@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
for an ending bar line. For a full list of bar lines see
the @ruser{Bar lines}.
-@lilypond[verbatim,quote,relative=2]
-g1 e1 \bar "||" c2. c'4 \bar "|."
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
@end lilypond
@node Bar checks
@example
warning: barcheck failed at: 1/2
- g1 | e1 | c2. c'
- | g4 c g e | c4 r r2 |
+ 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
like German and Dutch. To use other names for
@notation{alterations}, see @ruser{Note names in other languages}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
@cindex key signature, setting
@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=1]
-\key d \major
-d4 fis a c |
-\bar "||" \key c \minor
-c,4 ees g b |
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ d'4 fis a c |
+ \bar "||" \key c \minor
+ c,4 ees g b |
+}
@end lilypond
@smallspace
In this example:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e 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
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
Whenever you enter a pitch that is a black key on the piano, you
A @notation{tie} is created by appending a tilde @code{~} to the
first of the two notes being tied.
-@lilypond[verbatim,quote,relative=2]
-g4~ g c2~ | c4~ c8 a~ a2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ g c2~ | c4~ c8 a~ a2 | }
@end lilypond
@cindex bare duration
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=2]
-g4~ 4 c2~ | 4~ 8 a~ 2 |
+@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
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
@node 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]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@smallspace
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]
-c4~( c8 d~ 4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
Common @notation{articulations} can be added to a note using a
dash @code{-} and a single character:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-!
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
@node Fingerings
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]
-c4-3 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]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
@node Dynamics
@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]
-c4\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]
-c4\< c\ff\> c c\!
+@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]
-c2^"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]
-c2^\markup { \bold espr }
-a2_\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] c16 b a8
+@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
@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
@node Tuplets
@cindex triplets
@funindex \tuplet
-@funindex tuplet
Music Glossary: @rglos{note value}, @rglos{triplet}.
For triplets, there are three notes instead of two, so
@notation{triplets} have 3/2 as their fraction.
-@lilypond[verbatim,quote,relative=2]
-\tuplet 3/2 { f8 g a }
-\tuplet 3/2 { c8 r c }
-\tuplet 3/2 { f,8 g16[ a g a] }
-\tuplet 3/2 { d4 a8 }
+@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
@node Grace notes
@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
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 } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
@node Analogy mathematical expressions
notes) are combined simultaneously:
@lilypond[verbatim,quote]
-\relative {
- <<
- { a'2 g }
- { f2 e }
- { d2 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
@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 {
- <<
- \new Staff { \clef "treble" c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \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 {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
@node Staff groups
Here is a small example:
@lilypond[verbatim,quote]
-\relative {
- \new PianoStaff <<
- \new Staff { \time 2/4 c''4 e | g g, | }
- \new Staff { \clef "bass" c,,4 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},
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> <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>~ <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>) |
+@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
@cindex songs
@funindex \addlyrics
-@funindex addlyrics
Music Glossary: @rglos{lyrics}.
@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 g b8( c) |
+ d'4 | g4 g a8( b) | g4 g b8( c) |
d4 d e | c2
}
\addlyrics {
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key f \major
\time 6/8
\partial 8
- c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4
+ 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'8([ g]) f f([ e]) d | e8([ 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,
@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 = \tuplet 3/2 { 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
the input. For example,
@example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+myWidth = 60 % a number to pass to a \paper variable (the unit is millimeter)
+myName = "Wendy" % a string to pass to a markup
+aFivePaper = \paper @{ #(set-paper-size "a5") @}
@end example
Depending on its contents, the variable can be used in different
@example
\paper @{
\aFivePaper
- line-width = \width
+ line-width = \myWidth
@}
@{
- c4^\name
+ c4^\myName
@}
@end example
@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
@cindex pitches, absolute values
@cindex absolute note names
-So far we have always used @code{\relative} to define pitches.
+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.
In this mode, 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
+@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]
}
@end lilypond
-Here is a four-octave scale:
-
-@lilypond[verbatim,quote]
-{
- \clef "bass"
- c,4 d, e, f, |
- g,4 a, b, c |
- d4 e f g |
- a4 b c' d' |
- \clef "treble"
- e'4 f' g' a' |
- b'4 c'' d'' e'' |
- f''4 g'' a'' b'' |
- c'''1 |
-}
-@end lilypond
-
-As you can see, writing a melody in the treble clef involves a lot
+Writing a melody in the treble clef involves a lot
of quote @code{'} marks. Consider this fragment from Mozart:
@lilypond[verbatim,quote]
To use absolute mode inside of @code{\relative}, put the absolute
music inside @code{\fixed c @{ @dots{} @}} and the absolute pitches
-will not be part of the relative music:
+will not affect the octaves of the relative music:
@lilypond[verbatim,quote]
-\relative c' {
- c4 \fixed c { f'' g'' } c |
+\relative {
+ c'4 \fixed c { f'' g'' } c |
c4 \fixed c'' { f g } c
}
@end lilypond
projects / lilypond.git / blobdiff