and
+inner relative sections are independent:
+@lilypond[verbatim,quote]
+\relative { c'4 \relative { f'' g } c }
+@end lilypond
+To use absolute mode inside of @code{\relative}, put the absolute
+music inside @code{\fixed c @{ @dots{} @}} and the absolute pitches
+will not affect the octaves of the relative music:
+
+@lilypond[verbatim,quote]
+\relative {
+ c'4 \fixed c { f'' g'' } c |
+ c4 \fixed c'' { f g } c
+}
+@end lilypond
@node After the tutorial
@subsection After the tutorial